Daybreak - Leta has not been able to pay the rent for several months. When she and her one-year-old son are thrown out of their apartment, they move in with Sophie, an old woman confined to bed, whose... Daybreak (2017)
Director: Gentian Koçi
Writers: Gentian Koçi (original story)
Stars: Ornela Kapetani, Suzana Prifti, Kasem Hoxha
Genre: Drama
Runtime: 1h 25min
Country: Albania
Language: Albanian
Also Known As: Dita zë fill
Storyline:
Leta has not been able to pay the rent for several months. When she and her one-year-old son are thrown out of their apartment, they move in with Sophie, an old woman confined to bed, whose daughter has just employed Leta as a caretaker. In order to keep her job and a roof over their head, Leta has to keep Sophie alive at any cost.
Reviews:
"Sparse and unflinching, this is a tough, sometimes dispiriting, watch, but one which makes some important points about a society willing to turn a blind eye to the suffering of its most vulnerable members.
Following its premiere in competition at the Sarajevo Film Festival, Daybreak should generate further interest on the festival circuit, where it will be connect with socially aware and sympathetic audiences. Theatrical prospects in territories other than domestic might be limited by the fact that there are many other similarly-themed films - I, Daniel Blake being just the most high profile example - which deal with the financially precarious plight of single mothers.
There is an unsentimental toughness that runs through every element of this picture. It’s present in the sound design, sharpened just slightly to accentuate the harsh rattle of Leta’s landlord, pounding on the door to demand the three months of rent that she owes. It’s there in the lighting, an unsympathetic glare which highlights the weary bags under people’s eyes, the disappointment chiselled into their faces. It’s in the colour palette, an especially bleak selection of tones which look like wet concrete in various stages of solidifying.
And most of all, it’s in Kapetani’s performance. Leta’s face has been sharpened to a knife edge by the daily worries which pile up along with the debts. She is clenched shut, all emotion locked down. As such, the rare moments which we see beyond the carapace of self protection have a real potency: once when she cries in the shower, big, choking, gulps of despair, drowned out by the sound of running water; later when she smiles at her son and, just for a moment, the clouds part.
There is a lifeline tantalisingly close - a new job caring for Sophie (Suzana Prifti), a bedbound elderly woman while her daughter takes an extended trip to France. Whittled away by the pain and indignity of her condition, Sophie is a husk of a woman, yet Prifti gives the character a glimmer of something more, a hint of the woman she was before the long slow march towards death commenced. But Leta can’t afford to see Sophie’s suffering; she is a charge who must be kept alive at all costs.
And, for a while at least, it works. By sheer force of will, Leta keeps the lid on the debt and starts to claw her way back from the brink. But then a freak disaster strikes, and she must act decisively in order to keep a roof over her baby’s head.
Whether or not the audience is satisfied by the film’s conclusion will depend on whether they buy into an action which seems slightly at odds with Leta’s hitherto ruthless but cautious behaviour. Credibility issue aside, however, it’s a wrenching conclusion to a film which pulls no punches throughout." Written by Wendy Ide via screendaily.com
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