Manchevski debuts absurdist comedy amid Macedonia film‑agency scandal

Plot follows sibling thieves and surreal twists in Skopje

The film follows siblings Malina and Viktor who survive by stealing bronze busts of national heroes and manhole covers in Skopje, a scheme inspired by reports that such items sell for three euros a kilo and that the stolen busts symbolize neglected heroes while the covers represent society’s underbelly.

When a theft leaves Viktor injured, the pair encounter a corrupt doctor and flee to the doctor’s blind mother’s luxurious home.

Manchevski frames the story as a fable, an inverted Hansel and Gretel tale that shifts from a road‑movie opening to a claustrophobic indoor second half, aiming for a slightly surreal, wacky fairy‑tale tone.

Director frames wealth inequality as “new global warming” with humor

Manchevski addresses wealth inequality in the film, describing the issue as "the new global warming". He explores the divide between the haves and have-nots, finding humor and agency among his outcasts.

He develops the plot through characters and humor rather than starting with a predetermined message. This approach avoids creating propaganda or a simple pamphlet.

The director contrasts his style with European social-realist dramas, which he says are often depressing and confined to a realist register. He argues that important topics do not need to be drab to be effective.

Manchevski critiques what he calls "neo-social realism," where film funds and festivals pressure directors to convey specific messages. Growing up under communism, he recalls similar requirements for films to be realistic and deliver prescribed messages.

While he often agrees with the agendas of funding bodies, he dislikes the pressure that limits artistic expression. He claims this focus on ideology leads to "the death of beauty" and maintains that art should prioritize larger truths.

Production spanned six countries, intense rehearsals and theatrical style

Auditions for the film used material from "Macbeth" and involved extensive rehearsals across a six-country co-production. The production utilized demanding locations to achieve its vision.

The dream sequences and violent scenes feature a choreographed, theatrical quality that Manchevski felt was appropriate for the story. He hopes the boisterous, irreverent characters and themes create a natural synergy.

Manchevski talks about the boundaries of editing, the importance of test screenings, and his conviction that entertainment can sit alongside hard truths. He notes that while this storytelling mode feels necessary now, he does not consider it fixed and expects his next screenplay will be less comedic.

Manchevski teases upcoming drama “Homecoming” about forgiveness

Manchevski also previewed an upcoming drama titled "Homecoming". The project follows a man returning home to die. It explores themes of forgiveness and regret.

Blacklisting fueled “exultant energy” that shaped the film’s tone

The blacklisting gave him "more exultant energy". He states that this pressure may have made the film even more enjoyable than it otherwise would have been.

From “Before the Rain” to “Kaymak”: a career of award‑winning cinema

Manchevski first gained international attention with "Before the Rain". The film won the Golden Lion at the Venice Film Festival and earned an Academy Award nomination.

His subsequent films include "Dust," "Willow" and "Kaymak".