A video grotesque on the subject of war in Bosnia. By means of chroma-key procedure the protagonists move in various sceneries. One of them first sneaks into a documentary showing a meeting of the leading European politicians. Soon, however, the meeting loses every trace of a document, and the negotiation of standpoints turns into the game of chess. The image becomes covered with black-and-red chess field where two opponents move their transformed mechanical toys. A reporter comments on the development of the game, but the sets and props prevail in the image. The music with intensive Balkan melos is an important element, and so are the fragments of the performance of the same title - the seal of the artist. (Source: Videodokument) When war is reality, the metaphorical representations of war are by definition weak and, of course, schematic - especially film portrayals of war. /…/ The best portrayals of war seem to be those in which war functions as background, as in Jeux interdits. No More Heroes Any More is a reversed Jeux interdits; namely, the game in it is Obligatory, as in sports or politics. The film is similar to Jeux interdits in that it is not an illustration, but rather a commentary on war, on the theatrics of military mechanics. It suggests that war is a (strategic and tactical) game; that weapons are the toys of adults; that people are toys; that at the end there is always a force that transforms most ordinary competition into a relentless fight for life - or against it. And there is an element which places Heroes close to the Ninth Circle, if not right inside it: the backdrop of the video-film by the sculptor Marko Kovačič is predominantly characterized by sets and props, and not by people. The toys are granted souls, while human characters become - or remain or are subjected to - grotesque stereotypes. Stereotypes that are well acquainted with the most important politicians in the world. (source: Bogdan Lešnik, State of War, catalogue No More Heroes Any More, Ljubljana, 1992)