Movie review: Srpski Film

srpski-film SRPSKI FILM is one of those names which will force you into some vicious circle. You will be fucked up after watching it; yet you are fucked up already, because you decided to watch it in the first place. Don’t know anybody, who would not be impressed, one way or another, because of this Serbian tale.

That disturbance came with a couple of layers. First one of course is formed because of the graphic violence and all the uneasy combinations of sexual nature, but this one can be slightly less shocking, if you are aware of the “classical” guineas or augusts.

Or if you are simply keeping up with the news – here in Lithuania we have a lot of those “she was cut in pieces after being raped repeatedly by her uncle” kind of stories. A year ago, there was a guy who made his own explosions and detonated himself while standing on the hill. Later on, pieces of him were eaten by local cats. Because, you know, hanging yourself in a barn just doesn’t cut it anymore.

What I am saying – this movie does not show anything what is not a reality of a human history and its twisted nature – the dark side of it, like the existence of rape or incest. Half of the early empires were built by inbred blood. One of the most effective ways of investigation always was torturing people. Remember concentration camps? Or forced labor camps in Siberia, where half of Lithuanian  nation was having an all-included vacation – chopping wood at -40 C degrees, too. The great nation of Murrica provides the world with occasional school shooting now and then, not to mention children armies in Sudan or 8-year old Afghan brides.

Yet somehow, people prefer to live in a sugary illusion, that the negative side does not exist, or if it does, all of that is far away. Nobody likes negativity showed to your face. So when faced to something as controversial as SRPSKI FILM, they prefer to call it “the most shocking movie ever” and shame the creators because they put together many perverse combinations which were ever out there. But the truth is, SRPSKI FILM does not invent anything. It merely combines the dark side of humanity into one story, and the controversy here is raised only because everybody likes to think that shitty things do not happen to innocent people.

But anyway, what is really interesting in this movie is the second layer, and that would be, even sometimes forced, social criticism. We have Milos, a former adult movies star, who does his last gig,  which at the beginning was supposed to be some kind of indie art porn flick. Milos was seen as a true artist in local industry, and that’s why he is asked to do the job. He is promised to get enough money to have a comfortable life for him and his family. So, first dilemma here is – how far one would go for money? If you live in some developing country, scrapping money to put your kid through singing lessons, and have a chance to  do your swan song – would you do it?

Another issue would be privacy. The artsy movie, in which Milos star, is very similar to any kind of reality show.  He doesn’t know the script – part of the events are staged, part is based on the flow of the moment. After some time, each element adds up and creates unbearable environment – being caged, being observed, being  directed somewhere you do not want to go, but have to, because that is the word of the unseen hand. When you start to think about it, all the “reality” shows do the same – the invisible spectator comes into the private life and takes anything which was sacred about it in the first place.

I remember a big controversy about the first reality show in Lithuania, when a couple of participants had sex in front of the cameras. It was obviously too much for post-Soviet baby democracy, yet still – the buzz around it and involvement of everybody made you wonder – is everyone such a moralfag because it is really uncool to behave like this, or is it because bathing in the juice of somebody else’s private life is a very rewarding guilty pleasure? So again – how far is too far, how much of your private life can one sacrifice in order to get attention, money and fame?

Obviously, being observed, directed and punished, if not behaving properly, is the spine of censorship and auto/total itarian societies. Knowing a bit about the history of Serbia (basically, it became an independent country again, without any regimes on top of it, only on 2006), you can easily ask – Big Brother much?

I think one of the reasons why SRPSKI FILM was banned in some Western film festivals, was that Westerns do not have the needed knowledge and cultural context – do not “get” the paranoia, the fear of the unknown, the victim syndrome, which forms something as big as national identities under the pressure of the regime.

The movie mostly is seen as “something between the SAW and HUMAN CENTIPEDE”, slasher/horror stuff. In a way, it is, but it is also so much more. It is a metaphor for the decay of the Western civilization – that decay, which started long time ago. The form of it is bizarre, but so are the stories heard from the townsfolk, who lived under the regime (I remember my grandmother telling  a story about  how some Soviet soldiers came to her friend’s house and used a grater to grate the ass of said friend, and then put some salt on the fresh wound, because that was a fun activity for those soldiers, and winters are cold and boring here in Lithuania).

