A wonderfully playful and symbolic manifestation of the spirit of childhood can be found in Dimitrie Osmanli’s short fiction debut. The film follows a little girl with her doll who meets a neighbourhood boy with his tank; after her doll is damaged we are invited into a surreal dream where dolls rise up against the boy and their face resembles the little girl he hurt. The rebellion of the dolls signifies a rebellion against the boy’s malice and essentially against his refusal to be like a child. The dream yields fruit: on waking up, the boy, ...
