Hanna Slak’s The Miner (Rudar, 2017)

Vol. 80 (December 2017) by Ana Grgić
Hanna Slak returns to two tragic events in the history of 20th century Europe.

Filming Homosexuality in the Yugoslav Black Wave (1967-1971)

Vol. 78 (October 2017) by Sanja Lazarević Radak
This essay retraces the way Black Wave directors instrumentalized forms of sexuality perceived as "deviant" for their artistic purposes.

France Štiglic’s Valley of Peace (Dolina Miru, 1956)

Vol. 66 (Summer 2016) by Clarence Tsui
Clarence Tsui retraces the unlikely historical background of this 1956 Yugoslav drama.

Sonja Prosenc’s The Tree (Drevo, 2014)

Vol. 43 (July 2014) by Colette de Castro
A family is forced to stay in their house under mysterious circumstances.

Rok Biček’s Class Enemy (Razredni sovražnik, 2013)

Vol. 43 (July 2014) by Colette de Castro
Rok Biček’s first feature is a fascinating psychodrama which concentrates on the metaphysics of blame.

Marko Šantić’s Seduce Me (Zapelji me, 2013)

Vol. 41 (May 2014) by Moritz Pfeifer
Marko Šantić's first feature explores elements of seriocomedy to tell the coming of age story of a young man in Slovenia.

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.

The Early Works of Karpo Godina

Vol. 36 (December 2013) by Gal Kirn
Gal Kirn situates three shorts by Godina from the early 1970s within the framework of Jacques Rancière’s theory of the “Aesthetics of Politics”.

Janez Burger’s Silent Sonata (Circus Fantasticus, 2010)

Vol. 13 (January 2012) by Moritz Pfeifer
In a wartorn landscape somewhere in the Balkans, a family is visited by a traveling circus.
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