2022 / 31’ 49’’
Scenario i režija / Written and directed by
Nenad Pržulj
Produkcija / Produced by
Dragan Nikolić
Produkcijska kuća / Production company
Ateliers Varan
Kontakt / Contact
Autobiografski dokumentarac o ličnoj potrazi za ljubavlju, seksualnošću i svemu ostalom.
An autobiographical documentary about personal searches for love, sexuality and everything in between.
Svetska festivalska premijera / World festival premiere
2023 / 11’ 31’’
Režija / Directed by
Miloš Živanović
Uloge / Cast
Željko Iličić, Violeta A. Jovović
Produkcija / Produced by
Aleksandar Pavić
Produkcijska kuća / Production company
Akademija umetnosti, Beograd
Kontakt / Contact
Poput Nojeve barke, u Lapovu, u azilu Staro brdo, dvoje mladih bira svoj put: da spasavaju konje od poplave ljudske zlobe, pruže im negu posle zlostavljanja i spreče da završe u klanici.
Like Noah’s Ark, in Lapovo, in the Staro brdo asylum, two young people chose the path to save horses from the flood of human malice, recover them from abuse and prevent them from being taken to the slaughterhouse.
World premiere / World premiere
2021 / 30’37’’
Režija / Directed by
Dimitrije Zvonko Marković
Scenario / Written by
Dimitrije Marković, Tijana Grumić
Uloge / Cast
Ljubomir Bulajić, Aleksandar Bandović, Angelina Banković, Miloš Spasić, Lidija Ham
Produkcija / Produced by
Miloš Jakšić
Kontakt / Contact
Neposredno pre Drugog svetskog rata srpske vlasti odlučuju da po nemačkom projektu izgrade Olimpijski stadion na Kalemegdanu. Planovi i makete su napravljeni, a projekat je započeo čišćenjem Donjeg grada i arheološkim iskopavanjima koja je nadgledala i sprovodila Himlerova nacistička organizacija Anenerbe. Zašto im je bilo važno da iskopavaju na Kalemegdanu? Šta su sve pronašli i gde je taj materijal danas? Kako je na ova iskopavanja reagovala srpska javnost? Kako se u nacističkoj Nemačkoj arheologija koristila za širenje propagande?
Just before the Second World War, the Serbian authorities decided to build the Olympic Stadium in Kalemegdan, according to a German design. Plans and models were made, the works began with the cleaning of the Lower Town, archaeological excavations were supervised and carried out by Himmler’s Nazi organization, the Anenerbe. Why was it important for them to excavate at Kalemegdan? What did they find, and where are those artifacts today? How did the Serbian public react to these excavations? How was archeology used to spread propaganda in Nazi Germany?
