In the year 2019, the world is depicted as a post-apocalyptic wasteland where the remnants of humanity have regressed into nomadic, leather-clad tribes. The setting, primarily lensed in the desolate landscapes of North Macedonia, reflects a state of total societal collapse where modern infrastructure has been replaced by ritualistic violence and fragmented religious myths. This future is not characterized by high-tech evolution but by a regression into primitive tribalism fueled by the leftover munitions of the 20th century.

The central dynamic of this era revolves around the character Kuzman, an immortal man seeking his own death in a world where "the Earth will not take him." This suggests a dynamic where the natural cycle of life and death has been fundamentally broken, potentially as a result of the extreme decadence and violence that peaked during the turn of the millennium. The film portrays a divergent timeline where the transition from the 1990s to the 2000s, overseen by a malevolent Santa Claus figure, triggered a global descent into madness rather than progress. Earth is portrayed as an abandoned, decaying site of eternal punishment for the human race.

While the film avoids specific technological predictions common in Western sci-fi, it accurately mirrors the prediction of persistent regional instability and the psychological scarring left by the Balkan conflicts of the late 20th century. Comparisons can be drawn between the film's 2019 and the real-world rise of "ruin tourism" and the aestheticization of post-industrial decay. The Kinoteka na Makedonija notes that the film’s "ethno-groovy" style utilizes mythological motifs to describe a future where human destiny is fixed and inescapable, a sharp contrast to the digital optimism typically associated with late-90s futurism.