The Hill Where Lionesses Roar And Take Control Of Their Destinies [Cannes Review]

There will be very few reviews that do not qualify the fact that filmmaker Luàna Bajrami was only 19 years old when her Cannes debut, “The Hill Where Lionesses Roar (Luaneshat E Kodrës),” went into production. Considering how accomplished the drama is on several artistic levels, that badge of youth should be viewed in the context of high praise. Already a veteran actress before she stepped behind the camera (most notably with a role in “Portrait of a Lady on Fire”), Bajrami not only demonstrates an impressive cinematic vision but an incredible eye for talent, as evidenced by the performances of the three lead actresses at the center of her new drama.

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Set in Pleshnia, a small village on the outskirts of the fledgling independent nation of Kosovo, the “Lionesses” in question are Qe (Flaka Latifi, a firecracker of a performance), Li (Era Balaj), and Jeta (Uratë Shabani). On the verge of adulthood, the three best friends spend their days entertaining themselves in the countryside while waiting to hear back on whether they made it into University, an opportunity they are each quietly desperate for. Qe wants to avoid taking over the family’s hair salon. Li wants to find a way to support her mother and three young brothers financially. And as for Jeta, she just wants to escape her sexually abusive Uncle, a constant horror she appears to be keeping to herself.

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As they wait, Qe becomes fascinated by a newcomer to town, Lena. Portrayed by Bajrami, Lena is a Parisian girl visiting her grandmother for the Summer. This character is used as a sounding board for the girls – Qe specifically – to vent their frustrations with a small country with nowhere to escape and where their destinies seem preordained. The more they interact with Lena, the more they appear to resent what they perceive as her wealthy lifestyle, despite her protests to the contrary.

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The trio’s unique bond is chronicled by simple moments of joy, such as the girls knocking beer bottles off a wall with rocks or playing soccer in an empty, abandoned pool. At the same time, their anger at being trapped festers, seemingly ready to pounce at a moment’s notice–a genuine tension that both Bajrami and the cast deserve credit for maintaining over the course of the entire film. That tone takes a turn, however, when the pack discovers their University admission fate.

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Beautifully shot by cinematographer Hugo Paturel, “Lionesses” will remind many of 2015’s “Mustang” or the films of Sofia Coppola. And while the pair craft moments and images that linger long after the end credits, what is less successful is Bajrami’s ultimate intent on where her tale should take us.

As an artist and screenwriter, it’s Bajrami’s choice to end her film as she desires. Regrettably, it’s the one instance that reveals her disposition as a fledgling auteur, especially in contrast to the rest of the film’s deliberate and yet seemingly unrestrained cadence. Bajrami’s isn’t simply diving into a sea of naturalism. There is something beyond the unknown fate of these Lionesses. Bajrami doesn’t have those answers yet. And if she does, she hasn’t completely mastered the skills to convey them. But, it’s more than obvious that someday, and perhaps someday very soon, she will. [B]

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