"Time does not wait and the circle is not round" - Before the Rain

The three portions of Milčo Mančevski’s film, Before the Rain; “Words”, “Faces”, and “Pictures”, provide three different venues for viewing, and gaining insight, into the conflicts [i.e., ethnic and religious diversity and nationalism] that plague the Balkan regions.

It is ironic that the director utilized “Words” to identify the initial act of his film. Kiril, a Macedonian priest, has taken a vow of silence. Further, he is unable to understand Zamira, the young woman that he hides in his cell, or her family, as they are Albanians. Thus, he appears to have no cognizance that they are Muslims, which actuates the casting out of the young priest from the monastery.

“Faces”, the second act, is set in London. However, the cultural differences that plague the Balkan regions are evident in this arena as well. The lives of Anne, and her husband, Nick, are, essentially, detached from the Balkan conflicts. Yet, a disagreement between a waiter and a patron in a restaurant results in Nick’s death, which is a random act of violence rooted in the Balkan conflicts. Therein, the impact of these disagreements is global.

“Disillusioned” with life, Kirov returns to his homeland, which is depicted in the film act entitled, “Pictures”. Unfortunately, he does not find solace. Yet, his experiences with Hana Halili, her daughter, Zamira, Zakir, Mitre, and others, provide connectivity between the film’s scenes. His murder, prompted by his ‘blind foolishness’ underscores the level of intolerance by the Albanians and the Macedonians [i.e., Muslims and Christians], as well as the impact of violence on all citizens of these villages.

In three distinct snapshots, the audience is exposed to historical influences of the Nazi movement’s ‘ethnic cleansing’ ideals, the religious intolerance that exists between the various subcultures, and, seemingly, the acceptance of these situations as a way of life. Even Alexsander Kirov, a worldly photographer, seeks to ‘go home again’. While Mančevski’ illustrates that this is not possible, the spherical construction of the stories in his film alludes to the impossibility of change.

Richard B. Woodward, in his article, “Slav of New York”, describes the “structure of the film” as a “Mobius strip”. The image of this continuous elliptical shape echoes a phrase, which Mančevski inserts as graffiti and the accompaniment of the final act of violence, “Time does not wait and the circle is not round”.