Forum Ljubljana

The Parade, in a tragicomic way, tells the story about ongoing battle between two worlds in contemporary post-war Serbian society - the traditional, oppressive, homophobic majority and a liberal, modern and open-minded minority... The film, which deals with gay rights issues in Serbia, features footage of the 2010 Belgrade gay pride parade. The film introduces a group of gay activists, trying to organize a pride parade in Belgrade.

Three stories about the impact of three God's miracles in the medieval sense that happen to the film's heroes living in a post-communist society that, after half a century of atheism, re-learns about Christianity.

Haunted by his dark past, a labourer in a small Croatian village has a series of fateful encounters over the course of a single night.

The year is 37 BC. A young Liburnian Volsus is taken by a Roman unit to help in what at first seems a simple task of collecting taxes, but the encounters with local Illyrian tribes soon lead to unexpected turns of events, as they show more resilience to subjugation than meets the eye. We see their archaic, emotional world of quaint and brutal laws and traditions through the eyes of this youngster, regarded by the Romans as a primitive barbarian, and gradually come to understand that their world is not all that different from our own.

Tragedy doesn’t come any more Dickensian in tone or Shakespearian in scope than this dark social drama of the disintegration of a little family of four. A series of small debts triggers the swift domino effect that unleashes chaos on a well-meaning working class dad who has the bad judgment to speak truth to power.

Two married couples from opposite social classes are brought together in a single night following a tragic event that will change the rest of their lives.

Tajga was shot after the performance of the same name, performed at the international festival of contemporary arts City of Women in October 1995 in Ljubljana. The viewer enters a dark atmosphere dictated by dramatic vocal-electronic music, passing anthropomorphic and waxy zoomorphic figures, and camera movements. When the author establishes the landscape, she places a wrestler and a drowning woman in it, and with these scenes she further increases the suspension. At the height of the dramaturgy, the set stage collapses. The waxen guard dogs dissolve and the soldiers retreat. Naked female characters appear, announcing the transition to a period of warmth and peace, accompanied by softer music.

Urbanity is finally erased by mythical rituals, which is determined by the very title of the video film: menhir, an upright stone block from the Neolithic, which was used for sacral rites. Man and woman are Adam and Eve, created in front of us by electronic transformation (morphing) and marked by blood. This element also marks all other elements of the video image: the murder of an individual by the menhir or trinity (politics, church, army), the bodies of the dancer. Blood, murder and death are overcome by only the second basic element: the stone, which is flooded with blood the very next moment. The fight of natural elements is also served by electronic tricks that turn power holders from flesh and blood into stone and wrong.