By Luciana Leitão

As soon as I heard about Emir Kusturica’s film, On the Milky Road, I was anxious to watch it, wandering whether there would be something revolutionary in it. It turns out the dormant director is kicking, and his latest production brings something new — or, at least, something that brings all his good trademarks back.

It took him three years to finish this film. Featuring the incredible Monica Belluci, On the Milky Road is more than a mere love story. It is a love story, amid war — it is ironic, funny and it has incredible moments of greatness. It is real, surreal and magical, at the same time. It brings a very different Monica Belluci, portraying a diva who is in love with Kusturica. Then, you have Kusturica — he is the main character of this story. He is believable in his unbelievable role.

The beginning is overwhelming, and the frenetic pace leaves you unsettled. Actually, mid film you are still moving forward on an impossible and frenetic pace — it is anarchic, funny, as Kusturica’s films usually are.

There’s a clock that crushes people, snakes that wrap around people to stall them and sheep that explode. Human and animals are almost equal, in their differences. Surreal, funny and anarchic.

Still, as the plot moves forward, you feel the reality is crushed by the magic, leading you to question Kusturica’s options. Monica and Kusturica’s love seems too magical to be real.

It has all the trademarks of Kusturica — music, pace, rhythm, comedy, tragedy, magic almost all the same time. Yet, in certain moments, you seem to have already seen it somewhere else. And you probably have.