The wandering Harvey Keitel (don't really know the character's name...) is back in his native Greece, a director looking for an unannounced film by the Greek director Managis in the early 20th century. Three rolls of video film. These three rolls of film record and show the style and culture of the hometown at that time, which is a very attractive treasure for a director and a wanderer who is eager to know his hometown. Keitel picked up a taxi on the way to the Film Archive with an elderly woman who had also been away from home for a long time. After the taxi arrives at the place designated by the old woman, the old woman will be dropped off. Facing the familiar and unfamiliar streets and buildings, the old woman stood in place, at a loss.
Keitel came to the Film Archive and asked a female employee about the whereabouts of three reels of film footage, and the woman responded indifferently to his inquiry. Then they meet on the train, Keitel continues to ask about the whereabouts of the film, the woman looks extremely impatient. But under Keitel's unremitting questioning and explanation, the woman suddenly changed her attitude, and they suddenly talked as if they had found soulmates until they fell in love with each other. The woman got off the train at the station, but she followed the starting train, listening intently to Keitel, who was leaning against the train door, telling her story. The train went faster and faster, the woman went from following to running, and finally jumped on the train to kiss Ketel together.
Keitel followed in the footsteps of Managis, sailing to Belgrade on a ship carrying the giant statue of Lerin. The people by the river stopped and watched, as if they were seeing him off, or seeing off Managis, whether it was true or false, like a dream.
Keitel met his mother, a young mother, on the train to Bucharest. Keitel followed her mother back to her former middle-class family, her former homeland. He met his father in his present form at a family dance in 1945, the end of World War II. While they were dancing, the bald uncle was taken away by the Communists in 1948, the beginning of the civil war. Afterwards, the Communists removed all the furniture in the house, as if fighting the landlord to divide the land. Keitel took a family photo with her family, which is a bookmark for the memory. An Zhe presents different events in different periods in the same scene, in one shot, and in a dance, all of which are masterful.
Ketel wakes up in her sleep and arrives at her blown-up home with a female guide in black. The woman and the librarian are played by the same actor. At home, the woman looked at the photo of her deceased husband and cried, and Keitel put on her deceased husband's clothes. The woman kissed him wildly and hugged him like her husband.
In the war-torn Sarajevo, Keitel finally met the old man who kept the film. The old man has been working on chemical formulas to make the images on film appear. When they saw the video, they smiled brightly. They hid in an abandoned cinema, and could hear the sound of gunfire outside. The administrator's daughter is also played by that woman. The fog hit, a festival during the war, because the fog blocked the line of sight for snipers to target them, and people hiding in the rubble were able to go outside to breathe the long-lost fresh air. A large number of people took to the streets, stopped, stopped, and enjoyed a moment of tranquility in the fog that was invisible. Keitel dances in the fog with the caretaker's daughter, and the caretaker tells him about life during the war. As a result, they were found by the patrol, Keitel heard gunshots in the fog, he ran to the gunshots, and saw that the person who was still dancing with him and talking to him had become a corpse, he screamed and cried, like The ending in "The Weeping Prairie" is the same.
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