Iluzija (2004) User Reviews

Worth seeing for 12 year old Marko Kovacevic's performance alone.

[JohnnyLarocque · 8/10 · 12 September 2004]

MIRAGE (Iluzija), is a Macedonian film from first time director Svetozar Ristovski, about a boy who is bullied at school, neglected and emotionally abused at home, and without a friend in the world. His teacher gives him hope by encouraging his writing, but eventually he is pushed to the brink. I knew I was going to enjoy this movie immediately as it opened with one of my favorite quote from Nietzsche: "Hope is the worst of evils, for it prolongs the torments of man." The movie is about how children can endure physical violence, but not false hope.

The director uses some clever metaphors in the film. Although trains constantly pass through the sleepy Macedonian village, they never stop there. Marko, the child star of the film, seeks refuge in a train graveyard, living in an abandoned train car that will never go anywhere.

There is nothing new about the story, as it's been told time and again in many different languages. What makes it worth watching is an honest look at Macedonian life, it's struggle with poverty and American occupation. But what really made the film for me was a phenomenal performance by 12 year old Marko Kovacevic as Marko. He blew me away. I had the chance to meet the young talent after the film, and he's as cool as he is shy. I would certainly recommend seeing this film for his performance alone. (8/10)

'Hope is the worst of evils, for it prolongs the torments of man.' Nietzsche

[gradyharp · 9/10 · 24 July 2006]

'You never get out of the sewer' is the sad summary toward the end of this remarkable film from Macedonia. Director Svetozar Ristovski co-wrote this screenplay with Grace Lea Troje, a story of the struggle of youths in a country devastated with poverty and corruption - a place without hope. The message is grim, the story is brutal, but the impact is stunning.

Marko (twelve-year old Marko Kovacevic in a brilliant debut) lives with his abusive, alcoholic father Lazo (Vlado Jovanovski) whose only work other than drinking is bingo games and who is in defiance of the American occupation of Macedonia; his mute and terrified mother Angja (Elena Mosevska) who remains a pathetic victim of abuse; and his trashy, angry, abusive sister Fanny (Slavica Manaskova) - all of whom hate each other and fill their hovel along the railroad tracks with cruelty. Marko happens to be a fine student who writes poetry and is encouraged by his Bosnian Professor (Mustafa Nadarevic) to write a poem for a competition that would reward him with a trip to Paris. Marko's schoolmates are disgusting thugs who beat him at every provocation: the Professor, fighting his own demons, does little to control his outrageous classroom.

Marko escapes his ugly household by finding a spot on a deserted train where he can be alone and it is here that the movie takes on magic. Marko 'creates' a friend named 'Paris' (Nikola Djuricko) who gives him hope that Marko can come with him as he leaves the little cruel village. Paris teaches him to defend himself and to support himself through stealing and shoplifting, all with the goal of escaping from Macedonia. As Marko slips down the path of crime his teacher tries in vain to feed Marko's hope of writing his way to Paris, but when the gang of boys force Marko to the limit, Marko's new self challenges them, establishing his independence. The two beacons of Hope for Marko (Professor and Paris) both fade and the ending of the film comes as a shocking surprise, yet one that mirrors Nietzsche's astute quotation.

This is a grim film to watch, overflowing with brutality of both the physical and the mental types, but the journey is worth it due to the overwhelmingly fine performance by Marko Kovacevic, a lad with the same degree of quiet facial expressiveness and acting skill as that of such greats as Giulietta Masina. The gritting, well-composed cinematography is by Vladimir Samoilovski and the haunting musical score is by Klaus Hundsbichler (with a little help from Eric Satie!). This is one of those films that is disturbing in the best sense of the word: it makes us think beyond our safe borders and contemplate the plight of the oppressed, both children and adults, in a country torn by recurring violence. In Macedonian and Bosnian with English subtitles. Recommended. Grady Harp

a well made film

[wrlang · 8/10 · 26 November 2006]

Mirage is about a young boy named Marko who has some writing talents that lives in Macedonia during the wars. He is constantly being beaten by his sister or the local bullies at school. His mother is totally subservient to everyone in the household, and his father is a drunk on strike against the business where he was employed. They are poor by American standards. His peaceful place is hijacked by an ex-military guy of some kind that briefly enters Marko's life and teaches him how to shoot a gun. He also teaches Marko that there is no hope. Marko takes this lesson to heart and acts accordingly. This is a very well made film, but extremely depressing in that a feeling and talented child is totally mishandled by the adults around him.

