Producer
Imbued Life is a film about a young woman’s connection with the life force of nature. She uses her talent for taxidermy to “restore” the animals to their natural habitat. However, the true search for the answers begins when she starts finding a roll of undeveloped film in each of the animals she treats. Her obsession drives her to seek the explanation of the connection she feels, haunting her dreams, as well as her waking moments.
A story about a couple whose life together is filled with routine acts of (self)deceit. A moody portrayal of the moment we stop loving others and fall in love with our fantasies.
I am one. One of many. One of everyone yet the only one. What is it that I am looking for, that always seems out of reach?
In a lush and lively forest lives a hedgehog. He is respected and envied by the other animals. However, Hedgehog’s unwavering devotion to his home annoys a quartet of insatiable beasts. Together, they march off towards Hedgehog’s home and spark a tense and prickly standoff. Based on the classic story by Branko Ćopić and exquisitely directed by Eva Cvijanović, Hedgehog’s Home is a warm and universal tale for young and old that reminds us there truly is no place like home.
Astronaut of Featherweight is a dark vision of the hypercapitalist transhuman society in which a body is a commodity and money means immortality. From out-of-space spa-colonies to labour plantations, everyone is trying hard to preserve their bodies.
The synopsis revolves around the bans impeding my work. Without loud and clear rules of the game, they cannot be omitted or tricked. – In the forest, near the rail tracks. – The sky is not blue. – There are no people. – Everything is connected. – The camera is in motion. – The camera moves in six directions. – No camera. – Avoid one of these rules in the film.
Here There gives graphic form to memory’s malleable, straying lines. It begins as a traveler’s sketchbook, drawn in Croatia in the summer of 2014, but details soon fade away into abstract impressions on the edges of memory. This film is a reduction to the essence, a condensed feeling of one place and time.
Which image is real: the one staring at us from the mirror or the one standing in front of it? In hallways filled with illusions, a simulacrum behind the looking glass, he is trying to find out if he is looking at a stranger or a hidden part of himself.
Everything that is alive is hungry; seed is hungry for light, bird is hungry for flight, man is hungry for the touch of another. The seed of longing grows into what feeds us.
The Near Life Experience might seem to be an odd, extraordinary occurence, but in fact it happens to anyone. Why to be the self-stigma on your fixed, unchanging identity, as if we were never to act, never to desire, never to experience anything new?
As though in a dynamic pinball game, the trajectory of the ball after launching is undetermined. The player’s actions direct the ball, make sense of its movements, leave their trace, but not in the long run.
When did you last talk with your father? Will you ever ask him about those things that hurt you? In Father the reality of life is turned upside down to create an impossible dialogue – the dialogue between a child and a father that never happens.
The Arcadian atmosphere of a hazy underworld hosts unusual characters: an Illusionist, a Civil Entity, a Wooden Puppet and a silent, but dangerous Swordsmen. Their mysterious experiences are an allegory of the relationship between the now extinct tradition of European combat swordsmanship and the doctrine of pragmatic political action. Is the end of the allegory also a beginning of an instructive misunderstanding? The film is inspired by the motifs from the books Flower of Battle (1410) by Fiore dei Liberi and A Dialogue in Hell between Machiavelli and Montesquieu (1864) by Maurice Joly.
A nice old lady is living a lonesome life, filled with small rituals and melancholic memories about some better days. Still, there’s something strange about her… The power of denial and fear of change keep the old lady trapped in her worst nightmares until suddenly a long-kept secret emerges and the old lady can’t escape it anymore.
Vladislav Knežević takes archive photos from an illustrated entertainment magazine of 1929 as the basis for his experimental-animated film, thus creating an associative, yet disturbing “film journal”.