Ramadan - Guide to Fame
Dokument pojednává o legendě bulharské hudby a současných hudebnících, kteří po svém hrají jeho písně. Okouzlující a geniální klarinetista Ramadan Lolov má dodnes řady obdivovatelů. Film sleduje jeho stopy a odkaz od počátku 20. století až po dnešní dobu a zkoumá moc osobního kouzla a iluzí.
Revelation Point
Až do nedávné doby se ve většině těchto zemí odcizení ve svých různých formách (pocit bezmoci, méněcennosti, sociální izolace, sebeodcizení, etc.), spolu s vyplývajícími psychosomatickými problémy, považovalo za něco cizího, za něco, co existuje někde v západním světě, ale nestane se vám. V průběhu necelých dvou let se ukázalo, že - spolu s nezdravými potravinami, geneticky modifikovanými produkty, atd. - všechny tyto výhody postmoderní kapitalistické společnosti byly úspěšně importovány do našeho každodenního života. Postavy z filmu pocházejí z různých velkých a malých měst v Bulharsku, Rusku a Arménii - administrativní pracovníci, studenti, podnikatelé, bankéři, ženy v domácnosti,... Napětí života v neustále se měnících a nejistých podmínkách přineslo lidem různé duševní, psychologické a fyzické problémy - a někteří z nich se dostali až velmi blízko k sebezničení. Co mají společné je, že se všichni rozhodli pro změnu a vstoupili do terapeutické skupiny, která stanovuje smích a pozitivní myšlení jako cestu k duševnímu i fyzickému uzdravení.
Tin Can Race
During the Cold War, the average family in the Eastern-bloc sooner or later had its long-awaited, much loved, polished and groomed socialist clumsy and a pain-to-drive car. And this was the only available option. On the other hand, the export of these cars was a national priority of the communist countries, so that many families in the West “enjoyed” a pure utilitarian and very affordable model of a Lada, Moskvich, Skoda or Yugo. The socialist cars were meant to serve their owners and not to bring pleasure. Now it’s time to revive these old monsters and have all the joy they can provide.
After working on this topic for years and gathering archives related to socialist cars, we offer the spectacular Tin Can Race – a Socialist Cars Media Event, a rich array of high-quality storytelling, entertainment and cross-media adventures. For one purpose only - to speed up and get to know Europe better, back then and nowadays.
After working on this topic for years and gathering archives related to socialist cars, we offer the spectacular Tin Can Race – a Socialist Cars Media Event, a rich array of high-quality storytelling, entertainment and cross-media adventures. For one purpose only - to speed up and get to know Europe better, back then and nowadays.
One Dying Star
Three turbulent decades of the last century are reflected through the story of science fiction films made in Socialist Yugoslavia.
Divided by decades and unraveled chronologically, One Dying Star opens in the 60s with Cold War at its peak. Yugoslavia is leading the Non-Aligned Movement and its economy starts getting the first whiffs of capitalist mentality. Yugoslav Communism was different and so was Yugoslav Sci-fi. Mostly aimed at kids or very niche art house audiences, Yugoslav Sci-fi films were based around a unique set of values, ranging from the perpetuation of leftist ideological practices to further affirmation of the Non-Alignment ideology.
Our film intends to set the story of Yugoslav Sci-fi cinema against the backdrop of social and political dynamics, including the breakup of the country. Advances in science, modernist architecture, political concepts of self-management which included utopian elements and the overall change of lifestyle encapsulated in consumerism shaped a very special imaginaria of Yugoslav society and local Sci-fi.
Even though Yugoslav Sci-fi is terra incognita when it comes to film history and especially foreign audience, the genre actually attracted such famous auteur like Golden Berlin Bear-winner Želimir Žilnik, Oscar-winner Dušan Vukotić and Oscar-nominee Veljko Bulajić.
The film is made mostly out of archive materials, both from the movies they talk about and actual footage of the times. Testimonies of filmmakers, film critics and theorist on the subject such as Slavoj Žižek, Branko Dimtirijević and Nenad Polimac paint the audio background and bring the story about intersected dreams of the society as channeled through Sci-fi genre.
With tens of features to cover and major directors involved in the genre, with the vibrant social and political context, this is a promising subject that will take us to the next frontier of Yugoslav film and culture study, where no man has gone before.
