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A Serbian Film (original title Srpski Film) is a 2010 Serbian horror drama directed by Srđan Spasojević. It became notorious not because a verified global tally proves it was among the world’s most-banned films, but because authorities and festivals made sharply different decisions about particular versions in particular places. Content warning: the film contains very strong sexual violence and violence, including material involving a child.
What is A Serbian Film about?
The story follows Milos, a retired porn star who accepts an offer from a mysterious director to take part in a final film project. The project becomes degrading and violent. The British Board of Film Classification (BBFC) describes the work as a political allegory intended to shock, but that is the BBFC’s characterization of the film—not proof that every viewer accepts its political argument.
The film’s extreme content is central to the controversy. The BBFC’s classification record describes very strong sexual violence, sex and violence, including material involving a child. This article avoids graphic detail.
Was A Serbian Film banned?
There was no single worldwide decision. “Banned” is often used as shorthand, but the documented actions differ: the UK BBFC required cuts for classification, a UK festival screening was cancelled, and Australia refused classification to the original version. These are not interchangeable decisions, and none establishes that the film was banned everywhere.
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| Place and date | Version or event | What happened |
|---|---|---|
| United Kingdom, August 2010 | Proposed FrightFest screening | Westminster Council required BBFC classification before the event. The BBFC said cuts were needed for an 18 classification; FrightFest cancelled rather than screen a cut version. BBFC case study. |
| United Kingdom, October–November 2010 | Revised, cut version | The BBFC classified a cut home-entertainment version 18 on 28 October and a cut cinema version on 24 November. BBFC case study. |
| Australia, 20 September 2011 | Original version, listed as 96 minutes | Australian Classification assigned Refused Classification (RC), citing provisions in the National Classification Code. Australian Classification record. |
Why was the UK version cut?
Westminster Council required the film to receive BBFC classification before its scheduled London FrightFest screening on 29 August 2010—an unusual requirement, according to the BBFC. After viewing the film on 13 August, the BBFC concluded that cuts would be necessary to classify it at 18.
On 25 August, the BBFC issued a list of 49 individual cuts across 11 scenes, estimating that about 3 minutes 48 seconds would need to be removed. That figure was the requested-cut estimate, not the final difference in running time. FrightFest opted not to screen a cut version, so the festival screening was cancelled.
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A revised cut version was submitted in October. The BBFC says the final version was shortened by 4 minutes 12 seconds; it classified the home-entertainment version 18 on 28 October 2010 and the cut cinema version on 24 November. The BBFC’s classification record identifies the home-entertainment edition as the “UK Cut version,” gives its running time as 95 minutes 20 seconds, and lists physical media plus VOD/streaming as uses.
Those records describe classifications, not current shop stock or the contents of every edition now available. Anyone comparing a disc or stream should check its edition, region, running time and cut status rather than assume it matches the BBFC-listed UK version.
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Was the uncut film shown in the UK?
The BBFC case study says no public commercial screening of the uncut version had taken place in the UK as of its account. It also records one invitation-only private screening at Raindance in October 2010. That private event was not a public commercial showing.
Was A Serbian Film banned in Australia?
Australian Classification lists the original 96-minute version as Refused Classification on 20 September 2011. Its record cites Films Table 1(a) and (b) of the National Classification Code: material that may offend standards generally accepted by reasonable adults, and depictions likely to offend a reasonable adult involving a person who is or appears to be under 18.
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That is an Australian authority’s decision about the submitted original version. “Refused Classification” is the specific formal outcome recorded; it should not be recast as evidence of a worldwide ban or applied automatically to a different edit.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How did the film eventually reach Serbian cinemas?
In a 5 December 2010 interview with Electric Sheep, director Srđan Spasojević said the filmmakers initially struggled to find a Serbian distributor or theatre willing to show the film: “We couldn’t find any distributor or a theatre willing to screen it.” He said an uncut Serbian theatrical release followed in September 2010, after festival screenings, reviews and awards.
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Spasojević also described the film as an expression of anger at authorities and framed its images as political expression. His account and interpretation are his own; viewers may disagree about whether the allegory succeeds. Discussing the UK cuts, he said: “Of course I cannot be happy about it, but then I can’t be too stubborn, and this is the only way for audiences here to see it.” These comments were made to Virginie Sélavy for Electric Sheep on 5 December 2010 (interview).
Is “one of the most banned horror movies ever” accurate?
It works as a description of the film’s reputation, not as a substantiated global ranking. The primary records cited here document a UK cuts requirement, a cancelled festival screening, UK classifications for cut versions and an Australian refusal of the original version. They do not provide a complete count of countries that banned the film, nor a comparative tally establishing its place among horror films.
To judge any claim that it was “banned” somewhere, ask which authority acted, which version it reviewed, what kind of decision it made, when that decision applied, and whether it concerned public exhibition, distribution or a single event. The British Film Institute’s overview of censored films offers broader context, but the BBFC’s case study is the more precise source for the UK cut figures.
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