When a society or community is steeped in rigid values and customs, it often creates a stifling environment where a tyrannical attitude becomes the norm, and individual expression and critical thinking are suppressed. This atmosphere of enforced conservatism can permeate all aspects of life, from personal relationships to family dynamics. Georgi M. Unkovski‘s Dj Ahmet, a warm-hearted film, offers a gentle counterpoint to such restrictive environments, championing the importance of cultural expression and the joy of individual freedom. It suggests that there is room for individual spirit and the power of will to uplift and connect even within seemingly traditional communities.
Ahmet, a 15-year-old boy, lives in a North Macedonian village with his younger brother, Naim, and their strict father. They are a family of shepherds, earning their living by selling sheep’s milk cheese. Since their mother’s death, Naim has stopped speaking, and their father seeks help from a local healer. One day, while his father is away on errands, Ahmet is left to tend the sheep. That night, he accidentally stumbles upon a rave. In a chaotic and humorous turn of events, the entire flock follows him, disrupting the party. Amidst the commotion, one sheep goes missing, throwing Ahmet into a panic. However, this incident leads him to meet Aya and a friendship blossoms between them.
DJ Ahmet charts the protagonist’s journey from a suppressed boy to a rebellious young man who discovers love, navigating the complexities of friendship within the confines of an authoritarian and domineering village community. Through the awkwardness of the first romance, the unresolved and ever-mounting tensions of family life, and the stark realities of its hardscrabble existence, the film explores themes of self-discovery, community pressure, and the power of connection in the face of adversity. As a coming-of-age film, the narrative isn’t bound by convention; rather, it selectively borrows from them, not merely quoting them but organically integrating them. The use of music is woven into the story’s very fabric, and whenever Ahmet listens to music, the scenes shift into slow motion, revealing his inner world. This slow-motion effect is mirrored when Aya dances, becoming a leitmotif that visually connects their two souls. In an extreme long shot, we see Ahmet and Aya practice a dance rehearsal with speakers attached to a tractor, while a group of women observes their movements, their expressions suggesting a mix of amusement, curiosity, and perhaps a touch of wonder. Thus, Unkovski’s film reveals both the precision of his filmmaking and the romantic aspects of his creative vision.
The village where the film is set is a place where tradition and modernity collide. While technology is making inroads, it also gives rise to hilarious situations, like an elderly person struggling to access their Facebook account or the mosque’s speakers blaring the familiar startup sound of Windows XP. Children are forbidden from watching Shakira, yet as night falls, the younger generation readily embraces the allure of rave parties. It is a world that straddles the old and the new, where ancient customs coexist with the temptations of modern life, creating a sometimes comical, sometimes poignant, and always dynamic atmosphere. Ahmet’s father, a man with a stringent personality, is given an arc in the story that avoids portraying him as a simple antagonist. He has suffered profound loss, his life seemingly robbed of love, which provides a compelling reason for the man he has become. So, while his strictness might clash with Ahmet’s desires, the film offers a nuanced perspective, suggesting that his behaviour stems from deep-seated pain and a struggle to cope with his tragedies, rather than pure malice. This complexity allows us to understand, if not condone, his actions, giving a fuller picture of the family dynamics at the heart of the story.
Naum Doksevski‘s cinematography beautifully captures the lush green and mountainous landscape of rural Macedonia, showcasing its inherent beauty without overshadowing the narrative. The landscape becomes a character in itself, subtly influencing the characters’ journeys and reflecting their emotional states, all while remaining integral to their stories. It serves as both a backdrop and an active participant in their lives, shaping their experiences and enriching the film’s visuals. Arif Jakup and Dora Akan Zlatanova embody Ahmet and Aya respectively with an innocent charm and effortless screen presence, imbuing their youthful rebellion with a clear sense of purpose. Their performances resonate with a natural chemistry, portraying a camaraderie that feels authentic and unforced, rather than relying on the well-worn dynamic of contrasting personalities.
DJ Ahmet tells a story of first love, burgeoning nonconformity, and the enduring power of human connection. Unkovski infuses it with a deeper resonance, exploring weighty themes, from systemic and generational dominance to the liberating potential of music and the intimacy it fosters.
DJ Ahmet won two awards at the 2025 Sundance Film Festival: the World Cinema Dramatic Special Jury Award for Creative Vision and the Audience Award.
