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the audience feel melancholic. With these gloomy scenes,
Angelepoulous tries to demonstrates the first proofs that devastating
way of the war. Also use of colors like grey black and white in
almost entire film and
also the use of lighting, mostly low-key light
clarifies his perspective to the story and his reflecting to the
audience. The colours of the night that we see in the early scenes
set in Greece are gradually opening up to the gloomy atmosphere in
Albania, claustrophobic scenes in Skopje, the soft and gentle colours
of his childhood in Romania until they are filled with cosmic chaos
in the majestic scene of the statue of Lenin in the Danube. Cold and
warm colours are used interchangeably in the scenes in Sarajevo,
until the reality of death destroys all colours in the mist. The
viewer sees the inner psychic unfolding of the collective adventure
in a set of non-verbal signs.

scene begins with the eye-level and two-shot to medium close-up of A
and woman who has short curly hair, glasses, brown trencoat, a
chain-smoking romantic redolent of the French New Wave
by Maia
Morgenstern. They
meets at the Belgrade Film Archive and A ask for help for finding
three reels. They
are travelling with the train from Albania to Skopje by the way man
talking her about his purpose. Later, the woman get off the train, A
stands on the entrance of the train, continuing to talk then the
train starts to move and the camera follows it and pans to right,
creating “undercranking”.
a sequence shot of more than 10 minutes, the longest and most
ritually meaningful of the whole film, we will observe to the rhythm
of the music and dance the post-war years. The
sequences follow the other dramatic and memorable scene. The camera
pans to left, a woman appears who A calls her “Mom”. The
woman holds his hand like a child. They
travelling together by train and the scene shifts and they finally
arrive the family house Costanza, in
the background, the sound
of the procommunist partizans is
heard from the street. A
is seen as a child, understanding that it’s flashblack and back
through time- blending present and memory, slipping smoothly and
disconcertingly into the past, It is A’s family house in New
Year’s 1945. They waiting for the return of A’s father, a
prisoner in a German concentration camp. The eye-level master shot of
the people in

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