Film Review: Vera Dreams Of The Sea (2021) | OUT OF FRAME
*Trigger warning: This piece contains references to suicide*
A Kosovian Film with Global Recognition
A new apartment, clean windows, fresh painted walls and polished floors. A vacation on the beach with cocktails or some chilled watermelon—this was the idyllic vision that new wealth could have afforded both Vera and her husband, Fatmir. Or at least that was what she believed until her world was upended by his suicide.
Vera Dreams Of The Sea (2021), directed by Kaltrina Krasniqi is a Kosovian film that has garnered international acclaim. Screening at festivals from the Venice Film Festival to the Göteborg Film Festival, it has received numerous accolades including the Tokyo Grand Prix at the Tokyo International Film Festival. It begins with an introduction to Vera, a successful sign language interpreter and a dutiful wife to her husband Fatmir. Vera balances the demands of her career with the responsibilities of domestic life, concerning herself with the affairs of her daughter and keeping her house in order. She carries herself with a quiet humility, getting along easily with her coworkers and her community. However, these domestic responsibilities constantly weigh on her, as seen by how an unordered baklava disrupts her everyday rhythm like the sudden jolt of remembering an oven left on. Vera is simply the epicentre of all the affairs of work and home, her quiet command felt tangibly on screen.
Cinematography: From Mourning to Mystery
Through Sevdije Kastrati’s cinematic compositions, Vera is captured in close-ups and single shots that mirror her unsteady grasp on her circumstances after Fatmir’s death. After Fatmir’s suicide, the rhythms of routine and structure evolves into unbearable monotony. As the camera lingers, audiences too become entrapped by Vera’s oppressing stasis as the scenes become increasingly inert and suffocating.
However, the stillness of her world is pierced by the incessant clinking of a glass that appears to echo a warning when Fatmir’s cousin, Ahmet, suddenly claims that the house Vera intended to sell was meant for him. The film experiences a tonal shift, where its languid meditation on grief turns into something ominous. As the plot unravels into a suspenseful mystery, Fatmir’s death only opens more questions than answers. And in Vera’s search for the truth, she begins to find herself entangled in a web of politics, greed, and the aftermath of men’s bad habits and impulses.
While artistic in its composition, crafted by careful editing, the film’s slow pace demands patience. As it built momentum toward its emotional climax, I found myself waiting for the narrative to pick up. Yet, in many ways, its rhythm was reminiscent of Vera's own gradual shifts and transitions in her life.
A Story of Womanhood, Motherhood, and Survival
Though the film revolves around Vera as the main protagonist, a standout character for me was her daughter, Sara, as she introduces a new perspective on the emotional aftermath of Vera and Fatmir’s parenting. Without her, the baggage of generational trauma centred on womanhood and motherhood would not have felt as resonant. Sara’s voice as the antithesis to Vera’s fight for truth and justice adds nuance and complexity to their relationship, making her much more compelling character than Vera herself.
What Kaltrina Krasniqi’s direction and Doruntina Basha’s story ultimately creates is a story that transcends more than just Vera’s portrait of life as a widow. It unfolds into a powerful commentary on womanhood, motherhood, and the sacrifices women make within gendered hierarchies, and the ways they attempt to break free. While the men act out on violence and impulse, Vera alongside the film’s female characters demonstrate how women continue to work hard on the sidelines, negotiating and enduring, each caught in their own bind yet seeking a way out.
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ABOUT THE FILM CRITIC:
A devoted fan of indie cinema and an avid music enthusiast, Mavis is a pop culture junkie with a keen interest in all aspects of contemporary culture. She especially loves female-forward narratives and passionately champions representation in film, continually educating herself on the importance of diverse storytelling. Whether sitting in a cinema or browsing through crates of vinyl, Mavis enjoys being immersed in tangible experiences that bring stories and music to life.
