Urša Menart

Half-sisters from a small coastal town who were never that close are forced by circumstance to share a flat in Ljubljana.

Short Deeds were a challenge for a generation of filmmakers. The project had its rules which had to be followed by the screenwriters, directors and their six teams: three pages of script, action in a pulled-over car with no more than three actors, shot in one day, a twist in the plot, and to be featured in each story – a parting.

After the emotional collapse that follows her mother’s death, Maruša builds an online bond with Alja, a nurse living in a small coastal town in Germany. Bonding through humor over their shared struggles, Maruša and Alja quickly develop a friendship that is put to the test when they finally meet in person.

After the emotional collapse that follows her mother’s death, Maruša builds an online bond with Alja, a nurse living in a small coastal town in Germany. Bonding through humor over their shared struggles, Maruša and Alja quickly develop a friendship that is put to the test when they finally meet in person.

The film documents the history of the Slovenian rap music and its relationship to poetry, literature and politics of the present.

The film documents the history of the Slovenian rap music and its relationship to poetry, literature and politics of the present.

Špela graduated in Art History and has never had a steady job. Unlike her two best friends, who have moved out of Slovenia years ago with no plans to return, she is determined to stay in Ljubljana. When even her longtime boyfriend gets a job abroad she moves back in with her parents and her grandma. But Špela wants to grow up and cut the cord instead of delaying her already well overdue adulthood any longer.

Špela graduated in Art History and has never had a steady job. Unlike her two best friends, who have moved out of Slovenia years ago with no plans to return, she is determined to stay in Ljubljana. When even her longtime boyfriend gets a job abroad she moves back in with her parents and her grandma. But Špela wants to grow up and cut the cord instead of delaying her already well overdue adulthood any longer.

The lives of a wealthy married couple radically change in an instant. While the husband is in critical condition after an accident that occurred under strange circumstances, the wife tries to understand the situation and to salvage what she can… In this constricted, small-scale drama by a renowned Slovenian filmmaker, Pia Zemljič excels in the role of the resourceful wife.

From 1977 to 1991 an image of Slovenia as a green, demilitarised and peaceful country of diligent people reigned in Yugoslavia, a country where differences are not only allowed, but also desired. This period ends with a ten-day war, when the identity turns from peacefulness, modesty and diligence into courage and a fighting spirit. The film documents the changes in Slovenia and its inhabitants, which have in recent years brought us to a completely different understanding of national identity, different from the one which was true in Slovenia as well as abroad twenty years ago.

Half-sisters from a small coastal town who were never that close are forced by circumstance to share a flat in Ljubljana.

Documentary film explores the role of women in the Slovenian film and is also looking for reflections in the film classics of the constant changing position of women in the society. Documentary also refers to popular and lesser-known women's roles in the history of Slovenian film, heroines in the literal sense, typical roles in many partisan films, as well as the established cliches: a suffering mother, adulteress, gossip. Through interviews with the actresses, theorists and artists as well as analyzing the most common phrases expressed by women in the Slovenian films, the film tries to reveal the true Slovenian film heroine.

Documentary film explores the role of women in the Slovenian film and is also looking for reflections in the film classics of the constant changing position of women in the society. Documentary also refers to popular and lesser-known women's roles in the history of Slovenian film, heroines in the literal sense, typical roles in many partisan films, as well as the established cliches: a suffering mother, adulteress, gossip. Through interviews with the actresses, theorists and artists as well as analyzing the most common phrases expressed by women in the Slovenian films, the film tries to reveal the true Slovenian film heroine.