His new effort, penned by the helmer himself in co-operation with Bojan Vuletić and Nicolas Ducray, is a contemporary adaptation of the Serbian medieval epic poem Banovich Strahinya. It follows a man called Strahinya and his wife, Ababuo, both aged 28, who leave Ghana at the beginning of the migrant crisis. They manage to reach Germany but are finally deported back to Belgrade. Serbia may not be Germany, but Strahinya does his best to start a new life. He works hard to secure asylum, trying out as a football player for a local club and working as a volunteer for the Red Cross. However, the process is lengthy, and Ababuo, a passionate woman aspiring to become an actress in London, feels unfulfilled in her life. One night, a new group of Syrian refugees arrives, on their way to Western Europe. One of them is Ali, a charismatic left-wing activist. Ababuo initially mocks him, but the next day, she leaves Serbia with him, with no explanation. Thus, Strahinya sets off on the Balkan migrant route for completely different reasons to anyone else: for love.

黑奴安祖奴被維也納貴族看中，視為子姪養育，令他長大後平步青雲，在高等白人階級左右逢源。當美滿生活看似唾手可得，他與白人女子秘密結婚，從此打開潘朵拉的盒子。以真人真事為藍本，一段十八世紀中歐傳奇，在馬卡斯施萊澤冷靜理性的鏡頭，與簡潔有力的敘事下，揭示的當然不止於種族觀念的偏狹與頑固。媲美寇比力克《亂世兒女》（1975）的影像風格，促成影片的美學探索意在言外，直入西方文化的觀看結構，嘆為觀止。