Kino Klub Zagreb

An experimental staged documentary.

A cat trying to nap.

A Foundation reporter, Isidor Dukas comes to the Institute to make a report. For the purpose of objective reporting, the Foundation uses agents with induced, synthetic identities. In confrontation with one of the test subjects, what was supposed to be a routine control turns into a never ending maze.

Envolves around the mysterious death of a female librarian.

Two friends, Cigo and Max, are traveling to the seaside in an old car that Max inherited from his late grandpa. What begins as a trip to the seaside takes some weird and unforeseen turns.

Through a collage of characters, we see families falling apart and reuniting in a difficult world where generations clash and the perception of morals swiftly changes.

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

Reptiloid starring Marin Mandir, Goran Kramaric, and Goran Dujmic. A giant, Komodo dragon-like lizard is hunting a police officer in the middle of a forest.

Gravitational waves are passing through every existing dimension, even the almost undetectable ones. The scientific experiment, in its basic utilitarian nature, is aimed at the understanding of the multidimensional structure of things and has the potential for an uncanny experience. The device has successfully detected the unknown dimension at an infinitesimal scale and set up the parameters for magnification and tracking of all the activities in the ambient of non-place visible to us. By its typology, the universal architecture of non-place is optimised for documenting the unknowable and determining the topology of the unexpected. The film follows the course of the intense activities of the entities present in the N dimension that generate a sort of beyond-human experience.

He lived across, just like this, across the street. He entered his house when we were all going home. The store was closing. In the summertime, it's at 9 PM. That's the last time I saw him.

After being away for a long time, Matija returns to Osijek to resolve an issue that has recently come up. During those few days he confronts issues from the past.

Kec, an amateur boxer, prepares for a tournanametn, dutifuly performing the tasks given to him by his coach.

The dog Hux Flux is diagnosed with cancer. His vet found herself in the middle of intimate home atmosphere with his owners, friends and other pets in their household at this critical life period. The vet made this film.

An audiovisual weave in which an animated line represents the warp, while the female voice represents the filling. She who weaves and that what is woven intertwine through time.

A wise-ass Croat reporter goes to Krško, the site of the only nuclear plant built in Former Yugoslavia. It turns out that her reporting trip coincides with the plant disaster that has apocalyptic consequences.

A snappy animated diversion turns simple graphic symbols into colorful arrows of resistance. In the field of the rudimentary predecessor of the Internet, the author uses the tried and tested tactic of détournement in order to overcome the limitations of narrowly defined frameworks and transform the screen into a space of new meanings and the scene of a battle against the banalization of the mind. A battle that may have already been lost, but that does not mean that we can afford to lose the sharpness of the senses and the sharp sense of humor that the author demonstrates by repurposing outdated media technology in order to lucidly mock her and our reconciliation with the given state of affairs.

Short observations of one or more journeys, somebody's smile and a dog.

Milan Šamec was a member of conservative stream in the Zagreb Cine Club, the one that denied and mocked the “anti-film”. Termites were made as an absurd demonstration that anyone can make an experimental film. He took the film, exposed it unevenly, and called the dance of visual stains that resulted — termites, because that’s what they reminded him of.

Unencumbered by a professional education and open to new ideas, Vladimir Petek (b. 1940) was energetically exploring in the 1960s what film could do as a medium if used in nonstandard ways. In his early works, the obsession with the medium was connected to his youthful delight with female beauty, and Petek created some of the most striking portrait films in Croatian cinema, which might be seen as the more filmically inventive cousins of the Screen Tests that Andy Warhol started doing in 1964 to explore film’s seemingly innate ability to turn almost anyone into a "star." Encounter offers a portrait of a woman (Ksenija Filipović, his then-girlfriend) whose face becomes mysterious, desirable, and endlessly captivating on film, all the more so because of Petek’s various interventions in the film stock.

In this short film the author, in her own specific way, documents the moment of connecting the two parts of the Krk bridge.