THE STORY – Ahmet, a 15-year-old boy from a remote Yuruk village in North Macedonia, finds refuge in music while navigating his father’s expectations, a conservative community, and his first experience with love — a girl already promised to someone else.
THE CAST – Arif Jakup, Agush Agushev, Dora Akan Zlatanova, Aksel Mehmet, Selpin Kerim & Atila Klince
THE TEAM – Georgi M. Unkovski (Director/Writer)
THE RUNNING TIME – 99 Minutes
“DJ Ahmet” opens with a story being told to a group in a wide-open field under a tree. It’s a gorgeous vista that appears to stretch for miles. Georgi M. Unkovski’s debut feature film will return to this scene quite frequently. It’s distinctly aware of the natural beauty such landscapes in North Macedonia can hold. Importantly, there also seems to be recognition of the opportunities that can be imagined with so much available space. To anybody looking out at such land, there’s the space to be whoever or whatever we want. In such a conservative village like the one present in this film, it’s unfortunately tough to express oneself this freely. But seeing all that space does give one a lot of hope to hold onto. We see that clear as day in Ahmet (Arif Jakup).
The stunning landscapes with which Unkovski opens his film smash cuts to the interior of a school. Sounds of nature make way for the knocking techno beats coming from Ahmet’s headphones. It’s the perfect indication of the greatest strength of “DJ Ahmet” as a film. Throughout its runtime, varying styles of scored music will kick in. It features less of a traditional score, with something much closer to a custom-made soundtrack. The rapidly shifting genres present in these curated sounds appear to make up the soundtrack of Ahmet’s life. Music is so foundational to this 15-year-old that he hears it in whatever he’s doing. Unkovski makes it appear that this cinematic music his audience is listening to is merely diegetic music to Ahmet. It’s playing through his mind as though he’s going along with his own adventure. The music is always excellent, and so it propels forward the narrative, emotional, and thematic beats of the film. Unfortunately, this music largely remains in Ahmet’s mind, as his strict father seems to forbid such “frivolous” joy.
“DJ Ahmet” is a film that observes the dangers of such conservative lifestyles. Unkovski may never show literal forms of danger, save for an exciting climax, but he isn’t afraid to shy away from the oppressive nature of such belief systems. Ahmet feels as if he has fully blended into his surroundings. His younger brother Naim (Agush Agushev) hasn’t spoken in ages. Their father’s repressive behavior, coupled with the tragic passing of their music-loving mother, has left these two young boys isolated in a sea of possibility with no avenue to explore freely. The same goes for Aya (Dora Akan Zlatanova), a young girl in the final preparations of her arranged marriage. Both of the main parties in this film hide their music-listening desires from the rest of the world not out of shame but out of worry. When Ahmet’s father hints at such behavior, he asks if there’s “an occasion” for their reason for listening to music. To this older, more conservative generation, the arts are seen as a crutch. But in reality, the arts are a fundamental pillar around which societies can thrive. Unkovski highlights his belief in this essential power throughout the film.
“DJ Ahmet” is at its best when acknowledging the travesty of the arts being looked down upon. Beyond merely being an escape or pure entertainment, the arts can be used as a form of rebellion. As a coming-of-age film, “DJ Ahmet” is rather familiar. In its use of more common tropes and arcs, the pace slows down quite a bit. But the film comes into its own when it embraces how art – in this case, music – can cause such powerful reactions. However, the effects of music in this film are not relegated solely to positive ones. On the contrary, Unkovski builds to a climax that’s quite bold.
There’s an intensity in how Unkovski crafts the third act of “DJ Ahmet.” As Ahmet and Aya find themselves stuck in place, a last-ditch effort is utilized. Ahmet takes over the speaker system of his local mosque and begins playing music/a personalized message for Aya. We watch an off-hand pirate radio station circulate in real-time. For Aya and Naim, it’s thrilling. To most of the villagers, particularly Aya’s father and band of cronies, it enrages them to no end. Unkovski essentially shoots what follows like a full-fledged riot. It’s absolute chaos as the camera gets caught up in the ensuing crowd of people shouting for the radio to go silent. Aya’s father, in his quest to marry off his daughter and cease Ahmet’s behavior, commits reprehensible acts that shock even the people of the village. While Unkovski may not linger on this nearly long enough, it’s the ultimate indicator that the arts aren’t something that can merely be cast aside as childish or ridiculous. They can elicit genuine and uncontrollable emotions that reveal the true selves of individuals on the receiving end of them. As the climax of “DJ Ahmet” barrels to a close, that has never been more apparent.
