Peter is the dark brooding type. Leading a vacuous, shapeless life, he longs for the ideal woman, while at the same time, half heartedly continuing with his habitual girlfriend, Marusa , who is considerably older, a fact that Peter is quick to point out. As an ageing actress, struggling for parts in her local theatre, she oozes insecurity and breathes uncertainty. Together, they spend their time in the local restaurant, smoking, drinking and trading verbal blows. “I bet you’ll just end up a drunk,” she tells Peter each time. Peter just grins and tells her how old she looks. Compounded by a thankless director who soon shows her the door, Marusa finds her identity being squeezed harder and harder against the wall. To escape, Peter and Marusa dream. —IMDB
Boštjan Hladnik (30 January 1929 – 30 May 2006) was a Yugoslavian/Slovene filmmaker.
Hladnik was born in Kranj. He started with amateur short films after acquiring a projector and a 8mm camera in 1947. From 1949 he studied at the Academy for Theatre, Radio, Film and Television in Ljubljana and made a name for himself with several highly acclaimed short films. In 1957, Hladnik moved to Paris to apprentice under French filmmakers such as Claude Chabrol, Philipe de Broca, and Robert Siodmak. Hladnik’s early-’60s features, Ples v dežju (Dance in the Rain) (1961) and Peščeni grad/Sand Castle (1962), influenced the course of Yugoslav cinema, through integrating influences from the nouvelle vague into it. Hladnik has an obsession with eroticism. He made many films dealing openly with sex and his Erotikon (1963), with its openly sensual approach to taboo sexual relationships, not only triggered angry protests in the press, but it also led to it being banned in some Yugoslav republics… read more
I finally watched all of this Slovenian New Waver, beginning to end. A wonder of visual beauty, innovative production and emotional suffering. Maruša is one of the finest characters in cinema. Shattering. As of May 2013, it is my recommendation to peers for this year. With further viewings, this may garner 5 stars instead of the 4 at this time. The film had me the moment of Peter's first dream, walking in the rain.
Like some endless labyrinth through dreams, deep fears, denial, love, pain, loathing, longing. Like a dream within a dream. Like Hemingway's rain in "Farewell To Arms". When art is real, when art is unbearable...
I really really really love how this film tricks the camera, the visual pointview, and above all, reality itself (by tricking the patterns of time and space). The using of, somewhat, stream of consciousness is brilliant.