Plastering your face over a graveyard to eternally preserve your own see-through image while contrasting it with the stone statues of people, statues whose reproduction of humans doesn't measure up to what you now have at your disposal. A simple edit will connect Šijan's irises to flowers, natural, dying and already buried on celluloid.
Šijan's best works (The Marathon Family, Who's that Singing Over There, and the short experimental film A Song for Tom) are all about this shit and this is where it starts.