Nebojša Pop Tasić

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 Withdrawn and volatile, Metod grows up in near isolation, shaped by a suffocating bond with his mother and a world marked by violence and repression.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.

A father of two school-aged children, confronting the collapse of his family while in prison, struggles to reconcile with his past and rebuild his identity as a parent.

Brothers joint apartment will become too small for both of them and all their loves and whose experiences they drew material for the series.

1993. A passenger train from Belgrade to Bar is stopped by paramilitary forces in an ethnic cleansing operation. As they haul off innocent civilians, only one man dares to stand up to them. This is the true story of a man who could not remain silent.

Hoping to keep his recently fractured family together, David takes his children, Klára and Teo, on holiday to the Adriatic. There, teenage Klára, who struggles with an eating disorder, falls in love with a local boy, Denis. When Denis is accused of murder, Klára's condition worsens, and she ends up in hospital. The desire to save her is the only thing that unites her parents, and crisis situations call for drastic measures.

Karpotrotter is a road movie about place, time, and memory, as well as an homage to filmmaker Karpo Godina, whose work flourished during the Black Wave of Yugoslav filmmaking in the late 1960s and early 1970s. Contemporary filmmaker Matjaz Ivanisin retraces the footsteps, 40 years later, of his compatriot’s road trip through small villages in the rural countryside. Constructed from Godina’s 8mm footage from this journey, Ivanisin interlaces this material with landscape footage from his current road trip and contemporary interviews of the citizenry who recall Godina’s visit decades earlier; period folkloric music augments the soundtrack. The filmmaker structures his film in five sections that articulate the local character of different villages. Richly multi-layered in both temporal and spatial terms, the filmmaker constructs a poignant meditation about the local village culture and inhabitants of this rural region of the former Yugoslavia.

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.

Brothers joint apartment will become too small for both of them and all their loves and whose experiences they drew material for the series.

Hoping to keep his recently fractured family together, David takes his children, Klára and Teo, on holiday to the Adriatic. There, teenage Klára, who struggles with an eating disorder, falls in love with a local boy, Denis. When Denis is accused of murder, Klára's condition worsens, and she ends up in hospital. The desire to save her is the only thing that unites her parents, and crisis situations call for drastic measures.

Karpotrotter is a road movie about place, time, and memory, as well as an homage to filmmaker Karpo Godina, whose work flourished during the Black Wave of Yugoslav filmmaking in the late 1960s and early 1970s. Contemporary filmmaker Matjaz Ivanisin retraces the footsteps, 40 years later, of his compatriot’s road trip through small villages in the rural countryside. Constructed from Godina’s 8mm footage from this journey, Ivanisin interlaces this material with landscape footage from his current road trip and contemporary interviews of the citizenry who recall Godina’s visit decades earlier; period folkloric music augments the soundtrack. The filmmaker structures his film in five sections that articulate the local character of different villages. Richly multi-layered in both temporal and spatial terms, the filmmaker constructs a poignant meditation about the local village culture and inhabitants of this rural region of the former Yugoslavia.

A couple embark on an early vacation. Left alone, their children cut loose until the boy gets caught for skipping school and things take an unexpected turn. Boasting exquisite camera work, the film is also unforgettable for its wholly original ending.