FILM needs preparation. And even with that, it is still wicked sick. Yet it is no snuff – the cinematography is brilliant, the plot is twisted and well prepared, it is multilayered and gives a lot food to the thought.

At least after watching it, you will be thinking, where are you headed with your life, if you actually enjoy this kind of stuff.

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6 responses to “Movie review: Srpski Film

  1. I was interested in my Serbian friend opinion about this review and film so I’ve shared this page with him and here’s his answer:

    Marijan: anyway as for the review, well its neatly written, but unfortunately, i mostly disagree : ) but that said i need to see Serbian film again, i only saw it once like two years ago
    Sent at 13:01 on Thursday
    Marijan: well first of all- the factual detail about the independence of Serbia in 2006. i don’t know where that comes from.. i mean, the last time Serbia as a whole was really officially colonized and dependent was during the Nazi period, but that was temporary, and for a longer period by the Turks but that was largely over by 19th century : ) yes we did have “real existingsocialism” but we were there as semi-autonomous part of “Yugoslavia” and serbo-Croatian was the official language and titos (http://en.wikipedia.org/wiki/Josip_Broz_Tito) , at least after the first years of “crushing the enemies” was a sort of soft coca cola communism, probably most liberal in Europe, keeping both Russians and Americans at distance yet flirting with them.. and later, you can say Milosevic was definitely an authoritarian president but this really doesn’t mean that Serbia was “dependent” in a classical way.. but if we extend the dependence meaning, then also now we are not quite independent because we are always partly politically and economically dominated by larger states so.. yeah, the 2006. is really bizzarely chosen : )
    Sent at 13:08 on Thursday
    Marijan: also, as for this thesis that the history of Balkans and Serbia has to be known for the film to be really understood, well, partially yes of course, but i think that that is a more clumsy part of the film actually.. because it really doesn’t give a more complex or accurate image of Serbia or Balkans than what an average western guy has+with a bit of domestic frustration.. so i think the Serbian film functions better as a genre film, as a thrill ride with shock scenes executed technically and aesthetically more or less successfully : ) but if it has anything politically or socially relevant to say, it would be more “universal”, like your friend touched upon, voyeurism, pornography, gender politics, the normality and (of) perversion, contemplations on the process of film-making etc.
    Sent at 13:15 on Thursday
    Marijan: but i would say that most of this things it touched in a sensationalist way, or half-baked.. even if its supposed to be like a cathartic film about the horrors of war and a guy getting to terms with it trough “tapes, documents”, it really isn’t because he can be fully excused because he is simply drugged several times.. he can say “well, its largely not my fault because the big bad leaders/gangsters” drugged me.. he wasn’t even persuaded in the end, he was DRUGGED. and not even in a cronenbergian way where the techno-hypnosis and influence always presumes a clear involvement of your desire in it and you cant say you’re not guilty.. anyway, there were many great scenes in the film.. the cock eye fucking.. like a ultimate “phallic revenge”, then the voice in the headphones saying “kill the whore, she is whoring around while her husband dies in the war” as a sort of moralistic way to get turned on, its a typical right wing way of trying to get fantasies fulfilled and try to be clean and righteous at the same time while making “the other” (women in this case) seem the dirty ones etc. but for all this stuff, a basic knowledge of psychology, ideology, politics and love of genre horror is enough : ) sure it has something to do with Serbia and Balkans but accepting its exclusive connectedness with these places and events functions in the end as a façade, so that we can think about these perverse things primarily in the context of “balkanization” and not as having more badly civilization-al relevance.. okay.. if i was writing this in word i would have edited it so something could be understood, but this is gmail so I’m sorry : )

  2. Thanks for the opinion, Serbian friend of Shaltmira, who probably does not know that he is being quoted here!;]
    My bad with 2006, to be fair, I was hesitating about the year;
    As for the Eastern/Balcan/Serbian/Lithuanian relations – I use “Eastern Europe” for the non-Western Europe countries (think the left side of the Iron Curtain for Western, and the right side of the Iron Curtain for Eastern to make it as simple as possible. It is not that simple of course, but for the sake of easier communication.) So I do not say that Srpski film represents Balcans – for me, it represents Eastern block. Eastern block is different to Western block because of the historical situation, and has it’s specific vibe, and cinema of this Eastern block is no different (think Jakubisko, Makavejev, Trnka or whoever comes to your mind) . Traditionally, cinema of Eastern block had to use Esopian language to say things it couldn’t say directly because of the censorship in the regime. I choose to believe that Srbski film follows the tradition and it is not a casual slasher/horror, because it would suck for me if drugs were just drugs here, and I would have to find another contemporary movie which is as good as the old Eastern European cinema both in form and in message.

