Ivan Salaj

In the war-driven Balkans in 1991, four friends meet to pay respect to a dead friend...

Siniša Mesjak, an arrogant and ambitious politician on the rise, finds himself in the middle of a scandal. To hide him from the public, the president appoints him as the commissioner of Croatian government on the furthest settled island Trečić, where he is tasked with the organization of local elections. The previous seven commissioners haven't succeeded.

The Trampoline is not a romantic love story - it is a film about a powerful and sometimes double-edged love, and the darker side of a mother-daughter bond that has been stretched to breaking point.

At the centre of the plot is the writer Robert, who got fired, got a new job, got hepatitis B, got burnt on his penis and got knocked out, became a father and godfather, slept with four women and forced a friend to commit suicide, all in just four days – without getting sober.

In 1992, the Yugoslav army and Serbian paramilitary forces captured one-third of Croatia as the country was engulfed in a state of war. A squad of fighters is defending their position in the small but strategically significant village of Sunja, where the invaders have surrounded them on three sides. Ivan Salaj, a young and gifted director who was still enrolled in film school at the time, chooses to use their story as the subject of his student film. Considered one of the most important films from a period when Croatian independence was still at stake, it provides an accurate portrayal of life on the front lines. What makes Hotel Sunja even more special is that it was made by a group of students who risked their lives to make the movie.

One film made by 15 directors, Each one, after seeing the last minute of the previous one.

The third part of "Zagreb Stories" franchise that connects short films about Zagreb into one whole. The plot of six short stories takes place during public holidays.

We begin with a fragmented portrait of Činča, between the stories she tells and the thoughts of those surrounding her. In The Head, a girl is confronted with the possibility of dying. Intermezzo focusses on the moments of abstraction amid the hustle and bustle of a city. In Our Stock Exchange, unemployed people seek work. Second Floor, Basement shows us a hospital where only two floors separate birth and death.

The pianist Kyra Steckeweh and the filmmaker Tim van Beveren search for traces where Countess Dora Pejačević (1885-1923) lived and worked. Their documentary is a journey through time to a half brilliant, half broken Europe.