Nearby live Pero's friend Suki (Drago Milinovic), a motor mechanic, who has a tender relationship with Ida. Life seems mostly full and good, though bizarre, with moments of repose and reflection punctuated by wild, engaging action. But beneath it there is darkness. Pero's nascent relationship with the apparently robust and modern student Renata is doomed by the secrets of her hidden life. Pero's brother-in-law is easily roused to violence; a group of young men circle the peaceful life of the village in a menacing way; Pero rather symbolically falls and hurts himself while putting up the national flag for independence day; death comes suddenly and out of the blue, and all the time Pero is reflecting on life and its end. Cvitkovic, with his cameras alternating between the swooping and the still, is a master of change of tempo and tone, and can stretch a moment of reflection or horror into an endless now, as well as dealing with the lightest of touches with humour or the simple exchanges of ordinary life. There's certainly no preparation or warning for the shocking deeds towards the end of the film, or the terrible, inevitable revenge which is taken. Pero's philosophical words and attitude fail him, but finally what we see is in its way a triumph, of a kind, for love.