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 have not spoken to each other in 16 years.

  Retired cleaning women are found raped and strangled in a small town. A  reporter who writes about the murders is arrested.

  The fiction slowly turns into a documentary.

  Marking the return of Milcho Manchevski, Mothers portrays all types: dedicated, neglectful, loving, absent. Through these women, Manchevski renders the faces of human tragedy and joy.

  Employing an innovative structure, Mothers highlights the delicate relationships of truth and fiction, of drama and documentary, becoming thus a meditation on the nature of truth.

  Directed with a keen eye for the heartbreaking state of contemporary Macedonia, this triptych eschews neat narrative devices and pushes the viewer to confront their own definitions of filmic reality.

  In the traditional structuralist manner, the structure of the film itself (two parts fiction and one part documentary) becomes part of its message.

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Milcho Manchevski

Milcho Manchevski’s acclaimed Before the Rain is considered “one of the greatest debut feature films in the history of cinema” (Annette Insdorf) and “one of the most important films of the decade” (Ann Kibbey). The New York Times included it on its “Best 1,000 Films Ever Made“ list. It won the Golden Lion in Venice, Independent Spirit, an Academy Award nomination and 30 other awards.

Manchevski’s work – which also includes the award-winning features Dust, Shadows, Mothers, and the award-winning short forms The End of Time, Thursday, Macedonia Timeless, Tennessee and 1.73, and an episode of HBO’s The Wire – “stands out in world cinema for its unique way of playing with space, time and emotion” (Keith Brown). Roger Ebert said, “Work like this keeps me going. A reminder of the nobility that film can attain.” “His unique blend of experimentation, poetry, emotion and a demand for the active participation of the viewer in the construction of meaning are highly praised.” (ConorMcGrady)

He recently completed his fifth feature Bikini Moon.

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