Pavol Barabáš defined the adventure-travel line of his work with the film Omo – a journey to prehistoric times. At the level of the expressive component, this line is characterized by a specific style, sometimes almost reportage. The quality of the shots, which often appear amateurish, is forced by the circumstances of the filming and contributes to a remarkable reception experience – the viewer has the feeling of a pure, unadulterated adventure. The degree of authenticity is high – Barabáš does not stage situations, they appear undirected, unintentional and often accidental. The German theorist Siegfried Kracauer would have been happy, in his ontological studies of cinematography he once tried to promote just this: the actual capture of the unstaged and unintentional "flow of life".