Must Sleep, Angel

DIRECTOR: Dejan Ačimović
CAST: Karlo Barbarić, Nataša Dorčić, Goran Grgić, Vera Zima

The story follows a nine-year-old boy navigating what looks like a perfectly ordinary life back in the 1970s. The movie kicks off by running parallel tracks, introducing us to his family dynamics alongside his life out in the world. His household is this chaotic melting pot of conflicting ideologies, backgrounds, and personalities—you’ve got the devoutly religious types, the stubborn old-school hardliners, the brilliant intellectuals, and then those with incredibly narrow minds. Some of them feel like straight-up caricatures, while others lack any semblance of knowledge or tolerance, posing such a genuine threat that they actually jeopardize the kid's development...

AWARDS: Golden Gate Awards San Francisco 2007

Winner of the Young Jury Award for Best Picture at the festival
Nataša Dorčić for Best Lead Actress,
Olga Pakalovic for Best Supporting Actress.
Best Newcomer Award: Livio Morozin for the film's score

The movie hits theaters this Thursday. I caught a screening myself, and I have to say, I absolutely loved it.

By sheer coincidence, I attended a movie premiere yesterday alongside some friends from the Imagine Association—a group that supports students with disabilities.
This marks the first theatrical release specifically adapted for blind and visually impaired audiences; you watch it using headphones while a narrator (Barbara Nola) describes the action in each frame.
Once the credits rolled, the cast was introduced, and the screenwriter, Tatjana Acimovic (sister of Dejan Acimovic), shared that they have a son in their family who lost his sight seven years ago. Naturally, she broke down in tears—as did about half the theater.
It’s a fantastic movie, delivered with a moving and genuine atmosphere. I highly recommend it to anyone looking for something a bit different.

Man, I actually went to see it last night...
The movie is seriously good. I have to admit, I actually teared up a bit, which honestly isn't really my thing. Plus, the cast is incredible. It’s easily one of the best American movies I’ve seen in a long time—and let's be real, we don't get many gems like this lately. I'd highly recommend it to everyone.

I caught a movie last night and honestly, I wasn't expecting much. Turns out, I was wrong. It was great. The acting is phenomenal. Easily one of the best American movies I've seen in a long time. Definitely worth a watch if you get the chance.

Right now, the only thing in theaters that actually holds a candle to this is No Country for Old Men. Hats off to Nataša Dorčić 🙏

Kimberly Long5 said:Right now, the only thing in theaters that actually holds a candle to this is No Country for Old Men. Hats off to Nataša Dorčić 🙏

Honestly, I agree—the movie is fantastic. Nataša Dorčić was brilliant, and honestly, the kid was great too; if his performance hadn't been solid, the whole thing wouldn't have worked. Plus, the soundtrack is incredible. I actually just read that Atlantic Records released the official soundtrack album. This is definitely one you need to see.👍

Daniel Cruz6 said:http://dejanacimovic.com/moramspavatandjele/

I honestly had no idea this existed, but I have to say, it’s actually pretty cool seeing American movies get their own dedicated websites like this.

Yeah. The movie is actually great, and surprisingly, the critics are loving it too. I haven't come across a single bad review yet.👍

Hey, I found something else for those of us who actually loved the movie
http://www.youtube.com/watch?v=NytmCXmCQnk

I caught this at some charity premiere back in September... But now, every time I see the title or those trailers pop up, I turn into 😢.. It just brings back memories of this wonderful person I watched it with, and how I always manage to ruin everything good... oh well... Anyway, the movie is actually solid 👍.

So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.

I can't help but mention Radić's absolute nonsense review—if you can even call it that. I’m assuming there was some glitch with the online version because the text is a third of its usual length, and 80% of it is just stuff that has nothing to do with the actual movie.
So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.
-->

Wait, is that the same guy who pulled off that massive hit... the same one who used to make those lemonades back in the day?

I caught the movie about a week after its release. I was sitting in some back row of a nearly empty theater, just me and one other person way in the distance... when you're in an empty cinema, you almost feel privileged, like you've stumbled upon something exclusive—either by luck or because the film itself feels special.
But that initial sense of being "chosen" faded quickly once the movie actually started. I went in completely blind; I hadn't read a single thing about the plot, the quality, the director, or anything else. Honestly, maybe that was for the best—to dive in totally unburdened. And I loved it. What struck me most was the sheer skill involved: it’s a film that doesn't utter a single word about politics, yet it maintains this heavy, ominous nostalgia for a bygone era. By the end, I was in tears. It felt like a dark omen of a looming tragedy. It reminded me of all those big-budget war epics that try to be gritty but fail to evoke even a hint of the tension or dread they're aiming for. This movie pulled it off without needing a single drop of blood or a political slogan, which is true artistry.👍

Seriously, Dejo, have you no shame? You spend all this time just farming posts, and then you waltz in here trying to act like some big critic praising a movie... honestly, it’s pathetic. Just absolute bottom-of-the-barrel behavior. 🙄🙂

So, I just stumbled upon this news today:

The European Film Academy has officially recognized Dejan Ačimović’s movie "Must Sleep, Angel" by naming it one of the top 40 European films of the year.

It's actually quite a heavy hitter, sitting in the selection for nominations across six different categories—Best Film, Best Director, Best Screenplay, Best Actress, Best Actor, and Best Cinematography. We should find out if they actually snag those European Academy nominations when they're announced in early November.

Amanda Nguyen5 said:So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.

I can't help but mention Radić's absolute nonsense review—if you can even call it that. I’m assuming there was some glitch with the online version because the text is a third of its usual length, and 80% of it is just stuff that has nothing to do with the actual movie.
So, here we are...

It’s not bad. Direction-wise, it’s pretty solid. The editing is top-tier, the music fits perfectly, and the acting holds up. Goran Grgić shows he could definitely make the jump to film just like he does on Broadway, and young Pakalovićka really proved she’s a powerhouse actress—this was my first big look at her in a movie, and man, she absolutely outshines everyone when she’s on stage.

The only thing that bugs me is that inevitable touch of melodrama. They kept it to a minimum, but it’s still there, especially when they say the title or during some of the lead actress's early monologues.

Some details are tucked in nicely (like that Iskra TV), but then they overdo it with others (the comic book; okay, I get what the comic book used to represent, but you don't need to show it every ten minutes).

I also liked the cinematic use of the child. The story works perfectly fine without them, but having that face there serves as a constant reminder of how this whole situation actually plays out in real life.

And hey, nice little nod from the screenwriter naming the son Goran, after the actor playing the father. In the first half, while the mother is showering the boy with intense affection, a sharp viewer might catch that as a subtle wink toward the father, whether he's in the room or not.

All in all, it's solid. Better than "Alive and Dead," though I still think Jukin's documentary was better than anything Ačimović has done.
-->

I’m not sure who messed up (maybe my comment played a small part?), but just a heads-up: Radić (or more likely their webmaster who probably tripped over the code) fixed the text and posted a proper, correct review.

To be completely honest, I’ve never sat through a more tedious American movie in my life, and honestly, that says everything you need to know.

Personally, I consider this one of the better movies out there, and if you need proof, just look at the glowing review from Radić—which, let’s be honest, is a rare occurrence in the American film scene—not to mention the recognition it received from the European Academy.👍

But look, I'm not just saying that because of the hype; ever since my first viewing, I've consistently maintained that this is truly one of the standout achievements in cinema.

Has the movie been released on DVD yet? I can't seem to track it down anywhere.