Essays

(Intro)

Branka Ćurčić

"... The phenomenon of Žilnik, his cinema, his cultural importance and his moral and political activism has not just come about of its own accord in just any society but is in itself an expression of a new social trend that has been articulated on the ruins of an idea of a society realised in an era of industrial modernism, on the other side of the border dividing socialism and democratic capitalism. And thus, Žilnik is approached not from the perspective of post-socialism but from the perspective of a post "social status" as such..."

(Part One: Želimir Žilnik and the "Existence of Possibility")

Branislav Dimitrijević

"My dialectic method is not only different from the Hegelian, but is its direct opposite. According to Hegel, the life-process of the human brain, i.e., the process of thinking, which, under the name of 'the Idea,' he even transforms into an independent subject, is the demiurgos of the real world, and the real world is only the external, phenomenal form of 'the Idea'. In my opinion, on the contrary, the ideal is nothing else than the material world reflected by the human mind, and translated into forms of thought."

Marina Gržinić

My aim in this essay is to find connections between the avant-garde film tradition from the ex-Yugoslav context and the more recent transformations in the political field known as biopolitics. I am particularly interested in Early Works (Rani radovi, 1969) a film by Želimir Žilnik. Director Žilnik was born in what used to be known for decades as the Socialist Federative Republic of Yugoslavia.

Dominika Prejdová

"The hidden camera is a scam. It is all right to use in films on timid animals, but it has no place in films with people. I do not hide my camera. I do not hide the fact from people I am shooting that I am making a film. On the contrary. I help them to recognise their own situation and to express their position to it as efficiently as they can, and they help me to create a film about them in the best possible way. When I make a film I am aware that I am betraying the given reality to a certain extent.

Jurij Meden

While Europe is proudly and brashly expanding in line with its sterile, politically correct guidelines on the grounds of an artificial (indeed phoney) and paradoxical concept of "European identity", invisible and impenetrable walls are shooting up along its borders, spreading like a cancer throughout regions beyond the fortress. Just as invisible as those walls are the numerous stories of the peoples left "outside".

"Elementary School of Capitalism" - On Želimir Žilnik's latest film actions

Branka Ćurčić

Želimir Žilnik’s long-term preoccupation with marginal social groups has culminated in his latest film about the protests of the workers-shareholders in the Zrenjanin factories, "Šinvoz" and BEK.

(An Interview with Želimir Žilnik)

Dominika Prejdová

1. When people speak of your work they often associate you with the New York School, Godard, Warhol, cinema verité, but I think that Branislav Miltojević is right when he says that you only use their methods in an ironic manner, just as you convey irony in your own approach to film. Is this use of irony at the foundation of your work?