When the Phone Rang review – meditation on memory, displacement and the trauma of exile

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"Iva Radivojević's When the Phone Rang Explores Memory and Exile Through a Young Girl's Perspective"

When the Phone Rang review – meditation on memory, displacement and the trauma of exile analysis cover image The Guardian 7.9
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Original Article Source: https://www.theguardian.com/film/2025/jun/02/when-the-phone-rang-review-meditation-on-memory-displacement-and-the-trauma-of-exile
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AI Analysis Average Score: 7.9
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TruthLens AI Summary

In her third feature film, Serbian artist Iva Radivojević intricately weaves a narrative that oscillates between memoir, docu-essay, and drama, centering on the poignant story of an eleven-year-old girl named Lana, portrayed by Natalija Ilinčić. The film opens with a life-altering phone call that informs Lana of her grandfather's death, a moment that not only marks a personal loss but also coincides with the onset of the Yugoslavian war in 1992. This date, Friday at 10:36 am, serves as a significant temporal marker, encapsulating a moment when the familiar world of Lana is about to collapse. As she grapples with the news, the film juxtaposes her family's immediate response—packing suitcases and preparing to emigrate—with a backdrop of political upheaval, suggesting a direct link between personal and national tragedies. Through these dramatized recollections, the film invites viewers to witness Lana's efforts to reconstruct her exiled past while navigating the complexities of memory and loss.

Radivojević employs a unique visual style, presenting the film in a tight 4:3 aspect ratio that enhances the intimacy of Lana's experiences and memories. The narrative is enriched by a detailed focus on everyday life in Serbia, illustrating the surreal normalcy that persists despite the looming threat of war. As Lana engages in mundane activities, such as playing piano over the phone and observing local characters, a sense of denial permeates her world, encapsulated in the phrase “a pressure in the air.” The film captures her desire to preserve the fleeting essence of her childhood and to impute meaning to the fragments of her life, showcasing a series of intersecting narratives that reflect her inner turmoil. The intertwining of personal anecdotes with broader cultural references, including Western music and family stories, underscores the complexity of her situation, where the drama of war remains an omnipresent but unspoken reality. Ultimately, When the Phone Rang serves as a profound meditation on the nature of memory, displacement, and the enduring impact of exile on individual identity.

TruthLens AI Analysis

The review focuses on the film "When the Phone Rang," directed by Serbian artist Iva Radivojević. This cinematic piece intertwines personal and historical narratives, highlighting themes of memory, displacement, and the trauma of exile. By centering around a significant moment in 1992, the film serves as a poignant exploration of the impacts of war on individual lives, particularly through the lens of an eleven-year-old girl named Lana.

Intended Audience and Emotional Resonance

The film appears to target audiences interested in personal stories that reflect broader historical and political contexts. By using the personal tragedy of a young girl as a conduit for exploring the societal upheaval caused by the Yugoslavian war, Radivojević likely aims to evoke empathy from viewers, prompting them to reflect on issues of loss, displacement, and the lingering effects of conflict on personal identity. The use of a young protagonist makes the narrative accessible and relatable, especially for younger audiences who may not be fully aware of the historical context.

Underlying Messages and Potential Omissions

While the film captures the emotional weight of exile and memory, it may also gloss over certain complexities of the Yugoslavian conflict, such as ethnic tensions and the political dynamics that led to the war. This focus on personal narrative could be seen as an attempt to humanize the experience of war, but it risks oversimplifying the broader political issues at play. The review does not indicate any overt manipulation of facts, but viewers may be led to focus more on individual experiences rather than the larger historical context.

Comparative Context

In comparison to other films addressing similar themes, such as "12.08 East of Bucharest," this film may be viewed as a more intimate exploration of memory and displacement. Both films utilize specific historical moments to examine personal narratives, but Radivojević's work appears to lean more heavily into the emotional and sensory experiences of the protagonist. This connection to personal memory could resonate with audiences familiar with the aftermath of war, making it a relevant piece in contemporary discussions around displacement and identity.

