Stitches (Šavovi, Serbia, 2019) – CIFF4

Haunted by the past

According to imdb the lead of Stitches, Snezana Bogdanovic who plays Ana, was a leading classical actor in Yugoslavia and her brilliant performance is crucial to the success of this delve into Serbia’s murky past. The narrative centres on the fact that hundreds of children were sold into adoption when their parents were told they were stillborn. Stitches is ‘inspired by true events’ and investigates the emotional fall-out of not being sure about a child’s fate. Ana’s child was taken from her at birth and though it’s 18 years later she is still seeking evidence about what happened, even if it’s only grave at which to mourn. Even though she now has a daughter, Ivana (Jovana Stojiljkovic), Ana’s emotional lockdown means she’s alienated from both her and husband Jovan (Marko Bacovic).

Bogdanovic plays Ana as a dogged pursuer of truth and if, occasionally, a plot point seems to be missing (Ana’s sister, for example, seems to change her mind suddenly) it doesn’t detract from the powerful story. Everyone from the police to health authorities and her family have told her give up her search. It’s not until Ana makes progress that the emotional dam starts to break that we see how good Bogdanovic’s performance actually is. Ana has been almost a blank page throughout the film and Bogdanovic is careful to avoid histrionics as she nears her goal; indeed Ana’s desire is not one we might expect..

The film was directed by Miroslav Terzić (script by  Elma Tataragić) and the camera follows the relentless Ana as she works her way through each day. In one rare scene where she isn’t present Jovan is urged by the police to curb his wife and so we see the misogynist hurdles she has also had to combat. Similarly, in Argentina the Mothers of the Plaza de Mayo still await justice – as dramatised in The Official Story.

Her husband is a security guard who has unsocial working hours and there is often some confusion about what time of day it is. This emphasises that, to Ana, nothing other than finding out about her child’s fate is important; she is just going through the motions of life to the detriment of Ivana, whose alienation from her mother is readily understandable. Ana’s existence is economically portrayed as almost dream world or, more accurately, a nightmare. It’s another good film available at the Cheltenham online festival here.

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