From War Zones to Hunting Grounds: The Alarming Shift of Civilians as Targets in Bosnia’s Sport Hunting

In an exclusive interview with the Tehran Times, Slovenian director Miran Zupanič discusses his groundbreaking documentary, Sarajevo Safari. This powerful film uncovers a shocking chapter of the Bosnian War, revealing the disturbing phenomenon of “sniper tourists” who paid to shoot civilians during the Siege of Sarajevo from 1992 to 1996. Through meticulous research and bravery, Zupanič sheds light on the intersection of cruelty, commerce, and conflict, providing a voice to those affected by this dark aspect of recent history. Below is the text of our enlightening conversation.

What inspired you to make “Sarajevo Safari,” and how did you first learn about the phenomenon of “sniper tourists” during the Siege of Sarajevo?

I first heard about the Sarajevo safari in 2019 from my producer Franci Zajc. I was filming a documentary with him in Bosnia and Herzegovina back in 1993. Later, he returned to the area with a cameraman, and we incorporated footage from that time into our film, particularly from Sarajevo. During that period, Franci heard various rumors in Bosnia and Herzegovina, which he later investigated himself without informing me. When he finally shared the concept of the safari, I was initially skeptical—unable to fathom such a reality. However, Franci mentioned that he had already spoken to someone who had witnessed parts of the safari. This individual worked for an American agency and was tasked with gathering information on the ground, which ultimately led him to the safari. His account was compelling and consistent; I recognized he was a professional with keen observational skills, making his testimony impossible to dismiss. Thus, we embarked on our research.

Do you think this phenomenon was purely opportunistic (war tourism), or was there an ideological dimension — for example, far-right beliefs or dehumanizing the “other”?

People of various nationalities and religions resided in Sarajevo, making all of them potential targets for snipers. I cannot ascertain the ideological beliefs of these “tourist shooters,” but it is evident they viewed their potential victims as subhuman, akin to wild animals.

Could you share with us in which countries “Sarajevo Safari” has been screened so far, how audiences and critics have responded, and whether you believe the documentary has succeeded in drawing international attention to these crimes?

The film was financed by the Slovenian Film Center and produced by Arsmedia, with co-production from Al Jazeera Balkans. It has been broadcast across most European countries via Al Jazeera Balkans’ television signal, possibly even further afield. Reactions have varied tremendously: from horror and shock at the inhumanity of this safari to outright denial and claims that the film is a malicious forgery. Nevertheless, the documentary has sparked significant discussions around this phenomenon. Journalists have unearthed that former US Marine John Jordan testified about it before the International Criminal Tribunal for the former Yugoslavia as early as 2007. Although we were unaware of his testimony during filming, it is crucial to the narrative. Another significant development occurred recently when the Milan Public Prosecutor’s Office initiated an investigation at the behest of Ezio Gavazetti, which has garnered substantial media attention and may lead to further revelations about this complex issue spanning multiple countries.

One of the film’s central questions is: “What kind of people do this?” Based on your research, how would you describe the psychological and social profile of those who paid to become snipers?

These individuals were undoubtedly affluent, wielding considerable social power, as ordinary people would not have had access to such opportunities. I refrain from speculating on their mental state because human behavior is complex and often incomprehensible. The driving forces behind such extreme actions are beyond my understanding. However, it is clear that these were individuals who craved the power to control life and death.

What do you want audiences—especially younger people who did not live through the siege—to take away from this documentary, beyond horror and outrage?

With this film, I aimed to shed light on a phenomenon that is unimaginable yet very real. I believe it is essential to continually question the forms that evil can take and how we should respond to prevent ourselves from becoming instruments of evil.

Photo: Sniper fire was a constant threat to residents during the siege of Sarajevo.

Through Sarajevo Safari, Zupanič not only presents a haunting narrative but also encourages viewers to reflect on the moral implications of war and humanity’s capacity for both cruelty and compassion. His work serves as a reminder that history must not be forgotten and that vigilance is necessary to prevent such atrocities from occurring again.