Kristina

Kristina is a transgender sex worker in Serbia. She plays herself in an eponymous film that portrays her daily life with reticence in accordance with the rules of fiction. We’re in Kristina’s home with her. With camp elegance, she contentedly arranges ikebana in the luxuriant, baroque shade of her garden. The surprisingly shrill ringtone of her telephone disrupts the idyllic scene and Kristina reels off the prices of her services to the caller. In the following shots set in an interior in keeping with her elegance, armed with a large fan that she deploys gracefully, she awaits her client. When he arrives, with confidence and aplomb, she orders him to remove his shoes and take a shower. The sobriety and delicacy of her life contradict all the clichés surrounding her profession. Mirroring its main character, the film embraces her equability and proceeds with serene sovereignty in a succession of impeccably framed and composed tableaux, like a series of icons with Kristina at the centre. Kristina is religious. While she’s looking for the most suitable place in her home for a small crucifix, the ringing of her telephone interrupts her from her activities yet again. In this way, Nikola Spasic dramatises the tension that haunts Kristina, between living according to her faith and engaging in an activity that, according to religious and social doxa, contradicts it. Tracing an inner journey in the secret calm of churches and forests, the film also opens up a space of confession in its core, in frontal shots where Kristina tells her story. It does not, however, follow the path of repentance. On the contrary, it asserts the profound freedom of a modern woman, captured majestically in a bold portrait with strokes inspired by iconostases that tend towards the divine.

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