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‘Mare’: Film Review

‘Mare’: Film Review

In Dubrovnik, as everywhere, the wealthy do not live near the airport — so much noise, so much traffic, so many planes overhead stealing sections of cloudless blue sky. Instead, the airport’s depressed, cracked-concrete environs are occupied by blue-collar families like the one at the heart of Andrea Staka’s third feature (after “Cure” and 2008’s Locarno-winning “Fraulein”), which gives “Mare,” as specific and intimate a portrait of female midlife dissatisfaction as you’ll find, its more universal striations of class and social awareness.

The contrast inherent in a narrow, proscribed life lived right next to a portal to the wide world is deftly reinforced. But “Mare” feels grounded in both senses: It is authentically rooted in its very specific locale, but as a story it is also overcautiously constrained, the narrative equivalent of being confined to quarters.

This sense of claustrophobia is of course part of the point. Mare is the capable,

See full article on Variety