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The Enemy

Name: The Enemy
Director: Živojin Pavlović
Released: 1965
Duration: 95 min

Representation Score

7.1/10

Good

1965

Director

Živojin Pavlović

Runtime

95 minutes

Average Rating

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New Showbiz Analysis

Živojin Pavlović’s work is a cornerstone of the Yugoslav Black Wave, emphasizing cinematic realism over state-sanctioned optimism. The film excels as a sophisticated deconstruction of the 'ideal citizen' concept, using existentialist frameworks to challenge systemic norms and traditional heroism. However, the film lacks modern demographic breadth. It does not feature explicit LGBTQ+ representation or intentional racial blending, focusing instead on a localized, urban psychological study. Its approach to disability is centered on existential paranoia rather than character-driven ability to act. Ultimately, the film's strength lies in its cultural subversion. It rejects conventional moralities and domestic ideals, offering a complex look at individual alienation within a dehumanizing social order.

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Category Breakdown

Does The Enemy have LGBTQ+ representation?

Limited

The film does not include explicit LGBTQ+ characters or non-binary identities. Instead, it focuses on a fractured male identity and transactional romantic relationships.

How does The Enemy portray gender?

Fair

The film avoids traditional female archetypes and presents complex, dysfunctional relationships. Romantic connections are shown as sites of psychological manipulation rather than social stability.

How racially and ethnically diverse is The Enemy?

Fair

Set in 1960s Yugoslavia, the film captures a gritty, urban working-class experience. It avoids the homogeneous, idealized depictions common in mainstream historical dramas of the era.

How does The Enemy represent religion and culture?

Excellent

The film offers a profound critique of institutional stability and social cohesion. It uses moral relativism to deconstruct the gap between official structures and individual reality.

Does The Enemy include disability representation?

Fair

While there are no physical disabilities explicitly mentioned, the film centers on profound psychological instability. The protagonist's descent into paranoia highlights the mental disintegration process.

Present on Screen

Provides a sophisticated critique of institutional stability and social structures.
Rejects traditional, idealized gender and moral archetypes.
Offers an authentic portrayal of gritty, urban working-class life in Yugoslavia.

Limited or Absent

Does not include explicit LGBTQ+ characters or non-assuming gender matches what was assigned at birth identities.
Lacks diverse racial or ethnic casting beyond the local context.
Uses psychological instability as an existential tool rather than disability ability to act.

Official Synopsis

An ex-soldier named Slobodan Antic, referred to by a friend as one of the last idealists, finds himself losing control over his own life when a man identical to him starts following him around, claiming to be a friend but behaving suspiciously. Before long his dealings with this doppelganger begin to cost him and his professional and romantic life grow more and more confused.

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