81 reviews
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.
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.
- Falkner1976
- May 29, 2022
- Permalink
This story marks the essence of what's happened in Balkans (former Yugoslavia) in past few years, and especially the circular plot of the movie is very significant. I was really shocked with certain moments of this film!
There's more lines in the plot - the story of native war photographer living in London, who wants to return to homeland - the movie itself starts with some kind of Romeo and Juliet war story - there's also a harsh killing scene in London restaurant, which is made by one of war radicals - very funny shot is that, when the UN inspection car stops at the hill far before the village, and after moment it returns back, while the village is guarded and divided by it's armed citizens - and maybe one missed telephone call could warn Alexander, who just returns to his birth village, and stop it all...
After some moments the lines of this more complex movie cut through and the circle of violence comes to its finale. But we're just on the beginning chronologically, so it seems everything is just starting again...
There's more lines in the plot - the story of native war photographer living in London, who wants to return to homeland - the movie itself starts with some kind of Romeo and Juliet war story - there's also a harsh killing scene in London restaurant, which is made by one of war radicals - very funny shot is that, when the UN inspection car stops at the hill far before the village, and after moment it returns back, while the village is guarded and divided by it's armed citizens - and maybe one missed telephone call could warn Alexander, who just returns to his birth village, and stop it all...
After some moments the lines of this more complex movie cut through and the circle of violence comes to its finale. But we're just on the beginning chronologically, so it seems everything is just starting again...
- MikeyB1793
- Jan 31, 2009
- Permalink
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.
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.
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.
- contronatura
- Feb 20, 2000
- Permalink
This movie is absolute perfection. I can't believe it took me 10 years to bump into it by accident. I was surprised to see it was made in 1994 when the entire time I watched it as a reflection rather than prophecy of the civil war that followed.
The fluency of picture, music, and the story is perfect as viewer is taken from dramatic landscapes and slow paced life of orthodox priests to fast paced London streets and offices. Parallel stories in London fasten the pace even more.
The movie shows we are all connected not only in time (past and future) but space (geography) as well. War and suffering in one part of the world affect lives of people in quaint London restaurant. The circle of human tragedy connects almost every character in the movie. But circle is imperfect. If the circle were perfect the tragedy would stop when circle completes. Alas, the tragedy spirals in time and space.
Acting is very real. Time is not wasted overbuilding any character. The way soundtrack blends with the movie is pure art. Thank you for this movie Mr. Manchovski. As powerful as the movie is, it's unfortunate it didn't help prevent the civil war in Macedonia. When hate wins, innocence looses.
The fluency of picture, music, and the story is perfect as viewer is taken from dramatic landscapes and slow paced life of orthodox priests to fast paced London streets and offices. Parallel stories in London fasten the pace even more.
The movie shows we are all connected not only in time (past and future) but space (geography) as well. War and suffering in one part of the world affect lives of people in quaint London restaurant. The circle of human tragedy connects almost every character in the movie. But circle is imperfect. If the circle were perfect the tragedy would stop when circle completes. Alas, the tragedy spirals in time and space.
Acting is very real. Time is not wasted overbuilding any character. The way soundtrack blends with the movie is pure art. Thank you for this movie Mr. Manchovski. As powerful as the movie is, it's unfortunate it didn't help prevent the civil war in Macedonia. When hate wins, innocence looses.
I was forced to watch this movie for a college class, and it instantly became one of my favorite movies of all time. The story is exceptional, and the directorial brilliance of its creators brings the tragedy of an entire country to life. It contrasts the folly of war and hatred with beautiful images of the people and places that they destroy.
Beautiful, hard hitting, but still both simple and realistic. One of the most beautiful movies I've ever seen. I saw it the first time in 1997 I think and I've seen it at least twenty times so far and it grows bigger every time. I love this movie and can't give any bad comments about it. Some amy say there are some
beautiful scenes here and some ugly scenes there, but I love it just like it is and it's hard to change that.
Firs, the the acting is excellent and the main character Rade Serbedzija does a wonderful work as a cynical, down-to-earth photographer, who knows he can't
escape his destiny and identity, Katrin Cartlidge does an equally impressive job, as well as a lot o the Macedonian bad and good guys of the film.
Secondly, the cinematography wonderfully depicts the harsh Macedonian
landscapes and sceneries, as well as the torn souls of the land. The music has the same impact and feels so natural with the cinematography.
Finally, I could never complaint about the directors excellent work. This was his debut if I'm not wrong and that was very promising, but I suppose this was his "Citizen Kane" and it'll probably be impossible to make anything similar.
One rarely sees anything from Macedonia.But this is not only good for
Macedonian cinema, it should have won the Oscar that year.
beautiful scenes here and some ugly scenes there, but I love it just like it is and it's hard to change that.
