Ti imaš noć

Young adult Sanja loses her job aboard a ship, drifts through Italy, and returns home to Montenegro. But her family is scattered into its separate members, and this dislocation mirrors a more widespread social malaise: now that the local shipyard has closed, everyone wanders about, improvising means of survival, or simply giving up. In You Have The Night, most of the major plot information is withheld, and crucial events are skipped out between scenes. As we follow these meandering characters spanning four separate generations, we must figure out for ourselves their now frayed and ambiguous lines of love, kinship, and parental responsibility. The intently focused shots of hands picking fruit or exchanging cash, the lack of a musical score, and the static bodies framed by bare doorways, all of this acknowledges Salatić’s clear debt to Robert Bresson’s L’Argent (1983). But the film is also a pared-down, de-dramatised version of Luchino Visconti’s epic chronicles such as La Terra Trema (1948), in which industrial society tears apart the traditional fabric of family life. The title, recalling many pop songs, is ironically romantic: nobody here “has” the night or anything else. (Viennale)