In the rich accompanying film program this year Subversive Film Festival there are some programs dedicated to irreplaceable movie iconoclasts who have recently left us - the French avant-garde veterans and the initiators of the French new wave Agnès Vardi and the "good spirit" of the New York underground and the genre of the genre of "daily film" Jonasu Mekasu. Vardi devoted Retrospect brings the section of her 60 year career, from a series of novel masterpieces to the Croatian premiere of her latest autobiographical documentary Varda of Agnès whose screening at the Europa Cinema in Zagreb Sunday, 5. Mayofficially open 12. edition of SFF.

The Comprehensive Retrospective includes the earliest achievement of an author who, in his own words, wanted to reinvent the film, be radical, and at the same time be happy that a woman like a movie La Pointe Courte who realized without any prior experience and with only 25 years, which is, because of the mix of realism and formalism, considered the forerunner of the French new wave, through Lions Love (... and Lies)(1969.) As an example of contracultural work by her "California Phase", Without the roof and the law (1985.) With which he introduced the cinematography of the "film of shadow" and for which he was awarded the Golden Lion in Venice, to a documentary essay on alternative economies Collectors and collectors (2000.), Commonly on the list of best documentary films of all time, up to her cult but also controversial feminist films Cléo from 5 to 7 (1961.), Happiness (1964.) I One sings, the other does not (1976.).

Jonas Mekas is dedicated to this year's Tribute made up of three masterpieces of experimental documentaryism in which, behind apparent coincidences, a close reconstruction of images of interrelated memories is concealed. Pseudodokumentarac Jail(1964.) Was recorded in almost illegal terms and subjected to violence in a military prison. One of the first underground movies insists on the impossibility of differentiating fiction and fakes, and critics describe it as the contemporary incarnation of hell. Following are autobiographical films Walden: Diaries, notes and sketches (1969.) I Lost, lost, lost (1976.) In which Mekas developed a specific poetical style of characteristically very short and visually impressive faces, and in which this cult author of American film avant-garde captures the life chronicles of artists and emigrants, the people they spend most often with.

In collaboration with the Museum of Contemporary Art and Curator Leilom Topić as part of a permanent program Resistance kinematography your project, a multi-channel installation called Beyond the Choir, will be presented by the artist Sabine Mikelić which research leads to the native Rab and to the interesting but often unpredictable cooperation with the male clown of Krijanac. The interplay of the voice and its association with the specific locations of the artist introduces the game or the case. Her multimedia research focuses on the relationship between directors and protagonists mediated by the recording, where the film crew becomes a meeting place, vulnerability and empowerment.

As part of the accompanying program name Kluge & Khavn: genetic abductors new author's films will be presented that divide the generation gap of 43 years but combine the same autobiographical insanity and debauchery. Anarhoid celluloid terrorist Khavn, is the leading figure in the filipino film underground, and we show him his latest guerrilla piece Bamboo Dogs. Happy lamentation the newest movie Alexandera Klugea, one of the few true revolutionaries of German film, in which Khavn's anarcho-chaos meets Kluge's rigorous rigor.

Out of competition will be presented two domestic achievements. Man and wood Dalibora Platenika brings a story about the "green guerilla" Vladimir Dimić Jodi which has been growing by 30 years already incognito to plant trees in Zagreb and thus independently contribute to the greening of the city. The last days of summer is a feature-length debut film critic and sineaser Damir Radić. In this sensual piece, the camera becomes a sovereign "character" of the film, invoking the spirits of the analogue, and in the foreground emerge heroic voyeurism and accentuated eroticism of the cadre.

There is also the premiere of the film Badiou (2018.) in the direction of brothers Kalyan. The first feature-length documentary about one of the most prominent contemporary philosophers of neo-Marxist orientation is presented at the prestigious festivals of CPH: DOX and Jihlava and calls us to ask the question - can the movie think? Alain Badioupresents his own philosophy through the prism of his life biography, and the film reveals numerous inherent contradictions contained in the life and work of a radical French philosopher.