Firs, the the acting is excellent and the main character Rade Serbedzija does a wonderful work as a cynical, down-to-earth photographer, who knows he can't
escape his destiny and identity, Katrin Cartlidge does an equally impressive job, as well as a lot o the Macedonian bad and good guys of the film.
Secondly, the cinematography wonderfully depicts the harsh Macedonian
landscapes and sceneries, as well as the torn souls of the land. The music has the same impact and feels so natural with the cinematography.
Finally, I could never complaint about the directors excellent work. This was his debut if I'm not wrong and that was very promising, but I suppose this was his "Citizen Kane" and it'll probably be impossible to make anything similar.
One rarely sees anything from Macedonia.But this is not only good for
Macedonian cinema, it should have won the Oscar that year.
- peter_olsson_1
- Sep 10, 2003
- Permalink
The circularity of violence seen in a story that circles on itself. In Republic of Macedonia, during war in Bosnia, Christians hunt an ethnic Albanian girl who may have murdered one of their own. A young monk who's taken a vow of silence offers her protection.
First of all, you don't see many films from Macedonia. At least, I don't. I suppose people in Macedonia may see more. But that was the first thing that struck me. But more to the point, the film is interesting for its blend of cultures and languages, and its (possibly) unique plot device of three stories that could go in more or less any order.
I cannot say this was a film I truly loved, but it was one I admired. And it makes me wonder what else is out there from this same director or others involved. There is a whole world of film out there to be explored.
First of all, you don't see many films from Macedonia. At least, I don't. I suppose people in Macedonia may see more. But that was the first thing that struck me. But more to the point, the film is interesting for its blend of cultures and languages, and its (possibly) unique plot device of three stories that could go in more or less any order.
I cannot say this was a film I truly loved, but it was one I admired. And it makes me wonder what else is out there from this same director or others involved. There is a whole world of film out there to be explored.
This movie is by far, the most touching movie i've ever seen. I think it impressed me just the same as "Merry Christmas Mr.Lawrence", though "Before the Rain" is a much more beautiful movie. It's a raw depicture of the Balkans conflict, but also a beautiful one. One with loads of violence but growing from this violence, there's love and compassion.The most touching movie i've ever seen.
- Adriano_Lessa
- Nov 19, 2002
- Permalink
A recent trend in films is to present plots non-sequentially. This isn't done all the time, of course, but this radical way of constructing a plot have simply been overused in recent years. For me, the novelty has definitely worn off. Because of that, I wasn't as impressed with "Before the Rain" and many other reviewers.
This film consists of three stories--all which relate to Macedonia and ethnic violence. However, while at first the three stories only seem to have this as the common thread, some of the characters also appear in multiple stories--making one larger story about hatred and ethnic violence.
Story 1 is about an Albanian woman who is being sought by Christian Macedonians--and she's being sheltered by a monk who has taken a vow of silence.
Story 2 is about a pregnant Brit whose lover is Macedonian. He has been living abroad for many years but leaves to go back--and leaves her behind pregnant. When she meets her husband to ask for a divorce, BAD things happen somewhat out of the blue.
Story 3 shows the man in 2 in Macedonia and his return isn't as happy as he'd hoped.
Each story is well done and interesting. The acting and direction are also quite nice. But as I indicated above, I am personally tiring of non-sequential films and the novelty has worn off for me. Well done but I am not in love with the film.
This film consists of three stories--all which relate to Macedonia and ethnic violence. However, while at first the three stories only seem to have this as the common thread, some of the characters also appear in multiple stories--making one larger story about hatred and ethnic violence.
Story 1 is about an Albanian woman who is being sought by Christian Macedonians--and she's being sheltered by a monk who has taken a vow of silence.
Story 2 is about a pregnant Brit whose lover is Macedonian. He has been living abroad for many years but leaves to go back--and leaves her behind pregnant. When she meets her husband to ask for a divorce, BAD things happen somewhat out of the blue.
Story 3 shows the man in 2 in Macedonia and his return isn't as happy as he'd hoped.
Each story is well done and interesting. The acting and direction are also quite nice. But as I indicated above, I am personally tiring of non-sequential films and the novelty has worn off for me. Well done but I am not in love with the film.
- planktonrules
- Apr 23, 2014
- Permalink
This is a powerful movie about the circle of conflict, coming from the authentic Balkan region that is troubled by these issues for ages. It gives you the perspective on these themes in a great, artistic and sincere way. Highly recommended.
- perica-43151
- Jul 19, 2018
- Permalink
In three linked stories,a young couple in North Macedonia is torn apart because they are from different ethnic groups; a North Macedonian war photographer in London sees his pregnant girlfriend-agent shot; and he returns to his home village to become involved in the internecine violence between the same ethnic groups as in the first part.
I'm certainly no expert in North Macedonian cinema, but the photography in that country is beautiful; it looks little changed in the ninety years between the Manaki brothers' first movies and 1994 -- hardly surprising in a land settled perhaps five thousand years ago. What's a century, more or less.
