Entre los muertos

When a doctor, who is down on his luck, gets in a car accident...he wakes up from a coma four days later...with a newfound ability.

As it seems he can now see the dead...well, maybe not ALL the dead...rather, only the dead who feel that his family has stolen something from them.

At first, he doesn't realize these people are dead...so he's interacting with people who aren't there...at least as far as other people are concerned.

And at the end of each day, he witnesses them die...before they return to life the next day, as if nothing happened.

Which, as you can imagine...been weighing heavily on his sanity.

And, to make matters worse, this is all going on, on top of becoming estranged from his wife and child, and having to deal with his overbearing mother.

The only thing getting him through all this, is the relationship he has been forming with one of the ghosts.

As things plod on, he eventually does realize what he needs to do: dig up the skeletons from his family's past, so that he can bury them, and end the cyclical torment of these lost souls, that are still trapped in the material realm.

In the end, it's sort of a mash up of The Sixth Sense and Ghost...though, it lacks the tension and engaging romance of either tale.

The romance angle here, seems particularly forced.

In that it's more sad and pathetic, than it is engaging and moving.

When all is said and done...it's not a bad film...but it is really quite slow, and fails to fully engage you.

It never really got me to the point where I empathized and cared about the characters.

I just kind of sat through it and it was over.

But, as far as films from Macedonia are concerned...I'm sure this is up there among the best.

It was that country's submission to the 80th Academy Awards, mind you.

5.5 out of 10.

Manchevski disappointed me with this one. From a guy who has created Before the Rain I was waiting much more. He obviously has talent and it shows with the photography. The Ohrid lake shots are fantastic.

In terms of the plot, Shadows is blatantly plagiarizing Sixth Sense. It is annoyingly similar. The only difference is that there's no twist. We know it all almost from the beginning. Which actually makes it boring. Especially when we get the same shock-effect scene again and again and again.

Now the sex element. Why? We're getting gratuitous sex scenes for no particular reason. Not that I don't like the girls, especially Vesna Stanojevska, but someone should tell our friend Milcho that it has to blend with the plot!

And finally, being from Greece, I have to comment on the "Aegean Macedonians" issue. I couldn't fail to notice some sneaky propaganda attempts in secondary parts of the plot. I mean "exodus" and ...napalm bombs? In ...1913? This is honestly bordering the ridiculous. I could write a whole essay on where these ideas come from (may well be a part of a general nationalistic awakening in our neighbor state), however let me simply mention that the story of "Aegean Macedonians" (a very controversial term by itself) is far more complex than what people are led to believe from this film. I would be grateful if Manchevski left politics and history to people who actually know a thing or two.

Doctor Lazar Perkov has just returned to his apartment in Skopje from his parents' villa in the lakes district after a year convalescing from a near-fatal car crash.He tries to return to work at the hospital,but his nightmares won't help him.He forgets things,fears his recovery isn't stable and has now had his first visit from the disturbed souls of the dead(the old lady and the creepy looking guy with unbaptized infant).I saw "Senki" during Warsaw Film Festival and I was a little bit disappointed.The film is too long and quite dull in spots.It offers some beautiful photography of Macedonian landscapes,some scenes are pretty moving,but the horror elements are weak.Still there are four lovely sex scenes with a good dose of female nudity to keep me happy.6 out of 10.

I am very disappointed after watching Manchevski's film this evening. I came to the screening with his masterpiece "Before the Rain" in mind but some of the elements that struck me most about the film were endlessly recycled imageries of death/memory/temporal boundaries, exoticized depictions of landscape, identity and cultural otherness, tautological and often overstated motifs of death and desire, which literally drown the spectator into a sea of clichéd, old-fashioned psychological thriller formulas. Don't get me wrong, I like films which foreground their rich, highly-tuned semiotic texture and which interweave symbolic structures skilfully and compellingly. But here this twofold directorial temptation towards the symbolic and the literal doesn't quite pay off cinematically. The music is great, some of the montage is also powerful, the initial spatio-temporal build-up promising, but the film never quite takes off for me. The surreal, nightmarish, ghostly presences that populate the screen and Lazar's troubled mind amount, in my opinion, to some of the interesting cinematic effects of the film.

I think that there are problems with the plot regarding the disconnected sex scenes, and the generally missed point in the movie. It could have been made better. I don't think it is a replica of the "Sixth Sense", I see no resemblance in the plot between these two movies. Also, as far as the Aegean Macedonians are concerned, I think the the movie does not mention the exodus of the 1913 and the use of the napalm bombs at that time. It just scarcely mentions the events following the partition of Macedonia. It mentions the exodus during the WW II, and especially during the Greek civil war following the WW II, when indeed there was an exodus of the Aegean Macedonians and the Greek forces and its allies did use napalm bombs to destroy forces of the Communist led coalition, but instead mostly civilians and villages were hit by those bombs. Those who survived were exiled into Eastern Europe and today's Republic of Macedonia (then part of federal Yugoslavia). So those are the facts briefly mentioned. So the movie does not say at all that this exodus happened in 1913, but after 1913 when part of Macedonia was seized by Greece. In any way, most viewers will not focus on that part of the story as those events are just scarcely treated, and implied. They are secondary to the main story. I think it is absolutely unfair and wrong to see that as propaganda.