Katarina Stegnar

Trigrad is a remote village in the Julian Alps, where the main wealth is the forest. Wood is not only the foundation of the wood industry, on which the well-being of the village depends, but it also has a higher significance. It is a place where mysterious and sacred powers hide. In this mystical environment, we follow the story of the main protagonist Crt, who left his native mountain village as a child and returned after many years of absence as a successful architect to sell the forest he inherited from his late father. On his return, the main character encounters unusual events, and the line between reality and imagination is increasingly blurred. With the new findings, it faces a key dilemma, namely whether to sell the forest or not.

In 1948, in the fragile post‑war countryside of socialist Yugoslavia, Marjeta gives birth to twins, Metod and Cilka. Withdrawn and volatile, Metod grows up in near isolation, shaped by a suffocating bond with his mother and a world marked by violence and repression. His impulsive behavior brings him into repeated conflict with society and the law, eventually leading to psychiatric treatment. After returning home and taking a job as a warehouseman, he appears outwardly stable, but inwardly deteriorates under the weight of alcohol, hallucinations, and relentless inner turmoil — until one night, the monster he has long concealed finally emerges.

Codelli is a feature-length docudrama about a little-known film project by Slovenian inventor Baron Anton Codelli. Together with filmmaker and adventurer Hans Schomburgk he filmed in Togo in 1914 the first live-action film in Africa, which possibly inspired James Rice Burroughs for his novel on Tarzan. In the company of three Codelli’s descendants and actor Primož Bezjak, we traced the fate of Codelli’s film, brought the remains from Togo and Berlin to Ljubljana and used the Green Screen technology to bring to life 15 live-action scenes based on 600 Codelli’s museum photographs.

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A family finds itself in a dead-end situation. They are only safe behind the walls of their own house and yard. As time vanishes from their home, the shelter slowly turns into a prison. However, nothing can keep the children from dreaming and yearning to be free and the urge to make a decision seems inevitable.

Two crooks looking to scam tourists organize a tour of an abandoned manor house rumored to be haunted by the cousin of Count Dracula. Their first group consist of a Swedish Satanist, two French goths and a Russian porn director. But the scam descends into bloody chaos when the tour is attacked by a Nazi cannibal wielding a circular saw.

Trigrad is a remote village in the Julian Alps, where the main wealth is the forest. Wood is not only the foundation of the wood industry, on which the well-being of the village depends, but it also has a higher significance. It is a place where mysterious and sacred powers hide. In this mystical environment, we follow the story of the main protagonist Crt, who left his native mountain village as a child and returned after many years of absence as a successful architect to sell the forest he inherited from his late father. On his return, the main character encounters unusual events, and the line between reality and imagination is increasingly blurred. With the new findings, it faces a key dilemma, namely whether to sell the forest or not.

In 1948, in the fragile post‑war countryside of socialist Yugoslavia, Marjeta gives birth to twins, Metod and Cilka. Withdrawn and volatile, Metod grows up in near isolation, shaped by a suffocating bond with his mother and a world marked by violence and repression. His impulsive behavior brings him into repeated conflict with society and the law, eventually leading to psychiatric treatment. After returning home and taking a job as a warehouseman, he appears outwardly stable, but inwardly deteriorates under the weight of alcohol, hallucinations, and relentless inner turmoil — until one night, the monster he has long concealed finally emerges.