Iva Krajnc Bagola
15-year old Klemen lives with his elder brother Peter and single mother in a small and remote rural town. Klemen's well-established routine of spending time with his beloved brother on the tennis court and by the nearby river gets interrupted by Peter's sudden and passionate love affair with his gorgeous classmate Sonja. This triggers a torrent of conflicting emotions and reckless actions by Klemen. —Slovenian Film Centre
Goran just wants to drive his taxi and take care of his blind wife Lina. But people close to him have their own agendas and dreams which threaten his carefree existence. In the idyllic surroundings of snow-covered Gorski Kotar, the fiery personalities of the highlanders surface and collide.
The film tells the story of young people in their early 30s; it speaks of their past and present romantic relationships and their attempts to find their way in life, one based on true feelings and decisions. Rather than well-set relations, which obstruct the vital flow of life, it seeks a direct contact with the world and other people.
A run-down hotel room, a piano, a maid and the guests who stay there. Life begins, life ends, and lives are changed forever in the piano room.
Set in socialist Yugoslavia in 1986, a humble and diligent factory worker falls into a 10-year shock right at his working place. He wakes up from coma in hospital in 1996 capitalist Slovenia, only to find out that he's left without job as being redundant.
Worker Maks Bigec decides to take things in his own hands when he hears that his factory will be closed. He takes the factory director as a hostage and demands that the state should reopen the factory.
At the beginning of the World War I, Filip, a Serbian school director in the Serbian province, has been asked to immediately go to Belgrade to get war schedule. His wife Lea, Slovene, with no one to leave because the two of them recently arrived in the small town and no one really knows them. Azem, an Albanian, school attendance, gives Filip a promise (Besa) to watch the Lea and that nothing will happen. Lea and Azem, are forced to live together in an abandoned school. Their relationship changes during the time.
Tone, an older man, drives from Germany to visit his son Grega and his daughter-in-law Masha. Though nobody talks about it, something horrible has happened. In attempt to ease their pain for a moment, Tone takes the young couple out for an ice-cream and so begins their drive around the countryside. On the road, Grega and Masha experience sudden changes of mood. They get aggressive, deeply saddened, suddenly cheerful, nervous, depressed... They are together but each on their own. And the gap between them is growing. Meanwhile, Tone drives them further away from home but no further from what has happened.
A painter named Vlado paints a portrait of an unknown woman. When the portrait "becomes alive" and the woman in the painting shows up at the artist's exhibition opening, Vlado's life is turned upside down. As Vlado becomes involved in a passionate affair with the mysterious woman, he does not even notice that he has fallen into the trap of Zom, a para-psychological organization which controls the actions of individuals by entering their thoughts, which is the meaning of "passing". A whirlwind of curious events and unexplained suicides takes him into a world where reality and fantasy are intertwined, a world created by a manipulative international corporation. In the world where relationships are just a means to an end and death is only an illusion, control and power are of ultimate value. Vlado realizes that he cannot trust anyone and even doubts his own sanity. However, it turns out that the naive artist is not such an easy target.
Oton, a young boy, is growing up while his hometown Ljubljana changes, from 1934, when King Alexander of Yugoslavia is killed in France, through first the Italian and then the German occupations of the city, until the arrival of Communism.
A canoe trip down the river Kolpa becomes a journey of discovery for three female students.
Jure and Julija live in a relationship that is largely maintained by clichés and formalities.
