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T. T. Syndrome

T. T. Syndrome

(T. T. Sindrom)

Montreal Premiere

  • Serbia 2002
  • 105 min
  • 35mm
  • Serbian with English subtitles



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Director: Dejan Zecevic
Screenplay: Dejan Zecevic
Cast: Nebojsa Glogovac, Sonja Damjanovic, Nikola Djuricko, Branko Vidakovic, Dusica Zegarac
Producers: Milan Peca Nikolic, Pedja Milojevic
Print Source: Belgrade Cinematheque

Part of...

Subversive Serbia   

Subversive Serbia



A group of young people in Belgrade are out to score some weed. They go to the Turkish baths within an ancient fortress to meet their dealer, but end up trapped there and mercilessly killed one by one by a mysterious murderer clad in black leather. It all seems to have some connection with the strange and very rare illness T. T. Syndrome, but will they solve the mystery before they’ve all gone down the drain? With T. T. SYNDROME, Director Dejan Zecevic creates an effective blend of classic slasher-movie shocks and Argento-style whodunit (note close-up fetishism for gloves, door handles and various sharp weaponry, plus the typical giallo motifs of a strong mother figure, childhood trauma and a haunting nursery rhyme). Relentless claustrophobia and tension in an inspired setting, at their most effective, resemble the highlights of early John Carpenter and Tobe Hooper films, while the vivid flashes of gore invoke the spirit of vintage Lucio Fulci.

In spite of its shoestring budget, T. T. SYNDROME can stand proudly next to most American indie efforts. Zecevic makes a most inventive use of his limited setting, the decrepit Turkish bath and public toilet. Through his directorial skill he creates a palpable menace within such a banal setting which, by the conclusion in the fort’s catacombs, attains an almost mythical quality. The film’s technical side is quite competent, and the same can be said for the acting ensemble, including a few veterans from VARIOLA VERA. T. T. SYNDROME became a cult film in Serbia and even managed to get into several international genre festivals. It’s the first Serbian horror film that doesn’t feel obliged to justify itself with elements of more respectable genres. It does not imply a political allegory—although placing (and killing off) its youthful cast entirely in a public toilet might have been a statement about the dashed hopes of post-Milosevic Serbia, after all! But above everything else, the movie uses motifs and style of the slasher film, plain and simple, to scare its audience. It is a horror fan’s brainchild made first and foremost for other horror fans.

—Dejan Ognjanovic

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