In Laa-Laa Land, Sokol Beqiri embeds his wartime testimonial into the tummy-screen of Teletubby Laa-Laa, merging innocence with trauma. Recalling his confinement during the 1999 war, he struggles to comfort his family while hiding his fear. Torn between childlike vulnerability and the role of protector, Beqiri’s narrative falters under emotional weight. Like the Teletubbies’ stories from afar, his attempt to recount trauma resists linearity, breaking down into raw, fragmented memory.
Sokol Beqiri is among the first Kosovar artists to adopt new media and break from Yugoslav socialist modernism. In the 1990s, he used installations, video, and performance with wit and critical distance to address Serbian oppression. In 1997, he showed Fluturon, fluturon at the “Përtej” exhibit in B
Sokol Beqiri
International Documentary and
Short Film Festival
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