Pred dozhdot

The very structure of this film perfectly describes its philosophy - a never ending circle. And it's the structure that makes this film work so powerfully. From the shattering opening section, to the startling second part, to the third story that brings it all together, this is a great film. It's been overlooked for some reason, mentioned rarely in film magazines and in best of the decade lists. But it's a phenomenal work, one that needs to be seen.

Very interesting film about the tensions in Macedonia between Orthodox and Muslims. Structured in three parts, the second, which takes place in London, is necessary to give the conflict a more globalized scope, and contrast thematically and visually with the first and third, which take place in the rural world of Macedonia, but it is also the least achieved: it does not have a very close relationship with the rest, it establishes a sentimental plot of very minor interest, and it makes the main character a very topical one, easily extravagant and certainly unpleasant (the way of breaking up with the London girl is not very subtle, proposing her to come to live with him to his hometown, especially considering that there he is still in love with an Albanian woman). Still it has interesting scenes.

The first and third parts arte the important ones and have a certain symmetry: in this fight between two peoples, both parts culminate with a protagonist who dies at the hands of his own people.

The film shows the tensions that can lead a society to a civil war and how they are a vicious circle of reproaches, crimes and revenge, but at the same time advance in an escalation of violence that seems unstoppable. It is difficult to elucidate what came first and what came after, cause and consequence, who threw the first stone.

The structure is simpler than it seems, apparently a structure is proposed that could be linear or circular, but this is obviously not the case, and it is based on a certain trick that is not (and doesn't try) justified at the narrative level. For the structure to be linear and circular at the same time, we would have to ignore many details: those that make us read it as linear do not agree with those that make us read it as circular. No reading is fully valid from the narrative point of view.

As linear, Kiril in the first part says that he is going to see his photographer uncle in London ( but his uncle is already dead), the same uncle who stars in the second and third parts. In the second part, Anne observes some photographs of Zamira's corpse. This would take us to the linear chronology in which the first part is before the second and this second is before the third. But we realize that this cannot be so: we have seen the photographer's burial in the first part. And this forces us to read the second and third as flashbacks. And so it seems when we see that the events link with the prehistory of the first part... But that is impossible because in the second part Anne has seen the photos of Zamira's corpse.

It is impossible to determine which part comes before which. But this has been achieved in a very simple way: it would be enough to remove the detail of the photographs and Kiril's mention of going to see his photographer uncle and we would have a traditional film with a flashback that links to the beginning of the film. Obviously the filmmaker wants the viewer to see it in this second way and at the same time realise that something doesn't match and start thinking.

The photograph is very warm and saturated with color in its Macedonian part and cold and bluish in its London part. The film also gives us beautiful images of the landscapes, churches and villages of Macedonia.

i saw this film last year and for the rest of the day could not shake the emotional response it had provoked within me. totally original in its construction, it makes the "inventive" timelines of tarantino's work look childish and simplistic. this film tells so many stories and helped me understand the balkan conflict in a new light-- i can't reccomend it highly enough. one of the greatest in recent memory. absolutely beautiful photography. repeat viewings don't diminish its impact-- a rare achievement, especially for a film that is built on what could have easily been a formal 'gimmick'-- but the semi-cyclic form serves the film and heightens the impact and the meaning.

The wars in former Yugoslavia have resounded in every corner of that region, and have ignited all manner of subsequent ethnic and religious conflicts within the newly-formed republics. Focusing world attention upon the region through the media has occasionally had the positive effect of raising awareness of the conflicts through art. The work of artists from former Yugoslavia has found an appreciation that has never really existed before, partly due to the fact that they are the most fit to interpret the events there. The republic of Macedonia is certainly experiencing its share of strife.

Nestled in between the countries of Serbia, Bulgaria, Greece, and Albania, it is surrounded by strained relations on all sides, countries that have refused to recognize its autonomy for a long time. A significant Albanian Moslem minority feuds with the dominant Orthodox Christian Slav population. Hardly a week passes without a new arms network running from Alabania to Macedonia being discovered. Despite the presence of U.N. peacekeeping forces, armed skirmishes ravage the countryside.

