Miryna, a police detective, goes to a small town to investigate the disappearance of a young girl Adela who was temporarily residing there to write about magic on her internet blog. Miryana leads her investigation rationally, but confronted with locals and their pagan beliefs, she soon finds herself in a maze of unanswered questions and irrational thinking. In Adela’s room, she reads a myth about a dragon that chooses lovers among humans. When Miryana gets news from Belgrade that Adela was found in a terrible psychological state, she stays to discover what happened. Soon Miryana becomes the dragon’s mistress. It has its way with her in the shape of Adela. It gives Miryana bliss, but when it is gone, it leaves a painful emptiness. Being aware that the dragon is giving her an illusion and afraid of the part of herself that it revealed to her, Miryana kills the dragon. The next morning Miryana realizes that when the dragon dies, nature dies too, and the frost comes before its time.
Frost is a modern version of an east Serbian myth about a dragon that takes human shape and finds a lover among humans. The myth ends with the killing of the dragon, and I perceived this as a metaphorical killing of a mystical and spiritual part of human life. This myth has all the elements of a multi-layered and visually powerful film – an allegorical psychological story of a destructive relationship and maturation – all this made in a fantasy genre. Frost is also interesting as a female version of a dragon-slayer story. Miryana, a woman who took over the male role of a “hero”, is given a choice to kill the dragon/myth or not. That is why it is important to make this film in the form of a contemporary mythological fairy tale, to make a film that will give us mystical experience.