Impact on Society and Politics

The themes explored in the film could spark conversations about migration and the lasting effects of conflict, potentially affecting public perception and policies regarding refugees and displaced persons. By shedding light on personal stories, the film may encourage empathy and understanding towards those affected by war, influencing societal attitudes and political discourse.

Community Support and Engagement

The film is likely to resonate more with communities that have experienced similar traumas, including Serbian and other post-Yugoslavian diaspora groups. It may also appeal to broader audiences interested in the arts and those who advocate for social justice, as it highlights the human cost of historical events.

Economic and Market Implications

While the film itself may not directly impact stock markets, its themes could influence sectors related to humanitarian aid, refugee support organizations, and cultural initiatives that promote understanding of war and displacement. Overall, the film can contribute to a cultural narrative that shapes public opinion, which in turn can have economic implications for those sectors.

Geopolitical Relevance

The film's exploration of memory and trauma in the context of the Yugoslavian war remains relevant today, especially as global conflicts and issues of migration continue to dominate headlines. Its focus on personal narratives amidst geopolitical turmoil serves as a reminder of the human experiences behind the statistics of displacement and conflict.

Use of Artificial Intelligence

It is unlikely that artificial intelligence played a significant role in the creation of this review. However, AI models could potentially assist in analyzing themes and narratives within such films. If AI were involved, it might have influenced the framing of the analysis to emphasize emotional engagement or historical significance, but this remains speculative.

The review does not seem to contain manipulative elements, as it primarily aims to inform and engage viewers about the film's themes and emotional depth. Overall, the film and its review offer a meaningful commentary on the personal impacts of historical events, fostering empathy and understanding among audiences.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/film/2025/jun/02/when-the-phone-rang-review-meditation-on-memory-displacement-and-the-trauma-of-exile

Hovering between memoir, docu-essay and drama, Serbian artist Iva Radivojević’s third feature opens with a phone call that changes everything. Eleven-year-old Lana (a proxy for Radivojević, played by Natalija Ilinčić) receives the news that her grandfather has died; home alone, she is told by the speaker to communicate that to her mother. The Bakelite clock on the wall says it is precisely 10.36am on a Friday in 1992, “when the country of X was still a country”.

Friday 10.36am 1992 becomes a point and a rift in time, through which the historical erupts into the personal; a more intimate companion piece, perhaps, to the 2006 Romaniannew wave classic 12.08 East of Bucharest. The news of Lana’s grandfather’s death melds with the start of the Yugoslavian war (perhaps the two events are linked, as he was a retired colonel). Suitcases are packed; Lana, in her memory always wearing a pink Nike shell suit, is driven by her father to the airport, presumably to emigrate. With these dramatised fragments – as well as ones of everyday Serbian life – threaded together in a third-person narration later revealed to be hers, Lana seems to be reconstructing her own exiled past.

There’s something detached but obsessive about these remembrances, contained and framed like keepsakes by Radivojević in a tight 4:3 ratio. Her focus on the every day – tailing strangers with her mate Jova (Anton Augustinov), playing piano down the phone for another friend, her fascination with local junkie Vlada (Vasilije Zečević) – conveys the general state of denial in the face of impending war: “a pressure in the air”.

The stream of minutiae also shows Lana’s need to preserve this lost reality and, through her insistent commentary, give it significance; sifting through it breeds strange slippages and correspondences. The western pop music that interrupts a Serbian concert she watches with Vlada prefigures her new life. A story about her father’s mafia dealings dovetails with her reaction to a TV production of Carmen she watches immediately after the fateful phone call; both contain “just enough unbelievable drama to keep her entertained”. But the drama of Lana’s own life remains off-screen and implied, always slipping between the fingers of this disquieting meditation on memory and exile.

When the Phone Rang is at the Institute of Contemporary Arts, London, from 6 June

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Source: The Guardian