This was voted the greatest postwar Naslav film, and I think the reason is that it transcended politics and ideology. It is about people, nations, and history.
A battered vintage car, stubborn and even eccentric father-son driver, a mix of passengers, heading for a city that really exists. Like the future does exist, everyone believes in it. What the future holds is uncertain. The son's city has a zoo, a sea for little brides, a karaoke hall for pick-up punks, a veteran's son... passers-by tell them there is war... so what?
This journey shows the kindness, innocence, ignorance, viciousness, simplicity, hypocrisy, joy, simplicity of the passengers...that's how people are. If you come to China for the remake, it probably won't have such a happy atmosphere. It is innate and innate in the nation.
The whole movie seems to be a loose and casual plot, in which the design is very delicate, and there are foreshadowings everywhere. The hunter left alone and appeared at the next stop, the veteran who had to buy five tickets in the middle, and the patient who had been coughing all the time played a role in peeking at the young couple Yun Yu at the most critical moment. Or he was in the city when the liar hooked up with the little bride and shouted that he found the gentleman who fell into the water, destroying the good deed of the liar.
All these are natural, there is no trace of construction, and the lens is simple and peaceful.
good, very good.
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