Aleksandar Radivojević, co-writer of A Serbian Film, makes his directorial debut with a satirical thriller about an expectant mother (Jelena Djokić) who receives a deity’s phone call demanding murderous instructions. In her third trimester, Yelena (Djokić) is threatened by a voice claiming to be God or “the creator of content,” who shows her omniscient powers and gives her an ultimatum: kill specific individuals or lose her unborn child. She ventures into the Serbian underworld to target corrupt cops and social-media influencers on the divine hit list. Radivojević’s debut, more palatable than the notorious exploitation film A Serbian Film, presents a provocative portrait of extreme coercion. Shot with energetic flair, Karmadonna features a spiritual debate between the hijacker and host, blending heretical Buddhist ideas and cultural critiques as Yelena fights her way to a final target in a sadistic TV set. Djokić excels as Yelena, a relatable figure with a fierce look that echoes icons like Gena Rowlands or Brigitte Lin, but with fiery red hair hinting at the violence ahead.