  3. M: Well actually, 2006. is the year that Montenegro split with Serbia from the (post Yugoslav) Serbia and Montenegro state union, so in a way you could say it became an independent state successor of that union but if you say it finally got its independence then and put that word in the context of being oppressed by Big Brother regimes it can be largely misleading and confusing. But that whole topic could lead me to try to re-examine the continuities and discontinuities between different versions of Serbia from the kingdom times to today and im not competent to do that here in a clear and spontaneous enough way that is historically and politically satisfying at the same time so ill leave that aside.
    “Traditionally, cinema of Eastern block had to use Esopian language to say things it couldn’t say directly because of the censorship in the regime. I choose to believe that Srbski film follows the tradition and it is not a casual slasher/horror, because it would suck for me if drugs were just drugs here”
    Im sorry i dont have enough time to elaborate since I have to go outside in 15 minutes but as for the statement in above quote I would say- yes and no. You mentioned Makavejev, and we can also add there most of the Yugoslav Black Wave authors. I think their critical filmmaking was pretty much of a different nature than say any kind of artistic critique within USSR during the Stalinist era and up to the middle 70s or whatever. Of course they couldnt directly say “Tito and Communist party are motherfuckers” (nor did most of them have desire to- most of them were young leftists thinking that yugoslavia is steering away from marxist principles- whether young humanist marx or “althussers” late marx, or a more abstractly democratic marx, there were sides, you could say) but they used images of great poverty, depravity, open cynicism, religion (which was considered subversive), consumerism etc. in such a direct way that some other eastern block artists wouldnt be able to. SO they didnt really use the fable style in that way, but of course they used a lot of metaphors but most of them were aesthetically reinforced by Bazin-style realistic footages of povery and depravation (real neighborhoods, real villages, real jobless workers etc.) that “Srpski film” isnt actually using nor is it interested in it. In that way “Srpski film” reminds me much more of the american subversive horror cinema like “Dawn of the dead” or “Videodrome” etc. The key to many Soviet subversive artworks at the time, it seems, was rather absurdist humor, amplification of official doctrines to the point of ridiculous, veiled fairytale stories as well true, and making the state apparatus a part of the metaphysical- but little of it, as far as i know, relies so heavilly on a shok therapy, on something that should disgust the “average citizen” (shock tactics are, in a perverted way, more easily connected to early Eisenstein, who considered it a good technique for official state propaganda) into thinking etc.
    Also, i dont think that “drugs are just drugs” but it is one thing to show the character being seductively overpowered into taking those drugs and other thing is siply showing him vialently being given drugs, so then he can in a way, eat the cake and have it to. Enjoy the sexually depraved acts and then tell to himself “but that was all drugs, i didnt want to do it”, and the film seems to lergely take his side. OR as far as i can remember.
    Not sure if i made sense , i cant really read this now, gotta go! : )

    • I see your point and think that we are basically discussing the details, but idea is similar both in your and mine versions. Yet still I feel that there are things which I cannot really agree or feel that they should be made more clear, so here it goes.

      >> But that whole topic could lead me to try to re-examine the continuities and discontinuities between different versions of Serbia from the kingdom times to today and im not competent to do that here in a clear and spontaneous enough way that is historically and politically satisfying at the same time so ill leave that aside.

      This “continuities and discontinuities” thing is another, maybe even the main, thing which is uniting that Eastern Europe/Eastern block (especially when compared to Western side). Even though there is no truth in history, and there are only versions (I like the one about Vilnius still being a bit distinct part of Poland, occupied by greedy Lithuanians;]), but lacking of one narrative is common in every country on this side of the Curtain. For example, Lithuania was under each and every regime, kingdom, empire around – from Soviet to tsar Russia, from Polish kingdom to Vilnius district being a part of Poland in XXc., from Nazis to being attacked by Teutonic knights. Big Brother is also not just a Big brother:) of Orvel or of auto/totalitarian regimes, and it definitely was not invented in XX century – the struggle for power, censorship for the truth in the sake of whatever king, emperor, president, chief was there at the moment, pushing one idea against others and punishing those who do not agree with it is the main thing which forced a bunch of apes into so called society. Not being intelligent, but being smart. Not being strong, but having enough strong brainwashed apes to defend your kingdom or territory you declare your kingdom.

