Ognjen Glavonic (Serbia/France/Hungary 2018)
In 1999, during NATO’s bombing of Serbia, several trucks loaded with corpses were driven all across the country, one at a time; their destinations: rivers and lakes where the bodies got dumped, to erase every possible trace of what amounts to massacres. It’s never openly stated what Vlada is transporting on that one particular haul TERET follows from somewhere in Kosovo to Belgrade – things are suggested, but that’s all; still, if one had seen Ognjen Glavonić’s previous film: the 2016 documentary DUBINA DVA, little is left to the imagination. Well, not quite: nothing horrifying, repulsive, disturbing is ever shown in either film – the mass shootings, piles of corpses are in your head only. TERET, in fact, plays more like a ultra-minimalist action thriller whose suspense derives solely from Vlada’s obvious anxieties, the sheer amount of time things take and the sameness of the landscapes – something will happen, that much is clear, but when and why: who knows. If you drive dozens of corpses through the country something must snap at some point. Really? Maybe humans are more apt at denying evil than we like to believe with our good liberal souls? Let’s say by way of recommendation that a certain official Serbia tried hard to see that TERET would not get made. (Olaf Möller)