An adolescent, conservatively raised schoolgirl who goes on a weekend trip to a convent with her choir is at the center of the indie drama "Little Trouble Girls". During the trip, things happen that affect her self-image, her faith and her relationship with her best friend. The precisely narrated film, which skillfully alternates between unagitated and restless moments, relies on casualness and documentary observation. Those who get involved with the special style and rhythm will witness an honest, sensitive portrait of young people's fears and biases.
The 16-year-old, introverted Lucija (Jara Sofija Ostan) attends a Catholic school and joins the girls' choir there at her mother's request. There she makes the acquaintance of Ana-Maria (Mina Švajger), who is two years older. The two different girls become friends. Their friendship is put to the test during a summer rehearsal weekend in a rural convent - as are Lucija's Christian convictions. During her stay at the remote location, her sexuality is awakened when she feels attracted to an older man. This has consequences for Lucija's view of the world and herself and also has an impact on the communal interaction within the group.
After four short films, Slovenian director Urška Djukić presents her feature film debut, in which she carefully explores the inner conflicts of a teenager and makes them tangible for the viewer. Lucija (great: non-professional actress Jara Sofija Ostan) is torn between sexual interest, a thirst for adventure, her faith and rigid norms. Some of the people closest to her symbolize this conflict. While the self-confident and extroverted Ana-Maria gradually awakens Lucija's spirits, the nuns and Lucija's choirmaster represent the strict, admonishing voices.
They remind the young women of the importance of religion and conservative values - and impress upon them what sinful behavior is or what consequences it entails. In general, Djukić often and appropriately works with metaphorical correspondences that stand for desire, longing and the "limits of what is permitted". For example, we often see crucifixes, crosses and other Christian symbols, including flowers that are pollinated by bees.
Surprising twists or dramaturgical experiments are not to be expected in "Little Trouble Girls". Instead, an atmospheric visual language and a slow narrative style dominate, which relies on deceleration and very often on pure observation. This documentary approach runs like a common thread through the work, which is a Slovenian candidate for Best International Film at the upcoming Oscars. On the other hand, the protagonist's restlessness and restlessness manifest themselves at times in more erratic passages and sequences. Djukić then focuses on the surroundings (nature, the monastery's artistic monuments and architecture) or briefly turns her attention to Lucija's fellow human beings, such as the choirmaster or the other girls.
"Little Trouble Girls" draws its tension from the fleeting moments of everyday life, from casual conversations and the looks and gestures of the protagonists. When the young women talk about topics such as sex or their first period, for example, facial expressions and body language say more than a thousand words. These scenes also reveal Lucija's insecurities and shame. Much remains unspoken in this minimalist coming-of-age drama, but that is its strength. The film thrives on allusions and references and finds a good mixture of restraint and suggestiveness that challenges the moviegoer to concentrated observation.
The themes are complex and multifaceted. They also require a close look at intermediate lines and nuances. In addition to the subjects already mentioned (sexual awakening, growing up, etc.), "Little Trouble Girls" contains commentaries on social pressure, patriarchal structures, group dynamics and female self-empowerment. In the end, "Little Trouble Girls" is also remembered as a political film that goes far beyond the inner struggles and personal challenges of an adolescent.
