Martin Semenčić

Among the garbage heaps of a big landfill on a Croatian island, Zoki uncovers a microcassette. A close study of the discarded object serves as a tribute to chance and imagination.

Following the river flowing through the centre of Sisak, the film creates a portrait of a former industrial city. The river today is a space for leisure and relaxation. However, when we examine the people that live and spend time there, the social conflicts of the transition break out onto the surface. The river reveals the remains of past that were left in the water.

Just like any other 13-year-old, Antun is irritated by his younger brother.

Istrian traditions, singing, culinary delights. All that in the time-honoured ritual of pig slaughter or prašćina. What is the importance of meat today and can we give up its utilitarian rudimentarity in the face of political, ecological, nutritionist, and other contemporary trends?

This is a story of an apartment building renovation that becomes a metaphor for the society. Vitić Dances uncovers the purpose and the futility of giving yourself for the greater good. It is a film about us, those around us, and the spaces in between.

Days of Madness portray an incredible odyssey of two mentally diverse and unjustly rejected people who are learning to accept it, faced with the blindness of the society and the health system that made them addicts.

Boris and Kira’s friendship is put to a test, when Boris, influenced by his grandmother, starts suspecting that his friend is a representation of the Devil. This will make him doubt her goodness, until Kira reveals to him the sorrowful truth about her life.

Mr. & Mrs. Lovett live out their (sex) lives in full public view in front of a permanently connected webcam, which frames their spartan living room like a human aquarium. This is all we see of their lives - but it's not so little after all. The young couple are driven business people, and they flirt, strip and screw for the benefit of the camera and the customers on the receiving end. The Croatian filmmaker Igor Bezinovic has created a surreal and funny take on a piece of avant-garde 'adult entertainment' from one of the internet's seedy corners. But he also documents a performance culture, which dissolves the boundaries between the private and public spheres and a parallel economy of images. A hedonistic and thoroughly commercialised culture, where supply and demand have taken on an entirely new and absurd meaning.