The point is, of course, the pointlessness of the hatred that inspires all this bloodshed. The camerawork, the theme, and the fact that it seems to have been the first movie released in North Macedonia after that country gained its independence were enough to gain it an Academy Award nomination for Best Foreign Language Picture.
I'm certainly no expert in North Macedonian cinema, but the photography in that country is beautiful; it looks little changed in the ninety years between the Manaki brothers' first movies and 1994 -- hardly surprising in a land settled perhaps five thousand years ago. What's a century, more or less.
The point is, of course, the pointlessness of the hatred that inspires all this bloodshed. The camerawork, the theme, and the fact that it seems to have been the first movie released in North Macedonia after that country gained its independence were enough to gain it an Academy Award nomination for Best Foreign Language Picture.
Never made it to London and section two. Was waylaid in Macedonia and held at stupefying gunpoint by that veteran European bandit, Art H Boredom.
Truly, Barnum could take lessons in suckerdom from Milcho Manchevzski. Don't know exactly what this dull director's thought processes were exactly, but I imagine they went something like this: "Let's see. I'll take a serious subject and treat it VERY seriously. That means no humor, of course, and lots of irrelevantly gorgeous cinematography. Then I'll throw in Gregorian chants and monks to let the viewer know that this is sensitive, profound stuff they're watching, and just in case they don't get the message I'll make the pacing REAL slow and the silences between speakers super long. That should earn me at least honorable mention at Cannes." Solid C.
Truly, Barnum could take lessons in suckerdom from Milcho Manchevzski. Don't know exactly what this dull director's thought processes were exactly, but I imagine they went something like this: "Let's see. I'll take a serious subject and treat it VERY seriously. That means no humor, of course, and lots of irrelevantly gorgeous cinematography. Then I'll throw in Gregorian chants and monks to let the viewer know that this is sensitive, profound stuff they're watching, and just in case they don't get the message I'll make the pacing REAL slow and the silences between speakers super long. That should earn me at least honorable mention at Cannes." Solid C.
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.
This film by Milcho Manchevski is the ideal when talking about explaining and defining the Macedonian problem. I am Macedonian but I live in Germany. So I think I have an overview so that I am able to criticize. The problem between the ethnic groups in Macedonia go around in circles. But in the end it turns out that the circle goes round like a ferry wheel. Everything is happening again and again. The circle is not round though. In every end there is a change. A change which always makes the new beginning worse. In a way it is like a spiral. And Manchevski is smartly telling three stories. They are not linear, but in a way they come close to what the problem really is like. With the last episode he connects the three stories, and you can feel the message - his message.
Unfortunately this film was quite popular only in Europe and I think even in the US, but in Macedonia it was rarely seen by the people. I think if every single Macedonian Citizen had seen and understood this movie, it would be much easier to solve the Macedonian problem today. Because what it says is that we ourselves kill each other. Because of hatred and ethnic principles we force ourselves to fight against each other. And that is exactly why it is leading to nowhere. Because it is a circle...and the circle is not round. And one day, when the spiral is at its end, it's going to be too late.
Unfortunately this film was quite popular only in Europe and I think even in the US, but in Macedonia it was rarely seen by the people. I think if every single Macedonian Citizen had seen and understood this movie, it would be much easier to solve the Macedonian problem today. Because what it says is that we ourselves kill each other. Because of hatred and ethnic principles we force ourselves to fight against each other. And that is exactly why it is leading to nowhere. Because it is a circle...and the circle is not round. And one day, when the spiral is at its end, it's going to be too late.
This for my money is one of the best films of the last ten years. The plot does a wonderful job of starting and ending in the same place, a device Pulp Fiction stole and did less well. Essential for anyone who wants to understand the conflict between Orthodox and Muslim cultures in the Balkans and anyone who simply enjoys a finely crafted film.
"Before the Rain" is a compelling drama which examines the ethnic hatreds bubbling over the cauldron of Macedonia in the wake of the post cold war Balkan fragmentation. A masterpiece of filmcrafting with a circular story backbone and a cosmopolitan cast, "BTR" focuses on one war weary Macedonian photo-journalist who returns to his roots to find his homeland torn by ethnic/religious hate. A must see for those into serious drama and foreign films. (A-)
Like Yol, we have here a film that brings you into the way of life of a People, living in the mountains and outside of the modern world and you know that ethnic rivalries are bred here. The males go around carrying uzis and the Albanians and Macedonians just can't wait to kill each other. Beautiful photography and music. A different world, there in the Balkans!
This is the best movie i have ever seen. I really love it. Although it was shot in 1994, this movie is still very actual in present. It tells much about mentality of people in former Yugoslavia. It has my best recommendation. If u have a chance 2 c it, don't miss it. Jan Zajic
- anthony_retford
- Nov 8, 2009
- Permalink
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."
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."
- musicalpenguin2
- Sep 18, 2005
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