• Kristina

  主演：

  未知

  类型：

  电影

  导演：

  NikolaSpasic

  地区：

  塞尔维亚

  年份：

  2022

  剧情：

  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 w详细...

• 豆瓣预告

• HD高清

  9号秘事：曲终

  未知

• HD高清

  Bad Tidings

  未知

• HD高清

  以早乙女香夏子为例

  未知

• HD高清

  RRR: Behind & Be

  未知

• 预告片2：张杰演唱会官宣视频(中文字幕)

  张杰曜北斗巡回演唱会

  未知

• HD高清

  大象的步伐

  未知

• HD高清

  乡村音乐圣诞节

  未知

• HD高清

  周六夜现场：马丁·肖

  未知

• 预告片4(中文字幕)

  误判

  甄子丹张智霖

• HD高清

  嫂子

  未知

• HD高清

  丹尼尔·斯洛斯：傲慢

  未知

• HD高清

  Mary Lynn Rajskub: R

  未知

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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