“New film” (novi film) encapsulates a loose, extensive mélange of works from the Yugoslav 60s that, according to Daniel Goulding, wrestled in different ways “to increase the latitude for individual and collective artistic expression and to free film from dogmatism and bureaucratic control.” Where to After the Rain? is a forgotten marvel, a courtship tale that not only exemplifies new film’s signature formal tropes—sinuous, unrestrained camerawork foremost among them—but also allegorizes the movement’s central tensions and contradictions. The film (produced by Macedonia’s Vardar Film in Skopje) scarcely features in historical overviews, even as it articulates one of the finest, smartest and most durably obstinate parables of freedom, mediatized expression, inhibited (female) desire and (anti)conformism in Yugoslav art and beyond. Thematizing and tackling entrenched petit-bourgeois strictures, Vladan Slijepcevic nevertheless stays ambivalent, departing from any position of unambiguous, straightforward dissidence. Where to is internationalist in atmosphere and spirit if not in cast and crew demographics. A Serbo-Croatian beat cover of The Who’s “It’s Not True” headlines the film’s soundtrack, while news reports (in French and Russian) from the raging war in Vietnam are heard over the radio in a Mercedes. One climactic scene is a tongue-in-cheek nod to Roman Polanski’s Knife in the Water (1962)—only instead of bickering over a woman, there is talk of fidelity to the party’s revolutionary cause. Apocrypha has it that two years later Slijepcevic was slated to direct Jeanne Moreau in a film à clef about Alain Delon’s supposed ties to Corsican gangsters; for better or worse, the enterprise never came to fruition.