Gunfire crackles beyond the horizon, the relationship between sound and image established at the outset: death will be heard, not seen. The Load envisions the Bosnian War as an on-the-ground abstraction, where violence is an echo, bombing raids hide behind a scrim of gray sky, and bodies are invisible. After delivering his cargo to its terminal destination, Vlada, our hangdog Odysseus, returns home to tell his son a story about a different war, “A real war, not this video game war,” as if in knowing response to the world Ognjen Glavonić crafts around him. The profondo foley track and the ashen palette make for art direction à la Call of Duty, an effect amplified by Glavonić’s three dimensional mise-en-scène. More than once the camera suddenly detours from the main road to track a peripheral character, suggesting explorable spaces beyond the confines of the truck’s cabin (and the film’s central narrative). These are, presumably, the same spaces occupied by those not-so-far off NATO bombs and the fly-ridden freight that Vlada hauls behind him, but which he never sees. Physical and moral dangers are intruding on Vlada’s craven sense of simulation—no matter how distant those explosions, this is not a video game war—and it is a slow refusal of alienation that emerges as Vlada’s eventual cause.
It’s Glavonić’s too: he’s obviously a filmmaker of considerable ethical and aesthetic intelligence, and The Load is nothing if not carefully constructed. Like the unobserved violence booming behind the hill, Glavonić keeps his anger at the periphery, as if to call it forth through deemphasis. Absence, of one kind or another, is both subject and structure. But The Load can get only so far by discreetly substituting, say, a full-frame image of decayed sheet metal for the scarred corpses that it so clearly connotes. Which is another way of saying that The Load is smarter than any number of like exercises in European historical reckoning, which are frequently eager to play circus showman to the continent’s worst atrocities, but also too smart by half. Glavonić’s abstractions expose him to the same alienation that he condemns, even if the closing moments tacitly acknowledge his film’s limitations: Vlada’s belated act of resistance is to photograph not the bodies that he transported—long since dumped into an anonymous construction pit—but the empty truck bed. To what end? The tangible consequences of war remain undocumented in visual terms, and yet the echoes keep thrumming in the distance, like a ringing in the ears that never quite fades away.