Wall of Death, and All That

She is spending her life defying gravity on the vertical road that literary has no beginning or end, where she has nothing to hope for, where only injury or death can happen to her. She has only her memories.

  • Mladen Kovacevic
    Director
    Unplugged (Anplagd)
  • Mladen Kovacevic
    Writer
    Unplugged (Anplagd)
  • Mladen Kovacevic
    Producer
    Unplugged (Anplagd)
  • Tibor Keser
    Producer
  • Pablo Ferro
    Camera/DoP
  • Jelena Maksimovic
    Editor
  • Nemanja Mosurovic
    Music/Composer
  • Aleksandar Protic
    Sound
  • Ivan Antic
    Sound Recording
  • Project Title (Original Language):
    Zid smrti, i tako to
  • Project Type:
    Documentary
  • Runtime:
    1 hour 1 minute 30 seconds
  • Completion Date:
    April 15, 2016
  • Production Budget:
    80,000 USD
  • Country of Origin:
    Serbia
  • Country of Filming:
    Serbia
  • Language:
    Serbian
  • Shooting Format:
    Digital
  • Aspect Ratio:
    2.35:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Visions du Réel
    Nyon, Switzerland
    April 20, 2016
    World premiere
  • BELDOCS
    Belgrade
    Serbia
    May 14, 2016
    Domestic premiere
    Best Film Award, Best Camera Award
Director Biography - Mladen Kovacevic

After years of studying fiction film directing in Belgrade, London, and Cape Town, Mladen Kovačević has wholeheartedly dedicated himself to documentaries. In just few years, he made several commissioned and thematic documentaries, and his debut documentary feature, the unpretentiously offbeat and highly acclaimed “Unplugged” (premiered in competition at Visions du Réel 2013; in competition at Hot Docs, also in selections of CPH:DOX, FIDMarseille, DOK Leipzig, Raindance, around 80 festivals so far, where it won 10 awards). “Wall of Death, and All That”, his latest project, will premiere in International competition at Visions du Réel 2016.

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Director Statement

I lived shortly in a small town when I was a kid, and I remember how everybody got incredibly excited when the country-fair came. I went along to see what is it all about, hoping to buy cheap toys and ride the big carousels; however on that one occasion the wall of death appeared towering the rest of the fair. It was pure luck, because it didn’t arrive every year. As I soon moved back to the big city, I saw the wall of death only once, but the thrilling and sickening experience stuck with me.

The steep staircases that lead up onto the gallery of the wooden barrel. The guy was revving up the motorcycle (maybe one of Brankica’s brothers since she remembers they were occasionally visiting). In no time, the motorcycle gained enough velocity to drive horizontally to the floor. It spiralled around another motorcycle and the small fiat automobile that joined in. The wooden construction was shaking like it would collapse any moment. Clouds of exhaust fumes were rising. The noise was unbearable. And it was called “WALL OF DEATH”!

Nowadays, a few decades later, the country-fairs remain unnerving to me. Combined with discomforting existentialist undertone of the story about the lifetime of driving motorcycles in the endless circle of the wooden barrel called “wall of death”, the overwhelming sentiments are desolation and anxiety. It parallels the way Brankica feels about the country-fairs; her reasons being more profound and intimate.