Marijana’s life revolves around her family, whether she likes it or not. They live on top of one another in a tiny apartment, driving one another crazy. Then her controlling father has a stroke and is left completely bedridden, and Marijana takes his place as head of the clan. Soon, she is working two jobs to keep everything afloat, while her mother and disabled brother do their best to scupper the ship. Driven to the edge, Marijana finds comfort in seedy sex with random strangers; and this taste of freedom leaves her wanting more. But now that she has finally found freedom, what’s she meant to do with it?
- Fedeora Award for Best European Film - Venice Days
- Special Jury Mention - Warsaw FF
- Best Film (Meeting Point) - Seminci
- Best Director - Tokyo IFF
- Best Actress (Mia Petričević) - Bratislava IFF
- Special Mention - Zagreb FF
- Best Film, Best Actress (Arijana Čulina) - IFF FEST, Belgrade
- Special Mention (Mia Petricevic) - Sofia IFF
- Best Actress New Europe - New Names (Mia Petričević) - Vilnius IFF
- Best Fiction Film - Crossing Europe
- Special Mention - goEast
- Best Balkan Actress, Best Balkan Director - PriFest
- Critics' Award - Palić FF
- Best Director - Montenegro FF
- Croatian submission for the Academy Awards
- Mia Petričević
- Nikša Butijer
- Arijana Čulina
- Zlatko Burić
- Karla Brbić
- Hana Jušić
- Jana Plećaš
- Jan Klemsche
- Hrvoje Nikšić
I grew up in the city of Sibenik, with its distinctive blend of Renaissance grandeur and post-industrial decay, in an environment very similar to the one depicted in the film. Although this film is far from being my personal story, all the characters are loosely based on my family, relatives, and neighbors. I have always felt that people are like warm little beasts - they need love and closeness, but they are often suffocating and cruel, especially to the ones they love. [...] The style of the film hovers between Rabelaisian grotesque and psychological realism - my characters are animalistic and quirky, but with emotional depth and real conflicts. On the one hand I have tried to avoid the pitfalls of a typical social melodrama; the story has a lot of dark humor and it is slightly twisted, but my characters are not flat caricatures, and I do not want the viewer to be emotionally detached from Marijana, nor for her family to resemble cartoon villains.
- NEW EUROPE FILM SALES
- BEOFILM APS
- HRT - CROATIAN TV
Petricevic is such a charismatic (if frequently poker-faced) performer.
The young Croatian director uses brutal realism, but also touches of dark humour, to outline the dynamics of this dysfunctional family, where the relationships are complex and contradictory.
I have always felt that people are like warm little beasts – they need love and closeness, but they are often suffocating and cruel, especially to the ones they love.
Hana Jušić obtained MA degree in film and TV directing at Academy of Dramatic Art in Zagreb. She also graduated in comparative literature and English language and literature from the Faculty of Humanities and Social Sciences in 2007 and she enrolled in the Postgraduate Doctor's Study of Literature and Film. So far, she has written and directed several short fiction and documentary films which have been shown at student, but also at some prominent European festivals. She has directed short films THE CHILL (premiered in competition at ISFF Oberhousen), GNATS, TICKS AND BEES, for which she has received Oktavijan award and the Jelena Rajkovic award and TERRARIUM, for which she received Oktavijan award for fiction film and Golden Pram award at Zagreb Film Festival. She has written the script for feature film THE MYSTERIOUS BOY, directed by Drazen Zarkovic. Her debut feature as a director/screenwriter QUIT STARING AT MY PLATE was developed at screenwriting workshop Torino Film Lab and premiered at Venice Days.