Written and Directed by Darko Mitrevski & Aleksandar Popovski
Starring Vlado Jovanovski, Lazar Ristovski, Nikola Ristanovski, Sofia Kunovska, Toni Mihailovski
My Advice: Wait for MST3K.
Okay, let me try my best to relate this to you. The millennium came and went, and so did the world as we know it. What's left is a group of refugees looking for Tina Turner from Thunderdome. They have brought a man named Kuzman (Ristanovski) to a secluded (holy?) place to execute and then bury because he has brought a curse on the village's children. So they pump him full of lead and…things get really, really weird. It all has something to do with incest, flatulence, automatic weapons, the dead, and Santa Claus (Ristovski).
I don't get it. I mean, I will say in all honesty that this is a Macedonian film, and I'm not really up on Macedonian literary and cultural references and all, so if I'm just ignorant of…well, every single reference made in this film, then I apologize in advance. But I've got the strangest feeling that I don't get it because there's nothing at all to get. I read James Joyce and the like, and I at least get the sense it's because of my lack of knowledge that I don't enjoy their works to the fullest. The film simply makes no sense. It's supposed to jump from 2019 to 1919 and then back up to 1999, but the connections between the three sections are tenuous at best. It's supposed to have the end of the world brought on by Santa, if you believe the press kit, but I'm glad the kit was there—I sure as hell didn't get that from the film.
The first section is the standard post-apocalyptic fare, and one would think you might have a good B-movie on your hands. There's even a laugh as a funeral ceremony is performed for the aforementioned Kuzman. But then it simply becomes more and more inexplicable. Kuzman has to do something to be relieved of his curse. It's pretty sicko. Why that? Why does he have to fight The Man With The Green Hair (Mihailovski), who's merely a Joker ripoff? Why is there a prophet (Jovanovski) disguised as a barber who's running around different timelines? Why is that woman singing that opera?
Here's an even better question: What's the point? None of the actions in the film seem to have any particular relevance, and as you may well know, only David Lynch gets away with that kinda crap—at least on my site. Therefore, I must call this what it is ostensibly: crap. It gets a half a point just for the funeral scene at the beginning. But until some Macedonian scholar shows up and proves me otherwise--if you do happen across a screener of this film—run away.
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