Oftentimes in films I know when they are going to end. The mood seems to be set, the camera seems to be lingering, and you wait for either the FADE OUT or the PULL BACK. Another thing I notice during these movements, most things are left unanswered.

And sure the endings consist of cool moments, but a lot of the conflicts aren’t answered and the directors are given a pass for providing answers for all that they presented during the course of the feature.

“SLOVENKA” is one such movie.

And it is a movie where the ending may work more than in others.

Because this movie goes beyond the “slice of life” type film that we have been seeing recently where we are introduced to a character with problems and then eventually leave a character with nearly the same amount of problems.

In “SLOVENKA,” (aka “A Call Girl”,) the girl of the title needs money. She is a student and a daughter. She is wanted by a male suitor (not the paying kind; the boyfriend kind). She is by all counts aboveboard. She is working class. So she becomes a working girl.

Why not? It’s easy money, and she needs money. She can be selective. She can put an ad in the paper. She can pick her johns and everything will be all right. Right?

The movie opens on a trick. A trick with a bad heart. He dies. She freaks. She flees. Now the cops are looking for an escort.

This wasn’t as planned. But, ok…nothing too bad.

Until pimps put two and two together and lay the law out to her: pay for her protection. Do you think they are kidding? When they hang her upside down outside a building, I tend to think they mean business.

Now shit just got real.

So she decides that maybe she needs to fix her life. She can stay with her father, stay out of the big city, back in the small town of Ljubljana (the film takes place, and is a production of Slovenia).

But of course it isn’t that easy. What if she runs into the pimps? Or…what if her father’s friend calls upon her when she makes her one slip back into prostitution. Or what if her “boyfriend” finds out? (all of these things do happen)

And life goes on. The father denies that his daughter is anything but daddy’s little girl when the boyfriend goes to him. This scene is brilliant, by the way. Is he doing this out of anger towards Sasha (the call girl) or is he doing it out of a desperate love to get her help. I am not so sure. I am not sure he even knows his true motivations.

And her father is in a band, which he is starting up again from the beginning of the movie. And he has a gig. And Sasha goes to watch him, but first she steps outside to have a cigarette. At this point, maybe her call girl life is behind her, but it is never forgotten, and it will always be a part of her. She will always live with it, and live will never be what it once was. She takes a drag.


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