Қанды туннель: Босния соғысының трагедиясы

Pretty Village, Pretty Flame ( / Lepa sela lepo gore, literally "Pretty villages burn nicely") is a 1996 Serbian film directed by Srđan Dragojević with a screenplay based on a book written by Vanja Bulić. Set during the Bosnian War, the film tells the story of Milan, part of a small group of Serb soldiers trapped in a tunnel by a Bosniak force. Through flashbacks, the lives of the trapped soldiers in pre war Yugoslavia are shown, particularly Milan and his Bosniak best friend Halil becoming enemies after having to pick opposing sides in the conflict.

The plot is inspired by a real life occurrence in eastern Bosnia from the opening stages of the Bosnian War, with the film's screenplay based on a Vanja Bulić written, Duga magazine published long form piece about the actual event. Following the success of the movie, Bulić wrote a novel named Tunel—essentially an expanded version of his magazine article. The film features a non linear plot line, and the scenes cut back and forth throughout the 1971 to 1999 time period in no particular order. The main timeframe includes the "present" with a hospitalized Milan, with flashbacks to both his childhood and his early adulthood in the 1980s until the war begins, and subsequent service as a soldier where he is trapped in the tunnel.

The funds for the movie were raised through Cobra Film Department, a legal entity that was registered as a limited liability company by Nikola Kojo, Dragan Bjelogrlić, Goran Bjelogrlić, and Milko Josifov. Most of the money came from the Serbian government's (under prime minister Mirko Marjanović) Ministry of Culture (headed by cabinet minister Nada Perišić Popović) as well as from the Serbian state television RTS. Reportedly, the budget raised was US$2 million. The shooting of the film under the working title Tunel began on 19 April 1995. The majority of the scenes were shot on locations in and around Višegrad, Republika Srpska (Serb inhabited entity of Bosnia and Herzegovina, still governed by Radovan Karadžić) at the time, often in places that were former battlefields. In July 1995, after 85 shooting days, the production was put on hold due to lack of funds, some 7 planned shooting days short of completion. Following a new round of fund raising, the production resumed in mid November 1995 and finished by early 1996. According to Dragojević, the movie's title is paraphrased from a passage describing burning villages in the distance in Louis Ferdinand Céline's 1932 novel Voyage au bout de la nuit, a literary work that had a strong impact on Dragojević when he read it in his early youth.

The film won accolades for direction, acting, and brutally realistic portrayal of the war in former Yugoslavia. It was also the first Serbian film to show the Serbian side of the conflict involved in atrocities and ethnic cleansing – the title of the film is an ironic comment on the protagonists' activities in a Bosnian village. Almost 800,000 people went to see the film in cinemas across Serbia, which equated to approximately 8% of the country's total population. The film was selected as the Serbian entry for the Best Foreign Language Film at the 69th Academy Awards, but was not accepted as a nominee. In addition to FR Yugoslavia (Serbia and Montenegro), the only other former Yugoslav countries where the movie had an official theatrical distribution were Slovenia and Macedonia. Released in Slovenia as Lepe vasi lepo gorijo, it became a hit in the country with 72,000 admission tickets sold. In Macedonia it also posted a good box office result with more than 50,000 admission tickets sold. The Venice Film Festival refused the film with its director Gillo Pontecorvo calling it "fascist cinema". Earlier that year, Berlin and Cannes film festivals also rejected the film. Writing for Sight & Sound in November 1996, British author Misha Glenny delivered a stinging attack on critics who view Pretty Village, Pretty Flame or Emir Kusturica's Underground through a simplistic, reductionist pro or anti Serb critical lens. The film was broadcast on Swedish public service television under the name Vackra byar ("beautiful villages"). Even before wider distribution in North America, the film received notices in major American newspapers such as Los Angeles Times and Toledo Blade, which covered it from the Bosnian War angle.

In early 2000s, while promoting his film No Man's Land, Bosniak director and former soldier in the Army of the Republic of Bosnia and Herzegovina during the war Danis Tanović called Pretty Village, Pretty Flame "well made, but ethically problematic due to its shameful portrayal of the war in Bosnia".