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Before the Balkans war reached Macedonia, a young native director left us his brilliant debut film -Before the Rain (1994)-, which narrates in three parts different love stories running in parallel, winning thirty international prizes, as well as being Oscar nominated for best foreign film. The film has been an object of great study on the part of historians. But what is at issue is something more than a historical or social document; it is the entire proposal connivance of European cultures and religions, in demonstrating in the most graphic manner, that there are always more in common than differences. The article looks to demonstrate how this cinema has forged from the "limes" not only the inheritance of the best of the European tradition of philosophical or sapiencial cinema, but over all invites reflection in a cordial yet daring manner over the complex identity of Europe at the end of the second millennium. [ABSTRACT FROM AUTHOR]