Janja Majzelj

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.

A successful stage director plans to put on an outdoor production of a previously unknown play by a famous writer, but is haunted by his past in the form of the actors and crew with whom he has to work.

Ajda's carefree childhood is slowly mixing with puberty. She is inspired by her young guitar teacher Mojca, and her attention is also piqued by a boy named Javor. The realization at the concert forces her to grow up instantly, as it irreversibly changes her.

A woman in her thirties who wanted more of life jumps into an extramarital affair, only to lose her husband, her job, and finally her lover as well. However, she thinks she should start anew and have fun no matter the consequences.

In the mid-20th century, in a forested valley between Italy and Yugoslavia, a stingy widower befriends a young woman and helps her depart across the ocean to find there a better life. A chance encounter gives rise to a dreamy parable on loss, loneliness and the power of imagination.

All Vida wants is a baby. Instead, she is trying not to lose her mind as she juggles the men in her family - her sexist grandfather, her infertile husband, and her dad, a man-child.

Ivan is a retired music teacher in his late 70s, and has grown weary of life. His estranged son never matched up to his expectations anyway, he is still eaten up with jealousy of his brother, who always enjoys life to the full, and - above all - he cannot keep up with the changes around him. He buys himself a plot in a graveyard with an beautiful view of the Alps and checks into a retirement home so he can wait for his death in peace. However, the exact opposite happens: for the first time in his life Ivan starts to actually live.

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.

Meet Ela: a mother of three, a wife, a friend, and a career woman. To juggle it all, she is often economical with the truth, trying to get herself out of this or that mess. The lies are mostly little, white, and harmless. Every now and then, not so much.