The Wounds

Rane's opening sequence announces it as being "dedicated to the generations born after Tito". The film follows two boys, Pinki and Švaba, through their preadolescence and early adolescence as they're growing up in New Belgrade during the Yugoslav Wars (1991–95).

Born on 4 May 1980—the day Yugoslav president Josip Broz Tito died—Pinki had been given his unusual name by his father Stojan Mučibabić, an idealistic, impulsive, and patriotic Yugoslav People's Army (JNA) officer deeply devoted to the Titoist brand of communism. Father's first choice for his firstborn's name was actually Tito, but the municipal office registry administrators thought it provocative and inappropriate in the time of grieving so he quickly pulled out his backup options—including Ramiz after a communist resistance Partisan guerrilla fighter—eventually settling on Pinki after another Partisan. Meanwhile, Pinki's best friend Švaba is raised and cared for only by his grandmother, a Croatian Serb who had fled to Serbia during World War II amid genocide being perpetrated against the Serbs by the Croatian fascist movement Ustaše.

Living in a block of apartment buildings in New Belgrade's neighbourhood of Paviljoni, both kids are extremely juvenile; Pinki is a bit more thoughtful and articulate while Švaba is moody, impulsive, and prone to anger outbursts. The duo also has another friend in the neighbourhood—Dijabola, an eager, geeky, and bespectacled outsider whose sexy and aloof single mother Lidija is a well-known television personality, hosting her own highly rated interview program while his Slovenian father is absent from his life. Though they hang out with Dijabola, Pinki and Švaba mostly consider him a third wheel and treat him poorly. He is constantly the butt of their insults and target of their roughhousing that occasionally crosses the line into physical violence.

The story begins during late summer 1991 as the kids watch Serbian troops (regular JNA troops and various volunteer militias) going off to war in neighbouring Croatia where the Battle of Vukovar is raging. Pinki's father Stojan is extremely frustrated about being forced into early retirement by the JNA and thus missing his chance to go to war. He spends his days glued to the television set, watching news reports from Vukovar and cheering on the JNA. By now he has transformed into a Miloševićesque Serbian nationalist; his impulsiveness nowadays mostly manifesting through petty quarrels with neighbours and verbal outbursts with ethnic and political overtones. Instead of Tito, he's become a huge supporter of Slobodan Milošević while immensely disliking Milošević's main political rival Vuk Drašković. Prepubescent Pinki, for his part, is mostly oblivious to the events around him, spending most of his time compulsively masturbating—often with neighbour Lidija in mind.

By 1992 and 1993, Serbia is under a UN trade embargo, and the war has spread from Croatia to Bosnia as well. Entering their early teens, Pinki, Švaba and Dijabola begin their fascination with a neighbour across the street nicknamed Kure who drives a nice car, makes regular robbing excursions to Germany while dating a trashy kafana singer. They're deeply impressed with his swagger and lifestyle and are ecstatic one day when he invites them to unload his car that's full of apparel and appliances he brought over from Germany. In fact, he sends Dijabola away and picks only Švaba, but then upon Švaba's suggestion tells Pinki to come along as well.

Like many of their peers, Pinki and Švaba enter the world of crime at fourteen years of age in an ex-communist community that is in hyper-transition, which, because of war and sanctions, reminds the two friends of a theater of the absurd. The idols of the main characters are famous Belgrade gangsters featured on a TV show called Puls Asfalta (Pulse of the Asphalt), which turns them into media stars. Pinki and Švaba fantasize of being on the show one day and they attempt to be noticed by its producers by committing crimes. After they succeed in establishing themselves as influential criminals and drug dealers, their uprising in the world of crime is cut by mutual conflict as both start having sex with Lidija. Švaba shoots Pinki five times in the same places that Jesus was wounded two thousand years ago. Pinki manages to survive and after some time he escapes from the hospital, and calls his friend to make peace. The truce is more than terrible, as the wounded boy has, after an unwritten rule, to inflict five identical wounds to his friend, so the friendship can be rebuilt. After shooting Švaba three times, he considers wounding him one more time instead of the required two. They are suddenly interrupted by a furious Dijabola who shoots at them, especially Švaba, for killing his mother. A shootout occurs and Švaba and Dijabola are killed. In the end, Pinki, who is wounded and is lying on the ground, laughs at the audience by claiming that he "made out better than you."

