Nenad Sinkauz

A criminalist explores the background of a business in which the authorities, with the help of an influential corporation want to evict and demolish part of the city and build a new complex there. The film is about the will and power of the individual; the fight against institutions, the individual's engagement, and the decisions made behind the scenes.

Agrokor is the largest privately owned company in Croatia and a symbol of modern-day success of Croatian economy. The corporation headquarters is located in the tower of Dražen Petrović House, popularly known as the Cibona Tower, which represents one of the symbols of previous Croatian achievements from the late socialist period. In 2017 Agrokor’s business problems are disclosed – the losses amount to billions. In collusion between politics and economy, who is responsible for the breakdown of this corporation? Today Agrokor’s sign no longer hangs from the Cibona Tower.

Firmly believing her own life is no more precious than the lives of the innocent people being persecuted, with the help of a few friends, Diana embarks on a perilous campaign of rescuing more than 10,000 children from the Ustasha camps in Nazi-occupied Croatia.

In 2016, the ex-Yugoslav Navy flagship Vis was deliberately sunk in order to turn it into a scuba diving attraction in Croatia. The ship lies on the seabed of the waters close to Brijuni Islands where in 1956 Nasser, Nehru and Tito met to discuss their opposition to the Cold War and the formation of the Non-aligned Movement. By employing visually impressive shots, the film establishes a signature spatial and temporal narrative, at the same time entering the space of fusion of personal and collective memory and dismemory, which, in the context of political and economic changes that have been occurring in Croatian society for the past several decades, acquire metaphorical and symbolic meanings, imbued with powerful socio-psychological implications.

Siniša Mesjak, an arrogant and ambitious politician on the rise, finds himself in the middle of a scandal. To hide him from the public, the president appoints him as the commissioner of Croatian government on the furthest settled island Trečić, where he is tasked with the organization of local elections. The previous seven commissioners haven't succeeded.

The main focus of the story is a young girl, Maša Artuković, allegedly possessed by Satan, whose deteriorating state results in the arrival of Viktor Supilo, a priest who is to conduct the rite of exorcism upon her. The ritual is to be performed in the presence of Maša's sister Vera, a known psychiatrist Sofija and an unannounced crew of TV reporters that want to expose exorcism as a controversial and dangerous ritual that has no place in the modern Catholic Church.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

Three different love stories, set in three consecutive decades, in two neighbouring Balkan villages burdened with a long history of inter-ethnic hatred: this is a film about the dangers – and the enduring strength – of forbidden love.

Aphasia is a feature-length film essay dealing with the politics of memory and oblivion inscribed in social and historical contexts. In three chapters Aphasia detects a thread of positions of power, racism, injustice and violence from Belgian colonialism, Austrian anti-Semitism and atrocities in Bosnia during the Yugoslavian wars. The film is exploring how collective crimes keep being repeated and reflects social and political constellations, unfolding constructions behind nation-states and national identities.