KARMADONNA

KARMADONNA

Directorial debut of the screenwriter of “A Serbian Film”

Jelena is in her forties and, after years of trying, has finally managed to get pregnant. One day, while sitting on a park bench and enjoying a quiet moment, she receives a call from an unknown number. The voice on the line orders her to obey — or something terrible will happen. The caller appears to be aware of others’ thoughts and even to influence their minds.

Terrified, Jelena will do anything to protect her unborn child. If she has to kill, she will — and that is exactly what the voice wants. Soon she descends into a personal hell, becoming the executioner of lowlifes, manipulators, posers, and criminals. Disturbingly, she starts to feel empowered in this new role, even forming a strange bond with the voice. But why?

“Karmadonna” marks the directorial debut of Aleksandar Radivojevic, co-writer of the cult classic “A Serbian Film” — a title passed hand-to-hand since 2010 among connoisseurs of extreme, transgressive cinema. If “A Serbian Film” was a baptism of fire for those venturing into the celluloid underground, “Karmadonna” is their next ride.

Shot in pulsating neon colors and brimming with violence, this is a brutal film that never shies away from pain. The psychological weight of the story rests on Serbian actress Jelena Djokic, who allows Radivojevic to drag her — and us — through the many vestibules of hell, never letting her character feel helpless or passive.

Bold, unapologetic, and swaggering like a thug in a dark alley, “Karmadonna” had its world premiere in the legendary Midnight Madness section of the Toronto International Film Festival. Dare you buy a ticket?

After the screening we invite you to Q&A with: