Quote:
A three-part omnibus consisting of Kino Klub amateurs’ work: Zivojin Pavlovic’s dialogue-free “Live Waters” set in 1943, Marko Babac’s “Warriors” about psychological look at the two patients in a hospital room, as well as Kokan Rakonjac’s “Raindrops” about alcoholic’s decaying relationship with his girlfriend.Read More »
A lonely man struggles to find the money for his ill sister’s treatment while at the same time trying to escape his past and to make sense of the present.Read More »
Obsessed by dreams of a comfortable life, the son of a copper miner returns to his native country with plans to sell his father’s house in order to travel to the African diamond mine in Katanga. Re-visiting his hometown brings back his childhood trauma, and the nightmare of old and new love, and the events in and around the mine, all test his obsession with Catanga.Read More »
Quote:
“[…] by far the most ambitious, honest, bitter, and controversial Partisan film produced in the country that was about the collapse in flames and genocide only a decade later. Based on an equally uncompromising novel by Vitomil Zupan, the enfant terrible of Yugoslav literature, Farewell until the Next War continues the comprehensive deconstruction and demythologization of the official narrative of Partisan heroism, initiated by Pavlović three years earlier with Manhunt.” Jurij Meden, in: Retrospective o partigiano! Pan-European Partisan Film, Austrian Film Museum & Viennale, 2019.Read More »
Quote:
When the war in Yugoslavia breaks out, an army officer who’s ethnic Slovenian yet still believes in Yugoslavia, decides to move to Belgrade. The country continues to fall apart and so does his family failing to find acceptance there.Read More »
Quote:
At the time when Sovražnik (1965) was filmed , Živojin Pavlović had only two omnibuses that he made with colleagues from the Belgrade Cinema Club, Kapi, vode, ratnici and Grad . The latter was banned by the court, as the only Yugoslav film of that period (produced by the Sarajevo Sutjeska film) to suffer such a fate. It was much more common for a controversial film to end up in the producer’s “bunker” and for permission to be shown at all. This is how Pavlović’s first feature film Return (1964), produced in Belgrade’s Avala Film, went through , and in the meantime he received an offer to direct in Slovenia: he and writer Bora Ćosić adapted FM Dostoevsky’s story, but adapted it to modern times.Read More »
Idealistic young man supports the party and the new Yugoslavia’s communist regime, but soon gets involved in various political and criminal machinations becoming more and more confused about what’s right and what’s wrong.Read More »
Plot:
Janko Bugarski “Džimi Barka” is a small time wallet snatcher, and an aspiring singer, who wants to make it big with as little effort as he can, traveling through industrial areas and looking for affairs with local women and easy money. On one of his travels he meets a young girl he takes to Belgrade to accompany him on an amateur singing contest, where he fails miserably, since he can’t follow a tune, and abandoning her, teams up with his former girlfriend, also a pickpocket, which takes him to his final journey.Read More »
The first film of the Yugoslav Black Wave.
Quote:
Grad is a psychological drama about the thin line that separates depression and melancholy. It gives us the opportunity to understand that the alienation of the modern socialist man is not just a social problem, but also a poetic aestheticization of urban thinking and behaviour. For Pavlovic, Bapca, and especially Rakonjca, self-destruction is not a defence mechanism, but a lifestyle.
Exploring new areas of old sites, Grad is, in a figurative sense, the first Yugoslavian film that deals with the suburb as a metaphor of alternative culture. Through their analysis of public consciousness, the three directors project their secret Bauhaus, seeking its shadow in the hidden areas of obsolete thought, in the everyday of Socialism.Read More »