Dejan Spasič

Boris Robič is, as we say, an ordinary kind of bloke. One evening, however, someone tries to shoot him. The investigations reveal nothing. No enemies, no suspects. You could say that Boris is the last person anyone would want to kill. After the police close the investigation, Boris decides to make his own inquiries. As he searches for the suspect, we see the tragi-comedy unfold of a man who discovers that a lot more people hate him than he ever realized and that the way he sees his own life was an illusion.

Когда человек по имени Орослан умирает, новость об этом быстро распространяется по маленькой деревне. Вызванные скорбью действия превращаются в слова, а слова — в истории. Это первый игровой фильм документалиста Матьяжа Иванишина, для стиля которого характерна работа с разрывами и диссонансами в повествовании.

Трудный подросток Андрей уже исчерпал терпение родителей. Парень предстает перед судом за мошенничество, и отправляется в центр для несовершеннолетних правонарушителей, где встречает соответствующую компанию. Стойко выдержав жестокий обряд посвящения, Андрей завоевывает уважение и дружбу агрессивного главаря местной банды.

It focuses on Ana, the wife of tycoon Sašo. When her husband gets in trouble and disappears, she realizes she does not know anything about her husband or his business.

The lives of a wealthy married couple radically change in an instant. While the husband is in critical condition after an accident that occurred under strange circumstances, the wife tries to understand the situation and to salvage what she can… In this constricted, small-scale drama by a renowned Slovenian filmmaker, Pia Zemljič excels in the role of the resourceful wife.

Tragedy doesn’t come any more Dickensian in tone or Shakespearian in scope than this dark social drama of the disintegration of a little family of four. A series of small debts triggers the swift domino effect that unleashes chaos on a well-meaning working class dad who has the bad judgment to speak truth to power.

Александра — 23-летняя студентка факультета английского языка в Любляне. Она не слишком увлечена учебой и более всего стремится заработать денег для лучшей жизни. Никто не знает, что Александра рекламирует себя под ником «Словенка», и что проституция ее тайный источник прибыли. «Словенка» скоро становится популярной в таблоидах, и Александре становится все тяжелее врать своим друзьям и особенно своему доброму и искреннему отцу. Но у нее нет выбора, ведь сказать правду будет значить потерять все.

Tanya is 35, with a successful career. Her husband Mare is an architect. One Friday, Tanya comes home late at night. Mare confronts her and they exchange some edgy words; Mare is clearly jealous, he loses control of himself and slaps her in the face. Obviously, it is not the first such incident. Tanya locks herself in the bathroom. They continue their conversation over the locked doors. Mare calms down, but when Tanya comes from the bathroom, he becomes abusive again. The noise wakes up a neighbor who reports them to the police. The police arrive and the couple calms down. When the police leave, the couple resorts to psychological abuse. What follows is the night of hateful and skillful twisting of words that unveils, step by step, all the dark secrets of their relationship. Behind a facade of a successful couple, there are suppressed feelings of inferiority, weaknesses, deceit, frustration and traumas from their youth.

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.

Filip, a rabbit lover, gets into an argument with his boss Romana, who tries to get revenge on him and hurt him as much as possible.