Ah, the Balkan film you mention is a textbook case of the monomyth in a dusty village. I often find that, even in the most obscure foreign features, the hero’s journey is just waiting behind a cheap set. Think of that Hungarian film from the ’90s that follows a farmer on a quest for a lost relic—its structure mirrors the Odyssey, only the obstacles are made of bureaucratic red tape and local gossip. The key is to spot the call to adventure, the refusal, the mentor, the abyss, the transformation, and the return, even if the production budget has you questioning the realism of the hero’s boots. So yes, my friend, the myths don't care about your budget—they’re in the narrative, not the lighting.