Two "milice" officers Janez and Franci are back after 20 years. This time they have to deal with Czech mafia and their leader Franta.
The stories narrated by the film bring together individuals all over the world, spanning over sixty years and thus symbolically covering the approximate period of a single human life. Each of the stories is based on true accounts and events, summed up from newspaper articles, statements, and media announcements. Through internal monologues the collage makes up a whole which transcends any individual story.
Erjavec family goes to picnic on Velika Planina, but instead of having peaceful vacation, they end up in a haunted cottage and fall into series of adventures.
Different stories about the life and tragic fate of one of the most beautiful hotels on Slovenian coast have been spreading for a long time. Palace Hotel had long stagnated in tormenting silence and had spawned controversial debates in the media and in the thoughts of the tourists.
For the End of Time is a film about the mind… a film about the body and our inability to merge these two entities which are shaping a form of civilization known under the term “human”. A human is not a being unto itself. A human is a construct… a civilization-related coding of a certain precise time and place. A human is not a uniform creature. A human is a split between many things… but the worst is the split carried inside… that between the mind and the body… How can we feel others, if the only universe that an individual truly lives in and feels is his or her own universe? How can you feel for the other… How can the other feel for you? Only as much as the pain of the other resembles yours – thus as a reminiscence of one’s own pain. This is the only way. For the End of Time is a film on a quest… for the eternal longing “to find the real thing.
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.
Two men, a radio consultant and social worker, take refuge in the kingdom of the marmot - an alpine hut, which becomes their small business.
This video features no words, only music and images. Ema Kugler describes the moving images as: “They are like a dark, surrealist dance of everyman with his own death. I have seen all these images. They came from the darkness of my subconsciousness, colonized me and obsessed me.” The video shows images, which together with the accompanying music give an impression of the infinite and the divine and being sucked into an abyss from where there is no return. The images bring us to the edge of our existence and twist us in the darkness of the subconscious and inevitable oblivion. There are no words or speech in the video, only music and images but the storyline is clear nevertheless. The images are silent witnesses to our imprisonment in the world of automatism – bureaucracy and authority – god and ruler who lead us into pointless wars, killing and death. Individuals are helpless prisoners of these forces.
Urbanity is finally erased by mythical rituals, which is determined by the very title of the video film: menhir, an upright stone block from the Neolithic, which was used for sacral rites. Man and woman are Adam and Eve, created in front of us by electronic transformation (morphing) and marked by blood. This element also marks all other elements of the video image: the murder of an individual by the menhir or trinity (politics, church, army), the bodies of the dancer. Blood, murder and death are overcome by only the second basic element: the stone, which is flooded with blood the very next moment. The fight of natural elements is also served by electronic tricks that turn power holders from flesh and blood into stone and wrong.
Demeter Bitenc (21 July 1922 – 22 April 2018) was a Slovenian film actor.[1][2] He appeared in more than 150 films and television shows from 1953 to 2018. He was born in Ljubljana, Slovenia.
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