Katarina Stegnar

Codelli is a feature-length docudrama about a little-known film project by Slovenian inventor Baron Anton Codelli. Together with filmmaker and adventurer Hans Schomburgk he filmed in Togo in 1914 the first live-action film in Africa, which possibly inspired James Rice Burroughs for his novel on Tarzan. In the company of three Codelli’s descendants and actor Primož Bezjak, we traced the fate of Codelli’s film, brought the remains from Togo and Berlin to Ljubljana and used the Green Screen technology to bring to life 15 live-action scenes based on 600 Codelli’s museum photographs.

Two crooks looking to scam tourists organize a tour of an abandoned manor house rumored to be haunted by the cousin of Count Dracula. Their first group consist of a Swedish Satanist, two French goths and a Russian porn director. But the scam descends into bloody chaos when the tour is attacked by a Nazi cannibal wielding a circular saw.

In this black comedy drama, we meet a seemingly perfect family consisting of Olivia, Alexander and their daughter Agata. With the arrival of 25-year-old Julian in their home, their lives are turned upside down and their dysfunctional relationships are revealed. Redemption through humour explores the theme of emotionally drained elites and places it in the context of contemporary social issues.

A family finds itself in a dead-end situation. They are only safe behind the walls of their own house and yard. As time vanishes from their home, the shelter slowly turns into a prison. However, nothing can keep the children from dreaming and yearning to be free and the urge to make a decision seems inevitable.

After his wife's death a middle-aged man and his friends become increasingly agitated and violent towards the suburbs they inhabit.

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.

Kovač and Dara, whose childhoods start badly, meet in an orphanage and get attached to each other. After ten years, when they are in their teens, and both share an immature view of the world, they accidentally meet again. Kovač is a gang leader, Dara lives a lonely life in her own enchanted world. Kovač's gang starts getting involved in more and more serious deals. When the rascals find themselves caught between loyalty to different mob bosses and running from corrupted policeman, their juvenile illusions disappear. The way back is hardly possible. Will the rascals manage to run beyond, will Kovac and Dara be able to save their wasted youths and begin new lives?