Dzoni (Relja Popovic), a young recruit, is one of seven soldiers bussed out into the placid Serbian countryside for an unknown mission. As the new guy, Dzoni is estranged from the other soldiers who are more efficient and seem generally to be "in the know" and Dzoni is left wandering and puzzling out the ways in which to behave. Dzoni wakes from a nap to see a group of civilian men arriving. The commanding officer Narednik (Boris Isakovic) explains to Dzoni and the other men that they are "taking care" of the enemy and uses Dzoni in a demonstration of how to dispose of them. When they are sent to perform their duties, Dzoni remains behind and tells his commander that he can't do it, but eventually caves to deafening silence and goes through with the act (although his comrade Ivan [Miroslav Stevanovic] has to finish off his prisoner). Over the course of a day, executions become routine and Dzoni begins to takes his conflicted emotions out aggressively on the prisoners until he is too tired to continue. Although only seventy-eight minutes, Perisic's film lingers a little longer than needed to make its points. During the protracted bus ride, we hear a news announcer reporting executions committed by terrorist groups (“The terrorists are using summary executions to terrorize the population,”), that the military have been called in, and that terrorists will be arrested and sentenced harshly; then, of course, we see people secretly rounded up and executed in secret by the military. Although the the setting and the ethnicity of the victims are never identified, we can assume that they are victims of "ethnic cleansing" (although it is never determined if this film is set during the Balkan Wars or now). After the near silent six minute bus ride sequence, the ennui of the soldiers (depicted in lengthy takes of Dzoni walking, sitting, smoking, and napping) could have been established in less than the subsequent twenty minutes of screen time. In terms of pacing, the film seems to be derivative of other art films rather than finding its own rhythm. The film is not boring, but incomplete. Although Dzoni never really engages our sympathies, Popovic is able to convey the character's conflicting emotions visually; yet, all the work that the viewer must do to ferret out Dzoni's growth (or perhaps regression) is really for naught. It's just not there (viewers will likely get only as much out of the film as they brought into it). The end result feels more like an easy festival prize winner overstating themes that it pretends to understate through mimicry of an art-house style.