Dado Ćosić

When four female colleagues receive an email death threat each, they are convinced the sender is a war criminal, whom they have exposed. But what if the threats come from within their own office at the Danish Center for Information on Genocide?

Croatia, seven years after bankruptcy. There is a fight going on in the world - water has become more precious than oil. In order to get hold of it, the powerful are ready to start wars, conquer, destroy, and even plant a zombie-virus. Mico, a bon viveur from Zagreb, whose daily routine includes massage parlours, restaurants and cinemas, where he watches a movie series featuring his favorite actress Franka Anic, is caught completely off guard by the zombie-epidemics. Nevertheless, he boldly embarks on an Odyssey accompanied by his movie heroine, with one highly unattainable, goal: to survive.

Sitting in a restaurant representing the waiting room to the other world, a tired old man watches the patrons who represent him and his immediate family during the important moments of his life. Moments that have impacted him and the family, and have turned him into a man he was at the end of his life. The old man is forced to look these events in an objective way, observe them from the sidelines, as the judge and jury of a tragic life filled with regret, bitterness, and bad decisions. At a certain point, it becomes clear that the old man has actually died and is watching his own life.

Spanning decades, the film follows lovers Lovro and Nenad and their friends Stevan and Ivan, a group of gay partisans who fought against the Ustashas and Nazis. Sixteen years later, they became renowned filmmakers navigating life in post-WWII Communist Yugoslavia. As they rise to fame, they are forced to create propaganda for the regime, risking everything to protect their identities and each other. In 1957 their sexual orientation raises suspicion, and a communist party loyalist named Emir is assigned to sabotage their careers and lives, a party loyalist hiding his own secrets, whose loyalties begin to falter. The pursuit of freedom becomes a fight for survival for the artists, while Emir's beliefs are challenged. Lush, intimate, and politically charged (and with startling parallels to our current political climate), Beautiful Evening, Beautiful Day is a poignant story of resistance — against oppression, against silence, and for the freedom to live and love without fear.

In a Slavonian village, in 1960s, a rich man Marko offers Janja to marry his son Iva, which Janja sees as the perfect opportunity for her dreams to come true.

Haunted by his dark past, a labourer in a small Croatian village has a series of fateful encounters over the course of a single night.

Dalibor Matanić’in son filmi, geçmişe uzanan etnik nefretin ayırdığı iki komşu Balkan köyünde otuz yıla yayılan bir aşk hikâyesini anlatıyor. Güneş Tepedeyken, yasak aşkın kırılganlığı üzerine bir film. 1991’de geçen ilk hikâyede çılgınlığın, kafa karışıklığının ve korkunun kol gezdiği savaş öncesi dönemde aşk, yasak bir lükstür ve komşu köylerden iki genç insan aralarındaki ilişkiyi saklamakta zorlanır. 2001’de geçen ikinci hikâyede bu sefer aşıklar, sevdalarını içinde bulundukları duruma uydurmakta zorlanırlar. Savaşın yaralarını henüz saramamışlardır. 2011’de geçen üçüncü hikâyede ise aşıklarımız ancak geçmişlerinden kurtulabilirlerse bir araya gelebileceklerdir. Kötülük ve şüphe hala hayatlarının bir parçasıdır; ama her şeye yeniden başlamak için şansları vardır.

Luna and Luka live in their grandmother's house, which represents the whole universe to them. Any attempt to make a change is considered as the worst betrayal.

When his boyfriend suddenly leaves him without an explanation, Michel develops a fear of emotional attachment. He starts meeting other people, but every new pair of hands remind him of his ex.

Neda relocates from Croatia to New York City seeking financial and emotional stability. While navigating her new life in the metropolis, she maintains a complicated, distant relationship with her father, Jadranko, back home through late-night online chats. During these nocturnal browsing sessions, Neda stumbles upon a forgotten digital archive belonging to a 1990s cyberfeminist collective known as the Electronic Witches. The group—originally formed by activists during the Yugoslav Wars to teach women and queer individuals how to use early electronic bulletin boards (BBS networks) to bypass state censorship—quickly becomes an obsession for her. As Neda digs deeper into the virtual archive, her digital investigation spills into the physical world. Her quest to uncover the legacy of these wartime digital pioneers transforms into a personal journey of self-discovery, exploring themes of isolation, digital intimacy, and queer resilience without falling into tragic tropes.

ZG80 is a prequel of Metastaze. The movie brings back its characters to prewar Yugoslavia where they, as part of Bad Blue Boys, go on a football match in Belgrade to see Dinamo play against Crvena Zvezda. They encounter guest fans, their arch rivals Delije, in a series of events that lead to football fans war on the streets of Belgrade.

Milena and Marko are visiting Marko's father on a remote mountain. Both Marko and Milena have their own agendas for the vacation: Marko wants to convince father that he should sell the mountain house, while Milena wants to advance their relationship. The couple plays nice in front of the father, and Milena soon realizes Marko isn't the man she fell in love with.

Two girls meeting at a porn audition, getting infatuated by one another and going through a journey in one day and one night followed by one dominant male figure, whose face we never see, but who plays as the force that separates them. It is a film about friendship and a metaphor for power and dominance that gets in the way of woman who could connect more strongly otherwise. Other than carrying that message, the movie has dark humor, a flashy and at moments uncomfortable atmosphere and a distinctive East European girl aesthetic.

When Dejan, a drug addict, arrives at a remote monastery commune, he falls under Father Branko's harsh guidance. As Dejan becomes Branko's right-hand man, their bond is tested when the priest's violent methods spiral out of control.

It is 1995. Mahir is a 38-year-old refugee from Bosnia, with unknown history, living in the hotel Pula, modified into a refugee centre. His days are monotonous and empty, and his history is unknown. A spark of life comes when Una, a young girl from Pula, is drawn to him. Until the past catches up with him.

Six young friends decide that the 2015 spring equinox is a great reason to throw a party. Two of them will prepare the "venue", the other two will get the booze, and the last two will get the weed. And right before midnight, they'll meet at the party to welcome the arrival of spring. Or not, depending on how they handle the situations they find themselves in while trying to run their seemingly simple errands, in which we get to know Zagreb, its life and nightlife, and the characters get to know themselves and each other.

After all this waiting it's finally here in Croatia - Zovko Teleport. Get anywhere in just four seconds.

Through globalization, many countries have been opened and barriers removed to ensure easy trade, travel and cultural diversity. However, this openness has given opportunities to criminals looking to exploit the system and ultimately threaten our global safety. As Europe has become a "safe house" for criminals eluding law enforcers, a special kind of law enforcement team is needed to handle specific ongoing crimes on a global level. "Crossing Lines" is the story of one such team, made up of five international cops, headed by Captain Daniel. The team - comprised of individuals who have little in common - must learn to live and work under the most dangerous and potentially deadly conditions. Housed in an unused storage section underneath the ICC, this mismatched team faces bureaucratic, jurisdictional and cultural obstacles while traversing continents in pursuit of justice.

Two mismatched families forced to share a home navigate a whirlwind of comedic misunderstandings, generational clashes, and everyday domestic chaos as Boris, Ana, her sister, and their loud extended clan struggle to adapt to life under one roof.

A sequel to One Song a Day Takes Mischief Away (1970) set in 1964.