Želimir Žilnik on the Black Wave

Vol. 47 (November 2014) by Anastasia Eleftheriou
Žilnik speaks about the Yugoslav Black Wave, his film “Fortress Europe”, and discrepancies between Yugoslav reality and contemporary Serbia.

Three Docu-Fictions by Želimir Žilnik

Vol. 47 (November 2014) by Anastasia Eleftheriou
Anastasia Eleftheriou looks at three of Želimir Žilnik's so-called docu-fictions.

A festival report from the Divan Film Festival and the Balkan Film and Food Festival

Vol. 45 (September 2014) by Ana Grgić
Ana Grgić reports from two culinary film festivals from the Balkans.

New Yugoslav Film

Vol. 44 (August 2014) by Gal Kirn and Vedrana Madžar
Gal Kirn and Vedrana Madžar reflect on the history of Yugoslav film during the golden age of the "New Yugoslav Film" between 1963 and 1973.

Živojin Pavlović’s Red Wheat (Rdeče klasje, 1970)

Vol. 44 (August 2014) by Andrej Šprah
Andrej Šprah analyzes Živojin Pavlović’s Red Wheat and interprets the film as an example of the director's notion of the "Drastic Image".

Karpo Godina’s Red Boogie (Rdeci boogie ali Kaj ti je deklica, 1982)

Vol. 36 (December 2013) by Vedrana Madžar and Zorka Obrenić
Vedrana Madžar and Zorka Obrenić retrace the ways in which Godina surveys the connections between art and labor.

On Historical Avant-Garde Corrections in Karpo Godina’s film Splav Meduze

Vol. 36 (December 2013) by Sezgin Boynik
Sezgin Boynik examines the Marxist-Leninist Roots of Zenitism, a Yugoslav avantgarde movement of the 1920s.

Živojin Pavlović’s See You in the Next War (Nasvidenje v naslednji vojni, 1980)

Vol. 23 (November 2012) by Konstanty Kuzma
In this Yugoslav production from 1980, a young man joins the partisans in their struggle against the Nazis.

Goran Marković’s Tito and Me (Tito i ja, 1992)

Vol. 22 (October 2012) by Konstanty Kuzma
In this Yugoslav cult comedy from the early 1990s, a boy claims his love for Tito is greater than that for his parents.

Goran Paskaljević’s The Dog Who Loved Trains (Pas koji je voleo vozove, 1977)

Vol. 20 (August 2012) by Konstanty Kuzma
Paskaljević’s film starts out on board of a prison train: tired of the relentless heat in the train cabins, a group of lighthearted female prisoners decide to take their clothes off...
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