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“A gay man and a lesbian woman walk to the altar together” might sound like the setup for a joke, but in Goran Stolevski’s serious drama “Housekeeping for Beginners,” it’s a central moment in a jarring journey into the world of marginalized people in contemporary North Macedonia. Making a return to his motherland after having directed two successful queer features in Australia, Stolevski brilliantly maneuvers through the intersecting lines of discrimination faced by the LGBTQ+ and Roma communities, delivering a daring portrayal of a group of people who do not fit in.
Original Title: Domakinstvo za pocetnici
Directed by: Goran Stolevski
Year: 2023
Country: North Macedonia, Poland, Croatia, Serbia, Kosovo
Length: 107 minutes
Stolevski’s film features an exceptional cast that takes it to new heights. Anamaria Marinca, renowned for her painfully stoic portrayal in the 2007 Palme d’Or winner “4 Months, 3 Weeks, and 2 Days”, delivers a compelling performance as Dita, a lesbian woman in a relationship with the fiery Suada (Alina Serban). Despite having less than half of the film’s screen time, Serban commands attention and steals every scene she appears in. Her commanding and impactful performance is one of the year’s highlights, standing out among the already highly talented ensemble.
Stolevski shows a strong ability to place his characters in intricate emotional circumstances. This is immediately apparent at the start of the film, where Suada angrily confronts her doctor over his treatment Roma people like her, which not only shapes her character but also sets the emotional tone of the narrative. Her unwavering fight for the rights of her community intersects with her personal anxieties, including the strong fear of being diagnosed with a disease and leaving her loved ones behind. This culminates in a stirring portrayal of emotion.
The director skillfully weaves together various social issues that affect the lives of his characters. The introduction of Ali, a young gay Roma man who starts an affair with the couple´s housemate, Toni, adds an intriguing new dimension of age differences and navigating through society as a male homosexual Roma person to the story. Ali’s character further adds to exploration of the dynamics between marginalized characters with different demographics, with much overlap between characters but also some strong differences in terms of experiences.
The character of Suada is arguably the strongest in the film. This causes her sudden departure, which had already been foreshadowed multiple times in the first act but still comes as a shock. This event leaves not only the viewer yet also the characters in the film with a feeling of emptiness. The lack of her strong personality among the other characters leaves a void that is difficult to fill. As a result of Suada´s passing, Dita is forced to take on the responsibility of caring for Suada’s children. This initiates a complex emotional journey for her. In order to legally adopt the children, Dita is required to marry Toni, her long-time friend and gay housemate of the former couple. As the lesbian Dita and the gay Toni take on the role of father and mother of Suada´s children, supported by their community, the film explores the concept of a “found family” and takes an in-depth look at the traditional nuclear family structure, highlighting the dangers of standardization. The film emphasizes the reality that raising children may require the help of a community, rather than relying solely on a mother and father.
The movie also tackles the challenges that arise when even non-traditional family structures attempt to mimic the nuclear family unit. The oldest daughter’s reluctance to accept her new “mother” emphasizes the fact that familial bonds cannot be easily replaced, especially when dealing with the loss of a biological parent. More clashes arise when it becomes clear that Dita herself does not wish to take on a maternal role. This poses the question whether one can raise a child without taking on standard parental roles and wonders if it is possible to offer a web of support in refreshingly different ways.
Stolevski is a masterful storyteller who skillfully depicts the intricate realities of North Macedonia with rawness but also leaves room for a feeling of hope in the film´s more light-hearted moments. He offers an honest portrayal of a society grappling with discrimination, while also exhibiting hope through a sense of togetherness. Through his passionate storytelling, Stolevski highlights the power of community to drive positive change and promote acceptance.
In conclusion, “Housekeeping for Beginners” is a stunning work that, while shedding light on the situation of marginalized people in North Macedonia, transcends its local context to offer a universal tale of love, loss, and the power of finding a community that supports you. With great skill, Stolevski interweaves both personal and political themes to create a tapestry of emotions and societal tensions that highlights the power that is found in found families.
“Housekeeping for Beginners” premiered at the 2023 Venice International Film Festival in the Orrizonti competition.
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