“White Castle”: Film Review

What White Castle In the opening, the 20-year-old couple unceremoniously say goodbye after a night out, and he comments on a poster that adorns the bedroom wall. The Hawaiian publicity image and the gentle sarcasm of the couple’s relationship perfectly illustrate the particular blend that characterizes this beautifully crafted drama: youthful dreams and their fateful roots.

Writer and director Igor Drliacha (Krivina), who spent the first part of his childhood in Sarajevo before his family fled the Yugoslav wars for Canada, has created a modern tale that is firmly rooted in the depths of social ruin. Erol Zubcevich’s elastic camera follows protagonist Farouk – played by Paul Chemerkich with sensitivity and a welcoming spark – back and forth through Sarajevo’s hill-flanked space. The difference between ownership and non-ownership is as great as in any modern city, and as in any city, there is a connective tissue between them. Corrosive corruption has affected almost everything, the main exception being the romance between a booming Farooq and a girl across the road.

White Castle

Final result

A well-told, crisp and smooth story.

Issue date: Friday, April 22

Issue: Paul ChemerkicSumje DardaganJasmine GeljoKerim Chutuna

Director-Screenwriter: Igor Drliacha

1 hour 29 minutes

This novel begins with Farouk making a surprisingly rude attempt on a van at the mall. His teasing relationship with a slave (Sumeja Dardagan), who is sophisticated and a refuge, soon turns into something gentle and scrutiny. But nothing comes easy for either of them, and despite the hopeful symbolism of tropical palm trees on Farouk’s poster and his new shirt, their horizons are severely limited.

After the death of his mother, orphan Faruk lives in a dilapidated apartment complex with his ailing grandmother (Irena Mulamukhich). They make a living off their retirement checks and their hardworking uncle Mirsad (Jasmine Geljo, star of the director). Waiting room), which collects and sells scrap metal. Farouk also has irons on other fires, doing things for the local criminal authority sedo (Ermin Bravo). Solving his improvised problem in one task lands him in trouble with a big boss, a guy who likes to threaten and has likely studied movie prototypes to take down his bad boy.

Almir (Kerim Chutuna), Farouk’s slightly older friend and mediator in his small criminal career, repeatedly tells him that he can solve the case with Sedo by hiring a new girl in his stable of sex workers. Whether this is Farooq’s original intention with the slave is up to the viewer to decide. But of course he is affected by the situation Minela (Farah Hajic) finds herself in when she hires him to act as a power broker in one of the city’s palaces. The heartbreaking teenager, after meeting her a few hours ago, returns traumatized and visibly beaten.

No less vivid is the deep love between Farooq and the slave, who is likely the same age as Minella and, however privileged her life, is experiencing severe emotional deprivation. In the modernist house where she lives with her parents (Alban Ukai and Jelena Cordic Curett), the slave carries out her love story – a “work arrangement”, calling her shocked and demoralized. Their business is politics, and to better focus on bureaucratic maneuvers and stop presenting themselves as family (aside from taking pictures), they plan to send a slave to live with relatives in Toronto.

Meanwhile, he is taken to a private school where he and his associates, trained for the next generation of international mobility and sewing, improve their English, and where one of his colleagues sings “God Save the” Queen, the British national anthem. from the Sex Pistols Song. .

Drliacha’s dialogue is crisp and lively throughout the film, especially during Mona and Farouk’s first meeting. These two old men are souls, especially slaves, and their conversation moves quickly, awkwardly, subtly into matters of the heart. Chemerkich (ᲢLoad) And Dardagan reflects the cunning and conviction of how his characters find the language of inner suffering and look each other in the eye with shy admiration.

For a slave, love is a “sense of belonging,” and when he and Farooq grow closer, he presents their love story as a kind of tale where children can fly together into the big world to escape the place. Where they don’t belong, the place of elders and their cruelty. On a more prosaic level, Farouk imagines a bygone world where evil is not only avoided, but fought: the WWII drama on his VHS tape. Walter defends SarajevoIn which Germany does not approve of the Yugoslavs, it is a reliable source of pleasure.

Nobody speaks directly of the aftermath of other more recent conflicts, namely the Yugoslav wars of the 1990s, but the feeling of a devastated and still remodeled city is fed. White Castle. In one of his most surprising conversations, Uncle Farouk offers a strange but transparent understanding of the interrelationships that define everyday life in a troubled metropolis. Branko (Izudin Bairovich), the owner of the dump, complains that “the water urchins keep bringing in useless scrap,” and Mirsad replies, “It’s not easy for them. “Street drugs have become more expensive.”

Drliaაჩa’s film title, in Bosnian and original English, refers to a national monument above Sarajevo. Along the way, Farouk and Mona drive their scooter to a medieval castle and from there, together with the world, they explore the Milachka River and the city, its wealth, poverty, strength and despair, the darkness of colors and light. . Below Them.

In a story that breathes new life into a familiar notion of innocent youth in a horrible world, a dog named Vuchko (Samba), the favorite pet of Farouk and his tall neighbors, enters the dreams of more than one character. In narrative terms, it can sometimes seem like a canine pet has a lot to do. But this reflects the weight the slave and Farouk have to carry in their daily lives and how they live. White Castle Intertwined no more predictable than dreams.

Source: Hollywood Reporter