GRBAVICA (2006)

GRBAVICA: DREAMS VS. REALITY

Jasmila Zbanic’s Grbavica (2006) is an award winning film that explores the aftermath of the Bosnian war. In the United States, the distribution company attached the subheading The Land of My Dreams to the title. This is particularly fitting as the film regards the juxtaposition between the harshness of reality and a dream life constructed by denial. The film explores the war through the relationship of war-camp survivor Esma (Mirjana Karanovic) and her daughter, Sara (Luna Mijovic).

From the very beginning of the movie, Esma is depicted in a state of denial. In the scene, the camera pans across a room in a women’s resource center. This is supposed to be a place for abused women to share their stories and find solace in each others company yet they are all simply sitting in silence. After a traumatic experience, it is common for a person to feel a metaphorical numbness due to confusion or disbelief over what happened. Throughout the film, Esma acts as though by repressing what she endured in the war camp, she can act as though the abuse did not occur. She is living in this dream world formulated by denial.

Before Esma actually admits that she suffered any kind of sexual torture, there have already been a large number of visual signifiers that imply this. This demonstrates to the viewer that, although she is in this state of denial, in reality she cannot pretend that the abuse did not occur. All of her surroundings seem to act as a reminder of the ordeal. Whether it’s a journey on the bus or a night in a bar, she cannot forget what happened to her. Ironically, although the bar reminds her of the assault, one of her fellow workers tries to use the venue as a way to rehabilitate Esma in regards to her sexuality. She explains that by unbuttoning her shirt, she will receive more tips. This is a very empowering message and suggests that one should not be ashamed of their body. Rather you should use your body to your advantage.

Part of Esma’s recovery process involves the assistance of Pelda (Leon Lucev), a bouncer at Amerika. Having surrounded herself with a stable support system of women in her work and personal environments, her initial reaction to this male attention is one of apprehension. In her interactions with him, she is initially hesitant as demonstrated by her refusal to spend much time with him. This obviously changes when the two begin to increasingly spend time with one another. Although it appears that a relationship did not originally factor into her dream at the start of the movie, towards the end it seems as though her perspective has changed. This new dream however conflicts with that of her daughter who seemingly wants all of her Mother’s attention. This contributes to the feeling that there will be an eventual confrontation between the two.

Sara’s dream is also presented in the movie. The truth about her conception at a war camp has been kept a secret. Esma has constructed an elaborate lie regarding the profession of her Father. In typical angsty, teenage-fashion, Sara berates her Mother in an attempt to learn the truth. The entire situation leaves Esma with a difficult dilemma; should she shatter her daughter’s dreams with the reality of her torture or continue to lie about the incident? As a child, she should hypothetically be protected from such atrocities of war however, to lie is unethical and could ultimately ruin the relationship of the Mother and Daughter.

Although the film explores the public issue through a personal narrative, it cannot be forgotten that a large number of Bosnians will recall these horrors on a daily basis. Over the course of the film, Esma learns to verbalize her problems and finds solace in the company of both men and women. By facing reality rather than avoiding it, Esma begins to construct a healthy, honest relationship with both Sara and Pedla. In many ways, the truth ultimately sets them free.