The Importance of Understanding a Boy

[mgphd · 10/10 · 17 March 2006]

"Mirage" focuses on the experience of a 12-year-old boy living in contemporary Macedonia. This film shows the extraordinary vulnerability of boys -- those beings who will become "our men" -- to the savagery of abuse and hypocrisy, at home and at school, and in society. All of these assaults are, like war itself, direct attacks on all children, of course, but especially on boys -- something we are just beginning to wake up to understanding. Here we see all the promise and hope and persistence that boys offer freely and without strings attached being battered, humiliated and finally overwhelmed by meanness born of resentment, cowardice where there should be tender, savvy guidance, and neglect by distracted, emotionally (and economically) impoverished parents. Macedonia, yes, -- but the setting could have been any neighborhood in the United States that is clouded by poverty. The lead is a awesome performance -- just heartbreaking -- by Marko Kovacevic. We watch this this boy, this surprise in the midst of banality and misery that every boy springs on us and which should delight us and perhaps could save us -- we watch him methodically terrorized and hurt. We see his hope and optimism annihilated. At first, sheer bewilderment at unremitting harshness forces his head to hang low -- again and again -- until, finally, it rears up after "just too much" and he looks at us, and acts. By then he is an early version of Paris (played by Nikola Djuricko), the man he will become, who was able just barely to promise Marko a way out -- but then lets him down. For starters, let this film be seen by every school teacher in the United States, then every father, and if the schools themselves can find the courage, by every kid in junior and senior high school in America.

Riveting and heartbreaking

[howard.schumann · 8/10 · 27 November 2006]

Marko Trifunofsky is a shy and sensitive twelve year old who is an easy target for school bullies and an abusive family but who comes alive when a teacher asks him to tryout for a poetry competition whose first prize is a trip to Paris. Macedonian director Svetozar Ristovski's provocative and disturbing Mirage should come with a Dante-like warning "Abandon hope, all ye that enter here". We are informed at the beginning of the film that, according to Friedrich Nietzsche, "hope is the worst of evils, for it prolongs the torments of man", but we are still not fully prepared for what is to come. Because we are so involved with the expressive young man, magnificently played by first-time actor Marko Kovacevic, the raising and dashing of his dreams is a truly riveting and heartbreaking experience.

Set in Veles on the Vardar River, the calm, picturesque quality of the city belies the turmoil beneath the surface: anti-American rallies, labor disputes, a corrupt police force, and an educational system that barely functions. Marko lives at home but his family life is far from nurturing. His father Lazo (Vlado Jovanovski) is a drunk and a gambler who dominates his passive wife Angia (Elena Mosevska). Marko has to share a room with his angry sister Fanny (Slavica Manaskova) who has no time to be civil to anyone between her many sexual encounters. Unhappy at home and mercilessly taunted at school by a bunch of faceless conformist punks led by the conscience-less Levi (Martin Jovchevski), son of corrupt policeman Blashko (Dejan Acimovic), Marko's only refuge is in an abandoned railroad car and in visits to the professor's book-lined apartment.

Unable to withstand the constant bullying and the pervasive atmosphere of corruption and criminality, Marko's descent into hell becomes sadly predictable. Slowly, as the boy realizes that his teacher is as cowardly and hypocritical as the others and that his escape from the "sewer" of Veles is little more than a pipe dream, he is incongruously transformed from a poetic and innocent child into a thief and violent delinquent under the tutelage of an ex-soldier named "Paris" (Nikola Djuricko) whom he meets (or imagines) in the train car. Paris tells him that in life one must "either eat or be eaten".

