Docmaker Jelena Maksimović's first fiction feature is a narratively sparse but atmospherically throbbing exercise, playing in competition at Tokyo following its Venice Orizzonti premiere.
By Guy Lodge
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Film Critic
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Courtesy of Paul Spengemann Amid the turmoil of mass student protests in the streets of Belgrade, two young people are bonded by a rash act of rebellion, despite their outwardly incompatible ideologies. The premise of Serbian writer-director Jelena Maksimović‘s “Until the Day Ends” portends a tidy political parable — a sort of “why can’t we all get along” homily for an age, and particularly a generation, of vastly polarized beliefs. The execution, thankfully, is flintier and more complicated than that. The film’s teachings, if any, are ambiguous, and learned on the run: Maksimović’s first fiction feature is most memorable for its galloping formal restlessness, moving at the breathless pace of its characters as they evade authority and chase a glimmer of hope in their joint resistance.
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