Branko dwells on the fringes of Belgrade society. Unable to sleep and isolated, he speaks to no one. His only obsession seems to be his younger brother, whose muddy shoes, bloodstained sheets, and murky whereabouts unsettle him. Making his way through passageways, park bushes and brutalist landscape, Branko shadows his brother’s every step, haunted by his strange behavior. As the paranoia sets in, Branko realizes his brother isn't the strange one. He is. 

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DESIRE LINES is a film about walking, movement and shape shifting. What begins as obsessive stalking drifts into gentle wandering, an image of a solitary figure dissolves into a group portrait, night turns into day, a concrete city into a lush mountain, solitude into intimacy.

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Desire lines is an urbanistic term and refers to the paths across a certain plot of land beaten by the weight of the multitude of bodies that have taken a particular route. These paths inscribe living experience into a landscape
using the simplest of means: movement itself. They are an image of disobedience and freedom.

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Over the last few years, the region where the film was shot became a migration route for thousands of people repeatedly trying to enter the EU and temporarily settling in the camps and surrounding forests until they succeed.

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DESIRE LINES draws a line between this reality and fantasy found in fairytales and horror films pointing towards the hunger for the unknown, giving space to both humans and non-humans to tell their stories, reflecting on the world where abandonend factories, overgrown monuments, broken screens, landline phones, mushrooms, stones and insects are all linked to each other. It proposes radical solidarity, inviting us to recognise and embrace the shared vulnerabilities among beings, objects and environments, imagining a more compassionate and habitable world.