DIRECTOR Aleksandar Petrović
SCREENPLAY Aleksandar Petrović, Antonije Isaković
DOP Tomislav Pinter
EDITOR Mirjana Mitić

CAST Bata Živojinović, Ali Raner, Senka Veletanlić- Petrović, Voja Mirić, Slobodan Perović, Mica Tomić, Branislav Jerinić

PRODUCER Vladislav Lašić
PRODUCTION Avala film
DISTRIBUTION Jugoslovenska kinoteka Yugoslav Cinematheque

Three is an anti-war film consisting of three stories that are all centered around the theme of death. Connected through the character of Miloš, the stories observe the senseless violence and absurdity of war from three different perspectives: that of a witness, a victim and, finally, an execu- tor. Three was the first Yugoslav film released in the United States (1966).

Aleksandar Petrović (1929 – 1994) was one of the major figures of the Yugoslav Black Wave. He started as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia’s most respected film critics during the ‘50s. His debut feature When Love is Gone (1961) and the subsequent film Days (1963) were heavily influenced by French New Wave. Petrović’s best known films are Three (1965) and I Even Met Happy Gypsies (1967), both nominated for the Academy Award for Best Foreign Language Film. Three won Grand Prix at the Karlovy Vary Film Festival in 1966, while I Even Met Happy Gypsies won the FIPRESCI Prize and the Grand Prize of the Jury at the Cannes Film Festival in 1967. That same year, Petrović was a member of the jury at the 17th Berlin International Film Festival.

DIRECTOR Dušan Makavejev
SCREENPLAY Dušan Makavejev
DOP Aleksandar Petković, Branko Perak
EDITOR Ljubica Nešić
ART DIRECTOR Dragoljub Ivkov
MUSIC Petar Bergamo

CAST Milena Dravić, Janez Vrhovec, Boris Dvornik, Eva Ras, Stole Aranđelović

PRODUCER Aleksandar Petković
PRODUCTION Avala film
DISTRIBUTION Jugoslovenska kinoteka Yugoslav Cinematheque

Man Is Not a Bird is a social satire and a portrait of the love life of Jan, an engineer who travels to an industrial Serbian town to help out in a copper factory. When he arrives, he rents a room from the parents of the attractive local hairdresser Rajka. Although Rajka is much younger than him, they end up having an affair.

First three features by Dušan Makavejev (1932) – Man Is Not a Bird (1966), Love Affair (1967), and Innocence Unprotected (1968) – won him international acclaim. In 1971, film WR: Mysteries of the Organism (1971), was banned in Yugoslavia for political and sexual content. The film also resulted in Makavejev’s exile until the late ‘80s. In 1974, he made Sweet Movie, which was banned as pornographic in many countries. Montenegro (1981) was his only real commercial success.

DIRECTOR Branko Bauer
SCREENPLAY Gordan Mihić, Ljubiša Kozomara
DOP Branko Blažina
EDITOR Katja Majer
ART DIRECTOR Veljko Despotović
MUSIC Tomislav Simović

CAST Nikola Angelovski, Mija Aleksić, Dragomir Bojanić, Pavle Vuisić, Marija Kohn
PRODUCTION Jadran film, Avala film
DISTRIBUTION Hrvatski filmski arhiv Croatian Film Archive

In search of better living conditions, peasants Radovan, Jeremija and Gaša go to a big city. Jer- emija, the oldest of the three, finds it difficult to adapt to the new environment while Gaša, the youngest, starts a turbulent love affair with a girl named Snežana. Radovan starts attending night school and best fits into the new environment.

Branko Bauer (1921 – 2002) started his career with The Blue Seagull (1953) and Millions on the Island (1955). Don’t Look Back, My Son (1956) is a wartime melodrama awarded with a Golden Arena in Pula for Best Director, Best Actor and Best Art Director. Some of his most notable works include: Only People (1957), Three Girls Named Ana (1959), Martin in the Clouds (1961), Face to Face (1963), A Farm in Mali Rit (1975) and Boško Buha (1978).

DIRECTOR Vatroslav Mimica
SCREENPLAY Slavko Goldstein, Vatroslav Mimica, Kruno Quien
DOP Tomislav Pinter
EDITOR Katja Majer
MUSIC Miljenko Prohaska

CAST Slobodan Dimitrijević, Janez Vrhovec, Mira Sardoč, Dina Rutić, Pavle Vuisić, Lordan Zafranović, Ivica Vidović, Fabijan Šovagović

PRODUCTION Jadran film
DISTRIBUTION Hrvatski filmski arhiv Croatian Film Archive

Mate Bakula, a middle-aged director of a Zagreb-based company, travels to his native island Viševica with his wife in order to attend the ceremony unveiling a memorial plaque dedicated to partisans who lost their lives in the war. During his stay on the island, Mate is hunted by the memories from the past: his partisan youth, his first wife, his disillusionment with communism and his enthusiastic struggle to introduce electricity on the island.

Vatroslav Mimica (1923) is one of the most important members of the first generation of the Zagreb School of Animated Film (The Loner, 1958; The Inspector Returned Home, 1959). Modernist poetics and the human alienation characterize his animated films as well as some of his later feature films such as the trilogy Prometheus of the Island (1964), Monday or Tuesday (1966) and Kaya (1967). Films: An Event (1969), Anno Domini 1573 (1975), The Falcon (1981).

DIRECTOR Mladomir (Puriša) Đorđević

SCREENPLAY Mladomir (Puriša) Đorđević
DOP Branko Perak
EDITOR Vojislav Bjenjaš
ART DIRECTOR Miodrag Hadžić

CAST Milena Dravić, Ljubiša Samardžić, Rade Marković, Mija Aleksić, Bekim Fehmiu, Siniša Ivetić

PRODUCTION Kino-klub Beograd
DISTRIBUTION Jugoslovenska kinoteka Yugoslav Cinematheque

The Girl is the first segment of Đorđević’s war tetralogy and a tragic tale about love between a soldier and a partisan girl. Told from the perspective of the girl, the soldier, a photographer and a German officer, the story evolves into a suggestive collage of wartime experiences.

Mladomir Puriša Đorđević (Čačak, 1924.) is a director and screenwriter best known for his war tetralogy The Girl (1965), Dream (1966), Morning (1967) and Noon (1968). Morning, the most acclaimed of the mentioned films, received the best actor award at the Venice Film Festival and the Golden Arena for Best Director and Best Screenplay as well as the Silver Arena for Best Film at the Pula Film Festival. Characterized by his frag- mentary dramaturgy and lyrical poetics, Đorđević is one of the most important representatives of the Serbian auteurism of the sixties. Films: Municipal Child (1953), The Cyclists (1970), Coach (1978), Eight Kilos of Happiness (1980).