Majki

A triptych from Macedonia. In part one, two nine-year-old girls addicted to mobile phones go to the police claiming they have seen an exhibitionist. Part two focuses on young documentary filmmakers making a film about the last two survivors in a remote village – a brother and sister who have not spoken to each other in 16 years. Part three tells the story of the evil next door: several elderly cleaners – all mothers – have been raped and murdered. A reporter writes about the crimes and is then arrested.
What links the three stories? Something that begins as fiction becomes a documentary as the film progresses. MAJKI is not a film about truth, but about the nature of truth. Milcho Manchevski: “All three stories in this film are true. They are not only based on real events, but they often follow actions and dialogue verbatim, as they happened. One of the stories is a documentary. Yet we don’t know more about what happens in reality. If anything, the truth in the documentary is more elusive, even confusing. In a traditional structuralist manner, the structure of MAJKI itself (two parts fiction and one part documentary) becomes part of its message. A writer once said: ‘Of course reality is stranger than fiction. Fiction has to make sense.’”
Production notes