Film archive
A Colony Une colonie
Geneviève Dulude-De Celles / Canada / 2018 / 102 min / Slovene subtitles, French / 12+
A tribute to sisterly love, Colony is a poetic portrayal of the emotional turbulence in early teens, a time of discovering one’s identity. Children’s Jury Award at Berlinale 2019.
Minnie and the Mozzies Cykelmyggen og Minibillen
Jannik Hastrup, Flemming Quist Møller / Denmark / 2014 / 76 min / Slovene subtitles, Danish
Kombinat Kombinat
Zvonka T. Simčič, Valerie Wolf Gang, Urša Bonelli Potokar / Slovenia / 2015 / 45 min / Slovene
The Commune Kollektivet
Thomas Vinterberg / Denmark, Netherlands, Sweden / 2016 / 111 min / Danish
The Commune reunites Danish director Thomas Vinterberg with scriptwriter Tobias Lindholm (The Hunt) in a story that focuses on the clash between personal desires versus the solidarity and tolerance in a commune in the mid-1970s.
La Commune (Paris, 1871) La Commune (de Paris, 1871)
Peter Watkins / France / 2000 / 345 min / French
The Concert Le concert
Radu Mihaileanu / France, Italy, Romania, Belgium / 2009 / 119 min / French, Russian
Koncert mladih talentov Koncert junyh talantov
Marijana Sergejeva (Semënova) Semjonova, SU 1948 / 1948
The End The End
Joshua Oppenheimer / Denmark, Germany / 2024 / 148 min / English
The feature debut of Joshua Oppenheimer, director of the provocative documentaries The Act of Killing and The Look of Silence, is a post-apocalyptic musical about the last surviving family on earth. Twenty-five years after an environmental catastrophe, Father, Mother and Son struggle to maintain a sense of normality in their luxurious underground bunker—until the arrival of the Girl disrupts their meticulously constructed routine…
The End Is Near: Let’s Contemplate Konec je blizu: Kontemplirajmo
various / 100 min
“Six contemplative shorts, six sides of insight, and six contemporary experimental classics for a bigger picture and the end of the world.”
– Matevž Jerman, Jelena Radić
The Summer Is Gone Ba yue
Zhang Dalei / China / 2016 / 108 min / Mandarin Chinese
Zhang Dalei’s autobiographic feature debut highlights the contrast between melancholic atmosphere of Chinese privatisation reforms of the early 1990s and carefree childhood replete with cinematic images.