Can a film about a fake war become a lightning rod for real history?
In short: Emir Kusturica’s 1995 epic Underground depicts a group of people hiding in a cellar, unaware that World War II ended decades ago. While it won the prestigious Palme d’Or at Cannes, the film ignited a firestorm of controversy, with critics debating whether it was a masterpiece or dangerous political propaganda.
The film follows two friends, Marko and Blacky, whose lives span from the 1941 German invasion of Yugoslavia to the 1990s wars. Marko, a cunning operator, keeps Blacky and others in a cellar, manufacturing weapons and manipulating time to convince them the war continues. This premise serves as a dark, satirical allegory for the political delusions and corruption that defined Yugoslav history. When the characters finally emerge, they discover a country that has fundamentally changed, reflecting the tragic disconnect between the state's manufactured reality and the lived experience of its citizens.
Upon its release, Underground polarized intellectuals and critics. Supporters praised its operatic emotional depth and its blunt critique of political chicanery. However, detractors, including French intellectuals like Bernard-Henri Lévy and Alain Finkielkraut, accused Kusturica of being a traitor and a fascist, arguing the film served as Serbian propaganda that downplayed atrocities. The debate became so intense that it transcended film criticism, touching on deep-seated ethnic tensions and the responsibility of artists in conflict zones. Even years later, the film remains a touchstone for discussions on how history is remembered and distorted.
The production itself was as complex as its themes. Filmed between 1993 and 1995, it was an international co-production involving companies from several countries, including France and Germany. Despite its critical success, it faced distribution hurdles in the United States and struggled to find a wide audience in France. The film’s legacy is further complicated by legal battles, such as Kusturica’s successful 2003 libel suit against playwright Biljana Srbljanović, who had accused him of being an immoral profiteer funded by the Milošević regime. Ultimately, Underground stands as a challenging, exhausting, and vital work that forces viewers to confront the thin line between historical truth and national myth-making.
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- Summary by Intellect · source: Underground (1995 film)
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