But this is far from a documentary treatment of Balkan violence, and the country that Manchevski put on the map—his native Macedonia—was in fact the only Balkan state at that time not to have been engulfed by war or ethnic conflict. Manchevski had not set out to explain the devastating sequence of events that started inas federal Yugoslavia dissolved during the year that saw the Soviet Union itself fall apart. Having grown up in Skopje, he finished his film education in the United States, where he began to make a reputation in music videos during the eighties.
The film is beautifully shot, with a film clarity that appears almost of digital quality, highlighting the rugged and sparse terrain of the Macedonian countryside.
Using the motif of tomatoes on the vine, we see a young priest who has taken a vow of silence, picking the fruit in the crystal clear Macedonian sun. This section of the film is entitled, Words, and adds the additional motif of almost the complete absence of words, or in limited occasion, the inability of words to express thoughts and emotions.
The priest, upon returning to his Spartan cell, discovers a young androgynous figure hiding in his bed. The young person is a girl who is hiding from a mob bent on exacting revenge upon her for murdering one of their members.
The young priest is startled by her appearance, and runs from the cell to seek help from an elderly priest. Since he is unable to speak, the elder believes he wants company to go into the night to urinate before bed.
Because of this misunderstanding, the young priest returns to his cell and allows the girl to sleep on the floor. She also eats some of the tomatoes, representing the extreme poverty and starvation of the ethnic Albanians. The mob storms the monastery and conducts a search, but somehow, the girl avoids detection.
The mob displays particular cruelty, with one member callously shooting a cat several times. Mancevski uses these visual cues to portray the violence and brutality of the ethnic and religious conflict. The priest is forced to resign and flee the monastery with the young girl as the segment ends.
Upon leaving, they pass a funeral, and a woman who cries out upon witnessing the burial. In the melee, she is shot and killed by her own brother, and dies face down on the earth with the priest tearfully crouching next to her.
The second segment, entitled Faces, jumps to London where a young magazine editor finds herself torn between her husband and a former lover, a photographer who has been covering wars and violence throughout the world.
He is world weary and haggard, even as the husband is neatly groomed and a business man. The woman rejects overtures from her former lover and after a sexual encounter in the back of a taxi, leaves him to go to her husband.
She meets him in a restaurant where a bloody tragedy occurs.
A bearded and swarthy man, not unlike the Orthodox Christians and Albanians in the first segment, causes a disruption in the restaurant, is expelled, and later returns with a gun. He fires indiscriminately into the restaurant, killing many people, including the husband.
Mancevski makes clear in Faces that ethnic strife and violence do not respect borders. Was the shooter a Christian or an Albanian? We do not know for certain, but he is ethnic, gesticulating wildly in his conflict with the restaurant employees, and babbling in a strange tongue.
He is quick-tempered, uncouth and violent, contrasting sharply with the husband who is urbane and civil. The Londoners are not spared the violence even in a sharply ordered, civilized city. The kick in this section is in the photographs that that editor works with at her office.
It is a bit disconcerting, yet deeply involving, that the time line is unclear. A woman he once loved, Hana, is now a widow, and asks him to help her with her daughter, the young girl from Words.
His fate leads us back to the first segment and the funeral we witness in passing. Mancevski is clever with his fragmented time line in the film. He illustrates that violence carries over, through time and space, never ending, and always a threat, in cities and in rural areas.
No one is safe, and the threat never ends. To add gravitas and epic scope to his story, Mancevski weaves in subtle lines from Shakespeare. Are these things not the causes of all wars and violence? It is an effective conceit that adds much to the scope and heft of the narrative of the film.
Before The Rain is a stunningly realized piece of historical narrative.Mar 10, · The movie is made in three parts, two in Macedonia, one in London.
|Before the rain film analysis | Ayşe Nur Ergin - initiativeblog.com||When a mysterious incident in the fabled Macedonian mountains blows out of proportion, it threatens to start a civil war, and brings together a young monk who has taken a vow of silence, a London picture editor, and a disillusioned war photographer in this tragic tale of fated lovers.|
|Before the Rain | Reelviews Movie Reviews||The circle is not round. The film is an exploration of the vicious circle that is violence in the Balkans, and the way tribal and ethnic bloodshed in that part of the world can spill over into more "civilized" countries.|
|The Next Chapter in Story Development||After the road trip with Raymond, Charlie turns down Dr. Because it would have been nice to know him for more than just the past six days.|
|The circle is not round. The film is an exploration of the vicious circle that is violence in the Balkans, and the way tribal and ethnic bloodshed in that part of the world can spill over into more "civilized" countries.|
still alive. Manchevski was not influenced by Quentin Tarantino; they were making their films simultaneously, and in "Before the Rain" the circular Manchevski feels, is heavy with anticipation and foreboding, as before a heavy rain. In the first part, an Albanian Muslim 4/4. Analysis of Before the Rain Before the Rain, filmed on location in the Republic of Macedonia and in London is a trilogy that focuses on the conflict between Muslims and Orthodox Christians in the Balkans.
Mar 10, · The first and third parts of the film take place in Macedonia, which, like Bosnia and Serbia, was part of Yugoslavia. The fighting has not reached there, but there is great tension between Muslims and Orthodox Christians, and the atmosphere, Manchevski feels, is heavy with anticipation and foreboding, as before a heavy rain.4/4.
REVIEW ABOUT „BEFORE THE RAIN‟ Before the rain is a triptych circular story that fold into one another. It is not possible to think them separate or in a chronological order. The film is a successful example to tell the violent nature of war without falling to mistake of making emotional exploitation but just by telling how people are influence by its effects.
REVIEW ABOUT „BEFORE THE RAIN‟ Before the rain is a triptych circular story that fold into one another. It is not possible to think them separate or in a chronological order. The film is a successful example to tell the violent nature of war without falling to mistake of making emotional.
Feb 24, · "Before the Rain," opening today at Lincoln Plaza, begins with and returns to a remote Macedonian monastery, which might seem a safe haven from random bloodshed.