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After briefly reviewing the genealogy of this cinematic discourse – including the works of Jovan Jovanović, Srdjan Dragojević, and Srdan Golubović – the paper will discuss the film Usekovanje(dir. Siniša Cvetić, 2022). In particular, it will analyze Cvetić’s attention to postmemory, a novel theme in post-Yugoslav drug films. As I argue, Cvetić’s comedic appeal to memory offers a break from the exclusivist paradigm of the genre, allowing the speed-snorting young protagonist his proverbial and literal seat at the table of post-Yugoslav Serbian society.