Ilija Bašić

Kristina is a transgender sex worker in Serbia. She plays herself in an eponymous film that portrays her daily life with reticence in accordance with the rules of fiction. We’re in Kristina’s home with her. With camp elegance, she contentedly arranges ikebana in the luxuriant, baroque shade of her garden. The surprisingly shrill ringtone of her telephone disrupts the idyllic scene and Kristina reels off the prices of her services to the caller. Tracing an inner journey in the secret calm of churches and forests, the film also opens up a space of confession in its core, in frontal shots where Kristina tells her story. It does not, however, follow the path of repentance. On the contrary, it asserts the profound freedom of a modern woman, captured majestically in a bold portrait with strokes inspired by iconostases that tend towards the divine.

A tale of depressed Novi Sad cab driver and his continuous obsession with the long lost love, the stewardess who left for America and his passion for the American pop-culture. As his depression reaches the peak a serial killer with a sexual deviation starts killing Novi Sad cab drivers.

In 1947, among the ruins of war and in anticipation of a catastrophic flood, the locals of a Vojvodina village find themselves caught between the devastation of their livelihoods and the demands of the new Communist authorities.

In June of 1942 Germans and their collaborators decide to get rid of partisans and their stronghold in the woods of Mount Kozara in Northern Bosnia. They encircle the mountain and begin the mop up operation. Out gunned and outnumbered the partisans must not only take care of themselves but try to protect thousands of refugees too.

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.

Due to fighting against the Germans and the Ustashas, the partisans in central Bosnia decide to strike the salt pans, and take the much needed salt for the people and army. After serious attacks and heavy losses, they complete their mission successfully.

Two partisans, a man and a woman, try to escape a Nazi manhunt in the infernal landscape of WW2 Vojvodina.

The new misadventures of single mother Svetlana, her 12 year old son and (still) part-time worker Siniša. Siniša's plans to marry Svetlana are ruined when her ex-husband comes back from Germany, persuading her to start their new life together.

The father remained in the village to farm land, while the son lives far away from their homeland and country for business. At one point, the son returns to the village and then the crucial question is: who will take care of the land when the father dies?

Adem, a Bosnian coal miner who spends his days digging in the dark depths, and in very harsh conditions, is praised for his work and achievements and known as an exemplary socialist worker.

In an atmosphere of WWII, a village dyer wants to help his folks in their sorrow and distress by supplying them with the black paint, but there is not enough black paint for all of them, because death works faster than the dyer. His wife was raped, but the naive dyer believes in "straight" intentions of his godfather - black marketeer, and he gives away free canvas to the people. But in all their pain, people are unable to distinguish good intentions from the evil ones.

A committee made up to investigate illegal masonry in Yugoslavia causes more problems both for the builders and government, and in fact no one have any use of it. The pressure from all sides makes committee work less diligently.

Life in a small town, sunk in boredom and lack of excitement where dogcatcher is very important person.

Farcical comedy about an apartment which is shared by a couple of families plus their relations.

Grim and almost surreal depiction of corruption in Vojvodina city.

A man who used to be a political brigade commissar offended the society. Twenty years after the war, he comes to visit the old monument erected in honor of his dead comrades, unwanted and abandoned. They were roll-calling the dead and alive, but his name was not mentioned. And he stood before his comrades, face to face. He stood, and it looked as if he had never existed.