Reminiscent of Mathieu Kassovitz's La Haine, Mirage is a harsh, uncompromising look at the lives of marginalized people in a region too few in the West pay attention to. It is not an easy film to watch, but it is powerfully realized and difficult to forget. If Ristovski (now living in Vancouver, Canada) has made Mirage to call attention to the fact that the region is a powder keg waiting to explode or to suggest that the Macedonians must move beyond hope into the realm of political action, he has succeeded but the pill tastes very bitter.

You can't hope to steal if everyone is poor

[przgzr · 6/10 · 18 April 2007]

There are human destinies, stories, situations that we could expect to happen in certain poor Asian or middle American countries. At least this is something we are used to consider "normal", "natural", this was a steady state for decades.

But modern world has brought changes. Not changes like that were brought by 20th century, when American slavery or Dickens' England disappeared. Nothing disappeared with 20th century, on the contrary – life that seemed to be reserved for Guatemala, Haiti or Indochina today can be found in Europe.

Life has never been easy in Eastern Europe. During socialism years poverty and hard life were mostly hidden, movie makers were forbidden to show dark side of life (it was impossible to accept that life can be rough in perfect society). Therefore the world never got a realistic view of life in these countries, especially in rural distant regions.

Today there is freedom to show everything - and life hasn't become any easier. In fact, even those rare good qualities vanished, among them hope. Old people accept what life brings as they always have. Adults became resigned, they can't expect even what their ancestors got. But youngsters don't have a picture of old world that had some values of their own, they see world as shown on MTV, they grow up with values brought by commercials, and every time they open their eyes reality makes them despair. And resigned adults don't try to input any other values, cause they don't believe in them either.

"Iluzija" is just one in a line of dark and hopeless stories showing this new world, that globalization gave to Macedonia (or Romania, Moldova, Bulgaria, Bosnia...). Romanian "Maria" tells us a true story of a woman that had to enter world of prostitution (with hints that it is the only destiny her daughter can expect, too); also showing infants been sold to families from the west. "König der Diebe" deals with selling older children to merchants from Germany (though it could be any other rich country) for illegal jobs like stealing and prostitution hidden by pictures and promises for better life. And, tragic as they are, these movies show people – both adults and children – that still have some hope. "Iluzija" is beyond that: you can't steal because everyone is poor, prostitution is limited to few able to pay (UN soldiers) and you can't even sell children cause there's no one to buy them. So if Barbu and Mimma in "König der Diebe" followed Caruso with enthusiasm and faith, and finally returned home understanding that it is still a safer and better place than promising West, Marko in "Iluzija" dreams of leaving, but everyone who could open him the exit door lets him down – from teachers to criminals.

And there is at least a bit of good in most characters in "Maria" and "König", we can't find a single character that we would actually like. Even Marko - we can understand or feel sorry for him, but would you like him to be your neighbour, to be your son's classmate? Life in Macedonia is most likely a bit better than in Romania or USSR countries. Being a part of Yugoslavia Macedonia had some more freedom, and there are some traditions (black wave from Serbia in late 60's) that Macedonian authors can lean on, so they are more sharp and radical than their colleagues from Soviet influence zone. "Iluzija" also shows deep political disruption between old left-wings from Yugoslavia years and right-wing mix of nationalist, pro-American democrats, (rare) new enriched people; and the national split – though the only Yugoslavia nation that wasn't in war against Serbia Macedonians have problems with large Albanian minority, and the teacher who is Bosnian is also a suspect, because both Bosnians and Albanians are Moslems... In this society bullying among children seems to be an inevitable consequence. This movie is hard to watch, but the authors must be praised for being brave not to avoid any dark side of life in their (and not only their) country.

