What does the energy harnessed through orgasm have to do with the state of communist Yugoslavia circa 1971? Only counterculture filmmaker extraordinaire Dušan Makavejev has the answers (or the questions). His surreal documentary-fiction collision begins as an investigation into the life and work of controversial psychologist and philosopher Wilhelm Reich and then explodes into a free-form narrative of a beautiful young Slavic girl’s sexual liberation.
A committee made up to investigate illegal masonry in Yugoslavia causes more problems both for the builders and government, and in fact no one have any use of it. The pressure from all sides makes committee work less diligently.
One camera in one setting, one attic and eight young directors – the result is a unique Dadaistic collage of seven short sketches. The original task for each filmmaker was to keep each short under three minutes, to set it in one hotel room, and to include the sentence “I miss Sonja Henie." This experimental film was shot over a single night at the international film festival FEST in Beograd in 1971.
This WW2 epic was one of the last movies of that kind made in former Yugoslavia. It tells the true story of great transport of Partizans from Vojvodina to Bosnia in 1943.
SFRJ is officially a place where everyone have a job and a house. The story follows hard labored workers who can't find a job, who bathe in public bathrooms and sleep in homeless centers.
A railway worker moves to another city and experiences a love affair with a suburban prostitute. Their encounter disturbs his solitude, and the two begin their life together.
The action takes place in 1943 and today, and a Partisan school in Srem is in the center of action. A young journalist gets appointed to shoot a film report about the participants in the Liberation War from this area. In Srem village she meets common, simple people. She discovers that a free territory and a Partisan school was there. She also finds out that everybody acted as one. Deply going through all of those events, young reporter grows mature, identifying herself with the revolution participants.
A man who used to be a political brigade commissar offended the society. Twenty years after the war, he comes to visit the old monument erected in honor of his dead comrades, unwanted and abandoned. They were roll-calling the dead and alive, but his name was not mentioned. And he stood before his comrades, face to face. He stood, and it looked as if he had never existed.
In 1947, among the ruins of war and in anticipation of a catastrophic flood, the locals of a Vojvodina village find themselves caught between the devastation of their livelihoods and the demands of the new Communist authorities.
Inspired by Karl Marx's "Das Kapital", three men and a girl named Jugoslava decide to wake up the conscience within the working class and peasants. Faced with the primitivism and a lack of morale, their revolution fails and the girl is the one to be sacrificed as a witness of their unsuccessful attempt.
The story takes place during WW II in Vojvodina. Two boys, Milan and Rasa, are sent from a partisan squad to a village for the winter. Soon Rasa becomes very ill and Milan goes to a nearby village populated by Germans. Here he finds a job as servant in Jakob Jerih's house. At night, Milan secretly nurses his friend Rasa in a hut in a swamp near the village. Soon, he finds another hiding place in master Jerih's stable. Jerih likes the diligent Milan and he even considers adopting the boy, but Jerih's cousin and assistant is against this idea. Namely because he counts on inheriting master Jerih's estate.
Life in a small town, sunk in boredom and lack of excitement where dogcatcher is very important person.
After a train breaks down and the passengers are forced to spend a day at a remote country tavern, the mix of seasonal farm workers, transients, musicians, and would-be party kingpins heads toward some explosive moments. A truckload of chickens arrive to be killed and cooked for the unruly group of passengers, and when a few boorish men harass a female singer, their actions lead to unexpected violence.
The film describes the suffering of a character who is renovating his house while being confronted with a monstrous bird which is terrorising and oppressing him. It should be read as a parable of the 1968 Soviet invasion of Czechoslovakia. The film was subject to severe criticism at the 1970 Oberhausen film festival in Germany in 1970, in particular from directors from South American communist countries.
This film is based on the engravings of Hristofor Žefarović, an 18th-century painter, engraver, writer and poet. He was exclusively engaged in copper engraving and book illustration after 1740. he engraved copper plates for his books, and printed them in the "etching-typographical workshop" of his collaborator Thomas Mesmer in Vienna. His engraving was of great cultural-historical importance to the Baroque art of the time. His style of 'bright cut' engraving was thoroughly masterly and original, specializing in the higher branches -- engraving for printing -- of the engraver's art.
The story of political prisoners, detained in a jail before the start of the WWII, and their torture and attempts to escape, and join a partisan unit.
Godina drove to the north of Serbia, Yugoslavia's Vojvodina province, and shot several folk singers and their families, introducing a wealth of Yugoslav folk music.
The father remained in the village to farm land, while the son lives far away from their homeland and country for business. At one point, the son returns to the village and then the crucial question is: who will take care of the land when the father dies?
Two partisans, a man and a woman, try to escape a Nazi manhunt in the infernal landscape of WW2 Vojvodina.
White people live in white houses, wear white clothes, eat yogurt and drink milk. They raise white sheep and white mice; when snow falls, they arrange a festival.
