A writer-director with a background in visual arts, Andamion Murataj grew up in Tirana and studied film at the American University in Washington, DC. Previously, he co-wrote the feature The Forgiveness of Blood [+leggi anche:
trailer
scheda film] with filmmaker Joshua Marston, for which the duo won the Silver Bear for Best Script at the 2011 Berlinale. Man of the House [+leggi anche:
trailer
intervista: Andamion Murataj
scheda film] is Murataj’s directorial debut, which premiered at Sarajevo this year. To mark the occasion, we sat down with him to chat about his movie.

Cineuropa: What is the source of the tradition of sworn virgins, or women living as men?
Andamion Murataj: Although this tradition still exists in several West Balkan countries, the film is set in modern-day Albania, explicitly focused on the journey of a woman who has chosen to live as a man and is now compelled to reconnect with the maternal feelings she has long suppressed. In the research process, I met many sworn virgins, with whom we worked closely until the film was completed. Standing out among them is the great Diana Rakipi, a sworn virgin who is featured in the movie in the role of Shkurtan, the shop owner. Sadly, she passed away days after we shot her scenes, making it quite difficult for the rest of us to overcome the loss.

Man of the House is one of the largest international co-productions in Albanian cinema so far. Was it difficult to make it happen? Did you have to make any compromises as the director?
Making a film is not easy anywhere, but in countries like Albania, it is even more difficult. I am grateful for the support we received from countries like Italy and Austria, as well as from regional neighbours such as Croatia, Kosovo and North Macedonia. However, it is disappointing that our film, which reflects such a unique cultural tradition, did not receive support from countries like France, Norway, Sweden or even Greece. I often joke that a film's credits should list not only its supporters, but also its rejections, as refusing support carries as much responsibility as providing it. Ultimately, it was the support from Eurimages and the personal contributions of creatives from some of these countries that made the collaboration possible, resulting in the broadest international co-production for an Albanian film to date. In addition, we are pleased to have achieved official certification as a green production, despite the burden of the extra costs.

How did the casting process go? Where did you search for the actors, especially the lead actress?
The main challenge was the delicate process of blending locals and professional actors to create a truly authentic and balanced cast. While I relied on a sworn virgin for research and even cast her to play another sworn virgin in the feature, it was the professionalism of Drita Kaba Karaga, a superb Albanian actress from North Macedonia, who truly stood out. I was already aware of her from her prior stage work, but she blended so wonderfully with the main character that it is now hard to envision her as anyone else but Fran. And yet, her role was tremendously enriched by her other half on screen: Alesia Ruci, a nine-year-old from Tirana, who delivers a powerful performance far beyond her years, and together, they fed into each other's acting in ways that went beyond the script. Finding Alesia required a gruellingly long audition process involving over 1,600 young girls from schools in Tirana and the surrounding towns. For the rest of the cast, I pored over a long list of Albanian-speaking actors from Austria, Greece, Italy, Albania, North Macedonia and Kosovo, where I found some of the best actors I could have hoped for, blending so organically with the locals.

You deal with a national tradition and phenomenon, but also with more universal questions of gender roles and identity. Was this a difficult balance to strike?
My aim is to offer a fresh and personal take on a contemporary sworn virgin who transcends traditional stereotypes. I am drawn to exploring the complexities of choices while portraying a thoroughly unique gender character. Though seemingly rooted in tradition, Fran ultimately embodies the diverse realities of a woman who has stepped into a man's shoes. Her story resonates not only in our region, but also wherever traditional values intersect with modern ways, making her journey relatable to a worldwide audience.