"Nicola and Jana work off the land in Kotevska's home country of Macedonia. In an early scene, they bring literally three tons of potatoes to be sold, only to go home with the unusable crop due to increasing regulation and wholesalers looking for irrational deals. It's not that the earth doesn't support these people in their efforts to continue their generation-spanning work, it's that the system has let them down."
"Jana leaves their home to look for revenue elsewhere, leaving Nicola alone in this beautiful country, where he finds a stork with a broken wing. He takes the bird for help and is basically told that the only way to save the animal's life is for Nicola to care for him. And so he does. Kotevska's film consists largely of this stoic man caring for this gorgeous creature. Nothing needs to be said to find beauty in the imagery."
Nicola and Jana work the land in Macedonia, hauling three tons of potatoes to sell and returning with an unusable crop because of mounting regulation and wholesalers seeking irrational deals. Jana departs to find other income, leaving Nicola alone. Nicola finds a stork with a broken wing and is told that the bird can only be saved if he cares for it, so he undertakes the responsibility. The narrative interweaves a Macedonian folk tale about a boy transformed into a stork with quiet imagery of storks and rural labor, emphasizing beauty in both nature and traditional livelihoods.
Read at Roger Ebert
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