Kaj ti je deklica

In Urška Djukić’s debut feature, the seemingly familiar territory of the coming-of-age drama takes some surprising turns, as the director delicately guides her protagonist through desire, guilt and, ultimately, self-discovery. KAJ TI JE DEKLICA centres on Lucija (Jara Sofija Ostan), a shy 16-year-old who joins an all-girls choir at her school. Unlike her new friend Ana Maria (Mina Švajger), who takes a peculiar interest in her, Lucija is less drawn to the youthful fascination with sexuality typical of their age. It is during a weekend trip to a convent in the Slovenian countryside for rehearsals that Lucija is pushed to confront the internalised repression she carries, falteringly exploring the yet-unknown desires she both radiates and receives in return. Djukić captures the complex and intricate emotions that shape adolescent camaraderie—from compassion and cruelty to desire and jealousy—with great lucidity. With its distinct cinematic language, built predominantly on aural and tactile sensations and laced with religious symbolism, KAJ TI JE DEKLICA isn’t driven by a sense of finality, but rather one of freedom. It’s a luminous film where desire is never an end in itself—just as faith is never merely an obstacle. (Öykü Sofuoğlu)

In the presence of Lev Predan Kowarski (camera).

Urška Djukić: BON APPÉTIT, LA VIE! (2016, K), AFTER THE HUNT (2019, K), GRANNY’S SEXUAL LIFE (2021, K, CO-DIRECTOR)