Avis des critiques

Emir Kusturica establishes the freewheeling tone of Underground from its opening seconds, with the film roaring into life on the boisterous din of a brass band that doesn't so much march through Belgrade's streets as it sprints through them while blaring its music in an accelerated triple-time whirl. The manic intensity of this opening stretch prefigures a film that maintains its sense of sweeping, grandiose farce even as the action narrows.

UNDERGROUND is filled with rollicking comic set pieces, gloriously outsized characterizations, and near-constant marching band music—it feels as much like a party as it does a film.

Tragedy replayed as farce (Kusturica's favourite mode), it has a thematic and visual audacity (communism as a cellar, a postmodern take on the 'red western', the float-away wedding party) that compensates for its hectic overload.