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A woman who is raped and gives birth to a child in war torn Kosovo, struggles to keep her child.





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Credited cast:
Lumnie Sopi ...
Ema Berisha
Doug Barron ...
David Schwartz
Blerim Gjoci ...
Komandant Shpati
Enver Petrovci ...
Colonel Lilich
Blerta Syla ...
Arta Muçaj ...
Çun Lajçi ...
Rikard Ljarja
Kushtrim Sheremeti ...
Kolonel Djordjevic
Rest of cast listed alphabetically:
Bislim Muçaj ...


Kosovar journalist Ema Berisha, working with two American journalists Laura and David Schwatz report from war torn Kosova. When the war reaches its highest peak the Americans are ordered to flee. They unsuccessfully try to persuade Ema to leave Kosova with them, but Ema is determined to stay. Upon returning home to marry. On her wedding night Serbian forces oust the refugee camps. The soldiers rape Emma. She becomes pregnant and gives birth to a baby girl, which she names Ana. She is abandoned by her husband, and friends for not getting rid of the child. Unable to feed her baby, reluctantly she puts her into an orphanage. The American journalist David returns with Ema's payment for her work. With this new capital she runs to the orphanage to retrieve her child only to discover it is close. She discovers that children are taken to a monastery to be sold, with the help of Doresa, the American David and the Kosovar Komandant Shpati she attempts to save her child. Written by Doug Barron

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Plot Keywords:

journalist | kosovo | balkan war | See All (3) »


Drama | War



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Release Date:

2006 (Albania)  »

Also Known As:

Larmes de sang  »

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User Reviews

Comment by Courtney MacNeil
31 May 2008 | by (Albania) – See all my reviews

Particularly when one thinks of the very real context that grounds this fictional tale, the film Anatema is emotionally taxing. Ema's strength of character amidst such turmoil, however, inspires, and her story offers important insight into the inner realms of war. Sopi, like his protagonist, seeks to make known the realities of his nation's past and present, and to ignite questions that have otherwise been ignored. Through Ema's eyes, we see images through which we have known Kosovo – guns, tanks, fires, corpses – but also images of life amidst the battle that remind us of the complexity of human interactions. For Sopi, the word of war is one of stark polarity, in which the most repulsive and most tender behaviors simultaneously emerge; it is a world in which army generals bathe in rose-petaled water while children starve on the streets, but also one in which friendships are forged with exceptional loyalty, and in which the daily atrocities are sometimes redeemed, or at least lessened, by simple acts of kindness. Insightful and sincere, the film demands our attention, and urges us to take up Ema's quest for truth into our own hands.

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