Nenad Sinkauz

15-year-old Ahmet, from a remote Yuruk village in North Macedonia, finds refuge in music while navigating his father’s expectations, a conservative community, and his first experience with love — a girl already promised to someone else.

Dita, who, despite never aspiring to be a mother, finds herself compelled to raise her girlfriend’s two daughters—Mia, a tiny troublemaker, and Vanesa, a rebellious teenager. As their individual wills clash, a heartwarming story unfolds about an unlikely family's struggle to stay together.

The main focus of the story is a young girl, Maša Artuković, allegedly possessed by Satan, whose deteriorating state results in the arrival of Viktor Supilo, a priest who is to conduct the rite of exorcism upon her. The ritual is to be performed in the presence of Maša's sister Vera, a known psychiatrist Sofija and an unannounced crew of TV reporters that want to expose exorcism as a controversial and dangerous ritual that has no place in the modern Catholic Church.

Three different love stories, set in three consecutive decades, in two neighbouring Balkan villages burdened with a long history of inter-ethnic hatred: this is a film about the dangers – and the enduring strength – of forbidden love.

When Dejan, a drug addict, arrives at a remote monastery commune, he falls under Father Branko's harsh guidance. As Dejan becomes Branko's right-hand man, their bond is tested when the priest's violent methods spiral out of control.

Firmly believing her own life is no more precious than the lives of the innocent people being persecuted, with the help of a few friends, Diana embarks on a perilous campaign of rescuing more than 10,000 children from the Ustasha camps in Nazi-occupied Croatia.

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.

Sitting in a restaurant representing the waiting room to the other world, a tired old man watches the patrons who represent him and his immediate family during the important moments of his life. Moments that have impacted him and the family, and have turned him into a man he was at the end of his life. The old man is forced to look these events in an objective way, observe them from the sidelines, as the judge and jury of a tragic life filled with regret, bitterness, and bad decisions. At a certain point, it becomes clear that the old man has actually died and is watching his own life.

The film follows the life of Mijo and his family in a poor Croatian village, during the turbulent years of World War II. The non-linear and elliptical plot gradually forms a clear picture that testifies to the eternal cycle of history and the impossibility of a real change in the Balkans.

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.

A famous film director in midlife crisis invites his fatal ex-girlfriend to a lake hotel to help him write a script based on their relationship.

A film that emerges from the sonic and visual power of a concert by Croatian musicians Alen and Nenad Sinkauz and a performance by Dutch-Indonesian dancer Marije Nie. Historical denial, collective violence and resistance are intertwined.

Agrokor is the largest privately owned company in Croatia and a symbol of modern-day success of Croatian economy. The corporation headquarters is located in the tower of Dražen Petrović House, popularly known as the Cibona Tower, which represents one of the symbols of previous Croatian achievements from the late socialist period. In 2017 Agrokor’s business problems are disclosed – the losses amount to billions. In collusion between politics and economy, who is responsible for the breakdown of this corporation? Today Agrokor’s sign no longer hangs from the Cibona Tower.

A 12-year-old boy, Vanja, has been catching and studying plankton for the past two years. He owns a professional plankton net and conducts scientific research under a microscope.

A criminalist explores the background of a business in which the authorities, with the help of an influential corporation want to evict and demolish part of the city and build a new complex there. The film is about the will and power of the individual; the fight against institutions, the individual's engagement, and the decisions made behind the scenes.

Visually engaging segments are combined with the testimonies of four female partisans.

In 2016, the ex-Yugoslav Navy flagship Vis was deliberately sunk in order to turn it into a scuba diving attraction in Croatia. The ship lies on the seabed of the waters close to Brijuni Islands where in 1956 Nasser, Nehru and Tito met to discuss their opposition to the Cold War and the formation of the Non-aligned Movement. By employing visually impressive shots, the film establishes a signature spatial and temporal narrative, at the same time entering the space of fusion of personal and collective memory and dismemory, which, in the context of political and economic changes that have been occurring in Croatian society for the past several decades, acquire metaphorical and symbolic meanings, imbued with powerful socio-psychological implications.

Aphasia is an unsettling inquiry into the representation of violence and the violence of representation. This documentary gesture explores how collective crimes keep being repeated and reflects on social and political constellations, unfolding constructions behind nation-states and national identities.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.