A comedy of everyday life problems of a "temporary" teacher who leads a very "temporary" life. For ten years, he temporarily lives with his married sister in a cramped, one-room apartment in which, his brother's-in-law sister also temporarily lives. He has a diploma, but not a steady job. He's a school teacher for a definite period of time with a "temporary" status. At the mean time, a boy who lives alone with his mother goes to the same school. He wants to have a father by his own choice, not his mother's. It seems that the teacher suits most of the boy's idea of a father. And the boy gains what he always wants.
Marko vuelve de Estados Unidos, donde ha pasado unos cuantos años, deseoso de impresionar a los habitantes de su pueblo natal, pero al final todo se vuelve contra él.
Three young delinquents, two boys and a girl - go through their personal drama alongside wrongdoings they do. The local chief inspector gives his best to help them, besides the fact that he's beholden to arrest them.
Three stories (Love, Heart, The Hoop) set in the urban, alienated world of a big city. It tells how thin is the line between melancholy and depression. This is the only officially banned movie in history of Yugoslavia.
Three stories (Love, Heart, The Hoop) set in the urban, alienated world of a big city. It tells how thin is the line between melancholy and depression. This is the only officially banned movie in history of Yugoslavia.
A three-part omnibus consisting of Kino Klub amateurs' work: Zivojin Pavlovic's dialogue-free "Live Waters" set in 1943, Marko Babac's "Warriors" about psychological look at the two patients in a hospital room, as well as Kokan Rakonjac's "Raindrops" about alcoholic's decaying relationship with his girlfriend.
A three-part omnibus consisting of Kino Klub amateurs' work: Zivojin Pavlovic's dialogue-free "Live Waters" set in 1943, Marko Babac's "Warriors" about psychological look at the two patients in a hospital room, as well as Kokan Rakonjac's "Raindrops" about alcoholic's decaying relationship with his girlfriend.
A young woman tries to make love to a park statue, but despite her passionate efforts, the monument remains cold and heartless. Don’t Believe in Monuments is an early short, where Makavejev subtly ridicules Yugoslav state-sponsored monument and history worship.
