Girls Do Cry, a female treatise on the role of gender in Bulgarian society, grabbed headlines at Cannes last year for a number of reasons, chief amongst them was the presence of Oscar nominee Maria Bakalova. The actress had already garnered headlines for her show-stopping performance in Sacha Baron Cohen’s sequel to Borat. As Sonja, she provides a voice to those people who suffer in silence, having unknowingly contracted HIV through sexual encounters. In an often tempestuous performance opposite Ralista Stoyanova’s Lora, they play sisters in a close-knit family trying to make ends meet. However, beyond the daily grind of fractious personal relationships, Girls Do Cry uses her provocative narrative revelation as a means to rattle some cages.
Through this film, writer-directors Vesela Kazakova and Mina Mileva have crafted a powerful cinematic diatribe on gender relationships, not only from the perspective of Bulgarian natives but also on a broader scale as the political invades the personal in their tight-knit, though turbulent family unit. Within this small ensemble, Bilyana Kazakova’s Veronica suffers from postnatal depression, Lora encounters daily examples of toxic masculinity, and Sonja faces prejudice and overt persecution in light of her HIV diagnosis.
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