January 17, 2022


The White Fortress’ Review: Moving Portrait of Doomed First Love in Socially Unequal Sarajevo

There are three white forts that conveniently outline the partitions so suggestively attracted Igor Drljača’s “The White Fortress,” as of late named Bosnia and Herzegovina’s accommodation for the 94th Oscars. There’s the horrid, surrounding tower block in which rough low-level trickster Faruk (Pavle Čemerkić) lives with his grandma. There’s the innovator dream home roosted on a slope that has a place with the affluent, far off, politically degenerate guardians of young person Mona (Sumeja Dardagan). What’s more there’s the popular late-archaic White Fortress, or Bijela Tabija, the public landmark that neglects Sarajevo, where Faruk and Mona go through a solitary evening of their bound sentiment in a hug that unavoidably disintegrates in the virus light of morning.

The adoration across-the-social-partition account is not really new, however essayist chief Drljača (“The Waiting Room,” “The Stone Speakers”) transforms commonality into a benefit. Alongside a tenderly extraordinary exhibition from pale-looked at rising Balkan star Čemerkić (“No One’s Child,” “The Load”), it permits him to focus on the surfaces and rhythms of this unmistakable setting, knowing the mythic suggestions of the Romeo-and-Juliet storyline will make their own energy. Thus we get a sad little romantic tale that is additionally a contacting picture of an age caught in their country’s separated present, which is itself a tradition of its disturbed past — insinuated here in passages from the 1972 film “Walter Defends Sarajevo” about a band of Yugoslav sectarians during WWII.

Faruk has been a vagrant since the passing of his professional piano player mother. Tapes of her exhibitions play fuzzily on the TV of his weak grandma’s condo, where he presently resides, and furnish Casey MQ’s sparingly utilized score with a melancholic undertow: one open air arrangement is set to black out piano music coming through stifled and distant, similar to it’s being played in a far off room. However, faruk’s everyday life is exceptionally a long way from such refined impacts. At the point when not working with his uncle searching salvaged material, he shoplifts, gets enlisted into trivial wrongdoing plans by his reckless companion Almir (Kerim Čutuna) and utilizations his unique appeal to entice young ladies. In any case, all his streetsmarts misrepresent a delicacy under, that comes out when he’s shipped off get Milena (Farah Hadžić) a waste talking young person who has been secured for prostitution by Almir’s heartless manager Čedo (Ermin Bravo).

Faruk’s gentler side further uncovers itself when he chances upon peaceful, lovely Mona coincidentally at the shopping center, attempts a portion of his get patter on her, and gives her his number. Surprisingly, she calls — Mona carries on with an undeniably more indulged life however she also has her purposes behind needing to get away — and a movingly fragile relationship jumps up between these two youngsters with apparently nothing in like manner.

Days after the fact, Faruk and Almir are shipped off get Milena once more. Presently she’s damaged and draining and her fishnets are in pieces. She staggers, damaged, out of the gated house under the indifferent eye of a driver. His quiet presence is an unpretentious signal that Mona and Faruk are connected in more obscure ways as well — ways they don’t know about, yet that represent every one of the inconspicuous powers of class, power and advantage that are contriving to isolate them.

Erol Zubčevik’s quiet, crepuscular photography, suitable for characters who may simply be at the beginning of adulthood yet who as of now act like it’s nightfall, some way or another figures out how to cut out a common heartfelt space for universes that ought to never truly cross. Mona’s examples at her costly English-language tuition based school are shot with similar segregated compassion as Faruk’s strained disagreements with mobster Čedo, in spite of their various stakes. What’s more the two characters have minutes where the camera sneaks gradually in on their young faces, and finds something likewise old in their eyes. Here, substantial pinnacles and ivory towers the same are lit by a similar brilliant sunset, and similar shadows extend across them as have extended across the post on the slope for a really long time.

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