Nataša Matjašec Rošker

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.

This video features no words, only music and images. Ema Kugler describes the moving images as: “They are like a dark, surrealist dance of everyman with his own death. I have seen all these images. They came from the darkness of my subconsciousness, colonized me and obsessed me.” The video shows images, which together with the accompanying music give an impression of the infinite and the divine and being sucked into an abyss from where there is no return. The images bring us to the edge of our existence and twist us in the darkness of the subconscious and inevitable oblivion. There are no words or speech in the video, only music and images but the storyline is clear nevertheless. The images are silent witnesses to our imprisonment in the world of automatism – bureaucracy and authority – god and ruler who lead us into pointless wars, killing and death. Individuals are helpless prisoners of these forces.

Mira and her dog Baxus live a peaceful and isolated life in the countryside, until one day they witness a shocking event. After intervening in a sexual assault in the woods near their house, they are forced to face the aftermath. Mira embarks on a transformative journey through the complexities of the justice system until the lines between humanity and nature blur irrevocably.

An 86 year old lady escapes from nursing home, picks up two musicians in the process and they all drive off south to a new life in a Mercedes convertible.

Humans' biggest delusion is their illusion of freedom. Newborns have no choice, they are brought into this world regardless of their will, groomed as utterly powerless beings to submit to the social norms imposed by those in the position of power - But what if there is an alternative?

Slovenia, the spring of 1999. Two friends from a small village decide to transform their mopeds into choppers and embark on a journey. Looking for freedom and love, they travel through dreams of the past and visions of the future. Driven by mad impulses and haunted by the conservative moulds of traditions, they start believing and understanding things previously unimaginable. On the road through Slovenia and Croatia - two countries that have just recently seceded from Yugoslavia - they are accompanied by a young runaway woman with a mysterious past and an old biker who has seen the world in search of freedom but has still not found it. They challenge themselves and each other through shared experiences, severing their ties with and conceptions of the old and thus making way for the new.

Breza, a country boy from a godforsaken Prekmurje village, wishes to perform at the village festivities playing his electric guitar, but is faced with fierce competition in the form of a traditional Roma band entertaining the villagers by playing popular folk music. Nevertheless, his music seems to be the key to the heart of Silvija, a village beauty and the daughter of a wealthy gastarbeiter from Switzerland, who was sent home to find a healthy Slovene husband. However, the story of Breza and Silvija only marks the beginning of the plot whose main character is actually Düplin, an eccentric outsider, a deaf-and-dumb tramp or, as Breza's mother, the old Popovka, a farm owner and a fortune-teller also referred to as Strina, called him "a lad from a citrus producing country".

In a dystopian future, Matja and his family face an unresolved tragedy. Despite losing his faith and struggling to find his true self, the dawn breaks over the valley, revealing that the only way to deal with trauma and evil is to face them head-on.

Pero is a professional funeral speaker in a small Slovenian town. His unique gift is to make every funeral that extra bit special. Pero just can't help turning his eulogies into witty personal confessions that bring the grieving crowd to tears for all the wrong reasons.

A man. A woman. A chick. Three stories. One indeed.

By a twist of fate, Damjan is mistaken for a murderer who was prowling the streets of Ljubljana in the same neighbourhood. Because of his naive, friendly approach and helpfulness, his wife walks out on him and the police have doubts about his sanity. Is Damjan really losing his memory like his father did before him? And does purity of mind and spirit necessarily lead to a person's downfall? Will Damjan, who is mysteriously attracted and connected to the cinema and who finds himself drawn into a case of mistaken identity (just like in the movies) succeed in setting his life in order in spite of the mix-up and in finding the right companion for himself?

In a small town where everyone knows everybody else, independent researcher Vesna is investigating the death of the director of the local radio station. Although the director evidently committed suicide, Vesna, who has uncovered evidence of a conspiracy, is convinced that he was murdered. When several of the people she has spoken to about the matter find out that the director (Milan) was Vesna's father, they become even more withdrawn about the matter. Will Vesna succeed in unraveling the mystery--despite the many warnings that she should stop trying to uncover the truth?

Taking inspiration from the history of conflict throughout Eastern Europe, Echoes Of Time examines the concept of the illusion of freedom.

Slovenian actress with the pseudonym Mary comes from a well-to-do bourgeois family. She falls in love with Petar Kocmur, a final-year architecture student. One day she finds a girl in his bed, but she throws herself into the river because nothing in her life makes her happy.

The main character of the title lives a completely new life every time. Tomaž Kajzer is a classic hero of the series, but with a mistake. It’s always someone else.