Synopsis

Mali, a soft-spoken 20-year-old night guard at Prishtina’s fading Palace of Youth, lives on society’s margins, quietly channeling his grief over his ailing mother into a peculiar ritual-lifting heavy objects in solitude. When Limi, an opportunistic outsider, films Mali’s raw strength and uploads it online, the two form an uneasy alliance. The world takes notice. Mali becomes an internet phenomenon known as Vandal, celebrated not for who he is, but for what he can destroy.

As the algorithm rewards spectacle, Mali is pushed into increasingly violent performances, even as his physical injuries and emotional disorientation grow. When he attempts to step back, Limi’s manipulation turns lethal. Trapped in a cycle of digital exploitation and performative masculinity, Mali becomes a tragic symbol of how fame can devour the vulnerable. In a shocking finale, broadcast live to an audience addicted to violence, Mali turns on his abuser, reclaiming a fragment of dignity at immense cost-while the cameras never stop rolling.

Set against the backdrop of a post-transition society grappling with identity, alienation, and economic precarity, the film is a haunting exploration of the new violence born at the intersection of technology, poverty, and the human need to be seen.

Director’s Note

In an age where human suffering is consumed as content and identity is flattened into algorithmic patterns, this film is a critique wrapped in a myth. It tells the story of Mali – a gentle giant – and Limi – a cunning outcast – who become avatars of modern spectacle, swallowed by the very digital world they try to conquer.  What begins as a small, intimate story between two lonely boys evolves into a larger allegory of our time: where friendship curdles into exploitation, and viral fame becomes a currency that demands blood. The question at the heart of the film is simple but devastating: Who is the real beast? Is it Mali, whose body becomes a weapon? Limi, who scripts the violence? Or the faceless digital mob that watches, cheers, and eventually turns?

Visually and tonally, the film is shaped as an urban fairytale – a nocturnal world where brutal realism blurs with stylized fantasy. Set in an imagined version of Prishtina, the film uses shadows, silence, and surreal imagery to elevate a grounded story into something mythical. Think of a fable told by flickering streetlight: stark, strange, yet painfully real. I want the audience to feel like quiet witnesses. To watch the rise and fall of a boy turned into a beast – not by choice, but by demand. The camera will often linger, unflinching, asking viewers to question their own gaze. Is it empathy, or is it consumption?

Despite its dark trajectory, the film is ultimately about truth – artistic, emotional, and social. It is my artistic truth, rooted in the contradictions of the world we live in: a society hyper-connected but deeply alone, where visibility is everything, and intimacy is traded for clicks. This is not just a film about Mali and Limi. It’s about all of us – watching, sharing, scrolling – as we create and destroy our modern myths in real time.

Ilirjan Himaj is a writer and director whose work delves into themes of memory, identity, and the psychological aftermath of trauma. Born in 1985 in Gjakova, Himaj initially pursued studies in painting at the Faculty of Arts, University of Pristina, before transitioning into film direction at the same institution. His early short films, such as  “One of Them” (2014) and “Memory” (2017), showcase his talent for crafting intimate, character-driven narratives that explore the complexities of human experience.

Himaj’s filmography reflects a commitment to storytelling that resonates with both local and international audiences. His 2014 short film “One of Them” received critical acclaim for its poignant portrayal of destiny and human connection. In 2017, Memory offered a sensitive depiction of an elderly man’s struggle with Alzheimer’s disease, further establishing Himaj’s reputation for handling delicate subjects with nuance. His upcoming projects include “Bear Hug”, a feature film exploring guilt and redemption, and Vandal, a socially critical narrative about the perils of internet fame.