The Box Office is open from 16:00 till 20:30 (will open in 05:16).

Screenings

Wednesday, 17. 09. 2025 / 20:00 / Main Hall

Premiere

Asset 1
Thursday, 18. 09. 2025 / 17:00 / Main Hall
Asset 1
Friday, 19. 09. 2025 / 18:00 / Main Hall
Asset 1
Saturday, 20. 09. 2025 / 20:15 / Main Hall
Asset 1
Sunday, 21. 09. 2025 / 17:45 / Small Hall
Sunday, 21. 09. 2025 / 20:15 / Small Hall
Monday, 22. 09. 2025 / 16:30 / Small Hall
Monday, 22. 09. 2025 / 20:00 / Small Hall
Tuesday, 23. 09. 2025 / 16:30 / Small Hall
Tuesday, 23. 09. 2025 / 19:30 / Small Hall
Wednesday, 24. 09. 2025 / 16:15 / Small Hall
Wednesday, 24. 09. 2025 / 19:15 / Small Hall

Fiume o morte! Fiume o morte!

Igor Bezinović / Croatia, Italy, Slovenia / 2025 / 112 min / Croatian, Italian

Screenings

Wednesday, 17. 09. 2025 / 20:00 / Main Hall

Premiere

Asset 1
Thursday, 18. 09. 2025 / 17:00 / Main Hall
Asset 1
Friday, 19. 09. 2025 / 18:00 / Main Hall
Asset 1
Saturday, 20. 09. 2025 / 20:15 / Main Hall
Asset 1
Sunday, 21. 09. 2025 / 17:45 / Small Hall
Sunday, 21. 09. 2025 / 20:15 / Small Hall
Monday, 22. 09. 2025 / 16:30 / Small Hall
Monday, 22. 09. 2025 / 20:00 / Small Hall
Tuesday, 23. 09. 2025 / 16:30 / Small Hall
Tuesday, 23. 09. 2025 / 19:30 / Small Hall
Wednesday, 24. 09. 2025 / 16:15 / Small Hall
Wednesday, 24. 09. 2025 / 19:15 / 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.

Photos

Fiume o morte! is a film on poetry, dynamite, cocaine, machine guns, football, airplanes, furniture flying out of windows, concerts, prisons, sunbathing, thousands of soldiers, millions of bullets, endless speeches, a platypus and on the power of political performativity. D’Annunzio might as well be considered its trailblazer heralding some of the biggest masters of ghastly political showmanship of our age.” (Igor Bezinović)

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