Memorie di un Paese scomparso

Abstract

The article deals with the issues of recovering the past and collective memory through film, with particular regards to the case of the former Yugoslavia. It examines two recent Balkan documentaries which approach the common Yugoslav past in different ways, two interesting interpretations of the same past, intertwining both private and shared dimensions through the filmic language. While Cinema Komunisto by Mila Turajlić depicts a nostalgic portrait of the vanished country, on the other hand in Goli by Tiha Gudac the recovery of the past becomes a way for the re-elaboration of a wounded family memory.