Mentally ravished by the years of war and death, Paskaljevic's characters have seen nothing other than human destruction, and they're reliving what they've seen. Every scene in the film ends in brutality, ever characters disappoints us with their own violence. Paskaljevic claims that the film ultimately offers hope for humans and he sees goodness in their behavior. What he's saying doesn't make sense - no human here is anything other than vengeful and hateful.
Nothing here feels quite real while, yet strangely, everyone represented is horribly believable.
The film's casual exposition is lovely. Now, we learn with offhand directness, it is the way station for the newly dead, the deceased having come here immediately after their last moments on earth. Once the memory has been selected, the counselor will stage and shoot the memory for a piece of film the deceased will then be able to enjoy for eternity. When the memories are finally filmed, at the end of the week, the recollections are presented in crisp, 35mm depictions, a sharp contrast to the homespun 16mm in which the film proper has been shot. A cheerful young woman who offers up a thrilling ride at Disneyland as her favorite memory is subtly encouraged to dig up something a bit more authentic.