A young man Peter, who is around thirties, lives a desperate life with his mother Maria and her husband Stojan in one village of Serbia. Peter is born in Kosova from a forbidden love between his mother Maria and the young Albanian man, but for this he is not aware Is the period of time when the relations between Serbs and Albanians are inimical, exactly is the time of the beginning of war. Peter is forced by his mother and the others to go to the war. He intends to escape the war and goes to the West. He is mobilized forcefully in one paramilitary unit in Kosova’s war. In one action prepared as a revenge, he kills his father Dini whom he never had the chance to meet. Being not able to bear the arbitrary crimes, Peter, deserts from the army. He takes Dini’s daughter Maria and together they escape to the mountains. During their dangerous trip they are followed from both sides of enemies, Serbs and Albanians. Peter and Maria fell in love. They reach to come back in Peter’s home in Serbia. As soon as they returnee home, Peter realizes that he had killed his biologic father and he had fall in love with his sister. Not being able to stand this spiritual condition he commits a suicide.
Directors: Agim Sopi
Writers: Agim Sopi
Producers: Agim Sopi, Milazim Saihu
Key cast: Astrit Alihajdaraj, Dafina Berisha
Director: Agim Sopi
AGIM SOPI, film-maker
He is born on 23.07.1956, in Prishtina / Kosovo. He attended the University of Zagreb (Croatia). He has graduated on the Academy of Arts, the branch of directing the film. He is the professor of The Film Theory in Faculty of Arts - Prishtina University.
F i l m o g r a p h y
The documentary films: The waiting (1980), The midnight guards (1981), Beyond the death (1999).
The feature films: The man of earth (1984), Anathema (2006), Agnus Dei (2012)
The Pelerine (1982),The flower of love (1988),
The Tower (1990). The autumn of roses (2000).
The film ‘Agnus Dei’ is putting upon the idea of myth repetition. The man as an fragile and hurtful human being, always is in a great loss. Even when he loves, when he’s got power or when he is depressed. And even in that time when he wants to escape from the evil, or when he goes straight towards it. Freighting desperately to have the power, ill mannered in action, the man in the permanent behavior fights to dominate upon his mankind, selfish as ever even than when he builds his happiness upon the pain of the others. In reality the man always behaves in his vicious circle of repetition of destiny, the Oedipus in antiquity, or Peter in now days.
Maria and Peter, mother and son, two faces of one medallion, two selfish creatures, who in continuity loves the same thing, even though one of them runs away from its destiny whereas the other goes straight towards his fate. Being conquered by love and hate, filled with a kind of demonic energy that goes beyond the reason and to resign oneself to one’s passion that is politically motivated, ethnically or ideologically. In the different social-political phases during the period of transitory or during the war time, Maria and Peter remains unchangeable. Only the shape changes. The package of life. ‘Agnus Dei’ doesn’t pretend to change anything. It only goes easily sliding, full with passion and lyrical through the wild and cruel shapes of life in the dictature of war. Being the witness of the destruction and loss. The disheveled individuality as an essential theory of life and destroyable family as on essential institution of civilization. In this manner, ‘Agnus Dei’ pretends to be transformed in one chronicle history of loss, upon the repetition of myth and the resurrection through the period of ages.
So, ‘Agnus Dei’ doesn’t attempt to change the imagination of what has happened. It pretends to tell the story of love and hate in two generations. Of all the sufferings and incapability, the willing for life even then when life appears impossible, of passion for loving and for being loved. For passion of hate and the wickedness till the annihilation. ‘Agnus Dei’ doesn’t accuse, doesn’t prejudice, doesn’t incline, doesn’t have the political attempt or neither philosophical pretending. In fact, it shows life in the permanent war, the life that has taken the dimensions of myth and which is incapable to get out of the labyrinth of providence /not divine/ but human.