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She has been struggling to survive on the honey yield of her missing husband’s apiary. Fahrije is willing to brave the disdain that will rain down on her. Terrified at the shame and negative scrutiny it will bring them, all but one refuses. The leader of this support group offers them a chance at independence and self-sufficiency in the form of obtaining a driver’s license. Without the means to support themselves, the “widows” depend on a nascent woman’s support group that hands out stipends every month. Many of the surviving men practice an almost feudal misogyny that is deeply ingrained in the culture of this small patriarchal society, punishing any woman who dares step outside her role of housewife. It is a truth that neither her family nor that of her neighboring widows are willing to face. Resigned, she starts to face reality, especially because it was known that many, possibly hundreds, were thrown into the local river, never to be seen again. Fahrije’s missing husband is not among the identified. Years later, an effort is finally being made to identify the corpses recently unearthed in mass graves. Populated by ethnic Albanians, the Serbs moved in to “relocate” them, burning their homes and “disappearing” far too many of the men of the village in their “cleansing” of Kosovo. Life in this small corner of Kosovo, leveled during the war with Serbia in the late 90s, is marginal at best. Tied into a complex story about war, atrocity, loss, condemnation, and survival, writer/director Blerta Basholli has given us the true life story of Fahrije Hoti, a Kosovo woman condemned to live the life of a widow without the benefit of a husband she can bury. Courtesy of Zeitgeist Films in association with Kino Lorber. Yllka Gashi as Fahrije in “Hive.” Photo by Alexander Bloom.