Damir Čučić

As a coping mechanism during the grim lockdowns during the global pandemic, Croatian filmmaker Damir Čučić started a project of exchanging video clips with a group of friends through social media. Superbly edited, The Rain Will Weep is created from the archive of more than 3,500 of those videos, portraying the world in a state of chaos that is sometimes violent, often very funny, but mostly absurd.

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Oleg is a film student who leads a spartan life surrounded by analogue technology. A librarian during daytime, Marta is an avant-garde novelist who works with alternate subjectivity. Narrated from each of their perspectives, Čučić’s film recounts a romance that never ceases to take new shape.

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Cities I Haven’t Been To is an abstract travelogue that traces the skylines of unknown metropolises, taking the viewer on a virtual journey from Dubai to Dhaka and beyond. Unlike tourist postcards, these mental images stem from the filmmaker’s own memories and prejudices, coming to life in dreamlike flashes of abstract figures.

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Vojin, a blind author of radio docudramas, invites protagonists of his shows to meet him at an isolated hotel in the off-season. He records conversations with them where he captures, with architectural precision, the ruins of their traumatic childhoods.

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Mario Haber was a sound engineer and a dedicated brandy maker. For over a decade, he had been recording colorful conversations and sounds in his house and around the alcohol fermenter. The Spirits Diary is a visual reconstruction of his audio recordings.

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Mitch is an artist, Mitch is schizophrenic. That’s what he claims, facing the camera. And Mitch is his self-portrait, showing a man of 40 who uses the camera and film as a form of therapy. So (a decisive gesture here) this is about reversing perspectives, in order to follow in his footsteps.

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Father and son review the problems in their communication that have been accumulating in years. The son cannot get rid of fears that his life is being a true copy of his father's projections of his future, so he shoots a video letter with his amateur camera in which he tries to make his father look bad and present the evidences that would indicate how he became a much better person than him.

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The basis of the experimental film Sky Spirits are real-life shots of fireworks. The authors of the film have collected these shots from the year 2001. to 2008. The experiment explores the ultimate limits of fireworks as sources of light, showing this through real-life dynamic light patters which are led through video processors, resulting in chromatically rich animated samples. The material is "laboratory" processed and then formed into a film unit, while respecting the dramaturgy of fireworks. The original sound was used, which was, of course, subsequently processed, too. The whole work process is a kind of "homage to the tape" because the entire work is completely recorded and realised on digital video tapes, without using any kind of computer program.

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The film is based on an optical experiment with point light sources and appropriate filters. During the experiment, light passes through the obstacle and the obstacle is the human hand. The movements of the hands and fingers in front of the lens create interesting chromatic shapes.

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Gripping and alarming film, based on amateur footage of Vukovar. In an apocalyptic urban landscape, a sniper looks for prey.

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Eastern Croatian front, 1992. Artist and documentary filmmaker Ivan Faktor finds a job as a freelance journalist and war photographer, documenting the defence of Osijek, Croatia's third largest city. However, as time passes by, the recently inedpendant country's budget becomes scarce and the supplies of all kinds begin to dwindle. Faktor only sees one solution to this; an appeal for aid to the wider European masses, which he wants to achieve by securing a spot on the filming of the national news outlet in Copenhagen. Armed with nothing but his camera and accompanied by two soldiers, a driver and a university student, they head out in their small van into the unknown.

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Mitch is an artist, Mitch is schizophrenic. That’s what he claims, facing the camera. And Mitch is his self-portrait, showing a man of 40 who uses the camera and film as a form of therapy. So (a decisive gesture here) this is about reversing perspectives, in order to follow in his footsteps.

Open details →

As a coping mechanism during the grim lockdowns during the global pandemic, Croatian filmmaker Damir Čučić started a project of exchanging video clips with a group of friends through social media. Superbly edited, The Rain Will Weep is created from the archive of more than 3,500 of those videos, portraying the world in a state of chaos that is sometimes violent, often very funny, but mostly absurd.

Open details →

Oleg is a film student who leads a spartan life surrounded by analogue technology. A librarian during daytime, Marta is an avant-garde novelist who works with alternate subjectivity. Narrated from each of their perspectives, Čučić’s film recounts a romance that never ceases to take new shape.

Open details →

Cities I Haven’t Been To is an abstract travelogue that traces the skylines of unknown metropolises, taking the viewer on a virtual journey from Dubai to Dhaka and beyond. Unlike tourist postcards, these mental images stem from the filmmaker’s own memories and prejudices, coming to life in dreamlike flashes of abstract figures.

Open details →

Vojin, a blind author of radio docudramas, invites protagonists of his shows to meet him at an isolated hotel in the off-season. He records conversations with them where he captures, with architectural precision, the ruins of their traumatic childhoods.

Open details →

Mario Haber was a sound engineer and a dedicated brandy maker. For over a decade, he had been recording colorful conversations and sounds in his house and around the alcohol fermenter. The Spirits Diary is a visual reconstruction of his audio recordings.

Open details →