No Man's Land

Die traditionelle Balkan-Schule wird in Danis Tanovics Manuskript nicht verleugnet. Die Kunst, ein düsteres Ganzes in einer tragikomischen Situation darzustellen, die am Rande des Konkreten und der Metapher schwankt, ist vor allem für Emir Kusturica typisch, aber Tanovic folgt seinem Beispiel mehr als gekonnt. Das anfänglich humorvolle Paradoxon dreier Männer, die zwischen die Fronten der Serben und Bosnier geraten, entwickelt sich zu einer absurden persönlichen und suprapersönlichen Tragödie, die die "westliche" Welt, die in ihre quasi messianische Rolle vertieft ist, nicht zu verstehen, geschweige denn zu lösen vermag. No Man's Land kann als brillant gedrehtes Comic-Drama gelesen werden, aber es ist viel fruchtbarer, es als eine Aussage über die Unlogik eines Konflikts und die Unfähigkeit der westlichen Zivilisation zur Empathie zu sehen. Das düstere Ende steht den stärksten Momenten in Kusturicas Filmografie in nichts nach, und diese Tatsache treibt meine Bewertung nach einem eher wenig inspirierenden Anfang auf die Höchstnote hoch. Man sollte No Man’s Land nicht nur sehen, sondern auch versuchen, sich in das einzufühlen, was uns ohne unnötige nationalistische Leidenschaft von denen vermittelt wird, die mehr verstehen als die Berichterstatter der Massenmedien. (05.11.2005)

The absurdity of the Bosnian-Serbian conflict is matched by the overall mood of this remarkable film. It would be wrong to accuse it of having a simple plot and uniform characters. Danis Tanović best portrayed the absurdity of the whole situation on these very characters. No Man's Land is not a film intended to appeal through bombastic war spectacle or profound philosophical contemplations. That is because it revolves around a Serbian soldier versus a Bosnian soldier, the indecisiveness of the UN troops, who seem more focused on "maintaining the war" rather than peacekeeping, and an investigative journalist, driven to get her story at any cost. If the term "Balkan conflict" means anything to you, you can understand that war is folly, even if you are not an adamant pacifist. (05.11.2005)

In every aspect, an extraordinary film, with a well-developed, fully functional script, meticulous direction, casting, and outstanding performances. Along with Peter Kosminsky's Warriors, it is the most impressive and valuable depiction of the Bosnian conflict. The absurdity of war is portrayed through the tragicomic and utterly pointless confrontation of two enemy soldiers between the front lines next to an armed mine, on which lies the body of a third, severely injured man. Despite the light, satirical tone, there is no happy ending... Overall impression 95%. (21.11.2007)

I can tell a good anti-war film by how it affects me. If the message doesn't hit me hard, it's just a waste of financial resources. The creators of this film didn't waste any, and the message hit hard. I could hardly find a better depiction of the senselessness of war. There is no doubt that soldiers essentially function as a group of armed tourists, and although there are capable and determined people among them, their leadership cancels them out. If the story didn't take place outdoors, it could have been considered a chamber film. However, the story was so intense that it easily beats many so-called blockbusters. / "Maybe you could get a close of them clearing the mine." / Lesson learned: There are situations you can't get out of, even if you tried so hard you shit yourself. (31.03.2023)

I wondered what kind of film could have walked away with Amélie's Oscar. Now I know, and I have to say I haven't seen a film with such a well-written story in a long time. A brilliant black-humour look at the war in Bosnia, the media and the embarrassing role of UNPROFOR. A truly brilliant plot and performances and I bow to director Tanovic for his first feature. I watched it at the SFS and I hope it gets a wider distribution so more people will see it. (30.07.2002)