Erol Zubčević

Merjem-Meri, an unambitious, 30-year-old homemaker and mother to 8-year-old girl Mila, moves back to her parental home after 10 years of marriage. Soon after, Meri realizes she is stuck in a circle of provincial rules and expectations and a complex relationship with her ambitious mother and spoiled younger brother. Her hope to get the custody of her daughter wanes from day to day because she has no chance of finding a permanent job. The only thing that makes her happy, but also makes everyone else look down on her, is participation in an audition for a film role in her neighborhood.

Merjem-Meri, an unambitious, 30-year-old homemaker and mother to 8-year-old girl Mila, moves back to her parental home after 10 years of marriage. Soon after, Meri realizes she is stuck in a circle of provincial rules and expectations and a complex relationship with her ambitious mother and spoiled younger brother. Her hope to get the custody of her daughter wanes from day to day because she has no chance of finding a permanent job. The only thing that makes her happy, but also makes everyone else look down on her, is participation in an audition for a film role in her neighborhood.

What could be a beautiful fairy tale for some - boy meets girl - could also be the beginning of a horror film for Faruk. The young man is crushed between the dark world of his criminal cousins in Sarajevo and the discovery of love. The film powerfully visualises and contrasts a harshness and tenderness experienced and dreamed.

De forma rutinaria, pero con dedicación, Mare dirige la modesta casa de su pequeña familia, a pesar de que una nueva lavadora no es lo único que falta. Cuando un encuentro fortuito reaviva su libido, no se detiene por mucho tiempo.

The armed conflicts of the 1990s not only visibly destroyed the land of the former Yugoslavia, but also left the deepest wounds in the memory of each of its belligerent nations. There are as many different interpretations of that bleak past as there are countries affected. It is therefore hard to expect absolute harmony when, less than two decades since the war ended, a diverse group of veterans gathers at a remote mountain hotel for a therapy session over several days. On the contrary, such a dangerously volatile situation can suddenly ignite by just one thoughtless word, or a seemingly dirty look. That’s because the former soldiers, obstinately holding on to their fundamental masculinity and their prejudices, refusing to expose the inhumanity of the atrocities perpetrated. However, this quietness is just about to be broken and hidden emotions are to be faced.

The ancient ritual of the Bosnian Dragon Summoning is threatened by various new beliefs throughout the ages.

En el hotel Europa, uno de los más grandes de Sarajevo, van a recibir a una delegación de diplomáticos europeos para conmemorar el centenario del atentado que inició la Primera Guerra Mundial. En las cocinas se prepara una huelga de los trabajadores, que llevan dos meses sin cobrar. Mientras tanto, una periodista filma un programa de televisión en la azotea y un hombre, que podría formar parte (o no) de la delegación, ensaya un discurso en su habitación.

Milena, una mujer de 50 años, lleva una vida tranquila y próspera junto a su marido Vlada, un antiguo miembro de las fuerzas especiales de policía durante las guerras de Yugoslavia –actualmente un exitoso promotor inmobiliario- y los dos hijos de ambos. Tras un chequeo rutinario en el que los médicos intuyen síntomas de cáncer, Milena sufre un pequeño ataque de histeria y comienza a limpiar su casa en profundidad. En el transcurso de esta tarea, encuentra una cinta de vídeo con imágenes de las actividades llevadas a cabo por Vlada durante la guerra, que incluyen el asesinato de civiles. A partir de este momento, seguimos la evolución de Milena y sus esfuerzos por enfrentarse a la realidad, mientras intenta preservar lo único que le queda en la vida: su familia. (FILMAFFINITY)

Tarik lives alone and works in the warehouse of a supermarket. He's lonely and kills time hanging around with two colleagues. New worker comes to the small shop next to the supermarket. Tarik likes her and secretly starts to draw on the glass of the shop, hidden by the night, away from the prying eyes of society in which any kind of emotion is a sign of weakness.

Family Susic lives everyday Bosnian story. Father Muhamed (63) is employed in a reputable company; mother Marija (60) is retired. Son Sasa (35), who spent the war in Army of Bosnia and Herzegovina, lives with his parents, while their daughter Senada (40) lives in Slovenia. Their life begins to fall apart because of father's dissatisfaction after his company is sold on the stock exchange, Sasa's negligent attitude towards work and family, Marija's breast cancer diagnose. When problems begin to line up Muhamed and Sasa realize that actually only family is important, that it is man's last oasis

Ayan, a pharmaceutical salesman in Pakistan, takes on the multinational health care corporation he works for after he realizes they knowingly marketed a baby formula that's responsible for the death of hundreds of babies everyday.

Era el tercer embarazo de Senada Alimanovic, una gitana de 31 años que vivía en la pobreza junto a su esposo Nazfi Mujic y sus dos hijas, en un pueblo apartado y alejado de las comodidades de la ciudad de Sarajevo. Tras notar dolores extraños, la alarmada mujer acudió al centro sanitario local. Rápidamente se le diagnosticó que el feto había fallecido y que los restos debían ser retirados o supondrían un gran peligro para la madre. En un viaje sumido por la tristeza, el dolor y la desesperación, el matrimonio se trasladó a la ciudad de Tuzla esperando ser atendido adecuadamente en el hospital. Su angustia no haría más que empezar cuando, tras cruzar las puertas del centro, los responsables se negaron a realizar la operación dado que no tenía seguro y no podía costear los gastos. Afligidos y sin fuerzas, el destino de la familia dependerá del la conciencia humana y la caridad de completos desconocidos.

A microcosm of the fathomless suffering that remains more than 16 years since the siege of Sarajevo ended, writer-director Aida Begic’s follow-up to her 2008 Cannes Critics’ Week Grand Prize-winning debut Snow tells the story of two orphaned siblings struggling in a transitional society where only the fittest survive.

Being away for many years, Amir returns to Bosnia and Herzegovina in order to take custody of his parent's remains. They were murdered during the war but their bodies haven't been recovered so far. Amir also decides to visit the place of his birth. There, besides a ruined house, he also finds a forgotten friend and those who know about him more than he knows about himself.

Mirza, a young Sarajevo orphan, earns easy money by assisting a local drug dealer. Dispatched on a job one day, a chance encounter makes him painfully aware of his despicable role - but equally of the possibility of changing things for the better.

A mother mourns the loss of her family in the Srebrenica massacre.

The daily hardships of a war-scarred Bosnian village, where all that remains are widows and orphans, are painstakingly documented in this first feature from director Aida Begic. Snow offers insight about the psychological aftereffects of the 1992-95 civil war from a distinctively female point of view without showing any of the brutality or carnage.

Dado Bratovic is comic-strip artist from Sarajevo. In 1996, after the war, he goes to get his ID card issued and finds out that he was reported dead just after the war started in 1992. Now he has to prove that he is alive.

“Mother Mara” follows a successful businesswoman and single mother who suddenly loses her 18-year-old son Nemanja to a heart attack. Instead of breaking down she buries the trauma deep inside. But when Mara meets 25-year-old gigolo Milan, the walls come down. She embarks on a physical relationship with him, then a friendship develops.