Divided by decades and unraveled chronologically, One Dying Star opens in the 60s with Cold War at its peak. Yugoslavia is leading the Non-Aligned Movement and its economy starts getting the first whiffs of capitalist mentality. Yugoslav Communism was different and so was Yugoslav Sci-fi. Mostly aimed at kids or very niche art house audiences, Yugoslav Sci-fi films were based around a unique set of values, ranging from the perpetuation of leftist ideological practices to further affirmation of the Non-Alignment ideology.
Our film intends to set the story of Yugoslav Sci-fi cinema against the backdrop of social and political dynamics, including the breakup of the country. Advances in science, modernist architecture, political concepts of self-management which included utopian elements and the overall change of lifestyle encapsulated in consumerism shaped a very special imaginaria of Yugoslav society and local Sci-fi.
Even though Yugoslav Sci-fi is terra incognita when it comes to film history and especially foreign audience, the genre actually attracted such famous auteur like Golden Berlin Bear-winner Želimir Žilnik, Oscar-winner Dušan Vukotić and Oscar-nominee Veljko Bulajić.
The film is made mostly out of archive materials, both from the movies they talk about and actual footage of the times. Testimonies of filmmakers, film critics and theorist on the subject such as Slavoj Žižek, Branko Dimtirijević and Nenad Polimac paint the audio background and bring the story about intersected dreams of the society as channeled through Sci-fi genre.
With tens of features to cover and major directors involved in the genre, with the vibrant social and political context, this is a promising subject that will take us to the next frontier of Yugoslav film and culture study, where no man has gone before.
UNHERO or a Falling Star
Yavor (37) is a famous actor. He made a splash with his roles in popular series, participated in theater productions, had nominations and awards. Took part in the TV reality show Big Brother, but left with a scandal. In the last few years, more directors and producers do not risk, avoid working with him. Yavor amasses the controversial fame of a person who abuses alcohol, gets involved with drugs. He has increasingly serious problems with the law. Has already been sentenced to a probationary sentence for driving under the influence of alcohol and drugs. He is sort of the black sheep of Bulgarian cinema.
This film is an experiment on the border between psychological provocation, deconstruction of a creative personality and an exploration of the relationship between public and private space, at the same time lending a hand to Yavor.
The documentary will follow Yavor's scandalous idea to restart his life and career by organizing his own funeral. The daring idea takes the hero to various people, including a criminal group for illegal burials and cremations, subject of a police investigation, as well as meets him with prolific visual artists, who take to heart his suggestion to design his tombstone. The "funeral" will grow into something between a fiesta, a trial and a pardon of an anti-hero, with critics and colleagues, rivals and friends, former beloved girls... This seems to be the peak of our plot... but a sudden coincidence will lead the story in a new direction.
Arranging the "virtual" demise sends the anti-hero-star on the trail of a mysterious street art artist nicknamed Bloke,who died suddenly at the age of 27,leaving a rapidly disappearing series of provocative social graffiti. Yavor recognizes his own problematic nature in these grotesque provocations. The circumstances surrounding Bloke's death are unclear. The actor feels the call to reveal the secret, it seems to him that Bloke's fate holds an answer to his own creative crises and existential hesitations.
This film is an experiment on the border between psychological provocation, deconstruction of a creative personality and an exploration of the relationship between public and private space, at the same time lending a hand to Yavor.
The documentary will follow Yavor's scandalous idea to restart his life and career by organizing his own funeral. The daring idea takes the hero to various people, including a criminal group for illegal burials and cremations, subject of a police investigation, as well as meets him with prolific visual artists, who take to heart his suggestion to design his tombstone. The "funeral" will grow into something between a fiesta, a trial and a pardon of an anti-hero, with critics and colleagues, rivals and friends, former beloved girls... This seems to be the peak of our plot... but a sudden coincidence will lead the story in a new direction.
Arranging the "virtual" demise sends the anti-hero-star on the trail of a mysterious street art artist nicknamed Bloke,who died suddenly at the age of 27,leaving a rapidly disappearing series of provocative social graffiti. Yavor recognizes his own problematic nature in these grotesque provocations. The circumstances surrounding Bloke's death are unclear. The actor feels the call to reveal the secret, it seems to him that Bloke's fate holds an answer to his own creative crises and existential hesitations.