In the misty village of Tarevci, Bosnia, a coat hanging from a line swings eerily in the wind. Bodyless and moving aimlessly, it presents a striking image: an analogy of both the rejection and consequent emptiness experienced by a recent failed love conquest, and the overarching dystopian feeling of a world full of disappointments. This is particularly symbolic with regards to the film’s setting: Bosnia is a country racked by countless broken promises and betrayals by those in power; Tarevci itself a Muslim enclave in the Serbian stronghold of Srpska – a misfit, outsider, begging to be worn and looked after.