Macedonian salad was never as jumbled as this pretentious B&W video, a scramble of undigested ideas about existential philosophy and world politics.
Macedonian salad was never as jumbled as this pretentious B&W video, a scramble of undigested ideas about existential philosophy and world politics. Nearly unintelligible in its overlapping voices and images and wild jumping from symbolic scene to scene, “The Judge” seems mainly aimed at pleasing the strung-out denizens of East European discos, several of whom appear to have been recruited as actors by painter-videomaker Zaneta Vangeli for her feature debut.
If one were to extract a story from the buzzing images, whose assemblage must have given editors Vojo Zivojnovic, Dejan Pejovic and Bozidar Jovanovic many a sleepless night, it probably would revolve around a character called Vlad Freeborg, who is directing his first picture, “The Judge.” Satan, a cultured fellow interested in art and politics, pops up sporadically. An alternate locus of evil is a group of “multinational” businessfolk intent on dividing up the world, to composer Vlad Kaevski’s tragic score. All this is supposed to be ironic and de-mythicizing. According to the film, history is senseless; viewers might want to reverse the terms.