Screenplay: Urška Djukić, Maria Bohr 
Cinematography: Lev Predan Kowarski 
Editing: Vlado Gojun 
Cast: Jara Sofija Ostan, Mina Švajger, Saša Tabaković, Nataša Burger, Staša Popović, Mateja Strle, Saša Pavček 
Production: SPOK films, Staragara (Jožko Rutar, Miha Černec) 

Urška Djukić’s debut feature film Kaj ti je deklica premiered in Berlinale’s Perspectives Competition this February. Perspectives, Berlinale’s a new international competitive strand for fiction feature debuts, shines a spotlight on new filmmakers. The features represent an international range of voices who have a bold and fluent cinematic language and offer arresting perspectives and new ways of seeing the world.

The film focuses on introverted 16-year-old Lucia, who joins her Catholic school’s all-girl choir, where she befriends Ana-Maria, a popular and flirty third-year student. But when the choir travels to a countryside convent for a weekend of intensive rehearsals, Lucia’s interest in a dark-eyed restoration worker tests her friendship with Ana-Maria and the other girls. As she navigates unfamiliar surroundings and her budding sexuality, Lucia begins to question her beliefs and values, disrupting the harmony within the choir.
 

The film is co-produced by Staragara IT (Italy), 365 Films (Croatia), Non-Aligned Films (Serbia), and Nosorogi and OINK (both Slovenia). The associate producer is Sister Production (France).

The film is supported by the Slovenian Film Centre, Eurimages, RTV Slovenija, Viba Film, Ministero di Cultura – Direzione Cinema e Audiovisivo in Italy, FVG Flm Fund, FVG Film Commission, Croatian Audiovisual Centre, Film Centre Serbia, RE-ACT Joint Development Fund, Region Nouvelle Aquitaine and Creative Europe MEDIA. The film is sponsored by Arri’s International Support Program and GO Nova Gorica/Gorizia European Capital of Culture 2025.

Urška Djukić – filmography (selection)
Dober tek, življenje! (2016, kratki), Lovka (2019, kratki), The Right One (2019, kratki), Babičino seksualno življenje (2021) 

Those who come to Ajeet’s concerts can expect moments of all encompassing calm, an experience of music as a mode of ritual and connection, and exuberant realms of celebration and release. The audience often feels like it moves and breathes as one with the music, traveling through meditative spaces, inner realms, and then rising together into dance and rhythm. The experience of Ajeet and her band is layered and moves through many rich colours like a dream or ceremony. The intention of Ajeet’s music is healing and connection; a collective and interwoven experience more than a performance. 

The band draws elements of Latin and African percussion from Spanish-born Raffa Martinez together with influences and instrumentation from Ireland. Aisling Urwin, born and raised in Co. Kerry, Ireland, guides one into otherworldly realms on the Irish harp while Ajeet dances through her intricate soundscape with deep and rich percussion on her Bodhrán and playful breathy strokes of melody with the low whistle. Ajeet’s integral love of folk traditions has lead her to study traditional song and instrumentation in India, Central and South America, and her own ancestral land and home country of Ireland. These deep rooted traditional influences weave with her own unique softness to offer an unexpected and transporting musical dream for the listener.

S pisateljem Dragom Jančarjem se bo o romanu In ljubezen tudi pogovarjal urednik knjige Mitja Čander.

Running time: The performance lasts approximately 1 hour 

Prometheus, the Titan and Greek god of fire, the creator of man from clay, brought fire to humanity, having stolen it from the gods on Mount Olympus. After punishing humans by taking away light and warmth, Zeus condemned Prometheus to eternal torment for his boldness in defying divine authority. Bound to a rock, an eagle would eat his liver each day, which in ancient Greece was seen as the seat of emotions, only for it to grow back each night. In his fury towards Prometheus and humanity, Zeus created Pandora, a beautiful but cunning woman, whom he sent to Earth to marry Prometheus's brother, Epimetheus. Zeus gifted her a mysterious box, which her curious husband persuaded her to open, unleashing pain, illness, hatred, envy, and other malevolent forces into the world. Pandora, frightened, quickly closed the lid, but the evil had already escaped, leaving only hope inside.
The people on Earth were thus condemned, like Prometheus, to eternal suffering with little hope.

Due to his noble selflessness and bravery in opposing divine power, Prometheus became a representative figure of enlightenment, rich in symbolism, and an inspiration for many humanists, artists, and scientists. At the same time, he embodies the defilement of divine order, representational of the risks of excess or unintended consequences, as his efforts can also lead to tragedy. Modern-day Prometheans may bring progress to humanity, but such advancements often carry a dual effect, which can be destructive.
Prometheus and Pandora embody two sides of the same coin: good and evil, entry and exit points of humanity. In this performance, choreographers Michal Rynia and Nastja Bremec Rynia, along with the international dance ensemble MN Dance Company, will explore these entry points of human progress, freedom, and development, as well as the exit points of human woes, misfortune, and despair as consequences of reckless and audacious actions.
 