      Ok, I’m going away from the point and want to go into a rant about the values and this society and how we all are gonna die all because of the wrong reasons, so I will stop to talk about this now.

      TO SUM UP THE PART ABOUT 2006: I probably made a mistake putting that date there, but in the broader sense I still stand to the idea that Eastern Europe because of the similar development not only after but also before WW has different mentality than Western, no matter if it is Serbia or Lithuania. The versions of both countries are different, but the idea is the same. And this mentality and similarities among Eastern countries goes way deeper and form national identities, as I mentioned – the paranoia, the fear of the unknown, the victim syndrome. Do Serbians have any stories how Serbia is/was the coolest country in the world, but bad [Turks, Russians, Nazis, aliens, whatever] ruined it? Lithuania was once the biggest country in Europe (from Baltic to Black sea), but then the bad [Russians, Polish, Germans, Soviets] came and ruined everything. The narrative is the same, and I hear the same stuff from my Estonian friends or from guys I know in Bulgaria. The point is not the year, but the mentality. After being independent for more than 20 years, Lithuanians still are paranoid about being in any kind unions, but are too afraid not to be in one:)

      Ok moving on.

      About Eastern cinema.
      Yes, Makavejev use less social critique and more bizzare aproach.
      Srpski film use bizzare, shoking images, to the brink of absurd. Newborn, really?:)
      Different time require different boundaries. Pregnant teens was a curse in the beginning of XX c., now it is a reality show.
      I can’t say for sure, but image of golden penis in the 70ies should have as much shock value as trying to cut off your own penis after bestially raping someone. (And yes Sweet movie was made in the West – it’s just an example. Which kind of adds up to my point – fuck-up’dness of the East and the hedonism of the West creates a bath of sweet sweet sugar).

      The same goes with
      >>poverty and depravation (real neighborhoods, real villages, real jobless workers etc.) that “Srpski film” isnt actually using nor is it interested in it.
      It is new time and new reality. New kind of jobless worker (being porn star is a job, a very unstable one). New kind on real neighborhoods. How Milosh is not a average person? He has a wife, he has a kid, he has a home, he has problems with finding a job, he struggles with money. Seems just too familiar. Add a dog and a drinking problem and you won’t be able differentiate him from anyone in today’s working class.
      The surroundings change, but the idea, the vibe stays.

      About Esopian language.
      It was not only a thing of Russian filmmakers – of course, they did it the best, because the regime was stronger in Moscow than in Prague. But still – think about Czech/Slovak directors. Vtackovia, siroty a blazni was not only about three kids in some old house, Trnka’s Ruka was not about the potter and a hand.
      Of course, Western impact is very visible in SF. That is why there is so much violent voyeurism.

      >> is one thing to show the character being seductively overpowered into taking those drugs and other thing is siply showing him vialently being given drugs,

      Is is a question whether it is better to be made to do something bad by force or is it better to be lured to do something bad if you don’t know what you are doing?
      After being drugged, he enjoyed sex a bit too much?:) Well Soviet/Nazi/other soldiers also enjoyed raping and then killing ladies a bit too much, but I am not sure if they had nicer dreams 30 years later, when they didn’t have a regime to support and justify their actions. Exsoldiers say they had a rush, and felt powerful, and didn’t think and had nothing to loose, but had orders. Sounds a bit familiar, actually.

      >>Enjoy the sexually depraved acts and then tell to himself “but that was all drugs, i didnt want to do it”

      “it was the times, but I didn’t have other choice, I didn’t want to do it” – said anyone who was on trial for anything related with war crimes. People do the most sick shit, if they have a chance.

