Tomislav Gotovac

Through the conversation with Yugoslav film authors and excerpts from their films, this documentary film tells a story of a film phenomenon and censorship, and its focus is, in fact, a painful epoch of Yugoslav film called “a Black Wave”, which was the most important and artistically strongest period of Yugoslav film industry, created in the sixties and buried in the early seventies by means of ideological and political decisions. The film tells a great “thriller” story of the ideological madness which characterised the totalitarian psychology having left multiple consequences felt up to our very days. It stresses similarities between totalitarian regimes defending their taboos on the example of the persecution of the most important Yugoslav film authors. Those film authors have, however, made world careers and inspired many later authors. The film is the beginning of a debt pay-off to the most significant Yugoslav film authors.

By using a "virtual collaboration" on the principles of delegated performance, the director uses Tom Gotovac's own performance from 2006, in which Tom completely naked "performs" himself, and then through the editing process he collages his film into previously shot scenes of the papal addressing to the people, alluding to his own, as well as Gotovac's ethical objection to the hypocrisy of an extremely influential institution. Deliberately crude editing, with a "bad feeling" that the film causes, becomes "their" conceptual artistic act which directly questions the role of the Church and its influence on the modern world of globalization, new economies, technologies and mass alienation.

A monumental homage to Glenn Miller, a one shot film - Glenn Miller 2000. This 26- minute long piece, shot on a circular road in Novi Zagreb in many ways corresponded to the previously discussed attributes that linked Tom's homages and "uses" of Glenn Miller with Miller's music and personality.

A monumental homage to Glenn Miller, a one shot film - Glenn Miller 2000. This 26- minute long piece, shot on a circular road in Novi Zagreb in many ways corresponded to the previously discussed attributes that linked Tom's homages and "uses" of Glenn Miller with Miller's music and personality.

Charlie, the protagonist of the Slovenian film “Porno Film”, is so dedicated to his porn viewing that his two friends John and Frank jokes that he must have a PhD in pornography by now. Using Charlie’s extensive knowledge of all things porn, the trio sets out to make the “first real Slovenia porn film”, in Slovenian language and everything — except the women in the film are emigrated Russian hookers, and their Slovenian isn’t very good.

A young man flees to the United States searching for the American dream.

Bobo, a young man, kills two criminals in self-defense. Afterwards, upon his lawyer's advice, he turns himself to the police. He ends up in a mental hospital from which he soon escapes and meets with his girlfriend. The police and a young ambitious reporter pursue him.

В начале 20-х годов в городок Вальдхайм возвращается Светлана. Она — девушка из буржуазной семьи. Её задача — содействовать покушению на нового короля. Но все попытки революционеров безуспешны, а Светлана предпочитает флиртовать с шефом королевской секретной службы.

Belgrade in 2041 is a deserted city that looks like a dump yard. A few old men try to bring up a group of young girls in the old, traditional way of their Yugoslav ancestors.

A stray dog tries to find suitable boss in a newly-built city resort.

Valent is a night shift worker who can barely feed his family. To add the insult to injury, every night he must pass near the butcher's shop with meat products he can't afford. But one night the shop is a scene of a gangland shooting. Valent picks up the bag full of money and a gun, and his life changes.

Milan, a successful company director, is replaced, and he decides to find out why.

Подросткам удалось проникнуть в лабораторию старого изобретателя, разобраться в его записях и привести в действие загадочный прибор, который оказывается антигравитационной пушкой, способный перемещать предметы в пространстве…

В Белграде в начале 80-х появляется душитель женщин. Он цветочник, и убивает девушек за то, что им не нравятся гвоздики. Факт появления маньяка крайне будоражит жителей города, особенно начинающего рок-музыканта Спиридона, у которого вроде как появляется спиритическая связь с убийцей…

A young couple have settled in a new flat. Soon somebody begins watching them and they receive great amounts of money from an unknown sender.

Eva is a widow bored with life, with her job as an architect, with her younger lover, and with her two teenage offspring. She is eventually assigned the job of redesigning the cells of a new prison, but even when her enthusiasm returns a little with the assignment, she is discouraged by the pseudo-intellectual stance of the prison warden and a non-communicative visit to her father. In an act of desperation, she steals some money and a gun - and fully intends to use them both.

Old houses in Zagreb are destroyed in order to build new, bigger blocks. A teacher who lives in one of these houses allows a stranger to share his home with him. The stranger has a fascination with statistics, and claims he can predict crimes based on statistical analyses. When a predicted murder did not occur, the stranger is adamant that the whole town will suffer unless a balance is achieved - and he leaves.

An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

Experimental short film that combines pornographic and nazi symbolics.

Experimental short film that combines pornographic and nazi symbolics.

Experimental short film that combines pornographic and nazi symbolics.

Tom is a young guy from Zagreb, completely without money, trying to make films in Belgrade. He somehow manages to survive with a help of women. He doesn't believe in anybody, respects no one and is in constant conflict with the ruling system and order. After being left by a silly American girl, Tom binds with a woman whose husband is abroad. When she kicks him out, he moves in with her husband's sister, who later kills him in the attack of jealousy. All this is shown in the context of major historical events prior to 1968. with lots of archive footage of world leaders.

On a hot summer afternoon in a city courtyard, a young man amuses himself by aiming air guns at random targets. The film examines the roots and manifestations of Evil, which will become the director’s permanent concern.

The Focus is the film about easy death on the Mediterranean sun.

An experimental staged documentary.

The first part in Gotovac’s trilogy of structuralist films is dedicated to jazz musician Duke Ellington and director George Stevens. A camera placed at the front of a moving streetcar records the passing urban landscape: the train tracks and the passing streets and pedestrians transport the viewer (now a passenger on the streetcar) fifty years back in time.

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).