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5 Votes (3.6)
Borders, Raindrops (2015)
Granice, Kise (original title)
Fiction, 0 min
Production country   Bosnia-Herzegovina
Languages   Serbian,Croatian
Directors   Nikola Mijovic, Vlastimir Sudar
Scriptwriters   Nikola Mijovic, Vlastimir Sudar
Producer   Tihomir Stanic
Plot keywords    
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Borders, Raindrops is a feature film, whose objective is to establish a new image of the relationship of the four key countries in the Balkans - Bosnia and Herzegovina, Montenegro, Croatian, and Serbian - not only in their national, but also on the international scene. It is a story of love and hope housed in a modern ambience Herzegovinian village near the border with Montenegro and Croatia. Although the number of people who live in the country for decades is in decline, the film depicts this visually dramatic and attractive landscape in an original way and show that life in it is not only possible but also very interesting. This will be done through a romantic love story that will create a whole new picture of this area of our lives and the people in it.
Director's Statement
Borders, Raindrops is a story of beauty, humor and hope in an unlikely place. It is an entertaining and innovative film about love and longing, as well as a plea for reconciliation in the post-Yugoslav landscape. The story unfolds in a recently fragmented space and this is mirrored in the narrative structure of the film, which is split in two halves. The young woman, Jagoda, creates a connection between two families divided by the border and, through her character, both stories merge into an organic whole. In fact, the entire film is constructed around this idea. So, a number of visual motifs from the first half re-emerge in the second, and several sequences from the Montenegrin part ‘rhyme’ with the Bosnian sequel. The theme of the sea, as a source of both life and conflict, is repeated throughout the film. 
The atmosphere is key to this film. Although the plot is entirely feasible, the acting naturalistic, and the locations real, a delicate sense of heightened reality pervades the film. Four different elements of our cinematic language conspire to create this feeling.
Firstly, the painterly visual style reflects the unique setting of the mountains overlooking the Adriatic Sea, invoking the work of the modemist painter Petar Lubarda, who explored the unique natural light of this region. The film will be shot in outdoor locations during the summer. In contrast, the rare interior scenes will be lit in the minimal, chiaroscuro style, reminiscent of classical painting. Secondly, the film draws on a meditative understanding of timing, with carefully arranged shots, where the focus is on duration and time flow. So, eve if our characters take a nap during the hot afternoon, the crickets, and the camera, do not.
Thirdly, the carefully orchestrated soundtrack, from the soapy pop tunes in the first half of the film to the unsettling reverberations in the second, transcends its mimetic function, and adds another layer of meaning to the images.
And finally, the sense of hope and the "happy ending" for all the main characters may add to the feeling of heightened reality. Nevertheless, this is a response to the driving forse behind this project - the constraction of an affirmative, perhaps even romantic, representation of the place sidelined by recent history, and almost forgotten in economical, political and cultural terms.
Technical Specifications Image / Sound
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Films of Nikola Mijovic, Vlastimir Sudar
Borders, Raindrops
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