USTANIČKA ULICA

Dušan, a talented yet inexperienced investigator at the International Criminal Tribunal for the former Yugoslavia, has been waiting for such a case for a long time: he is charged with researching the fate of a paramilitary unit accused of involvement of acts of violence in Croatia, Bosnia and Herzegovina and Kosovo, certain of whom were killed under mysterious circumstances. He works his way through the saga, wrests important details from the omnipresent silence of his witnesses and slowly but surely fits the puzzle pieces of a brutal war together. Thus however it is that hunter becomes the hunted in an intricate game of cat and mouse: Endowed with professional ambition and the “generation Djindjić'” sense of justice he is able to identify the last remaining survivor of the unit, and a potential chief witness of large-scale arbitrary execution, quickly realises however that he thus infringes upon the interests of influential circles. Reading between the often vague file notes the monsters of the past are brought forward to the present day where the distinction between friend and foe threatens to blur behind politically-motivated games of hide-and-seek. A subtly filmed secret service thriller which takes a multifaceted look at the Serbian “state within a state.” Captured in cold shades of blue, the film portrays the latent threat inherent in a society whose search for truth has reached a standstill, deftly combining genre motives with arthouse cinema in the process.