Tramal Films

A young woman struggles to cope with her elderly father's out-of-the-blue announcement he considers his life complete and will end it by his next birthday.

On a barren island, a mother and son confront years of silence and misunderstandings in writer-director Hanna Slak’s formidable fourth feature film starring Maren Eggert, scored by Amélie Legrand, and shot by Claire Mathon.

Following her mother's injury, 11 year-old Rana is determined to protect her younger sister from an untrusty uncle who's stepping in to help the family.

Upon her arrival at an institution for people with mental disabilities, Maria becomes fast friends with the equally fiery Dragana. When it becomes clear that they are both in love with the more withdrawn Robert, their relationship is upset and gradually grows into a dangerous game of hide-and-seek to win him over. Being condemned to a lifetime of hiding away from society, the three teenagers’ profound longing for independence and human connection takes hold. Driven by the newfound feelings of desire and envy, their impulsive actions topple the delicate balance preserved by the institution’s stifling rules and spill over into confrontation and desperate measures for any way out.

For years, an elderly man and woman have been visiting the edge of their world – a stream, which, in fact, is a mirror image of their lives. The river with their baits is a metaphor of life. Although the fish have apparently swum away, some life remains. One take, one shot, one love.

Arriving on an island, a young woman embarks on a journey to discover her identity and place in the world. Her experiences on the island unravel a tapestry of past events, bringing hidden truths to light. As the situation grows increasingly complex, she is driven towards a profound reconciliation and acceptance, starting with herself and gradually encompassing those around her.

The clash of two worlds in the present-day Europe. As the indigenous population seeks to defend the status quo against escalating immigration, the newcomers are burdened by their own displacement. Forced to flee their homes, they are trying to adapt to the strange new environment.

In Žilnik’s hilarious and sneakily charming docu-fiction, post-socialist restitution returns his childhood home to Serbian jazz musician Stevan. After six decades in Germany, he returns to his homeland where a series of reunions sheds light on his life.

A month after the Wall Street occupation, a number of protesters follow their example and set up their tents in front of the Ljubljana stock market. The protesters are united in the critique of representative democracy and global financial capitalism under the slogan ‘nobody represents us’. Their organisation is based on the principles of direct democracy. In absence of other social alternatives, a community starts to emerge in the camp in front of the stock market where everyone has an equal say, and everyone is united in their diversity. After the initial euphoria the great idea of direct democracy clashes against the contemporary individual; antagonisms surface, similar to those of the system which the protesters fight against. The story about the Slovenian version of the ‘occupy’ movement is portrayed with the stories of a few protagonists, who despite several defeats do not lose hope in a different world.

Satisfied with his own life, fireman Gjore Ristevski, finds himself in the middle of a migration process. Manipulated by his pregnant wife Sofia, Gjore realizes that his country is already offering everything they need.

Dream Machine is a documentary film made in order to show the passion and dedication of Slovenian manufacturers of extreme motorcycle modifications, which reach the highest laurels in the world, but remain unknown in our country.

Two have laid claim to Malena’s heart: Stjepan and Klepetan. The former is the human who found her 27 years ago, her wing broken by a gunshot. The latter is her stork partner, who flies to Africa every year with his flock. Malena cannot fly with him, but every summer, he returns to her, helps care for their hatchlings and teaches them to fly.

The film was prompted by the fact that in the capital of Slovenia, one of the republics of the former socialist state of Yugoslavia, a magazine was published that saw nine bans or confiscations – more than any other newspaper in the communist Europe. A thorn in the side of the authorities for thirty years, this student magazine brought together young intellectuals who detected possible democratic shifts in the public sphere. Never strictly political, their rebellion invariably had to do with culture and its latest practices in the more liberal countries.

Remake of the first 10 films made by the Lumière brothers, which were screened in Le Salon Indien du Grand Café, Paris, on 28 December 1895. This marked the official beginning of –cinema. Director’s idea was to go to the same places where the Lumière brothers made their first films. In the same hours of the day, with the same light, the same camera angle, and the same lenses. To film the vision of Europe as seen by the Lumière brothers, 120 years later.

A Slovenian documentary film.