The point of reference in Iztok Kovac\'s work is often his home town Trbovlje ' a mining town and at the same time the Slovene simbol of gray, polluted and forsaken landscape of socialist heavy industry. His returns to his home-town should not be understood merely as nostalgia or personal sentimentality, but as a return to the source of his own physical constitution, which was formed when surrounded by the bodies of workers and miners, in the alternating rhytm of work and rest, in the enviromnent constantly reminding one of the irreconciable conflict between civilization and nature.
Thus his film Narava Beso reveals, on one hand, his personal attitude towards the realistic ambient of his home-town and on the other, enriched with wider connotations and forming itself into a certain poetical structure, his understanding of the actual world.
The film takes place on seven different locations, having in common, that somewhere in past in time of somebody\'s youth, somebody\'s childhood, in time of a different social climate and past stage of human history they were the places, where hard physical work took place. And suddenly this site, marked with activity, which had stopped due to certain historical necessity, is taken by a group of dancers. Yet, suprisingly, they do not move. Instead they are just listening to the far away sounds and rhythms. But if or when decide to move again, they move carefully and thoughtfully, as following the complex energetic currents, encoded in this grounds. (Eda Čufer / Quelle: www.en-knap.com)(dS)