Abstract
This article reads Jugofilm as an intelligent and engaging approach to presenting fictionalized human stories in the aftermath of the break-up of Yugoslavia. The title term is one of Rebić's starting-points for presenting the ways in which political differences between Croats, Serbs and Bosnians play out in a Yugo-Viennese community. A central, traumatic memory determines the protagonist's inability to cope in the present and to come to terms with what he has experienced in his warring Heimat. Sascha's struggles with memory and his ultimate death is read allegorically as the demise of Yugoslavia, and Rebić's film is analyzed for its contribution towards the cultural memorialization of Yugoslavia and towards explaining some of the facets determining this particular group of migrant identities in contemporary Austria.
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