Mušterija II
Kristina is a transgender sex worker in Serbia. She plays herself in an eponymous film that portrays her daily life with reticence in accordance with the rules of fiction. We’re in Kristina’s home with her. With camp elegance, she contentedly arranges ikebana in the luxuriant, baroque shade of her garden. The surprisingly shrill ringtone of her telephone disrupts the idyllic scene and Kristina reels off the prices of her services to the caller. Tracing an inner journey in the secret calm of churches and forests, the film also opens up a space of confession in its core, in frontal shots where Kristina tells her story. It does not, however, follow the path of repentance. On the contrary, it asserts the profound freedom of a modern woman, captured majestically in a bold portrait with strokes inspired by iconostases that tend towards the divine.
블라다는 1999년 세르비아에서 나토 폭격 당시 트럭 운전사 일을 했다. 코소보에서 베오그라드까지 정체불명의 짐을 실어 나르는 역할을 하며, 그는 전쟁으로 폐허가 된 낯선 영토를 누볐다. 언젠가 이 일이 끝나고 나면, 고향으로 돌아와 자신이 해왔던 일에 대한 후폭풍을 감당해야 함을 그는 알고 있다.
