Mladomir 'Puriša' Đorđević

Directing

Mladomir 'Puriša' Đorđević

Born May 6, 1924 · Čačak, Yugoslavia [now Serbia]

Died November 23, 2022 · aged 98

Mladomir Puriša Đorđević was a Serbian film director and screenwriter. He directed 71 films since 1947. His 1966 film The Dream was entered into the 17th Berlin International Film Festival. Some of his movies were censored and banned by the Yugoslav communist government.

Known For

Like a BalladLike a Ballad · 1964
Like a Ballad
9.01964
MovieDocumentary
A story about a soldier and a girl who met and fell in love as bearers of Tito's baton.
ScherzoScherzo · 1994
Scherzo
7.01994
MovieDramaTV Movie
Story about people who have neither luck in finding new instruments to play after war, nor new romance. Instruments experience war just like people do. Originally shot in 1971, the film was not released until 1994.
Cross CountryCross Country · 1969
Cross Country
6.01969
MovieDrama
A priest’s daughter from a small town falls in love with cross country running over TV. She starts to train. She runs, meets a local boy and falls in love. She runs again, meets a black man and starts flirting. The local boy kills a black man out of jealousy and the police kills him.
TwoTwo · 2007
Two
5.02007
MovieDrama
This film was based on Zoran Zivkovic's stories, in which the main motif is number two: a number that unites a man and a woman, sky and earth, yin and yang... It also tells two stories that are merged into one whole.
The MorningThe Morning · 1967
The Morning
7.51967
MovieDramaWar
In the first days after the Second World War, as collaborators are being taken care of, a former partisan finds out that war never truly ends — not even in time of peace.
I Miss Sonia HenieI Miss Sonia Henie · 1971
I Miss Sonia Henie
5.41971
MovieComedyDrama
One camera in one setting, one attic and eight young directors – the result is a unique Dadaistic collage of seven short sketches. The original task for each filmmaker was to keep each short under three minutes, to set it in one hotel room, and to include the sentence “I miss Sonja Henie." This experimental film was shot over a single night at the international film festival FEST in Beograd in 1971.
NoonNoon · 1968
Noon
6.21968
MovieRomanceDrama
The lives of many people in one Serbian town are changed after Tito's breakup with Stalin.
The GirlThe Girl · 1965
The Girl
6.81965
MovieWarDrama
A lyrical fourfold perspective on WWII through the eyes of a young partisan couple, a town photographer and a German officer.

Filmography

Sort
The CoachThe Coach · 1978
The Coach
7.01978
MovieDrama
A man from a small place has become a coach of the biggest club in the country. He's coming back to his home town to buy a talented striker from a local club. A new striker immediately becomes a star in the big club. But a conflict between coach on one side and striker and manager of the club on the other occurs and results in coach leaving the club. He then becomes a coach of a big German club and in international competition has a match against his former club. In first game in Munich his former club wins which puts him in danger of losing position of coach in new club. But in the second game his team wins in Belgrade and goes trough. He once again goes to his home town and in the graveyard, at the tomb of his father, who died in war fighting Germans, asks himself what happened so he's now fighting for the Germans against a club from his own country.

Writer

Censored without CensorshipCensored without Censorship · 2007
Censored without Censorship
7.22007
MovieDocumentary
Through the conversation with Yugoslav film authors and excerpts from their films, this documentary film tells a story of a film phenomenon and censorship, and its focus is, in fact, a painful epoch of Yugoslav film called “a Black Wave”, which was the most important and artistically strongest period of Yugoslav film industry, created in the sixties and buried in the early seventies by means of ideological and political decisions. The film tells a great “thriller” story of the ideological madness which characterised the totalitarian psychology having left multiple consequences felt up to our very days. It stresses similarities between totalitarian regimes defending their taboos on the example of the persecution of the most important Yugoslav film authors. Those film authors have, however, made world careers and inspired many later authors. The film is the beginning of a debt pay-off to the most significant Yugoslav film authors.

Himself