Father Was Away on Business arrived in 1985—ten years before Underground—and won Kusturica the Palme d’Or. Set during the Tito-Stalin split, it paints a nostalgic picture of postwar Yugoslavia before the country began to fracture. But if you’ve seen Underground, this feels oddly tame. The magical realism is a faint shimmer, the politics are hazy, and the tone rarely rises above a shrug.
What’s more striking in hindsight is how Kusturica’s later worldview begins to surface. The story follows a Bosnian Muslim family, yet the broader perspective leans subtly Serbian—a hint of the revisionism to come. It’s technically solid, even moving in parts, but emotionally it keeps its distance.
As Bernard-Henri Lévy put it, Kusturica is “so much more stupid than his work.” That tension lingers here. The film is carefully made and historically rich, but hard to love. A film you admire, more than one you feel.
WMFwAoB is a glimpse of family life behind the Iron Curtain in the early 50s, a simple tale told well and with tenderness. There are no explosive plots twists, car chases or moments of high drama but it's a lovely film nonetheless.
The far reaching effects of Stalinism and that influence on Tito. Not a blockbuster plot. This is only a backdrop however for the superbly crafted view of the world as seen from the eyes of a 6 year old boy. His perception of his philandering and unreliable father is so childlike as to be nostalgic, his physical and psychological reaction to the stress suffered is tangible.