A punchy, uncompromising drama, set in a remote refuge for women, tells a story of those traditionally underrepresented in Kosovan society.
From the beginning, there’s something disconcerting about the exuberance of Lendita Zeqiraj’s feature debut “Aga’s House.” We’re immediately plunked down into the middle of a circle of women sitting on a remote Kosovan hillside in the sunshine exchanging salty anecdotes while preparing food. They laugh, bicker and throw cruel little jabs at one another, referring to age, attractiveness, sexual experience or lack thereof. But the bawdiness and hilarity feels volatile and precarious, as though it could end at any moment, as though these women, in their exile from society, are living as loudly and brashly as they can to drown out the ticking of the unexploded mine of the past over which they dance. For a film with so much laughter, “Aga’s House” is an intensely uneasy experience.
Four of the women have been living in this so-called “refuge house” for some time: the pretty, flirtatious, unserious Emira (Rozafa Çelaj); her best friend and sparring partner Luma (Adriana Matoshi); Kumrija (Shengyl Ismaili) the careworn mother of 9-year-old boy Aga (Arti Lokaj); and Gjyla (Meliahte Qena) a widow in her 70s who was forced from her family home after her son was killed in the Kosovan war, leaving her with no male relative. To this number is added a fifth, Zdenka (Rebekah Qena), a middle-aged Croatian woman whose arrival is viewed with suspicion by the rest of the gang.
Full Article: @Variety.com