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The 1990s Yugoslav wars have been viewed as paradigmatic of the post-communist turmoil whose extreme articulation finds fertile ground in the stereotypically bellicose Balkans. If in these discourses the Balkans are a metonymy for the violence of Eastern European post-communist transitions, then Yugoslavia is itself a metonymy for the Balkans. However, films made in the post-Yugoslav space in the last decade move away from processing the trauma of the 1990s wars, and no longer fit neatly within this ‘Balkanist’ discourse. Instead, they turn outward: to the elusive goal of either joining the European Union or being legitimated as ‘European’, as well as to situating the Balkans in the context of global migrancy of labour increasingly knocking at the doors of ‘Fortress Europe’. Želimir Žilnik’s Fortress Europe (2001) and Damjan Kozole’s Spare Parts (2003) show how the Balkans are increasingly deterritorialised as a self-contained discursive and political space as they become a bridge to Europe for non-European and other Eastern European immigrants, a situation that creates possibilities for solidarity with globally disenfranchised multitudes. In turn, Paskaljević’s Honeymoons (2009) establishes possible nodes of intra-Balkan solidarity as it explores the shared tribulations of various Balkan migrants attempting to enter the EU. The films end up subverting the EU motto ‘united in diversity’ by highlighting intersections between its neocolonial immigration practices and the contingent labour demands of neoliberal capitalism.
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