“A subtle, nuanced film on the surface, but one with a deeply complex perspective.”

In some parts of the Balkans there is a tradition known as the “sworn virgins”, a principle in which women take an oath of celibacy and begin to live as men, being able to take advantage of the benefits of living in a patriarchal society and essentially being viewed as the heads of their households. It’s one of the oldest examples of gender fluidity in European culture. Still, it has declined over time, with recent findings estimating that there are likely fewer than a dozen of these individuals still living in various parts of the region. This subject is the foundation for Man of the House, in which Andamion Murataj writes and directs the story of “Uncle Fran”, who works as a taxi driver in a small Albanian village and is viewed as a respected member of his community. Fran acts as the caretaker for his father, as well as his niece, whose mother died and whose father has chosen to abandon his family and seek out better opportunities abroad. However, a near-fatal accident forces Fran into a position where his gender role is called into question – not by others, but rather by himself, as his niece finds herself in desperate need of a mother, causing a crisis of identity in someone who had always been so assured of the role he performed to the outside world. A subtle, nuanced film on the surface, but one with a deeply complex perspective that unravels in beautiful, striking ways, Man of the House is a poignant exploration of the intersections between culture and identity, told by a director whose compassion and curiosity allow the viewer unrestricted entry into not only a fascinating protagonist, but the customs and traditions that define an entire society.

Placing a date on any socio-cultural construct or practice is complicated, since we can never pinpoint the exact moment certain ideas emerged. However, it is clear that the concept of the Balkan sworn virgins has existed much longer than the language we use to describe those who perform genders other than what they were assigned at birth. As a result, Man of the House is a film built on taking a practice that has existed in the region for over five hundred years, and pairing it with more contemporary conversations around gender. In the process, it makes some fascinating observations around both past and present perceptions of the subject. The film employs an in medias res approach to defining the protagonist – we’re introduced to Fran after he has been living as a man for several years. No explanation for his decision is ever offered, nor do we see the challenges he faced on the journey to get to that point, which immediately allows the film to tackle subjects quite different from those which usually form the basis for such stories. The conflict he faces is not defined by his search for acceptance or his internal despair, but rather by the crushing realization that life is not as clear as we would initially imagine. The film provokes many fascinating conversations, all of which circulate around Fran’s attempts to take on new responsibilities within his family and community, while also honoring his own identity, and considering it isn’t particularly complex in terms of the narrative (which is slightly predictable, but not to the point where it feels clichéd), the director manages to find some space for a few more astute observations that do leave a strong impression.

There is an inherent risk that comes with exploring a subject like the one at the heart of this film, with Man of the House being an examination of gender and culture from different perspectives, many of which could be viewed as regressive without the right interpretation. The challenge of making this film was certainly not lost on Murataj, who implemented certain measures to ensure his intentions were clear and his approach entirely explicit. The emotional content is delivered directly and without even an ounce of ambiguity, leaving no room for debate around his motives, which are primarily to explore the lives of those people who have lived in the shadows for generations. Much of the success of Man of the House comes from Drita Kaba Karaga, who portrays the protagonist and delivers one of the year’s most powerful performances. While there is an argument to be made that it would have been preferable to cast a trans actor in the role for the sake of infusing the character with layers of authenticity, it’s difficult not to be enthralled by Karaga’s astonishing work; every moment she is on screen feels lived-in and genuine, carrying a complexity that we don’t find all that often. It is a character-based film, and both Karaga and the large supporting cast bear the weight of its many ideas, working closely with the story and the underlying commentary to create a vibrant tapestry of characters and their individual experiences, each one serving a vital purpose and aiding in the exploration of these challenging themes.

Man of the House is a gentle and loving, but also very practical and forthright film about the search for identity and the importance of family and community in creating a sense of belonging, a vital component for a fulfilling life. These themes are handled with care and affection, not afraid to have the difficult conversations while avoiding becoming too heavy-handed for the sake of stirring a reaction. It’s a very simple film on the surface, with the story moving at an intentional, straightforward pace that consistently questions what it means to challenge the status quo. Anchored by one of the year’s best performances by Karaga, who ties everything in the film together, creating this bold and fascinating version of an individual who believed that he had found his place in the world, but suddenly is drawn out of his relatively secure domestic routine and forced to reconsider everything he held to be true. Poetic in many parts (including the hauntingly beautiful final moments in which all the ideas embedded in this film come together with a deep sincerity), while also deeply meaningful in how it handles some very challenging subject matter, Man of the House is a striking film, and one that does linger with the viewer, long after the story has come to a close.