Slovenia

Hanna Slak’s The Miner (Rudar, 2017)

Hanna Slak returns to two tragic events in the history of 20th century Europe.

This essay retraces the way Black Wave directors instrumentalized forms of sexuality perceived as "deviant" for their artistic purposes.

Clarence Tsui retraces the unlikely historical background of this 1956 Yugoslav drama.

A family is forced to stay in their house under mysterious circumstances.

Rok Biček’s first feature is a fascinating psychodrama which concentrates on the metaphysics of blame.

Marko Šantić's first feature explores elements of seriocomedy to tell the coming of age story of a young man in Slovenia.

Vedrana Madžar and Zorka Obrenić retrace the ways in which Godina surveys the connections between art and labor.

Sezgin Boynik examines the Marxist-Leninist Roots of Zenitism, a Yugoslav avantgarde movement of the 1920s.

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

In a wartorn landscape somewhere in the Balkans, a family is visited by a traveling circus.

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