THE OPINION OF THE “WORLD” – WHY NOT
Second feature film by Luana Bajrami, after The Hill where the lionesses roar (2021), which was presented in Cannes during the Directors’ Fortnight, Our world follows the destiny of two cousins. Zoé (Elsa Mala) and Volta (Albina Krasniqi) grew up together and live in a remote village in Kosovo in 2007, a few months before the country gained independence in 2008. Volta, who lost her parents, was raised by his uncle and aunt. No horizon for the two teenagers, except to one day settle down with a husband.
Zoé is the one who dreams, wishes to reach the capital, study and become an English interpreter. Volta has fewer illusions, has a darker outlook, but she owns a car, which she got from her father, and drives. Together, the two inseparable people leave and quietly enroll at the faculty of Pristina, sharing the same room in the university campus. They quickly become disillusioned, between the absenteeism of teachers and the lack of prospects. Little by little, their choices push them away from each other.
Bruised beauty
Of Kosovar origin, born in 2001 in Val-de-Marne, the director and screenwriter discovered as an actress – Ibrahim (2020), by Samir Guesmi, The Event (2021), by Audrey Diwan… – succeeds in the first part of her film, selected in Venice (Orizzonti), by attaching us to these two teenage girls who have the fury for life and delude themselves with illusions. The use of archives from the very first moments quickly situates the family and, above all, political context: the Kosovo war ended in 1999, the country was placed under a United Nations protectorate, but it was not until 2008 that that it be recognized as a nation in its own right.
This endless wait rubs off on the students, who feel like they are forgotten. They start to protest but do not yet have the gestures. During a rather funny scene, they learn to overcome their shyness and start shouting as they should, with their fists raised.
If the two actresses form a convincing duo, the story quickly dissolves into the clichés of a disenchanted youth, establishing a feeling of déjà vu. Motorcycle ride for Volta, hair blowing in the wind, behind her boyfriend, passage in a hostess box for Zoé, where she reveals another femininity in front of an audience of soldiers. The director captures this moment by focusing on the character’s face, her damaged beauty and her desire to still believe in it.
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