TV Slovenija

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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.

A young soldier enters a conflict with his superiors and because he does not get the exit for the May Day holidays, he decides to escape. The escape of the weapon is a serious offense, and because there are no routes back to the barracks, the fate of the violence that leads to a bloody bribe begins to unfold. The story goes back to the time of the Chernobyl nuclear catastrophe.

NATO prepares a global plan as a protection of Central Europe, which is why they set up an aerial defense system in Slovenia named as The Patriot. International terrorist organization attempts to destroy it together with the nuclear power plant. An ex-criminal who's in charge of The Patriot, tries to prevent this catastrophe and also stop the internal enemies.

Colleagues, friends, and other close acquaintances all give their account of the man who led strife-torn Yugoslavia from German occupation in World War II and walked her down a political tightrope for 40 years, begrudgingly gaining the respect and admiration of both the Soviet and Western superpowers.

After being away for four years, Rok Osterberg returns to his home town to investigate the murder of his younger brother Maks. As Maks was involved in illegal business, nobody seems to care about his death. The only person willing to help is a family friend, Inspector Kramer. Back home, Osterberg must face people from his past.

The mysterious, charming Mr. P. F., the protagonist of this full-length documentary film, is a sportsman, inventor, owner of more than 400 patents and a cosmopolitan who knew life in Europe's most glamorous cities. His inquisitiveness and the spirit of cosmopolitanism lured him to Switzerland, where he only just started living. Very quickly he ended up among the European rich elite and they accepted him as one of them. He was a millionaire who was thought to be a billionaire and who also lived like a billionaire.

A Man, a Woman and a Boy. Three people in a timeless landscape. They don't know each other, their cultural background is undefined. They try to survive, each on his/her own. Slowly they start to get in some contact which is utterly mistrusting and occasionally hostile, but through various different situations it gradually starts to develop into relationships.

Three mutually intertwined stories from the present time are reflecting, complementing or contradicting one another. Throughout the film, the naked parts of a wounded humaneness are shown with a gentle irony. Baker Blaž is driven mad by alcohol and monsters of the hot summer days.

Felix Langus is increasingly obsessed with the idea of communicating with supernatural forces, which warn him of the great peril of danger. Attacks of obsession are triggered by aggressive media, which are constantly challenged by dangerous information in a graduated rhythm. At his job as a driver, he has more and more problems. He's moved to an undemanding workplace, but his obsession proves to be dangerous even there, which leads him to unpredictable and grotesquely funny complications. Together with his psychotherapist, he can not escape a common fate...

Bevant is a freak who wanted to remain faithful to himself, and therefore, in contrast to most, he remained a farmer.

In the seventies, in the slightly envious country, you come to the cooperative sawmill, the Štefan season, which gets entangled with an older village girl, Anica, so she gets pregnant. This obstructs his life plans: get a quick start to get enough to travel to Australia. Jože also comes to Slovenia with Štefan, who is a native but lives a distant life of a special person. Anika's older sister, Marta, is married, but without children. It turns out that they used to love Marta before, and then Jose escaped to study the theology, which he never completed. Anxious Anica succumbs to her sister's escalating hatred of men, so poorly crap Martin's advice is to close Stephen somewhere until forced into marriage. The events in the temple where Štefan is closed is culminating in a mission in a village church. At the time of the death of the old Martnjakovka, Aničina and Martina mothers, the events went wrong in the crime ...

The film deals with the fate of children who, together with their parents, were imprisoned in the Teharje camp near Celje. In June 1945, they were separated from their parents and taken to the Petricek children's camp, and their parents killed and buried in unknown places without trial. Inside the camp, the guards try to rip out the old children's identity with various overhauling measures and to enforce them a new identity. Children lost their parents and childhood, and got wounded so deeply, they have not healed even until today.

The video starts with a graphic sign from which emerge images, and this procedure points to the fact that any documentary is but an artefact. The narrator searches through documents and reconstructs the life of Lela: in the Middle Ages she was accused of witchcraft; in the 20th century she finds herself in the midst of war, in the future she will leave the planet. Lela's individual destiny is being inscribed into the fate of humanity by means of layering the image; only television shots of the war in former Yugoslavia are presented 'in one layer', clean. The television image has become the only document, the war - the only certainty. Autobus discloses two images of the electronic picture: the one that creates reality, and the other that creates artefacts.

Bilocation means the residence of the body and soul in two different places at the same time - simultaneously. It is the perfect term for delineating the processes going on in the video medium and for describing the hell and bloody history of Kosovo.

TV film about the legendary Ljubljana bar Šumi.

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.

Video work tells a story of an art collector as remembered by herself in her old age, and as narrated by her friend, a psychoanalyst. Through this narrative the authors deal with the spirit of avant-garde art in the first half of the 20th century. By layering black and white and color images and sounds the work creates a deep and lively emotional space.

Based upon a novel by Lela B. Njatin, an extremely fragmented piece of narrative. The film retains all characteristics of the original text, introducing the fragmentary structure both in the video image and music score. The heroine experiences only fragments of events, she gets involved in meetings which start but never end, she has wishes which are outlined, but never consumed. In the video film, all these fleeting and intolerable moments, transvestism and changes of identities are indicated with layering of visual levels and mixing of different sounds: narrations in off, dialogues, noises, radio broadcast. The delusive and ungraspable images fluctuate between reality and dreams.

In the video film shots from the tour are interspersed with acted scenes, video clips and theoretical reflections of Slavoj Žižek and critic Chris Bohn. Together they form a compelling story about Laibach, controversial Slovene music group in the eighties.