Director
Ana gives birth at the local hospital and everything goes well. There is only a small problem with the paperwork – her file is not on the computer. A temporary loss of data seems to be caused by a software glitch, nothing to worry about. Within a few days, Ana is entangled in a web of bureaucracy of Kafkaesque proportions: not being in the computer means no social security, no permanent address and no baby. She is brutally forced to leave a newborn girl alone at the hospital without any right to visit her until everything is sorted out. All of a sudden Ana is a foreigner, even though she has lived in Slovenia all of her life. Legally, she doesn’t exist. So, her child is an orphan. And orphans are put up for adoption.
Mojca
These are stories from the urban environment, the main characters are people of different generations and come from different walks of life.
Natakarica
Embittered widower, Ludvik, spends his nights transporting illegal refugees in his van from Croatia, across Slovenia, and into Italy. The young and inexperienced Rudi acts as his helpmate. Together they become a well-trained duo who almost every night convey "spare parts" to Italy. Of course the story of their illegitimate exports into Europe ends tragically, for everyone. The whole idea of this account is that everyone - including ourselves - is looking for happiness: the "spare parts" because of the misery they are plunged into without, and our characters because they can't find it inside
Gospa z Rdečega krsta
Egon Vittori (Janko Mandic) is thirteen years old and does not have a record player. It is the beginning of the seventies and Yugoslavia seems to be the land of prosperity. Goods are being imported from the West, and these include American music, films and fashion. Everybody but Egon owns a record player. Finding his path among his family members, hippie owners of music records, schoolmates, teachers, communists and dissidents. Egon gets his record player in the end. And grows up somewhere along the way. Written by (Slovenian film fund)
A story of fragility, sexuality, monstrosities and geographical confusions. Everything, everywhere is the slogan of the nineties, a confusion of bodies, concepts and strategies, a kind of out of joint situation for the subject. And we find ourselves in all the media, in all the bodies in all the possible spaces at ones, but this deadly dance is not innocent. The video consists of the main part in which wives of the so-called totalitarian leaders as of the Rumanian dictator Cauceuscu (Elena) and of the former Serbian leader Slobodan Milosevic (Mirjana Milosevic) are forced to dance. Focused on the portrait of Mirjana Milosevic (The story of Mirjana M.) a kitsch melodramatic Balkan saga of power, drama, pop-folk elements and evil/demons is constructed. The apathy of feelings is caught in the dramatic tango that is slowed down for the camera eye.
After his father's death, a young man (Gregor Bakovic) uses the black mourning flag and sews himself a pair of trousers. He then takes a train trip and meets a variety of bizarre characters, including a stowaway, a deaf-mute duo, a balloon-seller, a bird enthusiast, and an attractive girl (Barbara Cerar). Their railway romance gets derailed, but a variety of sight gags and caboose comedics keep the film on track and in loco motion.
