modern identity that's in parallel accompanied by each country's respective unwillingness, or maybe even inability, to let go of old ways, creative misuses of power, and historical and territorial obsessions". He considers Azerbaijan and Serbia to both have "bad reputations in the international community" and views them both as being "well-known for widespread corruption that's deeply embedded in every pore of their societies". He further sees a similarity in how both countries handle their territorial disputes by "'defending' their disputed areas, Nagorno-Karabakh and Kosovo, respectively, in bloody wars that they later lose along with the disputed territory". In late May 2012, Arsenijević got another columnist engagement in Croatia, writing for web portal tportal.hr. Of his Jutarnji columns, the one that garnered most attention and reaction was Arsenijević's intricately long, stinging July 2012 denouncement and condemnation of film director Emir Kusturica. Dissatisfied with Kusturica's latest project — Ivo Andrić-inspired Kamengrad in Višegrad, Republika Srpska, Bosnia-Herzegovina, Arsenijević goes after the director, labeling him "a pompous man who, thanks to his bizarre Serbian nationalism, was able to cajolingly ingratiate himself to every ruling Serbian political figure from the 1990s onward - starting with Milošević, over to Đinđić and Koštunica, and finally Tadić, as a warm male embrace with Tomislav Nikolić surely awaits him in the near future" while describing Kusturica's previous Drvengrad project as "a monument to his own self and his own worldview with his own financial interest and personality cult installed in it, all made possible through mutual cooperation of several politicians in Serbia who couldn't agree on anything else, but nevertheless found minimum consensus over Kusturica". Arsenijević goes on to proclaim Kusturica "a two-headed beast: ethno-nationalist with a severe identity crisis, declared leftist with a far right sensibility, ruthless landowner who's also a fiery anti-capitalist, a state artist in the clothing of a faux rebel, an obedient yet astute servant of many powerful individuals" while describing him as "a man who could have been and had to have been something more, but instead turned into a sad symptom of a sad time we all live in". Arsenijević then turns to Kusturica's physical characteristics, pointing out the director is "large, strong, big-headed with a long head of hair" while describing him as "having a blast during the apocalyptic 1990s in Serbia" and wondering if "perhaps that explains Kusturica's abundance of megalomania that manifests itself through being stricken with a pharaonic complex