No stranger to criminal activities, divorced Limun operates a judo club that doubles as a bodyguard agency (whose clientele mostly consists of nouveau riche businessmen and female turbo-folk singers) while dating Biserka, a younger, low-brow ditzy trophy girlfriend who runs a beauty parlour.

His son from a previous marriage, Vuk, works in an auto repair shop and is a member of a fringe right-wing skinhead group that attacks gay people.

They manage to sign up for their mission: Roko (45) a Croat war veteran who now runs a kafana, Halil (50) a Bosniak who owns a video rental parlour, and Azem (45) an Albanian from Kosovo who makes a living by selling drugs stolen via homing birds, mostly to the US troops stationed there.

Images of this savage beating circled the globe and shattered the hope for young Serbian democracy, and the European Union revoked €50 million of financial help for Serbia.

[28][29] It also won the Siegessäule (German LGBT magazine) readers' award as well as the Ecumenical Jury (representing the Protestant and Catholic Churches' international film organisations – Interfilm and Signis) special mention.

It contains a full-length theatrical movie version, Serbian and international trailer, and extras – 1 hour making of featuring Srdjan Dragojevic, Goran Jevtic, Nikola Kojo & Milos Samolov.

[31] Danas columnist and well-known Serbian novelist Svetislav Basara wrote about Parada in his regular column, praising its narrative form and extolling its virtue.

Since at the time of his column, the movie was already a verified box office hit, approaching 200,000 admissions in Serbia alone, Vidojković praised Dragojević for "effectively organizing the biggest pride parade in the Balkans in his trademark Malcolm McLarenesque manner".

Ajla Terzić of the far-left portal Peščanik refers to Parada as the cinematic equivalent of kavurma, a cheap cholesterol-filled dish that's "consumed by lowbrow and low income masses who do so because it is affordable, thus disregarding its horrendous nutritional effects".

[34] Božidar Maslać of the centre-right portal NSPM concentrated on the movie's poster in his notice, feeling that it "ripped-off the Belgrade Zoo logo" and seeing it as yet another plagiarism in Dragojević's cinematic career.

[36] Republika Srpska vice-president Emil Vlajki wrote at length about Parada in Fokus daily, seeing it as another tool of the US-sponsored "mental genocide" while labeling Dragojević "a talented director who sold his soul to the devil for fistful of dollars".

Politika's Dubravka Lakić stated that, by "employing shallow, occasionally lowbrow humour delivered through effective jokes and quick yucks", Dragojević made a "thoroughly watchable, rhythmically populist film that sends out a call to tolerance and a message that love always triumphs".

He went on to compare Parada's "uncontrolled and slightly anarchic humour, filthy street lingo, and playing with stereoypes" with Mel Brooks' Producers and Ernst Lubitsch's Ninotchka, concluding that Dragojević "avoided banal moralizing while packing the film with funny stereotypes".

[55] Danas' Pavle Simjanović compares aspects of Parada with Mike Nichols' The Birdcage and even Norman Jewison's The Russians Are Coming, the Russians Are Coming while expressing concern that Dragojević's film won't have the intended effect of "ridding the stubborn majority of its phobias towards this stigmatized minority" because the director at some point stopped making a comedy and instead turned to creating a political pamphlet.

[56] The movie got its most glowing review from Miroljub Stojanović writing in NIN magazine who sees Parada as "an uncompromising, subtle, and primarily intelligent film, which examines today's Serbia with such minutia that it possess all the qualities of hyperrealism".

[57] Writing for B92 radio-television's web portal, in a mixed review Slobodan Vujanović feels that though it causes many of the film's faults, Parada' topicality is a sign of bravery and virtue on Dragojević's part.

While approving of Parada' comedic aspects, Vujanović has issues with the moral stance of its satirical ones, feeling that some the film's cliche characters, especially the former wartime adversaries "all of whom are psychopaths who engaged in some horrible stuff during the war", receive an undue redemption.

Although he still gave Parada passing marks, Popboks' Đorđe Bajić has problems with the film's overall tone and its "lack of tact and subtlety", concluding that it "hits the target when it comes to delivering a loud and unconstrained pastime, but fails when it tries to be anything more than that".

[61] Writing for far-left portal E-novine, Vladan Petković was extremely critical, seeing Parada as "nothing more than a marketing trick" while citing its main problem to be the fact that "protagonists are caricatures while antagonists are stereotypes".

And I must say I laughed a few times at some (albeit rare) original jokes, but for that to truly work well, the movie must be good as a whole unit (such as Maratonci..., Ko to tamo peva, Varljivo leto '68, Kako je propao rokenrol...), which Parada isn't.

[65] Though still not widely reviewed, it got a negative notice from RS newspaper Nezavisne novine's Branko Tomić who commends the movie's trailer, but reprimands Dragojević for "not being brave enough to shake up Serbia out if its slumber by showing it a passionate gay kiss".

[67] Vjesnik published a positive review with Božidar Trkulja seeing Parada to be about various forms of love, which Dragojević "skillfully mixes and frames into a compact, humour-laden, and pleasant cinematic experience".

[69] Writing in Novosti, the weekly aimed at the Serb minority in Croatia, Damir Radić gives the film an extremely negative review, feeling that Dragojević "turned to hyperbolization of stereotypes, both gay and ethnic, in order to be ideologically controversial as well as to, through populism, attract a large audience, all of which would've been fine had the movie been uproariously funny, but it is dominantly unfunny and, as it goes on, increasingly boring".

[70] Mladen Šagovac of moj-film.hr concentrates more on Parada's political than stylistic aspects in his positive review, and in this regard singles out the character of Mirko "whose transformation from effeminately feeble gay person into a confrontational one represents both a call to reason and a war cry that will surely serve to soften the bizarre, nationalistically-rooted, anti-gay views of the people across Balkans".

[71] Marcella Jelić of tportal.hr gave Parada a negative review, feeling Dragojević made "a series of morally deeply problematic decisions in the film, the most obvious of which is presenting hardened criminals, chauvinists, war profiteers, and thugs as sympathetic and charming characters".

[72] Robert Jukić of film-mag.net also didn't like the film, seeing it as "a fairly uneven product that balances between comedy and drama in which Dragojević sinks his teeth into some hot topics such as corruption and war profiteering, but the end result is pale and aloof".

He also feels its humour is forced and pandering while expressing doubt whether the movie will appeal to Croatian cinema-going public "because homophobia is not such a big problem in our country like it is in the neighbouring one".

[81] On the other hand, Jay Weissberg of Variety disliked the movie very much, writing: "Parada sees itself as a genial satire, but Srđan Dragojević's tired and tiresome caricatures are just embarrassing.

Using formulaic traits – effeminate gay men, over-macho nationalists – to convince audiences to confront their homophobia might work for anyone still thinking Paul Lynde is fresh, but viewers who've watched gay-themed pictures mature since the 1970s will cringe at this naively well-meaning but hopelessly dated farce".

[82] In The Hollywood Reporter, Karsten Kastelan writes, "In this hilarious, raunchy comedy directed by Srdjan Dragojevic, a homophobic gangster is charged with protecting a gay pride parade in Belgrade".