No One’s Child (Yugoslavia/2014)
UK Release: 11th November 2014 at Leeds International Film Festival (UK Theatrical TBC)
Directed by Vuk Rsumovic
Brief Synopsis: A boy is found in the wild mountains of Bosnia and Herzegovina. He has no family and is put in a foster school to bear the brunts and wonders of human life.
Whilst No One’s Child may initially reflect on the struggles of a, quite literally, wild boy (soon after named Haris) to conform with society after a childhood with various unbeknownst wolf packs, it is precisely in this vast space between the two inhabitants where the chaos and disorder of human nature can be unconcealed. It is a clear distinction of animal instinct and being one with nature (the wolves) versus keeping a safe distance from the danger of nature and hiding beneath constructions of society (the human being).
As human beings we are manipulators; we use the earths resources for financial gain, or at least with a linear and progressive outlook. Haris must learn this and discover the truth; there is no alternative for he is a human being not a wolf. He must adapt to the strict rules that govern the unspoken righteousness of human behaviours and the refined communicative forms. No One’s Child awakens what a raw progression into becoming a real being means and the highly nurtured performance of Denis Muric depicts this raw spirit with reinforced sparking lights and sharp fuses. Put another way, the audience is never meant to feel comfortable. Muric gives a mind-bending performance.
Haris soon has first hand experience of the complexity of human emotions and the merciless power of human illusions (though recognised in society as dependable paradigms) such as the justice system, the state and the unforgiving terrain of war. I call these illusions, as this is not the reality of nature’s freedom that Haris has previously known. The film can therefore be viewed as a message for us to rethink our preconceived regulations of communication and order in society – not an easy concept to imagine with clarity for it would require a revolution. It is not hard for us to imagine the struggles that this boy must go through to conform to such.
The film completes its cycle of human life, of which it also exposes the harsh conditions for lost youths in Yugoslavia, and takes the improbable turn (SPOILER) of returning back to the wild where it (and Haris) once began; a land of poesis and authentic Being (in Heideggerian terms).