Rane opens with a poignant dedication to "the generations born after Tito." This compelling film tracks the lives of two boys, Pinki and Švaba, as they navigate their preadolescence and early teenage years in New Belgrade during the tumultuous Yugoslav Wars (1991–95).
Pinki, born on May 4, 1980—the very day Yugoslav president Josip Broz Tito passed away—carries a name reflective of his father, Stojan Mučibabić, an impulsive and patriotic officer of the Yugoslav People's Army (JNA). Although Stojan initially sought to name his firstborn after Tito himself, municipal authorities deemed it too provocative during a period of national mourning. As a compromise, he landed on the name "Pinki," inspired by another Partisan guerrilla fighter. In contrast, Pinki's best friend, Švaba, is raised solely by his grandmother, a Croatian Serb who fled to Serbia during World War II amid atrocities committed by the Ustaše.
Residing in a block of apartments in the Paviljoni neighborhood, both boys display youthful innocence—Pinki is more contemplative and articulate, while Švaba often struggles with his temper and impulsiveness. They also befriend Dijabola, an awkward outsider with thick glasses who has a glamorous but distant single mother, Lidija. A well-known television personality, Lidija captures attention, yet her absence looms large; meanwhile, Dijabola's Slovenian father remains absent from his life. While they include him in their gatherings, Pinki and Švaba often neglect him, treating him as a mere accessory in their escapades, subjecting him to relentless teasing and occasional physical abuse.
The narrative unfolds in late summer 1991, as the boys observe Serbian troops—comprising both regular JNA members and various militia groups—heading off to the war in Croatia, where the Battle of Vukovar is raging. Stojan grapples with his early retirement from the JNA, which has deprived him of the chance to fight, leading him to fixate on war reports. As he passionately supports the JNA and transitions into a staunch nationalist, his relationships with neighbors deteriorate, culminating in disputes marked by ethnic and political tensions. Fascinated but largely oblivious, young Pinki spends his free time wandering through clumsy explorations of adolescence, often with thoughts of Lidija on his mind.
By the years 1992 and 1993, Serbia faces a UN trade embargo, and the war transitions to Bosnia. Pinki, Švaba, and Dijabola become entranced by the exploits of a neighbor known as Kure, a charismatic figure who drives an impressive car and brazenly robs from Germany. Their appreciation escalates as Kure invites them to help unload his haul of goods from abroad, further igniting their youthful yearning for adventure. However, Kure singles out Švaba, who pressures him to also bring Pinki along, solidifying their bond with an aura of delinquency.
As they reach their mid-teens, Pinki and Švaba dive into a life of crime within the bewildering chaos of a transitioning society plagued by war and sanctions—a backdrop that feels both absurd and surreal. With aspirations to emulate the infamous Belgrade mobsters they see on the Puls Asfalta television show, they concoct schemes to attract the attention of production crews by committing minor crimes. As they rise in that clandestine realm, their friendship faces ruination when jealousy arises due to their mutual affection for Lidija. In a tragic turn, Švaba shoots Pinki, inflicting five wounds echoing the biblical injuries of Christ. Miraculously, Pinki survives and escapes the hospital, seeking reconciliation. Yet, the path to healing demands that he reciprocate with similar wounds—this unwritten code of friendship leads to more turmoil.
Ultimately, their reunion takes a chaotic turn when an enraged Dijabola confronts them, seeking revenge for the death of his mother during a tumultuous shootout. This tragic climax culminates in the deaths of both Švaba and Dijabola. Left wounded and lying on the ground, Pinki offers a chilling laugh at the audience, declaring, “I made out better than you.”
