We could call this work ‘dreams without a plot, with unexpected twists from the reality of the newly arrived Dr. Mišića, included in them.’ His fateful, sleepwalking-like stroll in the film’s introduction allows us to imagine ourselves in a cemetery with a variety of inexplicable chills—because (a) it is almost nightfall or dawn and (b) the walk ends at a cross—and not in the huge apple orchard and courtyard of the gloomy mansion where he will now live. (I should add that it is ill-timed, but I will explain this better below with the gossip from the neighbours) and which foreshadows the gothic…
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