Apr 28, 2020

The Girl (Puriša Đorđević, 1965)

☼☼☼☼☼☼☼☼☼☼ out of 10☼

Her name is Rain, and his name is Wind. Their love is pure, eternal and magnificent as an epic ballad whose verses explode louder than bombs, simultaneously giving birth to immaculate silence. Under its gentle touch, the bleak reality is transfigured into a powerful dreamlike illusion that distorts both space and time... Lyrically written, imbued with a subtle melancholy and directed with a keen understanding of ever-evolving film language, The Girl (originally, Devojka) is essentially a romantic story whose characters - caught in the whirlwind of war - lend their subjective experiences of the dire situation. A 'fourfold perspective' of a young partisan couple (the bravura performances by Milena Dravić and Ljubiša Samardžić), a town photographer (Siniša Ivetić) and a German officer (Rade Marković) is to blame for the film's fragmented structure which requires an active viewer, one willing to go along with the oneiric logic of the proceedings. And what makes our involvement in the puzzling narrative to grow stronger are the meaningful, meticulously composed visuals cleverly complemented by Dvořák's folk-inspired music, with each close-up intensifying the emotional impact of the scene and every full shot channeling despair and loneliness.

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