Tomislav Gotovac

By using the ALTERNATIVE FILM/VIDEO 2005 New Film and Video Festival award, Antonio G. Lauer (a.k.a. Tomislav Gotovac) made a new film, based on his student films and archival film material.

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A monumental homage to Glenn Miller, a one shot film - Glenn Miller 2000. This 26- minute long piece, shot on a circular road in Novi Zagreb in many ways corresponded to the previously discussed attributes that linked Tom's homages and "uses" of Glenn Miller with Miller's music and personality.

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An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

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Experimental short film that combines pornographic and nazi symbolics.

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An experimental staged documentary.

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The first part in Gotovac’s trilogy of structuralist films is dedicated to jazz musician Duke Ellington and director George Stevens. A camera placed at the front of a moving streetcar records the passing urban landscape: the train tracks and the passing streets and pedestrians transport the viewer (now a passenger on the streetcar) fifty years back in time.

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The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

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By using the ALTERNATIVE FILM/VIDEO 2005 New Film and Video Festival award, Antonio G. Lauer (a.k.a. Tomislav Gotovac) made a new film, based on his student films and archival film material.

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Through the conversation with Yugoslav film authors and excerpts from their films, this documentary film tells a story of a film phenomenon and censorship, and its focus is, in fact, a painful epoch of Yugoslav film called “a Black Wave”, which was the most important and artistically strongest period of Yugoslav film industry, created in the sixties and buried in the early seventies by means of ideological and political decisions. The film tells a great “thriller” story of the ideological madness which characterised the totalitarian psychology having left multiple consequences felt up to our very days. It stresses similarities between totalitarian regimes defending their taboos on the example of the persecution of the most important Yugoslav film authors. Those film authors have, however, made world careers and inspired many later authors. The film is the beginning of a debt pay-off to the most significant Yugoslav film authors.

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By using a "virtual collaboration" on the principles of delegated performance, the director uses Tom Gotovac's own performance from 2006, in which Tom completely naked "performs" himself, and then through the editing process he collages his film into previously shot scenes of the papal addressing to the people, alluding to his own, as well as Gotovac's ethical objection to the hypocrisy of an extremely influential institution. Deliberately crude editing, with a "bad feeling" that the film causes, becomes "their" conceptual artistic act which directly questions the role of the Church and its influence on the modern world of globalization, new economies, technologies and mass alienation.

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Charlie, the protagonist of the Slovenian film “Porno Film”, is so dedicated to his porn viewing that his two friends John and Frank jokes that he must have a PhD in pornography by now. Using Charlie’s extensive knowledge of all things porn, the trio sets out to make the “first real Slovenia porn film”, in Slovenian language and everything — except the women in the film are emigrated Russian hookers, and their Slovenian isn’t very good.

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By using the ALTERNATIVE FILM/VIDEO 2005 New Film and Video Festival award, Antonio G. Lauer (a.k.a. Tomislav Gotovac) made a new film, based on his student films and archival film material.

Open details →

Open details →

A monumental homage to Glenn Miller, a one shot film - Glenn Miller 2000. This 26- minute long piece, shot on a circular road in Novi Zagreb in many ways corresponded to the previously discussed attributes that linked Tom's homages and "uses" of Glenn Miller with Miller's music and personality.

Open details →

An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

Open details →

Experimental short film that combines pornographic and nazi symbolics.

Open details →

The first part in Gotovac’s trilogy of structuralist films is dedicated to jazz musician Duke Ellington and director George Stevens. A camera placed at the front of a moving streetcar records the passing urban landscape: the train tracks and the passing streets and pedestrians transport the viewer (now a passenger on the streetcar) fifty years back in time.

Open details →