Real estate agent Thomas Hutter is sent to Transylvania for a meeting with Count Orlok, a prospective client, who wants to buy a dilapidated mansion. Meanwhile, Hutter’s new bride Ellen is plagued by ominous visions and an increasing sense of dread… Nosferatu was the near-lifelong dream project of Robert Eggers (The Witch, The Lighthouse): reimagining F.W. Murnau’s 1922 masterpiece Nosferatu: A Symphony of Horror. »A moody, gothic, erotic horror with sharp teeth – grabs you by the throat, takes its time.« – IndieWire. »Lily-Rose Depp and Bill Skarsgard are out of this world.« – The Film Stage.
Nosferatu Nosferatu
In September 1924, one of the greatest masterpieces of the silent era, F.W. Murnau's Nosferatu: A Symphony of Horror, was shown in a cinema on Kolodvorska Street. One hundred years later, Kinodvor presents a new version of the expressionist classic as envisioned by Robert Eggers.
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Fiume o morte! Fiume o morte!
Igor Bezinović
Tuesday, 11. 11. 2025 / 19:30 / Small Hall
On 12 September 1919, a troop of some three hundred soldiers under the leadership of the flamboyant war-loving Italian poet Gabriele D’Annunzio swooped into the Northern-Adriatic port town of Fiume, now Rijeka, wanting to annex the city to Italy. Over the course of the next 16 months, during what is regarded as one of the most bizarre militant sieges of all time his official photography team captured over 10,000 images. A century later, Igor Bezinović orchestrates a direct-action history lesson focused on the siege and its modern-day implications.
Last Screening
Sorry, Baby Sorry, Baby
Eva Victor
Tuesday, 11. 11. 2025 / 20:00 / Main Hall
An honest, warm, and surprisingly funny film about how to live with something you can never truly get over. A Sundance Festival sensation, winner of the Best Screenplay award there, and considered one of the best films of the year by numerous critics.
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Kings & Queens
Kontinental '25 Kontinental '25
Radu Jude
Wednesday, 12. 11. 2025 / 16:00 / Main Hall
Using a mixture of drama and comedy, topics as diverse as the housing crisis, post-socialist economics and nationalism are dissected with a sharp, absurdist scalpel, in a narrative focused on a bailiff haunted by a sense of guilt over a homeless person’s death.