Manchevski's film belongs to a tradition of 'landscape cinema,' represented
recently by Angelopoulos and the Taviani brothers, and originally by Rosse
llini and Neorealism. What these and other related films mean, it is sugges
ted, can best be understood by reference to art historical and critical the
ory accounts of landscape as a signifying practice, theorized by Clarke and
Gombrich around 1950, then by Williams and Mitchell from an ideological st
andpoint. Lefebvre's distinction between 'absolute' and 'abstract' space is
used to characterize the three parts of the film, moving from Macedonia to
London and back; and the authenticity of the locations is assessed in econ
omic and aesthetic terms. The film is identified as an allegory of spatial
relations in the modern world of civil wars; and also as part of a traditio
n of elegiac landscape studies which lament the loss of arcadian innocence.