One thing to add... If each word would be correctly translated, MPAA would probably let it free to watch for persons over 50. But I don't think English is rich enough. No language contains so many obscene words and idioms as Balkan languages. As much as I've noticed, only cats and dogs didn't use four-letter words in every minute on the screen. Yet this is also the part of reality.

Marko

[khp101 · 9/10 · 12 August 2007]

One of the most amazing films I have ever seen in my life. I have not been so in tune with a film in a very long time. Every aspect of this film screams 'well-done.' The movie pulsates, after the train scene its just spectacular.

Marko Kovacevic is sensational, he deserved to be recognized for a youth acting award. He is simply amazing on screen and not since young Christian Bale in Empire of the Sun, have we seen such a genuine, in your face work of cinematic genius.

Stunningly done, the cinematography is professional and tangible. The on screen chemistry between all characters is very well directed. kudos to Macedonia.

the best Balkan movie made in 2004

[oksimoroni · 10/10 · 6 March 2005]

i've seen this movie recently, on Belgrade Film Festival (FEST), and i was delighted. although nobody expected it (numerous movies were shown on FEST, from across the world, some of them hailed by film critics - like "Vera Drake", directed by Mike Leigh), "Iluzija" was the best film shown of festival, and not only because of the "clever metaphors", or actors performances (although both of this elements are excellently controlled), but because of straight, concentrated, well-narrated story, with clear and precise beginning-middle-end structure, and with lots of details that are creating dangerous and mean universe (picture of Balkan under NATO "protectors") of the movie. of course, viewer who knows facts about Macedonia-Balkan-ex-Yugoslavia can see some of the best artistic comments on reality of the countries in so-called "transition", and also political-incorrectness (if you consider the critic of EU-USA attitude on "small countries" to be uncorrected). and when you are thinking about the movie in-whole, you can realize why's there a Nietzsche quotation on the movies beginning. but, there's a lot of philosophy in it, so we are leaving that story for another time, and another place...

10 points go to Marko

[ofratko · 5 March 2012]

Very powerful movie and quite depressive at times. Great story line and amazing acting. I have to praise mostly Marko Kovacevic he was amazing in this movie. If it is be possible I would give him Oscar for his performance.

Heartbreaking story about incredible talented and intelligent boy from very poor and dysfunctional family. He is bullied, beaten, insulted without any support and his life is a downright spiral to tragedy.

I did also like the performance of Nikola Djuricko.Who was brilliant as Paris.

Overall excellent movie.And great work from Macedonian film makers. Well done!

This unsettling film about alienation is worth viewing

[KobusAdAstra · 8/10 · 19 February 2017]

A Nietzsche aphorism at the beginning of the film gives a good indication what to expect in this sombre film: "Hope is the worst of evils, for it prolongs the torments of man".

The backdrop of this film is the Macedonian town of Veles, still recovering from the ravages of civil war. Peacekeeping soldiers and armoured vehicles are very visible. 

Marko is not a happy lad. His father is a drunkard and spends more time with his buddies drinking and playing bingo than at home, his slutty sister is a vicious bully, while his mother is intimidated into silence by her patriarchal husband and abusive daughter. And this is not the end of Marko's problems; at school he is is bullied by fellow students, some from influential families. The only one on his side seems to be his Macedonian language teacher, who, incidentally, originates from Bosnia. He encourages Marko, a smart lad, to take part in a poem- writing competition, the first prize being a trip to Paris. Marko does not waste time, and starts straight away. 

Conditions at home are just not conducive for creative writing, and after some unpleasant domestic violence, he starts spending time in an old carriage in a train graveyard close to home. One day on his way home from school, Marko once again gets physically assaulted by the bullying thugs from his class, when his language teacher, who Marko thought was on his side, came cycling up, saw what was happening, turned around and quickly cycled away. One can't blame Marko for feeling very alone with nobody on his side. 

