Petra Pan Film Production

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.

Earth to earth, water to water. The body weight of a newborn child is up to 85 percent water, but in adulthood, the ratio can be cut into half. In a way, people dry up as they grow older. In Claudia Tosi’s documentary, people drink water, watch the rain and wait for their death. The Perfect Circle depicts a man and a woman, Ivano and Meris, who spend their final days at a hospice in the hills of Reggio Emilia, Northern Italy. Their illnesses are in the terminal stage and they know that death is only a matter of time. But the ever-nearing end may fleetingly be forgotten, like when they close their eyes and get lost in the music – until the bodies being carried out next door once again remind them of the inevitable. Death also becomes a part of life for the patients’ loved ones, who want to spend the last available moments with the soon to be departed.

Road trip through the periphery of the EU shows present-day Europe through the eyes of a much-travelled six-year-old, wise beyond his years. A fresh look at this old continent: shooting from the hip and free from sentimentality, young Terra questions the usefulness and purpose of borders.

Returning from prison, Peter falls into debt pursuing a relationship with the prostitute Ana and her pimp Gringo. To pay back the money owed, Peter proposes that Ana and Gringo visit his father with him. They accept his proposal, thinking they might trick some money out of the old mountaineer with a story about Ana's upcoming marriage to Peter (with Gringo as the best man). During the long and colorful journey the three become friends and complicit in the deception. Peter's father, though, instantly recognizes the scam and steals the bride from his incompetent son. Gringo is happy with this turn of events but Peter is irritated by it. However, the father's sudden death before the registrar prevents Ana and Gringo from inheriting. When the dreams of material wealth vanish, what is left is the love between Ana and Peter, and the friendship that struck up between the three, so much so that at the end Gringo sacrifices himself for the couple's happiness.

On the heights of a mountain in North Macedonia, in the midst of a flock of 600 sheep being watched over by huge dogs, stands a refuge. Children's laughter escapes from the precarious shelter. They are a brotherhood, ranging from ages eight to twenty. When they are not hard at work, they are playing and discussing the meaning of life. Is their future really here?

While the children are enjoying their summer holidays, Basri, 8, heads off to the Macedonian mountains to join his brothers. They are the shepherds of hundreds of sheep, helped by huge dogs that protect them from wolves. For Basri, it's freedom, while his teenage brothers dream of elsewhere.

A music documentary based on the work of Slovenian multihyphenate artist Frane Milčinski Ježek. His satyrical poems and songs from the 1950s and 60s today sound more urgent and topical than ever, and are covered by musicians ranging from Finnish avant-garde accordion player Kimmo Pohjonen, to legendary Croatian songstress Josipa Lisac, to the former Bad Seed Hugo Race. The music is produced by indie rock icon Cris Eckman (The Walkabouts), and expertly mixed with archive footage of Jezek's own performances and skits, creating a touching and thought-provoking narrative.

A philosophical meditation on a young Tomaž Pengov, one of the greatest musicians in Slovenian history and the author of many timeless songs, some of which will accompany him on this cinematic journey through his world. Pengov’s legacy features ‘Odpotovanja’, the first singer-songwriter record released in the former Yugoslavia.

Torn apart and enraged by ethnic conflict, Mostar is more like two "ghettos" divided by a big boulevard, than the joyful Montmartre of the Balkans that it was before the war.

Slovenian director Petra Seliskar investigates the role of ideology in her personal family history by means of interviews with her paternal grandfather, her Macedonian boyfriend Brand's maternal grandmother and his Cuban grandmother on his father's side. Illustrated by archive footage and home movies, her voice-over describes her family's personal story, Yugoslavia under Tito, and the recent war, accompanied by some particularly shocking footage. The nature shots and the alternation of classical, popular and revolutionary music occasionally lend the stories a light-hearted tone.