Serbian Propaganda Through Film: “The Harvest” Reinstates Unverified Narrative of Organ Trafficking in Kosovo

The film "The Harvest", presented as an American-Serbian co-production and recently launched in Belgrade, has brought back into focus discredited allegations of organ trafficking during the war in Kosovo, prompting reactions and concerns about the use of cinematography as a propaganda tool.

According to the authors, the film deals with the kidnapping and illegal trafficking of organs of Serbian civilians in Kosovo, implicating the Kosovo Liberation Army (KLA).

However, these claims are not supported by international investigations.

The allegations were first made public in the book "Lady Prosecutor" by former Hague Tribunal chief prosecutor Carla Del Ponte. However, they were later investigated by international missions without being confirmed.

In 2010, the former head of EULEX war crimes investigations, Matti Raatikainen, stated that there was NO evidence to support allegations of organ trafficking by the KLA.

A similar conclusion was reached by US Attorney Clint Williamson in 2014, who announced that the investigations had not produced credible evidence of this type of crime.

🇷🇸🇺🇸 The premiere of international film "Harvest", an American-Serbian co-production with a notable international cast was held last night in Belgrade.

The film is about the illegal organ trafficking involving Serbian civilians in Kosovo and Metohija, and the involvement of the... pic.twitter.com/0nBmoyXJZN

- Arno Gujon (@ArnoGujon) March 18, 2026

Even institutional leaders in Kosovo have rejected these claims.

Prime Minister Albin Kurti stated that the so-called "Yellow House" did not exist as a place for organ trafficking, describing this narrative as part of a hybrid campaign against Kosovo and Albania.

According to him, this narrative was initially promoted in 2008 by Russian MP Konstantin Kosachev, shortly after Kosovo's declaration of independence.

Who is Arnaud Gouillon?

At the center of the promotion of this film and similar narratives is Arnaud Gouillon, a French citizen with strong political and institutional ties in Serbia.

Gouillon has lived in Belgrade for years, holds Serbian citizenship and is involved in state structures as director of the Directorate for Cooperation with the Diaspora within the Serbian Foreign Ministry. He is also a member of the ruling Serbian Progressive Party (SNS).

Known for his far-right positions, Gouillon founded the "Solidarity for Kosovo" organization in 2005, through which he carried out humanitarian activities in Serbian enclaves, but which, according to critics, also served as a platform for political influence and propaganda.

He has been active in nationalist circles in France and Europe, collaborating with far-right movements and organizations with pro-Russian leanings.

In the past, he has participated in activities and camps of an ideological and paramilitary nature, and has held positions against immigrants and liberal policies in Europe.

Gouillon also has close ties to Russian structures and media, including appearances on platforms like Sputnik, where he promotes narratives that align with the Kremlin's official discourse on the Balkans.

About seven years ago, Arno Gujon was banned from entering Kosovo.

At that time, citing operational information, the Kosovo police had identified Gujon as a person with a secret mission, and therefore his entry was banned.

At the Merdare border crossing, law enforcement had stopped him thanks to information from the Kosovo Intelligence Agency (KIA).

Serbian tendency with false narratives

The case of the film “The Harvest” is not an isolated phenomenon, but part of a broader and ongoing strategy by Serbia to reproduce and spread discredited narratives about the war in Kosovo, particularly those related to allegations of organ trafficking by former KLA members.

This strategy has its roots in the post-war period, when authorities and structures linked to the Serbian state attempted to shift the focus from the documented crimes during the conflict, towards unfounded accusations against the Albanian side.

One of the key moments in this regard was the publication of the Dick Marty report in 2010, which was widely used by Serbian propaganda to legitimize these claims, despite the fact that later international investigations failed to prove the existence of an organized organ trafficking scheme.

In the following years, Serbia has systematically invested in various platforms, from public diplomacy and international media, to cultural productions such as books, documentaries, and films, to keep this narrative alive.

This approach is part of what is known in communication studies as “narrative repackaging,” where an old claim is presented in new forms to gain credibility and reach new audiences.

Films like "The Harvest" serve precisely this purpose: by using the artistic and emotional format of cinema, they aim to influence international public perception more easily than political reports or official statements.

This is particularly effective in a context where the global public lacks in-depth knowledge of the history of the conflict in Kosovo.

In parallel, these efforts are often accompanied by diplomatic and lobbying activities from Serbia, as well as amplification on media networks and social platforms, creating a message multiplier effect.

In some cases, this is also intertwined with broader geopolitical narratives, which aim to relativize responsibilities for war crimes and undermine the legitimacy of Kosovo's statehood.

In this context, “The Harvest” can be seen as a continuation of a long-term informational influence campaign, where cultural tools are used for political purposes, aiming to reshape the international narrative on the Kosovo conflict. /The Geopost/