Kinoklub Zagreb

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.

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afford to lose the sharpness of the senses and the sharp sense of humor that the author demonstrates by repurposing outdated media technology in order to lucidly mock her and our reconciliation with the given state of affairs.

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.

Envolves around the mysterious death of a female librarian.

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.

To this small shift in one of many Microcosms, I willingly engrave meaning, using mythology. Myth as a metaphor, or as a means of destruction of every fright that might cross in.

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.

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