Vladimir Živković

Luka lives with his quite harmonious and pleasant family in a very interesting neighborhood in the suburbs. During a turbulent period, big misunderstandings and conflicts start to emerge within the family. Left alone, Luka immerses himself in fiction, trying to find a solution for all the problems. He meets a girl in an abandoned factory complex where he often spends his time practicing his “superpowers” and she begins to help Luka develop a plan to fix the now-endangered family relationships.

In a post-apocalyptic near future devastated by global nuclear war, Dastagir, one of the few survivors, fights to regain his lost love and rediscover his humanity. While he fights his way through the ruins of the old world, we start to understand the complicated nature of this simple love story.

Built solely from forensic visual archive and testimonies, Silence of Reason acts as a memory itself: elusive, fluid, rejecting framing, moving in all directions, spatial and temporal. The singular experiences of violence and torture to women from the Foča rape camps during the war in Bosnia and Herzegovina become our own collective memories, surpassing time and space.

Marko, an aspiring filmmaker, is unable to pursue a career in horror films. He ventures into the porn industry, but his unorthodox style fails to impress producers. Frustrated, he assembles a crew of junkies, homosexuals and transvestites and starts a traveling live porn show. Soon a shady producer appears, he will pay them real money if they are willing to start making snuff films for him.

74-year-old dancer Sonja Vukićević moves through socialist-modernist spaces, her body echoing Yugoslavia's last mass performance.

Deni, a young woman working in McDonalds, has dreams of fame. When a producer discovers her singing talent he gets her into the game. However, she soon feels overburdened. Fortunately, the ghost of Elvis is there to help her.

Learning to Walk 2 offers a portrait of the legendary animator Borivoj Dovniković Bordo through a long period of the artist's life, witnessing challenging social and political upheavals, focusing on those moments in which the artist himself becomes, in a way, his own main character. Through a combination of Bordo's animated works, comics and caricatures, this film seeks to speak about the freedom of creativity and seeks an answer to the eternal question: is there a systematic environment in which we truly and truly walk or do we walk lamely, as Bordo's universal hero does.

Body in Plural moves between bodies and buildings to trace how a single historic event continues to reverberate through time. From a 1988 mass performance in Yugoslavia to today's protests in Serbia, the film questions how freedom can still be imagined, not as possession, but as relation.