      >>and the film seems to lergely take his side. OR as far as i can remember.
      Basically, yes, Milosh becomes a victim because of his poorly made decision. The victim syndrome and being forced to do stuff because of the regime – things I was talking about earlier.:)

      Peace,
      CB

  4. Okay, thanks for your reply. I will just try to address some important points I think i need to be more clear about. This will be a long and boring post, im not sure that the comment section will tolerate it : )
    1. “It is new time and new reality. New kind of jobless worker (being porn star is a job, a very unstable one). New kind on real neighborhoods. How Milosh is not a average person? ”
    I am not saying that Miloš as porn actor isnt supposed to “represent” an average worker for the new age (altho that approach isnt without its problems) on the level of the story, i was saying that on the level of film aesthetics “srpski film” isnt interested in filming actual depraved locations with so called “natural” side actors that belong to that landscape, which is an important difference from most Black Wave films, at least early ones. It deals more with locations-types that could potentially be all part of one big set, having no cinema-verite interests in “directly documenting” that reallity whatsoever (while most of the early Black Wave films combined a narrative storytelling with a lot of “documentary” approach, which is a part of its veiled critique masquerading as “simply objectively documenting reality”- of course they were selecting more iconic trashy places).
    2. You say that “Srpski film” is a part of the “Eastern Block” tradition which main caracteristic as opposed to the West is having to indirectly speak about certain socio-political issues. Okay, on one level, “Srpski film” is missing a certain “documentary style” directness that -ironically- is present in certain Black Wave films that were actually made in a politically more dangerous times for making such films. But, that is a choice of style and i personally dont believe that a more documentary-like presentation of reallity (re)presents it necessary better or more truthfull. But on another lever “Srpski film” isnt lacking in directness. Representing a “newborn porn” baby fucked to death and father fucking his son is in a way, more vulgarly direct and shocking than any possible political message behind that, given the insane amount of sensitivity, especially in the West, of anything remotely having to do with sex and children. The possible “political” message behind it is, what? To simplify “we are all fucked by our goverments, by politicians, rich industrialists etc.”. And its not really “hidden” either- the Vukmir character almost literally says things like that to Miloš and almost to our faces. But there is no need to hide this message in the first place since that almost literally stated every day in serbian tabloid magazines. The point is that its stated in such a way that instead of producing revolt it makes people more used to the situation. Ant this is what “Srpski film” tries to disrupt- trough a violent metaphor to say something that would otherwise be just common cliche, in order to “shake the people up”. But that seems to me typical of “Cannibal Holocaust” or “Martyrs” at least as much as of “Ivan the Terrible” or definetly more than “Myteries of the organism” which tries to dialectically juxtapose ideas trough short circuit montage rather than make a violent gross out rendering of a simple tale. I wont say how much is “Serbian film” succesfull, i just wanted to outline my understanding of its approach more clearly, but there are definetly some other things that bother me. Like this treating of pornography from the outside position- as something inherently dark and evil (sooner or later youll end up at the abyss)- which even adds a certain morality tale dimension to the story- and furthers him from the position of a “common working class guy”- its definetly uncertain if anything similar would happen to him if he choose a different job and reasons for selling your “sexy time” on film- as borat would say- being the absolute metaphore of selling your labor power “in general” are not really clearly delineated, one can only vaguelly want to believe it makes sense. Aditionally, and this is probably a pure matter of taste, the film seems to me to try too much to isolate and finger-point at the various shocking elements in it. In the style of “look how terrible this is” which is too close to the moralistic tabloid style for me. It would be interesting to see these scenes piled up in a more cold and detached way, with more humor or irony, with the director saying “if you dont care why should anyone else, its just a film anyway or is it? these scenes are nothing we cant delightfully consume”. It only comes close to that in the very end when those guys say, after that pathetic colective family suicide, “should we fuck the kid first”. That makes it kind of worth it : )
