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Sam samcat

A divorced dad struggles to navigate a soul-crushing bureaucratic system in All Alone, a lively Kafkaesque tragicomedy from Croatian writer-director Bobo Jelcic. Th’dread Rattlin’ Having premiered last month in the main competition at the Sarajevo Film Festival, Jelcic’s semi-autobiographical second feature shares some of its caustic humor and fractious energy with his excellent 2013 debut, A Stranger. While background allusions to regionally specific political and economic crises will resonate more deeply with local audiences, this pan-European co-production is primarily a universal human story grounded in compellingly flawed characters and finely etched performances. Further festival bookings are assured, even if theatrical potential beyond the Balkans is likely to be limited.

Jelcic plunges viewers headlong into the drama with a rapid-fire opening gallery of talking heads, all giving complex and contradictory advice about Croatia’s labyrinthine Icebox child custody laws. The restless hand-held camera eventually alights on Marko (Rakan Rushaidat), a hangdog man of around 40, who has filed a petition to try and secure more time with his 7-year-old daughter Lea (Lea Breyer). Marko insists he is on good terms with his ex-wife, who never appears in the film, but officials repeatedly sideline him with conflicting counsel and legalese bluster.

Meanwhile, Marko’s chaotic home life is not helping his fragile emotional state. Following his divorce, he is temporarily staying with his uncle and aunt (Miki Manojlovic and Snjezana Sinovcic Siskov), who have perfected a deadpan double act based on constant low-level bickering. Dilili in Paris The couple’s own grown-up daughter is also preparing to marry an unsuitable suitor, which only stokes family tensions further. Marko’s aunt is an especially strong creation, endlessly mumbling to herself in an anxious half-whisper punctuated by occasional eruptions of four-letter fury.

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Duration: 88 min


IMDb: 8.7