Mangart

Codelli is a feature-length docudrama about a little-known film project by Slovenian inventor Baron Anton Codelli. Together with filmmaker and adventurer Hans Schomburgk he filmed in Togo in 1914 the first live-action film in Africa, which possibly inspired James Rice Burroughs for his novel on Tarzan. In the company of three Codelli’s descendants and actor Primož Bezjak, we traced the fate of Codelli’s film, brought the remains from Togo and Berlin to Ljubljana and used the Green Screen technology to bring to life 15 live-action scenes based on 600 Codelli’s museum photographs.

After her long-term relationship falls apart, Klara moves to her own place. She stays in touch with Jure, her ex, through occasional phone calls. But when she senses a new woman in his life, Klara is sent into a frenzy of stalking, doubting her decision and herself.

Triglav, together with the Aljaz Tower, is an iconic and irreplaceable symbol of homeland for Slovenians, which is also present in the national flag. Due to its cultural, landscape, historical and other exceptional features, Triglav has a special significance for the Republic of Slovenia. On 5 October 1999, the Slovenian state declared the Aljaz Tower a cultural monument of national importance, and nationalized it on 4 November 1999. Jakob Aljaz's idea that a cylindrical metal building with a flag on top would represent a landmark marking Slovenian ownership of the peak of a Slovenian mountain had finally come to fruition.

Two "dumb-bells", Hugo and Tincek, steal a camera from a lunatic.

People respond on media objectivity and election law during Dr. Artur Stern's experimental run for president in 2007, Slovenia.

The film in a charming and original way compares the first ascent to the first free-climb ascent of the Face of Sphinx, located in the most prominent part of the North Face Triglav. The aesthetic and breathtaking footage present beautiful and powerful environment of the Slovenian national symbol, with the mystical Sphinx at the forefront and all four protagonists of the two crucial ascents, which are separated by a period of three decades. The central story tells us that the Sphinx does not want that the climbers to solve her riddle, taken from her famous question: 'Who walks in the morning on four, at moon on two and in the evening on three (legs)?'