Primož Bezjak

It's not time for revolutions, It's time for individuals, you just have to have the courage.

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 family is heading out for a day trip. The parents are acting weird: Father stays at home, and as Mother seems absent the daughter is slowly taking her role. Lin, who is eight, feels that some things are left unsaid. What will the day bring?

After her long-term relationship falls apart, Klara moves to her own place. She stays in touch with Jure, her ex, through occasional phone calls. But when she senses a new woman in his life, Klara is sent into a frenzy of stalking, doubting her decision and herself.

After being fired, a young car mechanic Đuro gets recommendation to look for another job in a remote village. His new boss is warm, old fashioned and naive - completely opposite from the world he's coming from. The peaceful atmosphere is shaken when Đuro falls for a regular customer's wife.

Based on motifs from The Triple Life of Antigone by Slavoj Žižek, this film reflects on today’s planet and political “chaos” by placing the politicians, the decision-makers and the influencers of today in the roles of Žižek’s version of the ancient Greek drama Antigone. But what are the politicians roles? Does the Antigone of today represent populists, anti-migrants and fundamentalists, or those who would oppose them?

While researching or playing a role, an actor decides to quit acting and live the life of their character instead.

A story about the price of success. It reveals the cruelty of the music scene that a young and talented girl has to cope with in order to succeed.

After the death of his partner, Luka and his daughter Mia struggle to cope and stay bonded as a family.

The film tells the story of the emptiness of time and interpersonal relationships.

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?

The village special Janko Žonta occasionally reports to the local police station and gives a fabricated report that he killed someone. When Janko reports to the police station one evening and reports a murder, police officer Damjan reacts to the report in a completely routine manner, not knowing that this time the treatment will be completely different.

It represents the dynamics of the events that lead to the "great stories" to the media.