Balkans: Before the Rain

Before the Rain suggests the idea that conflict between Macedonia and Albania is not yet war, but a culture of murder that might soon escalate into war.  Further, these conflicts offer little hope of resolution or a restoration of peace—only a potential for continued violence. Painting with a bigger brush, a viewer walks away with the idea that conflict is a direct consequence of our own constructs (Religion, nationality, race) , and for as long as we label ourselves “us” then there will always be a “them.” Thus, peace is an impossible end.

Before the Rain illustrates regional  conflicts of national, ethnic , and religious hatred: Albanian Muslims versus Macedonian Christians. The opposing forces are people who are intertwined, groups that meander around each other like intercalated roiling rivers. Because of this, the conflict  does not resemble a traditional gathering of battle forces, but rather ongoing, festering conflicts embedded in long-standing hatreds that erupt and spike, hatreds without any sort of rationale or moral purpose.

Aleks

Before  the Rain focuses on the rising tensions and animosities between two neighboring villages that are within walking distance from one another; these people actually know each other. Unfortunately these hostilities culminate into a father killing a daughter, a cousin gunning down a cousin, neighbor slaying neighbor. Thus, the escalating conflicts are personal, individual choices. And when killing becomes a personal choice, it is murder.

What can we say about the Macedonia presented in the film? Can we really foresee these groups going to war ? We don’t know, but I think Manchevski's film is a clarion call warning. The characters appear to be gradually succumbing to and investing in the religious and ethnic anxieties, resigned to a forthcoming acceleration to war; hence the title Before the Rain. This is especially apparent during the scene when Macedonian Aleks pays a call to old friends, Muslim Albanians, and his old sweetheart barely talks to him. Another member of her family expresses a desire to slit his throat.

Monastary

Old traditions are seen through funeral rites. Also, the old women still wear head coverings. But new traditions are represented by guns, modern clothing, and rap music. It’s a strange mix but I think it is delicately managed by the director.

I disagree with John Simon’s  article that pidgin-holed the film as “Artsy-Fartsy.” First of all, all film is artifice. Period. Get over it. Mr. Manchevski did not intend to film a documentary. The cinematography is lovely, the music exotic, and the acting is convincing. I think the gunning down of the cat symbolizes that violence can happen to even the most innocuous bystander—a cat.

Mr. Manchevski’s interview with the Village Voice seemed sincere to me. Clearly his film's intent was to issue a warning, or perhaps show how isolated pockets of animosity can grow into full-scale war and destruction. He felt the rising tensions first-hand. How can anyone accuse him of being insincere?

Overall, I enjoyed the film and did not feel an off-kilter queasiness from its Tarantino-like non sequential vignettes. In fact, I liked the suspense of it, a tension goaded by how’s this all going to come together?