Erna and Dževad are the owners of a pub in the vicinity of a steel mill, a complex that used to be one of the largest of its kind in Eastern Europe. Taking place one week before the pub’s official closedown, the film follows a series of conversations between visitors and frequent guests, who discuss the ways of reaching Germany – a new utopia of former socialist workers.

The Steel Mill Cafe

Following the river flowing through the centre of Sisak, the film creates a portrait of a former industrial city. The river today is a space for leisure and relaxation. However, when we examine the people that live and spend time there, the social conflicts of the transition break out onto the surface. The river reveals the remains of past that were left in the water.

On the Water

The film is followed by Croatian anti-EU activist Marko Franišković who  tried to run for the election in his radical political program. What is  happening to him on this path is questioned by the proclaimed principle of  parliamentary democracy. Documentary-judicial horror.

In the Name of the Republic of Croatia

The film follows the tenants of a building in Sisak’s industrial suburb of Željezara during a period in which a large mural of a Croatian street artist appears on one side of the building. All the political changes the area has experienced have shaped the tenants of the building itself.

The Building

ZELJKO is the head of the union at the Gredelj railway car factory. His deputy MLADEN committed suicide after the large public protests and clashes within the union. Zeljko is torn between the guilt he feels because of Mladen's death and the expectation between the workers to lead a strike that should thwart the government's plans, ordered by the EU, to send the company into bankruptcy. The film has a three-act structure. The first part (40 min) consists of the documentary material recorded by way of observational method. In this part, the camera follows the events chronologically. The second, transitional part, was recorded at the screening of the documentary material for the workers ten years later. This act provoked various reactions from the workers. The third (15 min) is the fictive part.

What's to be done?

While state authorities chase down supplies of increasingly rare Covid vaccinations, the queues of those waiting for them stretch endlessly along streets. Those queuing comprise a microcosm of the populace – a tapestry of personalities that range from stern gatekeepers to elderly women deliberating over vaccine preferences. As it moves from the bustling queues to the hushed interiors of vaccination centres, Pavilion 6 shifts from patients to the nurses and other members of staff.