Two nine-year-old girls report a flasher to the police – even though they never saw him.
Three filmmakers meet the only residents of a deserted village – an elderly brother and sister who have not spoken to each other in 16 years.
Retired cleaning women are found raped and strangled in a small town. A reporter who writes about the murders is arrested.
The fiction slowly turns into a documentary.
Marking the return of Milcho Manchevski, Mothers portrays all types: dedicated, neglectful, loving, absent. Through these women, Manchevski renders the faces of human tragedy and joy.
Employing an innovative structure, Mothers highlights the delicate relationships of truth and fiction, of drama and documentary, becoming thus a meditation on the nature of truth.
Directed with a keen eye for the heartbreaking state of contemporary Macedonia, this triptych eschews neat narrative devices and pushes the viewer to confront their own definitions of filmic reality.
In the traditional structuralist manner, the structure of the film itself (two parts fiction and one part documentary) becomes part of its message.