‘Until the Day Ends’ Review: Two People Connect Across a Political Divide in a Striking Serbian Youth Drama

‘Until the Day Ends’ Review: Two People Connect Across a Political Divide in a Striking Serbian Youth Drama hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 27, 2026 7:44am PT ‘Until the Day Ends’ Review: Two People Connect Across a Political Divide in a Striking Serbian Youth Drama Docmaker Jelena Maksimović’s first fiction feature is a narratively sparse but atmospherically throbbing exercise, playing in competition at Tokyo following its Venice Orizzonti premiere. By Guy Lodge Plus Icon Guy Lodge Film Critic @guylodge Latest ‘Love Language’ Review: Chloë Grace Moretz Sells Words of Affirmation in an Old-School Romcom With Gen-Z Trappings 3 days ago ‘Clayface’ Review: DC Comics Horror Movie Is Good, Gross Fun, With No Franchise Homework Required 6 days ago ‘Klara and the Sun’ Review: There’s No Life — Intelligent, Artificial or Otherwise — in Taika Waititi’s Calamitous Android Fantasy 1 week ago See All Add us as a Google Preferred Source Comments Amid the turmoil of mass student protests in the streets of Belgrade, two young people are bonded by a rash act of rebellion, despite their outwardly incompatible ideologies.

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The premise of Serbian writer-director Jelena Maksimović ‘s “ Until the Day Ends ” portends a tidy political parable — a sort of “why can’t we all get along” homily for an age, and particularly a generation, of vastly polarized beliefs. The execution, thankfully, is flintier and more complicated than that.

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The film’s teachings, if any, are ambiguous, and learned on the run: Maksimović’s first fiction feature is most memorable for its galloping formal restlessness, moving at the breathless pace of its characters as they evade authority and chase a glimmer of hope in their joint resistance. Related Stories Taylor Swift’s ‘Patient Zero’ Holds Steady at No.

1 for Second Week on Singles Chart Taylor Swift Spends Her 100th Week at No. 1 on the Billboard 200, as ‘Life of a Showgirl’ Stays on Top in Week 2 of ‘Encore’ Rebound Having made an impression on the docfest circuit with her two nonfiction features “Taurunum Boy” (2019) and “Homelands (2020), Maksimović brings a street-level, vérité -style grit to the lean narrative of “Until the Day Ends” that feels authentically keyed into the reality of current youth unrest in Eastern Europe.

The film is set against a surge of real-life anti-government demonstrations in Serbia in early 2025, triggered by the tragic deaths of 16 people the previous year, following the collapse of a train station canopy in Novi Sad. But if the honest performances of a mostly non-professional ensemble contribute to a docudrama spirit, the filmmaker and her DP Paul Spengemann embrace an aesthetic of epic escapism, with roving, kinetic camerawork punctuated with enough bursting lens flare to make Janusz Kaminski blush.

It’s an attention-grabbing approach that promises bigger things from Maksimović, and is propelling the film some distance on the international festival circuit. A premiere last month in Venice’s Horizons program has since been followed with berths in Vienna, Hamburg and, now, the main competition in Tokyo.

The film opens on a virtuoso long take, roaming through the shadowed, disheveled hallways of a university building that, ahead of the revolution, has become something of a campsite for displaced, rebellious students; insurgent streaks of red disrupt the general gloom of the mise-en-scène. Through this faintly apocalyptic scene, we follow 20-year-old Lena (riveting newcomer Lena Trifunović), a firebrand student activist who is all in on the protests, unwavering in her anti-authoritarian conviction.

That may earn her the admiration of her c

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