Lipstick

Lipstick strives to depict the inner conflicts of the protagonist Vesna as subjectively as possible. Vesna, apparently unmoved by the armed conflicts in her homeland Yugoslavia, leads a happy-go-lucky life. A form of denial, the causes of which should be explored. Her visit in Budapest and therefore her compromise with her possibly true, though repressed, identity, evokes a feeling of happiness for a short time. The next morning, reality catches up with her again. She is taken off the train and is forced, since her passport and Austrian visa have both expired, to assume a new identity. Despite the futility of her undertaking, she refuses to make a statement concerning her person while in jail. What remains is the memory of a short-lived feeling of emotional success by delaying the course of events. The suggestion to consider a denial while in a condition of statelessness.

Directed by Robert-Adrian Pejo, Lipstick leans on a strong ensemble — Sinolička Trpkova, Péter Andorai, János Bán — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 1993.