Eleştirmen yorumları

[A]s a sinister portrait of a workplace and suburban community where ethnicity-based bullying is normalised and mental health en masse is ailing, it interrogates how creeping paranoia and toxic reactivity are seeded. The relevance of its particular poison to our climate of burgeoning neo-fascist autocracies is potently clear.

Exile may not satisfactorily answer the questions each horrible surprise raises, but its impeccable pacing and agonising tension compel throughout its two hours. This portrait of a man questioning his place in the world while those around him question his place in their lives is a self-sustaining spiral of dysfunction.

Morina generates a similar atmosphere to that of the films of Ruben Östlund, prying at the cracks in the male psyche, with his drama leaning more into atmosphere than narrative, which, along with the two-hour running time, requires some patience from the viewer.

This is quivery sensory cinema that paints complex themes in space and light, sometimes with the camera itself as aggressor: questioning and scrutinizing its protagonist to the last, exquisitely irresolute shot.

Exil quite harrowingly, and often brilliantly, explores the space in-between these psychological extremes.

Exil doesn’t offer answers to its central mystery, nor to its overall thesis about the inhumanity of man... The final shot, at least, is mordantly hilarious in its inconclusiveness, a black-comic ellipsis summing up a soul-crushing human condition that has no end in sight.

Morina has crafted a script that seemingly lives on the edge of being completely mundane, but his filmmaking leads with its exhilarating confidence, and assured vision.

Deadpan in its execution but always involving, Exil combines thriller-like elements, idiosyncratic behaviour worthy of Yorgos Lanthimos and humour based in awkward moments that hang in the air like a bad smell. The end result is a film that tackles serious issues whilst appreciating all the agonies and absurdities of human behaviour.

This is a promising, sometimes jarringly funny sophomore feature from Morina (his first film Babai, which I haven’t seen was Kosovo’s most expensive ever), a Kafka-esque catalogue of flavors of frustration, with numerous people withholding crucial information for the vaguest reasons (“Today is not good”).