‘Neutrality Does Not Exist in the Face of Murder’

Abstract

Though not the first film made by a Bosnian since the nation's establishment after the Yugoslav war, No Man's Land (Danis Tanović, 2001) came out to such international critical acclaim that it can readily be considered the first major contribution toward a national cinema of Bosnia-Herzegovina. Citing Bosnia's investment in cinema as a foundational component of its national identity, I argue that Tanović uses a specifically Bosnian style to portray what he terms Bosnian Minimalism, an aesthetic and narrative approach that is steeped in the nation's culture and politics. Despite many Western misreadings of the text that laud the film for its supposed balance and neutrality, I propose a more culturally aware reading that uses the concept of Bosnian Minimalism and the lead actor's star persona to highlight the text's clear stance on the war, particularly in terms of aggressor and victim.