Miki Manojlovic Movies

A man returns to Herzegovina to reclaim his ancestral home following the fall of communism, and finds his life spinning into a frenzy following the loss of his lucky cat in director Danis Tanovic's adroit political drama. The year is 1991. Divko Buntic has spent the past 20 years in Germany, living a life of luxury. His mint Mercedes is noticeably out of place when he arrives back in Herzegovina with Azra, his gorgeous young girlfriend and Bonny, his lucky cat, and after using his clout to have his estranged wife Lucija thrown out onto the street, Divko attempts to make amends with Martin, his 20-year-old son. But everything starts to fall apart when Bonny vanishes without a trace, as the townspeople race to find the feline and collect a handsome reward. Meanwhile, trouble begins brewing as Divko and Azra drift apart, and the younger girl finds herself increasingly drawn to Martin. Amidst all of the drama, practically no one in town notices when Croatia secedes, and Serbian bombs start falling on Dubrovnik. ~ Jason Buchanan, Rovi

Billionaire and corporate kingpin Nerio Winch has been murdered, and the suspects are innumerable. It would seem like nearly anyone might have had the mogul wacked, and things only get more mysterious when it's revealed that Nerio had a secret son -- a boy he adopted from a Bosnian orphanage three decades ago named Largo. But Largo has been accused of drug trafficking, and is being held in a jail in the Amazon rain forest. What seems like an odd coincidence soon proves to be the ultimate case of corporate intrigue. ~ Jason Buchanan, Rovi

A man must make a terrible decision for the sake of his family in this downbeat drama. It's 2006, and in Serbia the divide between the rich and the poor has never been wider or more punishing. Mladen (Nebojsa Glogovac) is an engineer stuck in a low-paying job that barely supports him, his wife, Marija (Natasa Ninkovic), and their ten-year-old son. Already walking on thin ice financially, Mladen and Marija crash through when they learn that their son has been diagnosed with a serious illness, and he'll die soon unless they can arrange for him to have specialized surgery in Europe. Mladen and Marija are unable to pay for the operation, and with few other options, Marija places an ad in the paper asking for financial help. One person answers the ad -- Milos (Miki Manojlovic), a sinister gentleman who is willing to pay the couple handsomely if Mladen will kill a man who has been taking business away from him. Mladen's conscience demands he refuse the offer, but as his son's health deteriorates, he begins to wonder if he could take a life in order to spare his child. Klopka (aka The Trap) was adapted from a stage drama by Nenad Teofilovic. ~ Mark Deming, Rovi

A young man attempts to fulfill the last wish of his dying grandfather in director Emil Kusturica's quirky romantic comedy Just outside of Belgrade, a man named Tsane (Uros Milovanovic) lives on a remote hilltop with his grandfather Deda (Aleksander Bercek) and Cvetka the family cow. Apart from Tsane and Deda, the only other inhabitant of the tiny village is a teacher named Bosa (Ljilana Blagojevic). One day, Deda announces to Tsane that he is dying, and that before he passes away he wants his grandson to travel to the nearest town and sell Cvetka at the market. With the money that he makes from the sale of the cow, Tsane is to purchase a religious icon and any other items he wishes. Before the young man returns home, however, his must also find a wife. Though the prospect of finding a bride before his grandfather dies will indeed prove a formidable task for Tsane, just when it seems that all hope he runs into the beautiful Jasna (Marija Petronijevic) - who is late for school once again. ~ Jason Buchanan, Rovi

Director Danis Tanovic picks up where the late-Krzysztof Kieslowski left off by taking on the second installment of Kieslowski's "Heaven," "Hell," and "Purgatory" trilogy (the first was adapted by Run Lola Run director Tom Tykwer) with this tale of a family whose dark past returns with a vengeance. Loosely modeled by screenwriter Krzysztof Piesiewicz on the second act of Dante's Inferno, Hell tells the story of sisters Sophie (Emmanuelle Béart), Céline (Karin Viard), and Anne (Marie Gillain), whose lives were turned upside down when their father was imprisoned and their mother was rendered a wheelchair-bound mute. As the estranged sisters are slowly brought back together by a mysterious and handsome stranger who is somehow involved with the tragic events of the past, the questions that had for years gone unanswered slowly begin to drift into focus. ~ Jason Buchanan, Rovi

A sullen Viennese boy longing for the affection of his neglectful mother determines to find out just why his neighbors scornfully refer to him as a "whore's son" in director Michael Sturminger's Oedipal-oriented drama. When Ozren was just a child, his mother Silvija (Chulpan Khamatova) always told him that she supported the family by working nights as a waitress. As the years went by and the comments made by his neighbors led Ozren to question his mother's true profession, his needs for parental companionship continued to go unfulfilled despite the close relationships shared with his religious Aunt Ljiljana and his worldly Uncle Ante. Now, with only one piece of the puzzle missing in his eye-opening education, Ozren prepares to remove the blinders and find out just where his mother has been going when glides out the door each evening dressed in lavish furs and revealing miniskirts. ~ Jason Buchanan, Rovi

