Two parallel tales of redemption, a century apart. A burglar is held at gunpoint and forced to listen to a story. At the turn of the 20th Century, two brothers feud over a woman. She ...
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Two nine-year-old girls report a flasher to the police even though they never saw him. Three filmmakers meet the only residents of a deserted village - an elderly brother and sister who ... See full summary »
After a quarrel with his wife, a man leaves their apartment with one suitcase only. Having slept in a train station, the police legitimates him and found him suspicious. Soon he'll find ... See full summary »
Stojan 'Stole' Arandjelovic
Determined to build the best football club in the country, Dimitry hires the German coach, Rudolph Spitz, to galvanize his rag tag team but - when the first Nazi tanks roll through the city and Rebecca, the beautiful daughter of a local banker, elopes with his star player, all Dimitry's plans must change.
Macedonia is a small country, in the heart of the Balkans, which for five centuries was under the yoke of the Ottoman Empire. The action of the film "To the Hilt" takes place in the years ... See full summary »
A charismatic but mentally unstable vet captures the attention of a documentary film crew who are ready to exploit her story for their own shot at independent movie fame in this very modern, urban fairy tale set amidst a fractured ideal of family.
In a harsh and unpredictable natural environment where people have isolated themselves behind massive walled cities, a socially marginalized Tracker teams up with a black-market merchant to... See full summary »
Michael Evans Lopez,
Three different love stories, set in three consecutive decades, in two neighbouring Balkan villages burdened with a long history of inter-ethnic hatred: this is a film about the dangers - and the enduring strength - of forbidden love.
Two parallel tales of redemption, a century apart. A burglar is held at gunpoint and forced to listen to a story. At the turn of the 20th Century, two brothers feud over a woman. She marries one; the other, Luke, a deadly gunslinger, becomes a soldier of fortune in Macedonia, and gets embroiled in a local revolution. He's after money. Wounded by his brother, he's nursed by a pregnant villager who urges him to "kill for good, not for gold." A dying old woman in modern Manhattan tells Luke's story; her listener is Edge, a young thief who's burgled her flat to pay off crooked cops who can send him to jail. He listens with the desperate hope that he'll find gold that he thinks she has. The stories intersect when Edge sorts out the old woman's surprising connection to Luke.Written by
It's easy to miss what DUST does with the Western's clichés. The movie is a kind of rumination in modern, international terms on THE WILD BUNCH, with some problems (e.g., Joseph Fiennes's Southern accent and arguably too many bloodbaths) and with some remarkable achievements. Chief among these is Manchevski's managing to keep several threads hanging because he pays us the compliment of assuming that we are paying attention, waiting for culmination, like the youngster who finally proves to be the movie's protagonist. We need very few details to make the important connections. The lad is a low-class thief in hock to dirty cops; he confronts an old broad far tougher than he is, who sees his resemblance to the Luke of her memory, a mercenary cowboy who found it easier to kill than love. As she begins a sharp-witted decline to death, she tells Luke's story. The story is full of traps. We think Luke fled to Macedonia because he loves the prostitute his sinister, found-again brother (Fiennes) has married. But Luke and his life are more complicated than that, as we gradually learn, circling through past, present, and the minds of several participants. Manchevski values images, cutting to the old lady's photos from the past, mixing times and spaces within the frame. He insists that we are watching the old lady's story, not even a pretense at reality. At last the youngster takes up the challenge and Luke redeems himself in a final confrontation whose truth is in fiction's need to resolve the central issue: here, that memory is a story which makes time come round to emphasize the dark ironies and pains from which we keep trying to protect ourselves.
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