Everything That's Wrong With You

by Urša Menart

Vse, kar je narobe s tabo, fiction, digital DCP (2K), 1,66:1 (5:3), c
Upcoming
SI

Maruša, a woman in her mid-twenties grappling with the aftermath of her mother's illness, seeks refuge at her estranged father's farm. Feeling lost and disconnected, she finds an unlikely friend in Alja, a nurse and social media influencer living in a small coastal town in Germany. Bonding over their shared struggles and a sense of humor, Maruša and Alja quickly develop a close friendship. When they meet in person and navigate the complexities of their lives, including Alja's health issues and personal dilemmas, their friendship is put to test.

screenwriter
Urša Menart
director
Urša Menart
producers
Katja Lenarčič, Danijel Hočevar
co-producers
Dimče Stojanovski, Stefan Orlandić, Alexander Wadouh, Roxana Richters, Paula Klossner, Rea Rajčić
director of photography
Roy van Egmond
production designer
Marco Juratovec
costume designer
Kristina Savić
key make-up artist
Lija Ivančič
featuring
Anuša Kodelja, Klara Kuk
production
Vertigo
co-production
RTV Slovenija, Living Pictures, Chromosom Film, Tidewater Pictures, Eclectica
in collaboration with
Film Studio Viba Film
co-funding
Slovenian Film Centre, Film Center Serbia, Creative Europe - MEDIA, Re-Act

Vertigo
Katja Lenarčič
katja@vertigo.si
Danijel Hočevar
info@vertigo.si

Urša Menart

Urša Menart (1985) has directed a few documentaries (What about Mojca?, There Once Was a Land of Hardworking People) and co-written two feature films both directed by Damjan Kozole: Nightlife (Best Director Award, Karlovy Vary IFF 2016) and Half-Sister (Karlovy Vary IFF, 2019). Her debut feature My Last Year as a Loser (2018) with her as the writer/director won the Slovenian national award Vesna for Best Film and Best Screenplay.

“»This is primarily a story about loneliness – the generation of 20-somethings is lonelier than any generation before it, and making friends in adulthood is harder than it is in adolescence. The so-called BFF (best friend forever), often glorified as the most important personal relationship to women in their twenties, is hard to find and hard to keep in the era of individuality and alienation. Events like moving abroad or losing a loved one can be isolating and destabilizing, and it is common to feel like nobody cares whether you exist or not. In many ways, this world can still be cruel to young women, especially the ones without a strong support system in place. The film depicts such feelings of invisibility when you feel like a stranger everywhere, and contrasts them with the strong human longing for connection and deep friendships, like the ones we usually see in films featuring young women,«”