Milcho Manchevski left his native Macedonia to pursue a college education in the U.S. He studied film at Southern Illinois University. Upon graduating, he moved to New York and began working on commercial, experimental films, and music videos. BEFORE THE RAIN is his first full-length feature, for which he returned to his native country to make. He was able to secure British and French financing with his creative, authoritative and topical screenplay. An inspiring tale about the senselessness of war and the fragility of humans and their loves, the film is, despite some minute flaws, one of the most passionate and sublime cinematic statements of the '90s.

It has an intriguing, if not wholly original non-linear narrative structure. Through three episodes titled, "Words," "Faces," and "Pictures," respectively, the viewer is introduced to three characters whose lives interconnect from minute to strongly significant ways.

Kiril (Gregoire Collin, of OLIVIER, OLIVIER) is a young novice in an Orthodox monastery who cannot help but hide Zamira (Labina Mitevska), a fugitive Albanian girl, from the villagers who want to execute her for murdering a shepherd. He does it out of the goodness of his heart, but perhaps also out of the beginnings of a lustful affection for her. They flee north in an attempt to find Kiril's uncle in Skopje, and meet with dire hardship and tragedy.

Meanwhile, in England, Anne (Katrin Kartlidge, most familiar as the lisping goth girl from Mike Leigh's film NAKED), a photo editor is in the midst of a personal crisis. She is becoming more and more disaffected with her husband Nick (Jay Villiers) while experiencing a difficult, confused relationship with her lover, Aleksandar (Rade Serbedzija), an award-winning native Macedonian photographer. Unsure of what to do, she distances herself from both men, but cannot stem the tide of the turbulent events all around her. The story dispenses with her husband in somewhat contrived way, and she ends up trying to find Aleksandar, who has since left for Macedonia.

Aleksandar returns to his native village, only to find that the overall climate has radically changed, and the simple life he tries to rediscover has since been made more complex by the feuds with the Albanians. His return is met with mixed reactions from warm welcomes from his close friends, to cold-shouldering by the newly-armed local anti-Albanian faction, to outright hatred from some of the Albanians. When his childhood love from a neighboring village seeks his aid to help protect her daughter, Aleksandar is thrust into the heart of the conflict, and his refusal to takes sides has tragic repercussions.

Serbedzija interprets the role with a noble, morally centered sense of confidence. One of former Yugoslavia's most well known and respected actors Serbedzija found his role to be a way of protesting the conflicts in his region-"As an artist, as someone well-known, I had to speak out against nationalism and war. As Aleksandar was presumed to take sides, so was I. It's my story. What ends up happening to Aleksandar, when cousins take arms against cousins, has happened to many in former Yugoslavia and it could happen to me."

With its non-linear structure, the time-line of the film is somewhat incoherent, and there are some plot developments in the middle segment, occurring in England, which are a bit too pat. These are balanced by the striking, somewhat exotic visuals and original, exhilarating neo-ethnic music by a group called Anastasia, fine acting (especially by Collin and Serbedzija), and an overall poignant sense of the waste of war, even a war in its beginnings.

Manchevski illuminates his use of the film's title-"There was this sense of something heavy beginning to happen, something looming in the air. At the same time life was continuing as before. This story doesn't deal with the political aspects of how wars start. It's about human passion and how it can lead one in different, unexpected directions. It's about how a war somewhere in the world might get started and how that can affect your life regardless of where you are. Ultimately, it's about taking sides."

A poignant tragedy about hatred, war, love and taking sides.

Time is not linear in the movie, but the director blatantly tells us that time is not a circle, so what is? The story is, and perhaps war is.

The story is told in three parts, with highly ironic titles: Words, Faces, and Pictures. Each story has meticulously planned, but highly disturbing parallels. The story-telling of the movie requires diligent planning, down to every single detail, exceptional creativity, and extraordinary persistence. Perhaps that's why the director Milcho Manchevski was fired by both commercial producers Warner Brothers and 20th Century Fox for "creative differences"

Before the Rain talks about hate, and how the power of hate can rise above love. It talks about taking sides, the central character in each section tries not to take sides, but circumstances often prove such efforts futile. As with Kiril and Aleksander.

In the film, all events happened before the rain, this sense of urgency, this beautiful sadness, and this inevitable tragedy. Before the Rain is my all time favourite movie.