• Dušan Pekić – Pinki
• Milan Marić – Švaba
• Dragan Bjelogrlić – Čika Kure
• Vesna Trivalić – Lidija
• Andreja Jovanović – Dijabola
• Branka Katić – Suzana
• Miki Manojlović – Stojan (Pinki's father)
• Gorica Popović – Nevenka (Pinki's mother)
• Nikola Kojo – Biber
• Zora Doknić – Švaba's grandmother
• Danica Maksimović – Ninana, the prostitute
• Feđa Stojanović – Žikica, the news anchor
• Bata Stojković – Neighbour
• Seka Sablić – Neighbour
• Radoslav Milenković – Police inspector
• Nikola Pejaković – Kafana owner
• Dragan Maksimović – Patient in the hospital
• Milorad Mandić – Body builder

As Rane was going into theatrical release, the film's director, Srđan Dragojević, put out an accompanying statement explaining his personal motivation to revisit the subject of Yugoslav Wars, this time from the perspective of those living behind the frontlines. In it he directly accused the Milošević administration of "forcing the young people of Serbia to grow up in the country flooded by the wave of primitivism and nationalism where those who went through puberty while Vukovar and Sarajevo were being destroyed have been made the terrible victims whose wounds will never heal": "This is a story about young criminals whom I believe have a deep moral right to be violent, even to murder, despite the political unacceptability of this idea. An insensitive society and a totalitarian Serbian regime have made thousands of Serbian teenagers dangerous, senseless killing machines, ironically whose main victims are themselves".[12]

The film was released in FR Yugoslavia (Serbia and Montenegro) in May 1998 where it became a cinema hit with 450,000 admission tickets sold[13] despite its promotional cycle in the country being severely impacted by the government's refusal to run the film's ads on state television RTS (then under general manager Dragoljub Milanović). The authorities had been dissatisfied with the country's bleak portrayal in the film.[14] Talking to the Serbian edition of Playboy in 2004, the movie's producer Dragan Bjelogrlić said the following:

We were under a media embargo of sorts when it came to publicity for Rane. I managed to find out from the Yugoslav Left (JUL) circles at the time that they're not mad at us for making a movie against them, but that they have a problem with the fact that we did it using their money. And in a way they have a point there because that was a calculated swindle on our part. It would be very useful for me to now be able to say that they threatened me, but that simply isn't true. I'm no martyr, here. The only thing was that they wouldn't give me access to RTS, but at that time no sane person would even think of going on RTS. Journalists asked me a lot about that, especially in Croatia and Bosnia-Herzegovina, but there's really not much to the story.[15]

In January 2014, as guest on Veče sa Ivanom Ivanovićem, Bjelogrlić expanded on the problem Rane had with Serbian authorities back in 1998.

The 1990s in Serbia were a strange time, and I can point out many situations in support of that claim, including this absurdity that we made anti-state films using state money. Today, that wouldn't be possible, and I say that almost with nostalgia..... On the other hand, back then we lived in a country that we considered to be a dictatorship and we thought of Milošević as a big time dictator, and it's not like we had no reasons to think of him that way. However, on the festival circuit with Lepa sela and especially with Rane we'd meet foreigner after foreigner telling us in utter bemusement: 'Wait a sec, you guys got state funding to make a movie like this, wow, it must be a very free and democratic society'. And of course it wasn't really, because we employed a lot of tricks so that in many instances the individuals approving the money had the wrong impression of what the movie is going to be. Specifically with Rane, we submitted a completely fake script to the RTS. So then, at the premiere, a minor scandal occurred when some functionaries walked out and as a result our TV promotion got cut immediately. And being the film's producer, I figured it would be good to see through private channels if there would be more serious repercussions so I managed to get to a man who held high post in the police at the time. And he told me the famous line: 'We're OK with you criticizing us, but we're not OK with the fact you're doing it with our dough' and advised me to lay low until the situation blows over. So I went to France to watch the World Cup and I continued traveling around Europe for a bit. So, by the time I got back home things cooled down a bit and nothing serious took place.[16][17]

Starting in April 1999, the film began a theatrical distribution in Croatia thus becoming the first Serbian film in the post-Yugoslav Wars era to have distribution in that country. Another curiosity of its release in Croatia was the fact that it was subtitled. Even its title was translated from Rane to Ozljede, all of which became subject of much outrage[18] and ridicule.[19][20] It became a hit in the cinemas regardless, selling more than 40,000 admission tickets (~42,000) in Croatia.

Looking back on his acting career, in February 2012, Bjelogrlić brought up the role of Čika Kure as being one of the dearest to him, but also revealed a later personal realization that he "could've done a much better job portraying it".[21]

• Dizelaši, Belgrade youth sub-culture
• Crime that Changed Serbia, 1995 documentary about Belgrade gangsters

• The Wounds at IMDb
• Film analysis by Igor Krstic in "The Celluloid Tinderbox" (E-Book)