Kino Klub Zagreb

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can afford to lose the sharpness of the senses and the sharp sense of humor that the author demonstrates by repurposing outdated media technology in order to lucidly mock her and our reconciliation with the given state of affairs.

A cat trying to nap.

A series of vignettes from the author's journey in a train.

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.

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).

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

An experimental staged documentary.

Envolves around the mysterious death of a female librarian.

The original anti-film. In the film, there are scenes of streets of Zagreb taken by author with a hand-held camera turned backwards, having no control over the content of filming. The filmmaker subsequently produced the concrete music. Such “planned coincidence” of filmmaking became a polemic thorn in side of the documentary tradition of Croatian cinema.

Sometimes it is necessary to go to the other side of the world to open the topic of intimacy. Sometimes it is necessary not to shoot a single frame to make a film. Sometimes there is an attempt to create closeness by increasing the distance and sometimes the impossibility to do so tries to camouflage itself with an adventure story. Sometimes I think I speak Chinese. In this travel essay written at the height of the epidemic and just after the earthquake, I asked myself a question and intended to find an answer. Now I realize that I don’t know the answer or that it may not exist at all. Now I understand, maybe we are more similar than I think.

Petek is very versatile and is experimenting with all possible formats, the Zagreb film school of animation-influenced parts, the quasi SF childish games, the color splashes, the psychedelic timbres, the pop art/ collage experiments and a swirl of other 60s gestures.

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.

A short film about one of the auhor's favourite motifs - the visual allure of the sea's surface.

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 short film about ants and their everyday activities. The audio of the film is currently lost.

A film on the edge of genres, both a home movie about the author's young daughter up to her second birthday, and a structural film.

A short film about a cat drinking milk set to the song "Popcorn" by Gershon Kingsley.

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.

A short film focused on the flora and fauna of a bog.

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