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
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