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Director's Statement
THE TRAP is a film about an ordinary man, who is forced to choose between life and death of his own
child.
It is a story about the moral dilemma of the protagonist – whether to save the life of his son by
accepting to become a killer. It is a story about a man who is trying to exchange death for life, to
change his misfortune for someone else’s. It is about the event that should bring the salvation to his
family, and suffering to another family. It is about the freedom of choice, which actually doesn’t exist...
THE TRAP is a ‘personal story’ kind of film. In a way, it is a contemporary Balkan version of “Crime
and Punishment”. It is about the crime that saved the life of protagonist’s child, and punishment that
comes from within.
THE TRAP is a psychological drama with thriller elements - realistic, hard and raw film. Film of long
silences, emptiness and hollowness, reflecting the loneliness and helplessness of the protagonist.
Film with a lot of close-ups, with use of telephoto lenses, rich sound texture in which music is
becoming almost a part of atmosphere and sounds; camera movements through which we are coming
into protagonists face, his inner world which is becoming unbearable like a nightmare.
THE TRAP is a film about an ordinary man becoming a killer. About a man who thought he will never
be able to kill. About the crash of all moral values in which he believed. About the protagonist who has
in front of him two solutions – both leading to pain, guilt and misfortune. About a man in moral and
existential trap.
THE TRAP is a film about post-Milosevic’s Serbia, in which there is no more war, but there is moral
and existential desert, about Serbia in transition, in which human life still doesn’t worth a lot, about
normal life which still seems unreachable.