A Serbian Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Financially struggling Miloš, a former porn star known for his talent, lives with his wife, Marija, and six-year-old son, Petar. His brother, Marko, a corrupt police officer, is attracted to Marija and is jealous of Miloš's sexual prowess. Marija is curious about her husband's past and is concerned about the family's income. Lejla, a former co-star, offers Miloš a starring role in an art film directed by Vukmir, an independent pornographer, who wishes to cast Miloš for his powerful erection. Having already caught Petar watching one of his films and unaware of the details of Vukmir's film, Miloš is hesitant to participate and continue his career, but accepts to secure his family's financial future. While meeting Vukmir, Miloš passes a bald man and his entourage, regarding them warily.

Filming begins at an orphanage, where Vukmir feeds Miloš instructions through an earpiece given by Vukmir's driver, Raša, while a film crew follows him. Miloš sees a young woman being physically abused and scolded by her mother, having disgraced her deceased war hero husband's memory by becoming a prostitute. In a dark room, screens show Jeca, a girl of indeterminate age, seductively eating an ice pop, while Miloš is fellated by a nurse. Then, Miloš is instructed to receive fellatio from the mother, while Jeca watches. Miloš refuses, but is forced to continue. Marko later informs him that Vukmir is a former psychologist and has worked in children's television and state security. Miloš meets with Vukmir, announcing that he is retiring and dropping out of the film, but Vukmir explains to a hesitant Miloš his artistic style of pornography, showing a film of a woman giving birth to a newborn baby, a baby which is then immediately raped by Raša, much to the joy of the mother. The disgusted and horrified Miloš storms out and drives away as Vukmir boasts to him that this is "a new genre" and that he terms it as "newborn porn". At a road junction, being in a disturbed state of mind, he is approached and seduced by an attractive woman who, unbeknownst to him, is Vukmir's doctor.

A bloodied Miloš wakes up in his bed the next morning with no memory of what has happened. He returns to the now abandoned set and finds a number of tapes. Viewing them, Miloš discovers that he was drugged to induce an aggressive, sexually aroused, and suggestible state. At Vukmir's manipulative direction, Miloš beat and decapitated Jeca's mother while raping her and was later raped by one of the guards. He then watches footage of Lejla voicing concern for Miloš to Vukmir, stating that she is quitting and taking Miloš with her. A bloodied Lejla is then shown restrained, with a blood puddle and several teeth in the floor right in front of her. A masked man appears and she is forced to fellate him, suffocating her to death. The footage continues as Miloš is led to Jeca's home, where an elderly woman praises him for killing Jeca's mother, laments about Jeca's father dying before he "made her a woman", and offers Jeca as a "virgin commune". Miloš refuses, threatens to cut off his penis with a knife, and escapes through a window. After wandering the streets for a while, he ends up huddling in an alleyway, where he watches as a teenage girl passes by while being tailed by a pair of thugs. He begins masturbating and is assaulted by the thugs before they are killed by Raša, who along with Vukmir takes Miloš to a warehouse.

At the warehouse, Vukmir's doctor administers more drugs to Miloš, who in an angry outburst sticks a syringe into her neck, rendering her unconscious from the overdose. He is then taken into a big room, where he is conducted to have intercourse with two hidden bodies placed under sheets and with bags on their heads. Miloš furiously begins penetrating them while keeping them restrained, and as he swaps from one onto the other, the masked man from Lejla's film enters and begins raping the first. Vukmir then reveals the masked man to be Marko, his victim to be Marija, and finally, that Miloš is raping Petar. At this moment, the agonizing female doctor enters the room, with her crotch entirely covered in blood and a bloody pipe on her hand, attracting everyone's attention before collapsing dead. Snapping, an enraged Miloš lunges at Vukmir and repeatedly smashes his head against the floor, initiating a brawl during which Marija bites off a piece of Marko's neck, then bludgeons him to death with a sculpture. Miloš wrestles with the guards and seizes one of their guns, shooting both of them and injuring the one-eyed Raša, whom he kills by ramming his erect penis into his empty eye socket. During all of this, a dying Vukmir praises Miloš's actions as truly worthy of cinema.

Miloš, having recalled his actions up to that point, including locking his wife and son in their basement before passing out earlier, smashes Marko's head with the sculpture in a fit of impotence and despair, before returning home to find both of them in shock, with Petar totally unresponsive. After coping with the matter for hours, Miloš and his wife ultimately agree, in silence, that they and their son should die together, so the three gather in bed and embrace before Miloš fires a fatal shot through himself, Petar and Marija. Sometime later, a new film crew, including the bald man from the beginning of the film, is shown recording in the bedroom. One of the security guards begins to unzip his pants and the director, the unnamed bald man, advises him to "start with the little boy".