Then one day he meets a drifter, ironically called Paris, who also moves into Marko's disused train carriage. Paris would teach Marko to stand up for himself, and look after his own interests, even if it means stealing. Eat or be eaten, he says. Under the influence of his new buddy, Paris, Marko becomes more rebellious and even has a few scrapes with the law. It looks like Marko's life, once promising, is now going in totally the wrong direction…

This tense, tragic drama to a large extent shares themes with 'Joe, the King' (1999), Luis Buñuel's outstanding 'Los Olvidados' (aka 'The Young and the Damned') (1950), and the superb 'The 400 Blows' (aka 'Les Quatre Cents Coups') (1959) by François Truffaut, and compares quite well with them. Although I must add, the latter two films are in a class of their own.

I have been impressed by the imaginative cinematography displayed in'Mirage', whilst the character of the young protagonist was made believable through the true to life performance of Marko Kovacevic. The set is excellent too, with Veles, the smallish Macedonian town, as backdrop. I gladly recommend this film. 8/10.

"Hope is the worst of evils, for it prolongs the torment of man."

[nycritic · 5/10 · 24 March 2006]

No one can call Nietzche from being someone who spawned cheerful, optimistic blurbs about the condition of Man and His position in the Universe. So the moment a film decides to use one of his more depressing quotes -- "Hope is the worst of evils, for it prolongs the torment of man." -- it was clear to me that this was not going to be a walk in the park, but an express ride into hell with no way back up.

Macedonia produces this cinematic denouncement of a film and while it's too negative to be recommended, it's not a film anyone can ignore, or watch without feeling something wrenching at the stomach. The story of Marko, the little boy who lives in a country ravaged by civil unrest and the threat of a civil war just seconds away from happening, makes for an important voice even when the writers have given him none.

Marko is in the middle of the death of his family as a unit. His father is a deadbeat drunk who plays the lotto and hopes to win. His mother moves about in a haze and his sister gives him an excruciating amount of abuse for the hell of it. School is no better: there is Levi, the school thug who leads a gang, who has decided to focus his anger on him. And a teacher, originally from Bosnia (considered sacrilegious of in this country) who sees hope in Marko's sensitive writing and thinks his poetry might be the express way out of this hell, into the promise of Paris.

Paris indeed arrives, in a moment of hope, as a young mercenary of sorts -- a man who has lived a dangerous life. As Marko retreats from his daily dose of abuse into an abandoned train, he meets and befriends this man who comes to teach Marko two things: that life is hopeless and a constant battle, and to eat or be eaten (the movie's tagline). As the mental and physical violence around and directed at Marko escalates and even those who had hope in him decide to turn the other face as the ones in power (Levi and his police father) gain so much control that it seems all roads of escape end at their feet, Marko takes a drastic action into his own hands.

This kind of story is not new. I think the director is trying to, in telling a story of the loss of hope, an allegory about how innocence -- the future (Marko) -- can take so much before crying out and lashing at those who try to help but cannot (Marko's teacher, who didn't even assist him when Levi and his gang beat him up at his doorstep but fled the scene). I did wonder if the introduction of Paris and Marko's transformation from golden haired boy into a killing machine was a foreshadowing of what Marko would become -- since he walks away from it all right at the end while no one even flinches to see what took place. Paris, the soldier, has told Marko not to expect anything from anyone, that the only way of leaving a bad situation is leaving, not hoping, and this is exactly what Marko in the end is implied as doing.

MIRAGE is not an easy movie. At times I felt, as an American used to some form of catharsis that would in one way rescue the abused character and give him the victory over evil, that this systematic abuse was too much. It set me up for a false sense of "hope" once Marko starts taking subtle control over his life and even put down his sister in one funny scene. The only thing I can infer is that MIRAGE reflects the reality of many victims of society who have no one to help them, who have been pushed so far and then beyond the edge until they embrace the darkness of life. I kept getting slight references to a Mexican film by Luis Bunuel -- LOS OLVIDADOS in which innocence was also stolen and turned into something ugly. MIRAGE, however its pessimism (which is hard to take), has its beauty, even when it's one which should approached to with caution.