Mirko meets Jovana by chance and, falling in love with her, keeps looking for her. They get acquainted and fall in love. Their relationship lasts for one year, until one night, Jovana has no other way but to face the truth that love is gone, and that Mirko doesn’t love her anymore.
It is an antioptimistic manifesto exploring a failed love relationship, played out in an alienated urban environment. An intimate film, it explored new possibilities for film language by replacing traditional narrative structures with intricate visual metaphors. –Daniel Goulding
Aleksandar “Saša” Petrović was one of the most acclaimed and successful Yugoslav directors, born in 1929. in Paris. Studied film directing at the prestigious Academy of Performing Arts (FAMU) in Prague (1947/48). His studies remained unfinished due to the political aggravation between Czechoslovakia and Yugoslavia at the time and he was forced to return to homeland. He graduated Art History in Belgrade (1955). Filmmaker since 1948. in various projects. At first, assisting to other directors and shooting documentaries. Awarded several times for his early works in these movies including very successful documentaries Let nad mocvarom (1956), Petar Dobrovic (1958), Putevi (1959) and Sabori (1963). After two films with various success and acclamation (Dvoje in 1961 and Dani in 1963) he directs very successful war drama Tri (Three, 1965) which won raves from critics in Yugoslavia and Europe and an Best Foreign Language… read more
quote: "the potboiler was not that bad.. it only had a wrong title... it should be called "Mirko, the mean fish killer" " hahaha.
Of all emotions, Love is the most fickle one ! It beguiles one with it’s promises of an endless spring and without warning abandons one in a street lined with empty benches and littered with rejected leaves which complete a portrait of autumn ; an autumn pregnant with more springs, a fact which evades the hazy glances of lovers abandoned by love ! This film is a little and beautiful ode to the unbridled joys of falling in love...and the inchoate agony of falling out of it. The film, as basic as the ‘feeling’ it’s about, paints the various hues of love with brushstrokes of splendid visual metaphors and suggests that like the seasons, love comes and goes and comes again,along the way giving birth to the only permanent thing- ‘Memories’. The final photograph is not a sad image, but one where happiness has left only temporarily.