Franci Slak

Peter Berdon (Mario Selič) joins a group of Stalinists after his father is killed by the Nazis in this grim political drama. The film begins with his arrest and uses flashbacks to tell the events that led to his incarceration. His abuse is chronicled both in and out of prison after he falls in with a Bonnie and Clyde-like duo after the war is over.

Lupa finds the drug addict Gladki who escaped from the hospital. She locks him in a rented room with the intention of helping him get rid of his addiction. But in between the walls of the isolated room the boundaries between the prisoner and the warden start to disappear. Horrible secrets are uncovered and Lupa begins to fight for her own freedom. A terrifying drama about young people who are left to themselves and to the dark forces of decay that cannot be stopped ; not even by love...

The film scores particularly as a psychological study of a student dropout. It focuses on Pavle Komel, a young man who shuns even the most elementary relationship with previously close friends and acquaintances. A final attempt to find himself via a return to his childhood roots in a rural area, followed by a brief contact with his estranged father, prove fruitless: in the end Pavle decides to quit his studies altogether at the university.

One weird but at the same time very difficult and sad story about the Bosnians, the temporary workers in Slovenia. Their survival and the constant demand for a better place under the sun. It also movie speaks of the great longtime animosity between Bosnians and Slovenians.

Eva is a widow bored with life, with her job as an architect, with her younger lover, and with her two teenage offspring. She is eventually assigned the job of redesigning the cells of a new prison, but even when her enthusiasm returns a little with the assignment, she is discouraged by the pseudo-intellectual stance of the prison warden and a non-communicative visit to her father. In an act of desperation, she steals some money and a gun - and fully intends to use them both.

Experimental feature about two young men trying to make a film.

A postal worker is suspected of committing a robbery at the rural office where she works alone.

A young soldier enters a conflict with his superiors and because he does not get the exit for the May Day holidays, he decides to escape. The escape of the weapon is a serious offense, and because there are no routes back to the barracks, the fate of the violence that leads to a bloody bribe begins to unfold. The story goes back to the time of the Chernobyl nuclear catastrophe.

The film presents the interesting childhood of Lojze Slak and his beginnings in "Barbov Slak", school years, wartime, the testimony of his large family (10 sisters and brothers), colleagues, members of the ensemble, songwriters, editors, producers, etc. The film also contains interesting footage from tours (USA, Canada, Australia), concerts and TV shows throughout the entire period of the Lojze Slak Ensemble.

Story of a small group of people who think there is going to be an attack by a group of rabid animals. They perceive this danger through a trance they invoke by hitting their heads against a stone. They decide to oppose their enemy, and a fierce clash takes place.

A Bohemian and a five-year-old take walks on the outskirts of Osijek.

A look at the life and thoughts of France Presern, arguably the most prominent Slovenian poet, as well as historical background of his time. How our tragic hero became a symbol of Slovenian culture.

A mysterious, playful group performs an unusual dance macabre in gas masks in front of a local church, while in the background smoke-belching chimneys pierce the sky. The film captured the spirit of its time and shocked the Yugoslav underground film scene with its unique blend of psychedelic playfulness and dark dystopian imagery.

Socialist Slovenia’s first feature-length experimental film, DAILY NEWS was shot in 1980 on Super-8mm by then-26-year-old Franci Slak, who would go on to become an acclaimed industry director. As its title suggests, the film is a diary in which the author records his observations of the outside world; as Silvan Furlan writes, it “evokes with a certain nostalgia those golden days of the underground, when the freedom of filmmaking was written in capital letters.” Film theorist Jože Dolmark appraised it best: “the film contains a desire to record (not strictly chronologically) the experience of a lived day: what happened to you, what you experienced, or which is more interesting, what you would like the day to look like, according to how you’ve imagined it. I think the entire power of DAILY NEWS lies in this desire of Franci’s for what remained unspoken, what slipped, what remained outside the edges, and what we’ll never know.”