Eros as a Constant in Nikolic's Poetics

The depth of the problems that Nikolic procedures in his movies arise from the specific subject matter that was unlike some other arts, above all literature, in this field of aesthetic expression in the unique cultural and conceptual framework of former Yugoslavia, less prevalent. Although it is difficult to talk about their polyphonic or polymorphic characteristics, the clear and dramatic functional narratological structure of his movie stories should be pointed out, so much more since Nikolic never dealt with esoteric subjects and vain speculations, but he tried to rise the narrative statement to a level of absolute recognition, especially when he the anthropological discourse embodied in traditional norms, mystical and theological dogmas were involved. In such an approach, abstracting straight guided plot lines and extensive exposures, we can undoubtedly speak of full compliance and permeation of all the expressive constituents of the diegetic structure in Nikolic's movies. A strongly emphasised demystification of ultra-traditional interpretation of eros and simultaneously its relationship with ethos, the constant confrontation with extreme ethical views and distorted visions, as well as his persistence in debunking the dominant and burdensome taboos, are particularly important in Nikolic's narrative. Thus comprehended Eros together with so-called "forbidden topics" and their hidden and often ambivalent meanings, including possible deviations from their essence, often take precedence over other thematic elements in the dramaturgical structure of Nikolic's movies.