Kinoklub Zagreb

A snappy animated diversion turns simple graphic symbols into colorful arrows of resistance. In the field of the rudimentary predecessor of the Internet, the author uses the tried and tested tactic of détournement in order to overcome the limitations of narrowly defined frameworks and transform the screen into a space of new meanings and the scene of a battle against the banalization of the mind. A battle that may have already been lost, but that does not mean that we can afford to lose the sharpness of the senses and the sharp sense of humor that the author demonstrates by repurposing outdated media technology in order to lucidly mock her and our reconciliation with the given state of affairs.

A Foundation reporter, Isidor Dukas comes to the Institute to make a report. For the purpose of objective reporting, the Foundation uses agents with induced, synthetic identities. In confrontation with one of the test subjects, what was supposed to be a routine control turns into a never ending maze.

Envolves around the mysterious death of a female librarian.

An audiovisual weave in which an animated line represents the warp, while the female voice represents the filling. She who weaves and that what is woven intertwine through time.

An experimental staged documentary.

Autobiographical documentary situated in Lika, Croatia.

Sometimes it is necessary to go to the other side of the world to open the topic of intimacy. Sometimes it is necessary not to shoot a single frame to make a film. Sometimes there is an attempt to create closeness by increasing the distance and sometimes the impossibility to do so tries to camouflage itself with an adventure story. Sometimes I think I speak Chinese. In this travel essay written at the height of the epidemic and just after the earthquake, I asked myself a question and intended to find an answer. Now I realize that I don’t know the answer or that it may not exist at all. Now I understand, maybe we are more similar than I think.

I walk through empty corridors and dance with the light. I erase myself from every frame and meet all versions of myself. Evanescence is a reflection on death and transience from the point of view of a person remaining behind. It is a film about the search for identity in an ever-changing world, whose future itself is increasingly uncertain. The death enforces the awareness of the inexorable nature of transience. Enfolded by space that is in a state of constant flux, endlessly emerging and disappearing, the author too fluctuates with it.

Unencumbered by a professional education and open to new ideas, Vladimir Petek (b. 1940) was energetically exploring in the 1960s what film could do as a medium if used in nonstandard ways. In his early works, the obsession with the medium was connected to his youthful delight with female beauty, and Petek created some of the most striking portrait films in Croatian cinema, which might be seen as the more filmically inventive cousins of the Screen Tests that Andy Warhol started doing in 1964 to explore film’s seemingly innate ability to turn almost anyone into a "star." Encounter offers a portrait of a woman (Ksenija Filipović, his then-girlfriend) whose face becomes mysterious, desirable, and endlessly captivating on film, all the more so because of Petek’s various interventions in the film stock.

Gravitational waves are passing through every existing dimension, even the almost undetectable ones. The scientific experiment, in its basic utilitarian nature, is aimed at the understanding of the multidimensional structure of things and has the potential for an uncanny experience. The device has successfully detected the unknown dimension at an infinitesimal scale and set up the parameters for magnification and tracking of all the activities in the ambient of non-place visible to us. By its typology, the universal architecture of non-place is optimised for documenting the unknowable and determining the topology of the unexpected. The film follows the course of the intense activities of the entities present in the N dimension that generate a sort of beyond-human experience.

Milan Šamec was a member of conservative stream in the Zagreb Cine Club, the one that denied and mocked the “anti-film”. Termites were made as an absurd demonstration that anyone can make an experimental film. He took the film, exposed it unevenly, and called the dance of visual stains that resulted — termites, because that’s what they reminded him of.

Documentary about a female designer.

The voices of a woman and a girl narrate/sing mantras about female heritage, travelling far, chores, household appliances and made up characters such as the sad galloping mare, a Baba Yaga, dirty socks on their psychedelic voyages, a house on a suitcase, etc.

To this small shift in one of many Microcosms, I willingly engrave meaning, using mythology. Myth as a metaphor, or as a means of destruction of every fright that might cross in.

A short film about a cat drinking milk set to the song "Popcorn" by Gershon Kingsley.

Short observations of one or more journeys, somebody's smile and a dog.

He lived across, just like this, across the street. He entered his house when we were all going home. The store was closing. In the summertime, it's at 9 PM. That's the last time I saw him.

A 16mm experimental short. Hajdler dragged the East German color film stock ORWO directly in front of the projector lamp, occasionally pressing the film to the lamp and thus causing the film stock to burn gradually, producing spectacular color effects in the process.

In this short film the author, in her own specific way, documents the moment of connecting the two parts of the Krk bridge.

An experimental short film.