Little Trouble Girls
Little Trouble Girls is one of those debuts that feels way too assured for a first film. Urška Djukić takes the old “Catholic girl’s awakening” setup and gives it a jolt — smart, modern, and quietly intense. The mix of faith, control, and desire is handled so confidently it’s almost uncomfortable to watch.
The sound design is incredible. The music isn’t just background; it shapes everything — sometimes soothing, sometimes suffocating. Saša Tabaković is brilliant as the choirmaster: charming one minute, quietly predatory the next. He’s got the kind of authority that makes your skin crawl even when he’s smiling.
The rehearsal scenes are where the film really hits. Every breath and glance feels like a battle for control. It’s haunting, beautifully shot, and impossible to shake off. Little Trouble Girls gets under your skin and stays there — not loud or flashy, just quietly devastating.
The sound design is incredible. The music isn’t just background; it shapes everything — sometimes soothing, sometimes suffocating. Saša Tabaković is brilliant as the choirmaster: charming one minute, quietly predatory the next. He’s got the kind of authority that makes your skin crawl even when he’s smiling.
The rehearsal scenes are where the film really hits. Every breath and glance feels like a battle for control. It’s haunting, beautifully shot, and impossible to shake off. Little Trouble Girls gets under your skin and stays there — not loud or flashy, just quietly devastating.
Mini Review: Urška Djukić’s Little Trouble Girls turns a Catholic choir into a pressure cooker of faith, control, and desire. The sound design is stunning — music that comforts one minute and smothers the next. Saša Tabaković is magnetic as the quietly predatory choirmaster. Haunting, intimate, and impossible to shake.