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Controversy over film Zlatni rez 42

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2026-10-04 08:43 UTC → 2026-10-05 16:16 UTC · added ~~removed~~

Controversy has emerged regarding the film ‘Zlatni rez 42 – Djeca Kozare’, directed by Lordan Zafranović, which depicts civilian suffering and crimes within the Jasenovac camp system during World War II. Following the release of the film’s trailer, several Croatian actors, including Rene Bitorajac, Milivoj Beader, and Leon Lučev, faced online threats and insults. Due to personal safety concerns, these actors declined to attend the film’s premiere at the 53rd FEST International Film Festival in Belgrade. Some Serbian actors reportedly considered boycotting the festival in solidarity with their Croatian colleagues. Critics on social media accused the director of historical revisionism and questioned the film’s Serbian financing. Actor Rene Bitorajac later issued a video statement addressing his portrayal of historical figure Vjekoslav Maksa Luburić. He defended his decision to take the role as an artistic challenge and clarified that the film was shot in 2023. Bitorajac denied political involvement, stating his contract was with the production company Minacord Media rather than political figures, and expressed disappointment that the project is being used for “propaganda purposes.” Following its opening at the FEST festival, the film held its premiere in Banja Luka. Director Zafranović expressed gratitude to the authorities of Republika Srpska and Milorad Dodik, noting that the entity provided nearly one-third of the film's financing. Zafranović described the work as ‘monumental’ and an attempt to convey historical truths, while anticipating controversy from revisionists. In response to debates over funding, the director of the Croatian Audiovisual Centre (HAVC), Kris Marčič, clarified that Croatia did not finance the project. Additional controversies have surfaced regarding the use of archival photos in promotional materials. Zafranović has maintained that the film is a fictional drama intended to explore the ‘mechanism of evil’ rather than a strictly documentary reconstruction.

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