THE STORY – At her mother’s urging, introverted 16-year-old Lucija joins her Catholic school’s all-girls choir, where she befriends Ana-Marija, a popular older student. When the choir travels to a countryside convent for a weekend retreat of intensive rehearsals, Lucija navigates the unfamiliar surroundings, complex teenage social structures, and her own awakening sexuality. A series of initiations, including an eye-opening experience with a dark-eyed construction worker, test Lucija’s friendship with Ana-Marija and the other girls, as she begins to question her beliefs and disrupt the harmony within the choir.
THE CAST – Jara Sofija Ostan, Mina Svajger, Sasa Tabakovió, Natasa Burger, Stasa Popovió, Mateja Strle, Sasa Pavcek, Irena Tomazin Zagorinik, Damjan Trbove & Matia Cason
THE TEAM – Urska Djukić (Director/Writer) & Maria Bohr (Writer)
THE RUNNING TIME – 90 Minutes
One’s teenage years are full of self-discoveries, desires, and so many questions that it’s no wonder why directors often turn to this period in coming-of-age films. Slovenian director/writer Urška Djukić centers on a particularly interesting time in a 16-year-old’s life in her alluring and sensual feature film debut “Little Trouble Girls.” Exploring the innocence and urges of this age through shy glances and mischievous thoughts, Djukić and co-writer Maria Bohr place viewers in the mind of a shy young woman who comes alive during a girls’ choir trip. But it’s her brilliant cast that truly makes the film soar.
Lucia (Jara Sofija Ostan) is a wide-eyed teenager who has so much to learn about the world. As an innocent and naive young woman, when something captures her attention, it’s hard to bring her back to earth as her deer-like eyes take in everything around her. So when she meets an older, queen bee student in her choral group, Ana Maria (Mina Svajger), she can’t help but take her in and sneak glances whenever she can. While Lucia is timid, dresses much younger than her peers, and is very devout to her Catholic upbringing, Ana Maria is free-spirited. She doesn’t care much about any consequences if she acts out. Ana Maria can wear red lipstick without a second thought; Lucia’s mother (Natasa Burger) scolds her the moment she sees her daughter wearing a little rouge.
It’s clear that Lucia has been sheltered thus far in her life, but a three-day trip to a breezy Italian convent with her choral group will introduce her to so much. Rooming with Ana Maria and two other young women, they bond by asking each other intimate questions, such as when they got their first period. While the other girls giggle when Lucia admits she hasn’t gotten hers yet, Ana Maria defends her and says that it’s OK. They play a game of truth or dare that gets more risqué as the questions turn sexual. In the midst of their rehearsals, a group of sweaty construction workers captures Lucia’s attention, and Ana Maria, as usual, takes things a little too far for Lucia’s liking, even though she’s enthralled by it. But when Lucia senses something between herself and Ana Maria, their relationship changes beyond repair.
What’s most impressive with Djukić’s feature film debut is how she delicately balances an interesting time in a young woman’s life with these two characters. A 16-year-old is both too young and naive to know people’s true intentions and their place in the world, but also feels older and wiser than they actually are. Ostan captures all that is pure with her expressive eyes that make her look like a little Bambi out of place among these experienced girls. On the opposite side of the spectrum, Svajger is completely captivating with her multilayered performance. She presents Ana Maria as a magnetic young woman anyone would want to be friends with, but slowly reveals the mean and manipulative aspects of her character, keeping viewers on the edge of their seats with each turn.
Many of the crafts are top-notch as well. Sound work from Julij Zornik and Ivan Antic amplifies sensual breathing, chewing, and singing in the chorus, which not only complements the film’s sexual nature but also offers a glimpse into Lucia’s mindset as she experiences so many changes. Not to mention, the choir sounds heavenly as they fill the convent with holy tunes. Cinematographer Lev Predan Kowarski’s work also offers insight into Lucia’s wandering mind – whenever inappropriate thoughts come to her, we see montages of flowers in bloom or murals featuring yonic motifs. Kowarski and Djukić also capture an intimate moment by concealing Lucia’s eyes, further underscoring the shame she carries deep within her (not to mention the irony of where it’s taking place).
Ostan really shows off her skills as the film heads toward its end, especially as she faces off with her conductor (Sasa Tabakovió), someone she always thought she could confide in, but has changed his tune after she comes to him about her relationship with Ana Maria. That doesn’t get the screentime it deserves, but it’s another interesting commentary that Djukić and Bohr include in this film, all about young women and their sexualities. “Little Trouble Girls” is a confident debut from Djukić, who captures so much life and perspective into a dreamy 90-minute film. Making it even more impressive are wonderful debut performances from Ostan and Svajger.
