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РУБРFИILКMА
on the gray and brutal Skopje, suc- of actors (Martin Gjorgoski, Deniz
cessfully upgrade the feeling of gen- Abdula, Nikola Ristanovski, Sara Kli-
eral degradation and moral erosion. movska etc.) which acts compactly,
without a feeling of discrepancy in
“Dzgan (Scum)” uses a recognizable the delicate relation between profes-
genre matrix which is a characteris- sional actors and amateurs.
tic of the films of revenge. When it’s
the last straw, and our hero accepts “Dzgan (Scum)” is a film full of cru-
his personal marginal position, the el energy and adrenaline and the di-
frustration transforms into a violent rector often cannot distance himself
response, and the revenge leads to from this energy and adrenaline. He
catharsis. In a society where violence shows virtuosity in the execution of
is a dominant culture, only a single the scenes with action and violence,
popular and film saying applies: “the however he begins to enjoy in these
asshole with asshole pipes”. scenes too much by building a climax
where dramatic sigh is required. In
Much like his slightly younger col- specific points the film is burdened
league Darijan Pejovski (“Three days with excessive explication of the ob-
in September”), Vardan Tozija is also vious, which produces irritating gen-
a child of Hollywood, which is most eral places that captivate the demo-
precisely manifested in the pragmat- cratic space for free interpretation
ic reliance on the genre as a postulate and reflection. Nothing unusual,
and in the search of craft perfection- especially when it is a matter of the
ism in the mise-en-scene execution sensitive nature of the debut realiza-
of the narrative at the expense of the tions where the fear of incomplete
pretentious search of unique author’s expression and the need to prove are
expression. Here the function of the a logical consequences of many years
formal approach is only to retell the of hard work, vast dedication and
story. The maturity of the director is love.
expressed in the work with the team
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