No Man's Land (2001)

Boy, I hadn't used the Eastern Europe tag since 2015. It's possible I've neglected to add it to some entries, but the fact remains that I just haven't seen many films set in that part of the world, let alone made there. This one required the cooperation of production companies in six nations.

In 1993, the Bosnian War is in full swing. The story, unfolding over the course of maybe half a day, begins with Bosniak soldiers attempting to cross the titular area; most of them evidently do not survive the first several minutes. Ciki winds up wounded in a trench and hides as two Serbian soldiers show up, the senior one planting a "bouncing" mine under a Bosniak body in order to kill anyone who moves him. Ciki then kills the senior and wounds the junior, Nino, but decides to let Nino live for now, if only because he might prove useful. They then discover that the man on the mine, Cera, was merely unconscious. Will the ceasefire last long enough for any of the three to get out alive?

Soldiers behind the lines on each side become aware of someone alive in the trench. Eventually, the word reaches the UN, as well as many members of the press, most prominently British Jane Livingstone (Katrin Cartlidge) of Global News, who doesn't back down easily. But like in so many other movies, the UN is bureaucratically hampered and questionably run, leaving everybody disenchanted. The one other familiar actor herein, Simon Callow, plays a colonel who insists his hands are tied but cares pretty deeply about public image -- which is not necessarily a good thing.

Not having a dog in the fight, I brought no prejudice to my judgment of each side of the war. I suspect we're supposed to deem them equal. Ciki and Nino can't even agree who started it, and Cera (who doesn't talk as much) says it doesn't matter anymore. It sounds like the Serbs might be slightly more brutal, given how appalled Ciki is at the mine placement; but on a personal level, he comes across as a bigger jerk than Nino. That may have to do with more extensive experience as a soldier. Or greater losses on the home front.

But despite my hope, this is not another Enemy Mine. Only on occasion does Nino find common ground with either Bosniak, and any peace between them is fragile. If anything, their time together increases their mutual animosity.

From my limited experience with Eastern European cinema, I conclude that it's characterized by darkness, especially when war is the subject. Who has time for optimism in the midst of all this stark realism? NML is an excellent example of dashing any expectations of a happy ending. As such, it earns my respect more than my liking.