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.

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.

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.

I recently saw this at the 2008 Palm Springs International Film Festival. This was Macedonia's official entry as Best Foreign Language Film to the Academy Awards. First of all, I had to refresh myself geographically to find out exactly where Macedonia is, which is a landlocked Balkan nation that was once part of the Yugoslav Republic and is surrounded by Serbia, Bugaria, Greece and Albania. Set in the nation's capital of Skopje with location shooting in Ohrid this is a beautiful country and a beautiful film. Director/writer Milcho Manchevski, noted for his first two critically acclaimed films and now residing in New York returns to Macedonia to film Shadows, a story about a young doctor, Lazar Perkov (Borce Nacev), who is involved in a life threatening car accident. After a year of rehabilitation and his marriage to Ignjat (Dime Llije) dissolving and living a professional life in the shadow of his successful and dominant mother, Dr. Vera Perkov (Sabina Ajrula), Lazar is visited by a mysterious old woman with a message for him in an old forgotten dialect that he can not decipher. He seeks translation to the message at a university where he meets Menka (Vesna Stanojevska) who is not who she seems. Menka, the old woman and a man with a baby are all from the old village where Lazar's mother was born and are seeking his help to right a wrong carelessly committed by his mother. Nacev and Ajrula are excellent in their roles but the big surprise of the cast is the acting debut of Stanojevska, an exotic beauty in an erotic role who in her day job away from acting is the Harpist with the Macedonian National Opera and Ballet Orchestra. What a great find by Manchevski as Stanojevska lights up the screen and is sure to have an international acting career if she so chooses. Veteran Italian cinematographer Fabio Chianchetti beautifully and masterly photographs. Kiril Spaseski as art director and David Munns as production designer give this film a great look blending the modern with the old. A great music score from Ryan Shore who was at the film's screening for Q&A. Some Tom Waitts music is also featured in the film. This is a fine film and one of my favorites of the 38 films I saw this year at the festival and I would give it a 9.0 out of 10.

When i first heard about Manchevski's next project to be in the horror genre i was a bit skeptical to be honest. I mean a European horror? What was the last good one you've seen? The hype, however, surrounding this movie here in Macedonia inevitably took over me so i become interested in it too. And after watching it's fantastic trailer, "Shadows" suddenly became my most anticipated movie of the year. So my expectations were as high as they have ever been when i decided to go and see it. And it was worth the wait. It's nothing i thought it would be though. It has Manchevski written all over it, meaning this is not your typical "go and have fun" movie. It's dark and funny, simple on the outside, yet the complexity of the inside is what makes it special. It's a love it or hate it one. It's simply different from everything you have ever seen. It's more of a thriller than horror in my opinion and it's a movie that you have to see a few times to understand it's whole meaning. The symbolics used in it are brilliant(though too often ruined by the obvious explanations) and the cinematography is great. The acting was OK(I liked the performance of Sabina Ajrula as the mother) and the storytelling was good too. I felt like it was more of a collection of scenes than an actual movie to be honest but let's face it, as commercial as this movie sounded this is still in the art department. True, there are too many unnecessary sex scenes that are a distraction from the general idea, but i think it's something that should be overlooked. And even though the theme of the movie is not very original it does a good job by showing those same things, used so often these days, from a different more realistic "angle". All in all it's something that i heartily recommend you to see and despite it's few flaws it's still another great movie from a great director. Friends of thriller horror movies with a deeper even philosophical meaning, you'll be satisfied. 10/10, even though i have to admit not Oscar worthy as some have suggested