Sezona mira u Parizu (1981)

Paris, the early 1980s: various radical movements are at the height of their terrorist activity. Dragan, a researcher from Yugoslavia, arrives in the city. After a screening is interrupted to prevent a possible terrorist attack, he meets Hélène, an aspiring sculptor. A romance develops between them, against a backdrop of both the echoes of a past war and current events. The Serb also strikes up a friendship with Michelangelo, a street performer living illegally in Paris. One day, Dragan meets his compatriot Joško, who was in a German concentration camp with Dragan when he was a boy. Joško’s entire body of work is suffused with reflections on militarism: surreal faces that seem to cry out in pain and fear. But what matters much more to Dragan is the legendary Serbian fresco “The White Angel,” whose eyes resemble those of his new love. Hélène becomes invested in Dragan’s struggle and first takes him to Müller, a former SS officer who sells military uniforms. The German makes no attempt to hide his past; he even boasts of his part in the executions. Enraged, Dragan wrecks his shop. Hélène then takes the young man to Kwasniewski, a Polish surgeon who removes the camp numbers tattooed on people who want to forget the past. After speaking with him, Dragan decides not to have his removed. The couple travel to Hélène’s home region of Normandy. But here, too, the war’s legacy makes itself felt: not only in the bunkers dating from the Allied landings, but also in the regular Sunday games staged by military reenactors. By tragic accident, Hélène dies while they are at one of these events. At her grave, Dragan places a small headstone depicting “The White Angel,” which stands out sharply against the surrounding gray landscape. After the funeral, the young man returns to Belgrade. Meanwhile, Michelangelo and his friends stage a scene from Bertolt Brecht’s play *Mother Courage* right in the airport…