The Faculty of Electrical Engineering at the University of Ljubljana (UL FE), under new leadership, has decided to introduce a central annual event featuring prominent representatives from companies, professional associations, and the research sector. The business event, Symphony of Electrical Engineering+, aims to highlight the multifaceted significance and contributions of engineering, particularly electrical engineering, in all its spectrum of activities, in harmony with numerous stakeholders in sustainable development.

This year’s meeting will take place on Thursday, May 23, 2024, in the Linhart Hall of Cankarjev dom, starting at 6:00 PM. The event will focus on the challenges, opportunities, and future of using artificial intelligence in education, research, development, and industry.

We will hear from esteemed business leaders about their experiences with the importance of engineering in general and the broad scope of electrical engineering that this strategically important field covers.

The introductory part will feature a protocol panel discussion between the Dean of FE as the moderator and the interlocutors.

The technical part of the event will consist of a roundtable on the topic of artificial intelligence, led by Prof. Dr. Vito Štruc, along with his interlocutors, who are experts in their field and will discuss the use and challenges of artificial intelligence in industry.

The event will begin with a minute's silence as a mark of respect and remembrance for the tragically deceased miners.

Neuštekani (Unplugged)  is a project long conceived by Sejo Sexon, who, as he says, wants to “right a wrong and perform live songs, many of which will see the stage for the first time.”

Neuštekani offers Zabranjeno pušenje in an unplugged version, with acoustic instruments, in a more intimate setting. Alongside previously undiscovered musical repertoire, you will also hear short stories and anecdotes related to their creation and birth, which are not included in the book Spomnim se, kao da je bilo danas (I remember that like it happened today).

Neuštekani aim to become the heroes of Zabranjeno pušenje fans, who have long wondered: Why do we never hear great songs like Pismo Elvisu, Laku noć stari, Arizona Dream, or Kad darnek utihne... In forty years of performing, the band has repeatedly proven themselves with provocative and unique lyrics in a rock-punk-garage style, earning a place in the hearts of their audience. In addition to their music, Sejo's stories and audience interaction have become an indispensable part of every performance.

Neuštekani are coming at the right time. The concert is one of three special events to take place in Sarajevo, Ljubljana, and Zagreb.
Before the concert, there will be a screening of the internationally acclaimed documentary Svjetla Sarajeva, which presents the fifty-year history of Skenderija, the famous Sarajevo hall, from the perspective of Sejo Sexon, the lead member of Zabranjeno pušenje, directed by Srđan Perkić and written by Sejo Sexon.

After last year’s performance, Dear Me, which delved into the emotions and experiences of the dancers’ lives, this year the Be Funky Dance Association turns its focus to joy, happiness, and life’s true bliss in its production.

In today’s chaotic world, we are searching for ourselves. We drift away from our true essence. We live outside ourselves, striving daily to reach that Promised Land. We follow, chasing external achievements that feed our egos and give us a sense of success and importance. But then, we just want more each time. The path to the Promised Land and the journey toward pure, sincere happiness are sought outside ourselves. And life passes us by.

Who still truly lives as themselves?
Who still dances for their soul, simply because they feel the dance with all their heart?
Who still loves sincerely?
Who truly feels genuine joy in every moment of life?
Do we only experience all this once we’ve achieved everything promised?
Where is this Promised Land?

In the performance Promised Land, 180 dancers, aged 3 to 85, will offer the audience answers to these questions. They will embark on an enchanting journey of dancing through stories from the book Promised Land. An hour of dance will be filled with emotions and, above all, a search for life’s joy and happiness in a world that, in these times, clouds our vision of clarity.

Cast: Špela Rozin, Teja Glažar, Jožica Avbelj, Olga Kacjan, Marinka Štern, Marijana Brecelj
Co-actor: Suzana Krevh
Written by: Iza Strehar
DOP: Fabris Šulin
Editing: Andrej Avanzo
Production design: Gregor Nartnik
Costume design: Tina Hribernik
Make up: Lea Bratušek
Producers: Ana Kovačič, Iza Strehar, Žiga Virc
Production: Lilit

The cast and crew will attend the screening. 

A unique documentary journey into the world of some of Slovenia's most iconic actresses, blending the past, the present and the attraction of the acting profession. The series interlaces the stories that usually remain untold with intimate glimpses at the filming process, going behind the scenes on a movie set. What did Špela Rozin tell the director of The Battle of Neretva? Who taught Jožica Avbelj how to put someone’s eye out? How did Teja Glažar's fellow actors end up in a police station? Where did Marijana Brecelj spend her teenage years? How did Olga Kacjan, as a child, enact the dying scene from La boheme for fun? Why did Marinka Štern want to be part of Pekarna?

