Anja Novak

This film is a homage to the life, career and fears of Slovenian actor Peter Musevski. He was always Pero for me, not Peter.

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.

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.

Half-sisters from a small coastal town who were never that close are forced by circumstance to share a flat in Ljubljana.

Two brothers are torn apart after finding out they will inherit few millions from their father.

A young couple walks through the wilderness. She is free and he follows, somewhat reluctantly. After spending a stormy night under a rock shelter, they meet a man from her past. Together they come upon a road.

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?

In search of the best photo for the school competition, four teenagers head to remote hills. The competition for awards turns into a struggle for survival.

Jelena and Jastog flee war and find refuge in the mountains, where they brace themselves for a fatal meeting with a scary phantom from Jelena’s childhood and play badminton. But you are never really alone in the mountains, and they quickly get company. Life is just sick.