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Road trip through the periphery of the EU shows present-day Europe through the eyes of a much-travelled six-year-old, wise beyond his years. A fresh look at this old continent: shooting from the hip and free from sentimentality, young Terra questions the usefulness and purpose of borders.

A music documentary based on the work of Slovenian multihyphenate artist Frane Milčinski Ježek. His satyrical poems and songs from the 1950s and 60s today sound more urgent and topical than ever, and are covered by musicians ranging from Finnish avant-garde accordion player Kimmo Pohjonen, to legendary Croatian songstress Josipa Lisac, to the former Bad Seed Hugo Race. The music is produced by indie rock icon Cris Eckman (The Walkabouts), and expertly mixed with archive footage of Jezek's own performances and skits, creating a touching and thought-provoking narrative.

In the Balkans, every generation has its war. Sons are continuing fights started by their fathers. There are rifles and pistols in every hand. Concentration of arms has reached a critical point. Even the smallest incident would be disastrous to this fragile peace. Watching children playing with toy guns makes you wonder: what are we leaving to the next generation?

Lazar, the author’s grandfather, a few years ago got a cell phone with a camera and since then documents everything around him. After a substantial amount of accumulated material, he asks the author to teach him to edit so he can send his shortened movies to those for which he was filming. A few days around Christmas they start a joint project: record winter daily life of a small village on the sea and prepare a holiday meal, while Grandpa is trying to master the technique of film editing.

Babajanja is a short essay documentary with horror elements. Going back to the past, the narrator is trying to find the mysterious woman he was scared of as a boy. Rummaging across his memories, dreams and forgotten horror films, he is trying to find out who she is and where she is today. He includes his family, relatives, fellow villagers in his investigation – no one is particularly keen on helping, but gathering more and more information about her, the narrator is getting closer to finally meeting her.

Three young friends from Belgrade drive from New York to Los Angeles in a Yugo – a cult relic of a car from the 1980s. A docu-comedy and a road trip with many unexpected encounters.

The film follows Mrs. Sarika's departure to a Jewish retirement home. What was supposed to be a peaceful end to life, turns into the horror of the Holocaust, and she herself becomes a victim.

A poetic documentary about the lost film culture in the small villages on the Croatian islands during the SFR of Yugoslavia.

Language is like memory. If it is not used, it slowly fades. Stockholm is not like Zagreb, but it is like any capital city. I was there when it happened, without having time to say 'thank you' for everything. The book is excellent, each chapter is like Andersson's tableau – a separate whole in which over time you notice the thoughtful layers of tragicomic human life.

With the help of the locals from the small town of Bijelina, artist and filmmaker Dragana Jurišić attempts to recreate the films of self-taught western director Aljoš Musli, also known as Hari Džekson

In 1974 communist authorities built the so-called ‘Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia’ in Kumrovec, a tiny rural hometown of the legendary president Marshal Tito. In 1991, when Yugoslavia collapsed 11 years after Tito’s death and the Croatian War of Independence started, the Memorial Home was closed, and it remained closed until today. Several attempts to repurpose the building have failed. Still, some fighters remain...

“Mezostajun” is an experimental documentary film, exploring spatiotemporal relations in a Mediterranean city in which the role of city’s public spaces in people’s lives varies greatly, depending on the season of the year. Elements of summer and winter are cinematically interlaced, and create in the viewers’ perception a new existential interspace called ‘’mezostajun’’.

Even after more than 25 years since the dreadful war crimes had been taking place in former Yugoslavia, this tragic history is far from over – be it for the victims’ families, conflicting nations or for a Czech investigator who comes back to the region to carry on in his work after so many years. The documentary return voyage follows not only the paths of fleeing war criminals, but is driven by an effort to capture a part of the ethic mission of the then newly formed International Criminal Court in The Hague along, in its double nature: based on an independent investigation of war crimes, to strive for reconciliation in cases of multifarious ethnic, national and other conflicts.

What happens when 11 world-renowned avant-garde artists are invited to a luxurious resort in the Adriatic where they can do nothing but rest? Attila Csernik (Serbia), Radomir Damnjanović Damnjan (Serbia), Željko Kipke (Croatia), Ivan Kožarić (Croatia), Vlado Martek (Croatia), Era Milivojević (Serbia), Romelo Pervolovici (Romania), Pinczehely Sandor (Hungary), Balint Szombathy (Hungary), Janos Sugar (Hungary) and Ilija Šoškić (Montenegro) are still in full artistic sway.

Through dramatic reconstruction and documentary asides, the spirit of Italian poet, playwright, journalist, aristocrat and army officer Gabriele D’Annunzio is captured, presenting the nascent fascism in his attempts to forge a new state in the aftermath of the First World War.

Days of Madness portray an incredible odyssey of two mentally diverse and unjustly rejected people who are learning to accept it, faced with the blindness of the society and the health system that made them addicts.

A semi-fictional correspondence between two women: one goes to Iran in 1979 to topple the Shah; the other experiences the onerous years of Ceaușescu’s Romania. Their biographies run in parallel via images of everyday life and videograms of revolution.

On the island where the filmmaker’s grandmother is buried, it is the tradition of women to choose the image that will represent them on their grave after they are gone. As director Sara Jurinčić and her mother travel to this island, we enter a world without men, where female ancestors take centre stage. This beautifully crafted film, both playful and serious, takes us on a cinematic odyssey to hear what the ancestors are whispering from their silent portraits.

Plants such as Dracaena, Ficus, and Philodendron were integral parts of the socialist modernist architecture in the seventies and eighties. Today, they remain strong visual reminders of the socialist state. In "Currents", the movement of plants, the only remaining residents of the building, may be read as a part of a wider context, the change of currents. One paradigm of understanding space is being replaced with another one, the concept of the welfare state, and its undertakings are treated with contempt. Absurdity is a feature of this situation, in which that which was once of great importance becomes completely irrelevant.

The Museum of the Revolution in Belgrade is actually a building that remained unfinished for 60 years and 'inhabited' only by the homeless and marginalized. The director observes the precarious (but proud) daily life of a girl and her mother around the symbolic ruins of a utopia.