This article is set upon the evaluations of the relations between cultural humour and Emir Kusturica’s cinema through a panoramic perspective. In the introduction, the relations among humour, aesthetic experience and Balkan culture were touched upon and thereinafter the main features of Emir Kusturica’s cinema have been pointed out and lastly by considering his nine most important films his filmography has been subjected to closer scrutiny. Eventually, the case of humor is a cultural human experience. This is because humor is deeply connected to language and culture. Films, in artistic forms (especially dramatic ones), is a tool used to condemn individual deprivations, evils, or deficiencies, sometimes through ridicule, irony, parody or other means. When Balkan geography is considered in connection with the cultural humour, its self-specificity immediately becomes obvious. The Balkan society tends to view the phenomenon of humour as a natural quality of life and use it in every possible occasion. Emir Kusturica’s cinema, in this respect, deserves a special place. His films are, in the strict sense, creativite works combining smoothly the humor rooted in his own geography with the life praxis of people. Kusturica’s cinema, in this sense, comprises another dimension. He, while reflecting the Balkan mentality through the prism of humor, criticizes the ideological inaccuracies and reactions of these societies to totalitarian spirit through allegories. This too, creates the preceding humorous role in his films not only as an entertainment but also as a form of art.