HR
Two friends try to tear out their lives from the clutches of idle. An existential study of ordinary lives led by two alienated urban white collar workers, Accidental Life was the only feature film of Ante Peterlić, Croatian film theorist and film critic. The film received mediocre reviews and went largely unnoticed after its release, but has been reevaluated decades later as one of the best Croatian films ever made.
Jul 1969
Auto-poetical collage announcement of a filmmakers future motion picture works.
Apr 1969
I. S. returns after many years to his hometown, from which he escaped after WW II, fearing that, as a civil clerk of the NDH, could suffer prosecution from the new government. He has been falsely accused to be a member of Ustasha movement.
Jan 1972
A short experimental 35mm film showing beggars, hobos and other misfits.
Jan 1966
After film school, Godina’s first professional work as a director was “Picnic on Sunday,” a 1968 black-and-white short without any words that shows how seven different people spend a Sunday. A simple concept, but in Godina’s hands the short is suffused with both sexuality and revolution. - Paste
Jan 1968
A group of young men rampage all day through the streets of an Adriatic port make love, wrangle over lunch, drink, finally steal a bus and is a burst of destructiveness drive it over the cliffs into the sea from which in surrealist fashion they are resurrected.
Božidarka Frajt (playing herself) is an actress who is unsuccessfully looking for a job in Zagreb. The film follows her everyday life: she spends time with her friends and colleagues, shoots a television commercial, goes to a party, remembers her difficult childhood as a war orphan, and contemplates her professional and personal failures. Finally, she visits theatre manager Vjeran Zuppa in his office and asks for a job.
Jul 1972
This observational documentary about carnation pickers at one of Split plantations does not have a single line of dialoguel not a single commentary or any kind of intervention in life apart from exclusion of colour belonging to it after the first introductory close-ups of the flower itself.