Spasojevi? and Radivojevi?, have stated that the film is a parody of modern politically correct films made in Serbia, which are financially supported by foreign funds. When asked why they chose the title 'Srpski Film' for the film's name, Radivojevi? answered, "We have become synonyms for chaos and lunacy. The title is a cynical reference to that image. Srpski Film is also a metaphor for our national cinema — boring, predictable and altogether unintentionally hilarious which throughout our film to some extent is commented on and subtly parodied." Similarly, Radivojevi? describes Serbian cinema as "...pathetic state financed films made by people who have no sense or connection to film, but are strongly supported by foreign funds. Quality of the film is not their concern, only the bureaucratic upholding of the rule book on political correctness."

According to Spasojevi?, the character of Vukmir is "an exaggerated representation of the new European film order ... In Eastern Europe, you cannot get your film financed unless you have a barefoot girl who cries on the streets, or some story about war victims in our region ... the Western world has lost feelings, so they're searching for false ones, they want to buy feelings."

In another interview Spasojevi? is quoted as saying the film "denounces the fascism of political correctness." Questioned by the Croatian media on whether the violence depicted deals with crimes committed by Serbian soldiers during the Yugoslav Wars, Spasojevi? answered, "'Srpski Film' does not touch upon war themes, but in a metaphorical way deals with the consequences of postwar society and a man that is exploited to the extreme in the name of securing the survival of his family."

Film festival circuit

The first ever showing of A Serbian Film took place on 15 March 2010 at midnight in Austin as part of the 2010 South by Southwest. During the introduction by Alamo Drafthouse Cinema's owner Tim League, the audience in the theater was once again warned about the extreme nature of the scenes they were about to see and given one last chance to leave the screening. He also coaxed a handful of audience members to join him on the stage — where they jointly snorted lines of salt, squeezed lime juice into their eyes and took shots of tequila in order to "understand what Serbians have been through to create a culture of A Serbian Film". The following day, the film played once more.

Next was the screening at the Brussels International Festival of Fantasy Film in April.

On 11 June 2010, the film screened in Serbia as part of the Cinema City festival in Novi Sad.

The film was run on 16–19 July 2010 during the Fantasia Festival in Montreal as part of the Subversive Serbia program.

The film was due to screen on 29 August 2010 at the Film Four FrightFest in London, UK but was pulled by the organizers following the intervention of Westminster Council. Films shown at this festival are usually shown pre-certificate but in this case Westminster Council refused to grant permission for its exhibition until it had been classified by the BBFC. Following its DVD submission to the BBFC (there were no theatrical materials available in the time frame requested for a proper theatrical classification), 49 cuts totaling four minutes and eleven seconds were requested for DVD certification. The UK distributor, Revolver Entertainment, initially looked into the possibilities of the process, but it became clear that the film would then have to be resubmitted to the BBFC and further cuts may then have been required. It was decided that to show a heavily edited version was not in the spirit of the festival and consequently its exhibition was pulled from the schedule. The film was replaced at the festival by Rodrigo Cortés' Buried starring Ryan Reynolds.

The Raindance Film Festival, that picked up the film at the Cannes Film Festival in May, subsequently held the UK premiere and "found a way around the ban by billing the screening as a 'private event'". The Sun tabloid described the film as 'sick' and 'vile' following the festival's 2010 Press Launch and Westminster Council requested to monitor the invitations to the screening. The 35mm print was shipped from the BBFC for the 8 October 2010 premiere.

On 21 October 2010, the film had a single screening at Toronto's Bloor Cinema. It took place as part of the monthly event called Cinemacabre Movie Nights organized by the Rue Morgue magazine. The publication also spotlighted the film and featured it on its cover.

On 26 November 2010, the film was refused classification by the Australian Classification Board, banning sales and public showings of the film in Australia. However, on 5 April 2011, the Australian Classification Board approved a censored version of the film. Later in 2011, the censored version was also re-refused classification after review.

On 12 and 16 July 2011, the film was screened at FANTASPOA in Porto Alegre, Brazil and at least at one other film festival in the country, before being banned just before a screening in Rio de Janeiro. Initially the ban applied only in Rio, but afterwards the decision became valid throughout the