One of the cinema's most undying formulas places an outsider protagonist in some strange new culture, where he or she learns that the unfamiliar—and apparently more primitive—society is, in fact, vastly superior to his or her own. For Gadjo Dilo, the third part of his Gypsy trilogy, director Tony Gatlif (Mondo) adds layer upon layer of complexity to that concept, and the result is a humanist masterpiece, extremely moving and full of fresh wonder. The outsider in Gadjo Dilo, Romany (the language of the Gypsies) for "crazy stranger," is Romain Duris (the funky drummer from When The Cat's Away), who roams the Rumanian countryside in search of a Gypsy singer he remembers from his childhood. Armed with a DAT recorder and fueled by an influx of money from his mother in Paris, Duris initially appears to be just another affluent adventurer documenting his travels and accumulating souvenirs. However, as Duris is taken in as a son by the almost abusively genial Izidor Serban, and taken aback by the seductive Rona Hartner, Gatlif gradually reveals that he is searching for more than just music. But even as Gadjo Dilo sneaks in a plot, it never strays far from the look and feel of a documentary for which the enigmatic and colorful Gypsies make perfect subjects, and their music the perfect soundtrack.