A Serbian Film

Milo, a semi-retired Serbian porn star, lives with his wife Marija and their young son Petar. Despite financial strain, his home life is happy, and his biggest goal is one last big payday to secure his family's future and exit pornography. He begins to consider an offer that could change everything.

Lejla approaches Milo with a lucrative offer to star in an 'art film' directed by Vukmir, an influential pornographer. Vukmir insists Milo remain ignorant of the plot until filming begins, which unsettles Milo but tempts him with money. The promise of a clean break for his family lures him toward the project.

Marko, Milo's jealous brother and a corrupt police officer, visits Milo at home and flirts with Marija. In the kitchen and bathroom, Marko mutters about missing female company and then furtively masturbates in the basin. The encounter foreshadows the peril stalking Milo's life.

At a subsequent meeting with Vukmir, Milo passes an older bald-headed man flanked by two large security guards, and he regards them warily. The power dynamics and menace surrounding Vukmir hint at the control he will exert over Milo's life. Milo realizes this assignment is more dangerous than it seems.

The next morning Milo is taken to an orphanage where he is fitted with an earpiece by Vukmir's driver, Raa. A film crew shadows him, feeding him orders as he is placed into a series of sexual scenarios to document his reactions. The setup blurs the lines between reality and performance.

During the early shoots, Milo is engaged by a woman in a dark room, while two televisions display disturbing images of a teenage girl. The jarring juxtaposition amplifies the sense that he is trapped in a scripted nightmare. The pressure to perform grows with every scene.

Milo phones Marko to look into Vukmir's police files, and the call reveals Marko's own turn as he is seen being pleasured by a woman while watching Milo's home videos and an older porn film. The moment deepens the sense that violence and coercion permeate both the project and Milo's life. The line between witness and participant grows thin.

Milo is ordered to have sex with a physically abused woman while a young girl dressed like Alice from Alice in Wonderland watches. He resists but is overpowered, and a bite to the penis forces him to continue. The scene marks a brutal turning point in the coercive ‘art film’ experiment.

Milo learns from Marko that Vukmir has a complex past as a psychologist, a children's TV producer, and someone who has worked for state security. Vukmir then unveils a project depicting Raa helping a woman give birth, followed by the newborn being raped—an infamous idea he calls 'newborn porn'.

Milo is seduced at a road junction by Vukmir's doctor and then wakes up three days later in his own bed, bloodied and beaten with no memory of what happened. He returns to the set and discovers a collection of tapes that reveal his missing days. The loss of memory marks a brutal pivot in the narrative.

Watching the tapes, Milo realizes that the three days of manipulation left him in a perpetual aroused state and forced him into brutal acts, including murder and mutilation, acting under drugging and Vukmir's commands. The graphic scenes reveal a concerted effort to weaponize his sexuality. The truth shatters Milo's sense of control.

Milo uncovers that the masked man raping the women is his brother Marko, and the victims include his wife Marija and their son Petar. A chaotic confrontation follows: Marija kills Marko, Milo defeats Vukmir and the guards, and the surviving bodyguard is shot. Milo confronts Raa, whose gun is empty, and he ends Raa's life in a brutal act.

Milo retrieves his wife and son, locks them in the basement, and passes out. After recalling the horrors, he contemplates suicide, but his wife convinces him to choose a family-wide act. They decide to end their lives together, embracing in bed as a final act.

Sometime later, a bald-headed director from Vukmir's circle arrives with another star and crew, suggesting the cycle of exploitation will continue. The director orders the next actor to start with a child, implying a new round of abuse will begin. The story closes on a note of grim inevitability.