Underground

Four years ago, director Emir Kusturica deservedly won the Palme d’Or at Cannes with the sociopolitical romp, Underground, a three-hour sensory assault that is pitched beyond tragicomedy, beyond Fellini’s dream logic, beyond even Marx Bros. dadaism to arrive at this lunatic epic. We follow two Yugoslavs, Marko and Blacky — allies in depravity, rivals in greed — from the Nazi blitz of Belgrade through the rise of Tito to the collapse of communism, while they booze and bruise and scheme and whore. Rarely has absurdism made more sense. A