The destiny unites two homeless men in the S.O.S. canteen. A failed actor and lost poet begin telling each other the key events from their lives. After an extraordinary twist we become aware that the two men are popular and will participate in a film experiment on the Moon.
Several centuries ago, a castle servant girl acquires a great fortune. Presently, a simple peasant woman Manka gets this fortune back, because of denationalization. Mehmed Gigio the Superman with his associates, the leader of a criminal organization, wants this property for himself. Policemen Janez and Franci get involved into the game. In the end, Mother Manka righteously gives everything away to Sir Roger Moore for all the children that need help in this world.
L.V. Strocki is a traveling film projectionist in the best years. He is a representative of the first generation who watched partisan films, lived to see the invasion of the television and ended up among vampires. In the coastal region town he is preparing a film projection on the town square and a television team is making a documentary about this event. During the film projection about the heroines and heroes of an occupied town, a Heroine in a seductive outfit comes to see Strocki in his projection booth.
Ivan is released a day early from a treatment programme for alcoholics due to a doctors' strike. He returns to his wife Sonja and his sixteen year old son Robi. The first afternoon he spends at home is very pleasant. The next morning Sonja sends Ivan to a shop to get bread and milk. On the way back Ivan runs into Armando, his high school classmate, and through their conversation at a bar, Ivan finds out that long before Sonja became his wife, Armando spent a night with her. Ivan has his first drop of the hard stuff...Kruh in mleko is a bitter-sweet tale of loneliness, estrangement and the glowing embers of love, where there once used to be a fire.
Miha, a poet whom no one takes seriously, earns his living by writing cheap advertising slogans. This outsider poet of the new age gets commissioned to write an ode to the famous Slovene poet Preseren, for the occasion of the national celebration, due to the 200th anniversary of Preseren's birth. Who was Preseren, what did he drink and what sort of woman did he like? A comedy can begin.
After his wife's death a middle-aged man and his friends become increasingly agitated and violent towards the suburbs they inhabit.
Tone, an older man, drives from Germany to visit his son Grega and his daughter-in-law Masha. Though nobody talks about it, something horrible has happened. In attempt to ease their pain for a moment, Tone takes the young couple out for an ice-cream and so begins their drive around the countryside. On the road, Grega and Masha experience sudden changes of mood. They get aggressive, deeply saddened, suddenly cheerful, nervous, depressed... They are together but each on their own. And the gap between them is growing. Meanwhile, Tone drives them further away from home but no further from what has happened.
Humans' biggest delusion is their illusion of freedom. Newborns have no choice, they are brought into this world regardless of their will, groomed as utterly powerless beings to submit to the social norms imposed by those in the position of power - But what if there is an alternative?
A young car enthusiast who has issues with parents and surroundings decides to create his own vehicle and run away with friends from his everyday problems.
Duša is a young dancer and dance instructor. Torn between a dominant mother, an absent father and a married lover, she is sinking into a typical crisis of the thirties, which gets worse when she starts suspecting that someone has been following her and invading her privacy.
Tajga was shot after the performance of the same name, performed at the international festival of contemporary arts City of Women in October 1995 in Ljubljana. The viewer enters a dark atmosphere dictated by dramatic vocal-electronic music, passing anthropomorphic and waxy zoomorphic figures, and camera movements. When the author establishes the landscape, she places a wrestler and a drowning woman in it, and with these scenes she further increases the suspension. At the height of the dramaturgy, the set stage collapses. The waxen guard dogs dissolve and the soldiers retreat. Naked female characters appear, announcing the transition to a period of warmth and peace, accompanied by softer music.
For the End of Time is a film about the mind… a film about the body and our inability to merge these two entities which are shaping a form of civilization known under the term “human”. A human is not a being unto itself. A human is a construct… a civilization-related coding of a certain precise time and place. A human is not a uniform creature. A human is a split between many things… but the worst is the split carried inside… that between the mind and the body… How can we feel others, if the only universe that an individual truly lives in and feels is his or her own universe? How can you feel for the other… How can the other feel for you? Only as much as the pain of the other resembles yours – thus as a reminiscence of one’s own pain. This is the only way. For the End of Time is a film on a quest… for the eternal longing “to find the real thing.
Two men, a radio consultant and social worker, take refuge in the kingdom of the marmot - an alpine hut, which becomes their small business.
Dolgcajt, the first film in the series Music is the Art of Time, dedicated to groundbreaking Slovenian music records, tells the story of the debut of the group Pankrti.
Different stories about the life and tragic fate of one of the most beautiful hotels on Slovenian coast have been spreading for a long time. Palace Hotel had long stagnated in tormenting silence and had spawned controversial debates in the media and in the thoughts of the tourists.
It reconstructs the lively bustle of the Ljubljana subculture scene in the 80s, and it was made by two insiders. With minute and swift editing of the picture and sound, the makers compiled a number of documents and video shots made between 1982 and 1988.
Urbanity is finally erased by mythical rituals, which is determined by the very title of the video film: menhir, an upright stone block from the Neolithic, which was used for sacral rites. Man and woman are Adam and Eve, created in front of us by electronic transformation (morphing) and marked by blood. This element also marks all other elements of the video image: the murder of an individual by the menhir or trinity (politics, church, army), the bodies of the dancer. Blood, murder and death are overcome by only the second basic element: the stone, which is flooded with blood the very next moment. The fight of natural elements is also served by electronic tricks that turn power holders from flesh and blood into stone and wrong.
A 17-year-old female teenager with zero sexual experience gets pregnant with her equally inexperienced peer, which creates lots of trouble for parents who prove to be no less childish when comes to problem-solving.
The author constantly depicts the duality of human nature: the same horror occurs in both the mythical and the real world. She illustrates all this with the use of electronic tricks that can, for example, petrify a human face or wall up a human being in just a few seconds. With an electronic trick, even human figures dressed in extravagant costumes return to nature: a man in a costume reminiscent of a bird turns into a real bird. At the same time, the scenes are shot from a bird's eye view, which, as always, emphasizes man's smallness and his loss in his own world and nature.
The author continues with her main themes: the relationship between man and woman, the intrusion of the mythical into the rituals of everyday life. This video uses many electronic image processing options. Most fascinating are the scenes with "morphing" (electronic transformation), in which the character on the canvas is transformed into an identical figure on the video surface, or the latter "freezes" into a character in a still image. Once again, the author insists on a real natural environment, which deforms it and thus equates it with the artificiality of the video image.
