By Sara Darling
Settling in to watch DJ Ahmet, I was expecting a small coming-of-age romance – albeit slightly unrelatable as I have never visited Macedonia! What I actually got was a relevant and funny meet cute, starring three “next big things”.
The story centres on Ahmet, a 15-year-old boy in rural North Macedonia, being raised alongside his younger brother by their widowed father, who is a lot more repressed than he lets on! Perhaps unsurprisingly as having two boys (the younger who doesn’t speak) and just twenty sheep is not the most optimistic outlook.
Ahmet is soon removed from school and presented with responsibilities beyond his years – having to grow up quickly, but everything shifts the night after he has met the woman of dreams! Albeit a teenage crush, but that same night, when in charge of his flock, he accidentally stumbles upon a surreal rave in the woods. It’s dreamlike, almost otherworldly and very out of his comfort zone. With all the sweaty bodies, electronic music and youngesters dacning like noone is watching, you can feel something awaken inside him. It’s the first crack in his life that’s been mapped out for him; although that same night is his enexpected surge in to the social sphere as his sheep also make an out of this world appearance at th rave.
Furthermore, whilest he is trying to herd his cattle, he claps eyes on Aya, the pretty new neighbour; however she is rich and out of his league, and us ibe if the crew who is filming the catastrophe!
When they actually meet for the first time it took me back to my own teenage years. The soundtrack swells and everythinh goesinto slo motion as she crosses his path we’re hearing the music the way he hears it in his head, this cinematic romantic fantasy only for it to cut out abruptly when reality hits and he panics. It’s such a clever send-up of the classic teen romance trope, undercut with painfully awkward honesty.
The humour keeps landing throughout. The recurring Microsoft Windows startup tone as a running gag is so unexpected and absurd in the best way – every time it popped up, it got a laugh. And then there’s the neon pink sheep, which briefly steals the entire film. It’s bizarre, symbolic, and somehow completely perfect within the slightly heightened world the film creates.
But what makes it special is that the comedy never overshadows the emotional core. Yes, this is Ahmet’s journey: about music, identity, grief, and pushing against the expectations of a stern father; and the way his arc comes full circle with his dad near the end is beautifully handled. There’s no easy villain, just generational fear and love expressed imperfectly.
At the same time, the film wisely refuses to make Aya simply an extension of Ahmet’s story. His passion for DJing and music inspires her, but her journey toward dance stands on its own. Her conclusion feels earned, not dependent on romance, which makes their connection feel mutual rather than one-sided. They influence each other, not complete each other, and that distinction really matters.
What’s impressive is how much ground the film covers in just over 90 minutes. Romance, brotherhood, loss, tradition versus freedom, creative awakening, even surreal comedy; it sounds like it could be overcrowded, but it never feels messy. Everything threads together naturally, like movements in the same song.
By the end, I realised I’d been smiling almost the entire time. It’s tender without being sentimental, funny without losing depth, and hopeful without feeling naïve. A coming-of-age story that feels both intimate and expansive and one I won’t forget anytime soon.
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