
Italian Gangsters
2015

1995
Director
Janko Baljak
Runtime
36 minutes
Average Rating
No ratings yetSynopsis
Made in the form of an extended news report and narrated by journalist Dina Čolić-Anđelković, the film presents a snapshot of the chaotic Belgrade criminal underworld in the early 1990s which sprung up against the backdrop of Yugoslav wars. The film is composed of fragments from interviews with individuals directly involved with criminal activities either through perpetrating them or through trying to stop them.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on organized crime and wartime chaos. There is no visible evidence of LGBTQ+ identities or narratives addressing heteronormativity.
Gender Representation
Journalist Dina Čolić-Anđelković provides a female lens on a male-dominated underworld. However, it is unclear if women possess significant agency beyond their role as observers.
Racial & Ethnic Diversity
The documentary centers on the Belgrade underworld during the Yugoslav Wars. Representation is tied to regional geopolitical identities rather than intentional intersectional casting.
Religious & Cultural Diversity
The film documents the collapse of social and state institutions. It presents criminal behavior as a journalistic observation of a chaotic era rather than an ideological critique.
Disability Representation
There is no evidence that disability, neurodivergence, or chronic illness are central themes or visible elements within this documentary.
Strengths
Areas for Improvement
AI Analysis
See You in the Obituary serves as a sociological snapshot of the Belgrade criminal underworld during the Yugoslav Wars. Its structure is dictated by investigative journalism rather than a drive to subvert social hierarchies or promote intersectional representation. The film prioritizes the documentation of systemic collapse and criminal sociology. While it provides a female perspective through its narrator, the content remains focused on the historical realities of wartime chaos and organized crime. Ultimately, the work lacks deliberate character-driven agency or diverse casting, functioning instead as a historical record of a specific geopolitical moment.

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