In their episodes, each of the actresses plays the same scene alongside Suzana Krevh, but in her own unique way – providing a captivating insight into diverse personalities, techniques and passion for their work. The camera follows the process up close, taking us into each of the player’s very own world, a place of reminiscing, facing challenges, telling anecdotes, revealing feelings of jealousy and speaking about the beauty of their profession. The project allows the audience to feel part of a movie set, shedding light on the inner workings of the acting profession.
 

Episode synopses:

Špela Rozin, one of the few Slovenian actors who have dedicated their careers solely to film, started her career in Italy. She is bubbling with a playful, unresentful excitement at the thought of directors who "butchered" her roles and scenes in film editing. She thus plays her scene in the style of massacre movies.

As if we were enjoying a cup of coffee together, Teja Glažar recounts more or less politically correct anecdotes from her student days while bellowing with laughter, saying that she had never really wanted to become an actor. She enrolled in acting studies purely for the student status. Set in a medieval comedy, the scene is sprinkled with her strong sense of humour.

Jožica Avbelj’s temperament is as fiery as her ginger hair, striding purposefully into a room and inspiring awe. But in The Protagonists, Jožica reveals her positive and optimistic side, making us wish we could chat to her for hours. As she was also a stage acting teacher, her scene reenacts the genre of drama.

Olga Kacjan fell in love with performance art when she attended a circus performance as a little girl. One of her favourite memories is a production in which she played a clown, making kids laugh with her frolics. In The Protagonists, Olga plays her alter ego – Pepé the Clown. 

 
Marinka Štern has bittersweet memories of all the challenges she had to face at the Academy. Then she bursts out laughing and recalls her performances with live animals and other anecdotes. She suddenly gets serious, telling us that she has said too much, and it must not be used. Taking into account her wish to keep some details hidden, her scene has become a film noir.

Marijana Brecelj captured the attention of director Matjaž Klopčič when strolling around Ljubljana as a teenager. He cast her in his new film which made her feel like the world was her oyster. Her episode shows Marijana holding a huge present and entering a scene imbued with Christmas anticipation.
 

Music by: Andrej Goričar
RTV Slovenija Symphony Orchestra 
Conductor: Andrej Goričar

The RTV Slovenia Symphony Orchestra joins this year’s traditional film and music event of the Slovenian Cinematheque, Cankarjev dom and RTV Slovenia’s Ars programme. The live music accompaniment by will be conducted by the composer, Andrej Goričar. 

Andrej Goričar has been commissioned by the Slovenian Cinematheque to compose the music for Sunrise: A Song of Two Humans, one of the greatest and most beautiful silent films ever made. Goričar composed an original musical score – a large symphonic work – for Sunrise, one of his favourite films, back in 2002. This year, we are in for a special treat – the premiere of a completely reworked score written especially for this occasion. The result: a magical film-music experience.

Sunrise, the Hollywood film debut by the German genius director F.W. Murnau, is an undying “American tragedy” with a happy ending, a technologically sophisticated and visually impressive romantic drama that brought all the elements of silent cinema to perfection.
 

screenplay: Danis Tanović, Anja Matković, Nikola Kuprešanin
Cinematography: Miloš Jaćimović
Editing: Redžinald Šimek
Igrajo: Anja Matković (Maja), Uliks Fehmiu (Saša), Goran Navojec (Ičo), Almir Palata (Andrija), Mario Knezović, Marija Škaričić, Mirela Brekalo, Snježana Sinovčić, Luka Juričić, Boris Ler, Ivana Roščić, Jadranka Matković
Producers: Lana Matić, Boris T. Matić, Jelena Mitrović, Jovan Marjanović, Miha Černec
Production: Propeler Film
Festivals, awards (selection): Venice 2024
 

A young woman arrives on a remote island to solve an inheritance issue. In a whirlwind of new emotions, and through a series of unpredictable situations involving eccentric locals, she will finally face questions from her past. 

Maja comes to a small Croatian island to prove that the late sea captain Jakša was her father and to collect her fair share of the inheritance. Since the procedure can be lengthy, she decides to stay there for a while. The only option for her is to take a waitressing job at the bar owned by Mayor Ićo which also comes with free accommodation. There, she meets an older US expat of Yugoslav origin, Saša, who fancies himself an aspiring writer and has moved there for the nostalgic aspect of the place. A romance sets in, but his life situation is just as complicated as hers. As seemingly innocent incidents threaten to destroy the fragile ‘ecosystem’ of human relationships on the island, Maja’s past comes back to haunt her.

Danis Tanović
Born in Zenica, Bosnia and Herzegovina, in 1969. He grew up in Sarajevo, where he was involved in music and studied film directing. When the Yugoslav Wars broke out in 1992, he interrupted his studies and took to the battlefield, camera in hand. Immigrated to Belgium in 1994 to study directing in Brussels (INSAS). His debut film, No Man's Land, won Best Screenplay Award at the Cannes Film Festival, as well as the Academy Award and Golden Globe Award for Best Foreign Language Film.