An analyst discovers just how troublesome his most difficult patient can be in this darkly witty comedy drama. Michel Durand (Jean-Hughes Anglade) is a divorced psychiatrist in his early forties with a successful practice in Paris. One of his patients is Olga Kubler (Helene de Fougerolles), the beautiful wife of a prominent business man with a less than scrupulous past. Olga is dealing with a number of interwoven neuroses, including a strong taste for painful, degrading sex and a compulsive habit of stealing things. Olga has already used Durand as an alibi when questioned by the police about the theft of some valuable jewels, and while Durand told the authorities that Olga was in consultation with him at the time of the robbery, the truth is he's not sure where she was and imagines she's probably guilty. Durand is also afraid to admit that he's become quite bored with Olga's stories about her unconventional sexual liaisons, and one day as she goes on about her favorite subject, he falls asleep. A few minutes later, Durand wakes up, and discovers Olga is dead. Durand has no idea what happened to Olga and isn't sure what to do with the body, but he's too frightened to call the police, so he tries to hide her in his office. Soon, Durand finds himself followed by a mysterious stranger (Miki Manojlovic), dumped by his increasingly suspicious girlfriend (Valentina Sauca), and bothered by Olga's husband (Yves Reiner), who insists the doctor find some valuables that Olga stole from him. Mortel Transfert was the first dramatic feature in eight years from director Jean-Jacques Beineix, who previously helmed the international hits Diva and Betty Blue. ~ Mark Deming, Rovi

Srdjan Dragojevic directed this Serbian-French drama about life in war-torn Belgrade, as narrated by teen Pinki (Dusan Pekic). In 1996, a stoned Pinki and his pal Kraut (Milan Maric) speed through Belgrade streets as the city celebrates the war's conclusion. A flashback travels to the year 1991 when Pinki and Kraut are into petty crimes, masturbation, and girls. They admire Dickie (Dragan Bjelogrlic), who shows them easy cash and sleek cars. Dickie has his girlfriend Suki (Branka Katic) do a sex demo for the teens. Many local toughs turn up on TV's Street Pulse, hosted by sexy Lidija, and the duo angles for an invite to the show. In 1993, drugs bring on a darker side, evident in full force by 1995. Shown at the 1998 Toronto Film Festival. ~ Bhob Stewart, Rovi

Goran Paskaljevic directed this French-Yugoslavian-Greek-Macedonian-Turkish comedy-drama about life in contemporary Belgrade. A Cabaret-like emcee introduces a collection of characters seen in the city during a single night: a Bosnian Serb family living in a garage, a middle-aged boxer who kills his best friend, an ex-cop beaten by one of his former victims, a young man attacked by a mob, a former student revolutionary, a VW driver caught in road rage after a minor traffic accident, and an angry young man who hijacks a bus because the driver dawdles over his coffee. The source of the film is a successful stage play by Dejan Dukovski. Shown at 1998 film fests (Venice, Toronto). ~ Bhob Stewart, Rovi

Swiss born Léa Pool, who settled in Montreal, Quebec in 1975, set her sixth feature film, Emporte-Moi, in Mile's End, Montreal's working class district, in the year 1963. Hanna is a thirteen-year-old girl who is mesmerized by Anna Karina's portrayal of Nana S. in Jean-Luc Godard's film Vivre sa Vie. She thinks Nana S. looks like her teacher, with whom she hopes to establish a special bond. Hanna has her share of problems at home. Her father (Miki Manojiovic) is a stateless Jew and an unrecognized poet with a tormented soul. Her mother (Pascale Bussiéres) is a fragile and overworked young Catholic from Quebec, and their marriage is not ideal. Fortunately, she has her older brother (Alexandre Mérineau) to share her experiences and her close friend Laura Charlotte Christeler who attracts Hanna because she is so different and so sensual. Growing up in her limited circumstances, Hanna gradually realizes that like the character in Godard's film, she, too, is free to determine her future ... and with freedom comes responsibility. Miki Manojlovic, who plays the father, is a Belgrade born actor who is particularly known for his roles in the films of Emir Kusturica; he is quite convincing in the role of the affectionate but impulsive father. The young actress Karine Vanasse, who plays Hanna, carries the responsibility of her role very well and writer Nancy Huston, who collaborated on the screenplay, fits her role as the teacher in her screen debut. Emporte-Moi is definitely a woman's film, not only because the director, producer, screenwriter and even the director of photography are all women, but also in the way these women have collaborated in creating a work that specifically reflects a woman's point of view. The film competed at the 49th International Berlin Film Festival in 1999. ~ Gönül Dönmez-Colin, Rovi