    3. Just to comment a bit further on the simple Eastern/Western block divide based on censorship. One should not forget, when talking about that, the “Hays code” in American cinema and its long lasting effect, at first sexual intercourse or even tension had to be insinuated trough even montage of building symbols (tall skscraper) or typical acts (scene cuts, then they are in the room smoking cigars, apperently just talking before), but even later, Yugoslav films were much more open in showing of nudity than USA ones, in that sense they belong to a broather European tradition similar to some other Western countries also. For a very long time the villains should always have met their doom at the end, and adulterers were mostly (with some notable exceptions) punished in some way or another. And we dont even have to mention McCarthy witch hunts, with actors, screenwriters and directors having openly to admit, within show trials that “they are not nor have even been communists” and screenplays were harshly controled. Of course, things were not as tight as in lot of the Eastern block countries, but, lets say that there was an abundance of necessary in-directness. Only later, much of the West, including USA really pushed the envelope further in enabling “artistic and political expression” in films, and even then its controled indirectly trough rating systems etc. So, i just like to complicate things a bit, not because i totally disagree with you, but i act as if im debating with myself, no need to repeat the things i agree with in whats already been said by you or me. That said, in generally, one can say that the East and West had a lot of differences in approach to censorship and in which contents should be direct or inderect. Given the more centralized nature of the Soviet Unions cinematography apparatus and oppositions to certain bourgeois notions of freedom, surely that in many ways the SOviet Union was more strict and punishments more severe. But its interesting to follow, how both sides had certain fields of almost unforgivable taboos, each in its own way, that would require different levels of in-directness, i would say, rather than a simple direct/indirect system of division. And anyway, art as indirect is often stronger on both sides, with too much directnes and literalness often turning into a boring pamphlet. And back to the “Serbian film”- the only kind of censorship it faced was in the West actually, during postproduction, because of the girl and baby scenes, they had to call their lawyer, while in Germany, not to end up in jail. The supposed controversial hidden political aspect was no problem -officially- , neither there nor in Serbia.
    4. “After being drugged, he enjoyed sex a bit too much?:) Well Soviet/Nazi/other soldiers also enjoyed raping and then killing ladies a bit too much, but I am not sure if they had nicer dreams 30 years later, when they didn’t have a regime to support and justify their actions. Exsoldiers say they had a rush, and felt powerful, and didn’t think and had nothing to loose, but had orders. Sounds a bit familiar, actually.”
    “it was the times, but I didn’t have other choice, I didn’t want to do it” – said anyone who was on trial for anything related with war crimes. People do the most sick shit, if they have a chance.”
    You are surely right on that one, but my point is different than you seem to think. Imagine one of those soldiers instead of Miloš on trial telling to himself and the court that he really was only doing his job or- better- that he was actually forced, that he didnt have a choice but to do those atrocities. “Srpski film” makes that kind of excuse into reality. Poor Miloš was after all, if we forget messing with this strange porn people in the first place, mostly drugged and forced, thats the “truth” of the tape, so most horrible involvment on his side is really only mechanical. Isnt that a bit too convenient for him, in the end? The film does come close to some interesting questions like , even if he believed that is true, he cant help but feel guilty, because of his personality being connected to his body even if that personality was temporarily dissolved in drug induced mechanic behaviour. Or did the drugs bring out the things he secretly wanted to do all along? The film unfortunatelly doesnt really touch on that, it just makes able for those questions to be asked but isnt really involving them in the structure of the film.
    5. “but lacking of one narrative is common in every country on this side of the Curtain. ”
    This i definetly agree with. Even more than the “back in the days we were glorious before the foreigners came” narrative- it might surprise you how many similar things i heard from many western europans- but that fundamental lacking of a central, clear narrative, even if its false, is much more typical of the Eastern block. That kind of automatical assuming that every nation has its separate version of events with no possible objective parameter seems interestinly pronounced, at least in the Balkans. And yet again, “Serbian film” had a chance to tackle that more significantly- with the whole unsecurity of what happened part- waking up with amnesia and shit- but it dumbed it down trough the “objective” media of the camera tape, with no indications that that tape might also be a part of a halucination, and every significantly perverse act is miraculously, all-seingly available for Miloš to see on tape. Too simple : )
    6. In the end, i wonder what you would think of a move “Klip” by Maja Milos. You can maybe find it on torrent, its relatively new and its also a part of this “new serbian extreme cinema” whatever, altho it doesnt really have sick scenes like in “Serbian film”, it has a more interesting take on mixing pornographic scenes and everyday dull and depressive life in Serbia (and abroad). Its also a sadomasochist highschool love story. but the plot is also very simple and almost “what, nothings happening”. Its really the direction that makes it stand out, and its more subtle than openly virtuoso. That film i quite enjoyed so you have a chance to enjoy bashing it in case you dont like it : )
    Another thing- it seems like really crazy long comment section now. If you want to answer me it might be a good idea to erase these previous comments and we can continue correspondence via email, Shaltmira can give it to you. Or of course, we can continue like this. But it seems kind of crazy for a comment section, i m starting to feel a little neurotic about it : )
    Take care! : )

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