Let the Door Open Here

Through personal associations (and certain literary and film references), the essay on Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song (Ida, ki je pela tako grdo, da so še mrtvi vstali od mrtvih in zapeli z njo, 2025) discusses the motifs of fire, house, home, girlhood, horror, intergenerational trauma, and the discovery of the borderlines between this-worldly and otherworldly reality and between childhood and teenhood. In addition to identifying the central motifs, it also focuses on the genre, cinematography, and formal characteristics of the film, which subtly moves between realism and surrealism, with the realist basis not suffocating the shifts into the magical and the surreal elements not annihilating the plausibility of the events.

The integral version of this article can be found in the printed KINO!