A multinational company owned by Mrs. Judit Angst is facing financial difficulties. She decides to hire a group of young anarchists to fake her kidnapping. After a couple of weeks spent in confinement, she will be able to justify the downfall of her company before the people, and at the same time it will also build her status as an opponent of destruction and chaos. A direct inspiration for the film was the kidnapping of Peter Lorenz, a center-right politician from Berlin, in the early 1970s. Lorenz spent two weeks in the captivity of the Bewegung 2. Juni terrorist group, from which he was released after the government met the kidnappers’ demands. The case was subsequently exploited for the benefit of his election bid to become the mayor of Berlin.

The film was planned as a big production with a 250,000 DM budget, and Žilnik had already extensively scouted various locations in Munich and was negotiating the participation of prominent actors such as Hanna Schygulla and Rainer Werner Fassbinder. The atmosphere in the city was tense due to concerns around terrorism and the growing prominence of the Rote Armee Fraktion (Red Army Faction). Because of the dynamics of local city politics at the time, Bavarian television withdrew its support for the film. As a result, Žilnik lost both his funding and the producer who facilitated the TV collaboration, so he decided to do the film in a more low-key manner. His production budget shrank to 60,000 DM, which came from some previously confirmed sponsors, and he moved forward with a team of people who were enthusiastic about making the movie happen—such as, for example, his costume designer, Giesela Siebauer, who agreed to play the leading female role. During the editing process, done at Filmverlag der Autoren, colleagues were already warning Žilnik that the film would get him into trouble.

Paradies premiered at Werkstattkino in Munich. Although the audience was enthusiastic, Žilnik learned that the police came the day after and asked that the film be removed from the cinema’s repertoire. To evaluate the response his film might receive upon wider release, Žilnik decided to show it to a committee of prominent film critics who worked for the broadcaster ARD in Frankfurt. After watching the film, they advised him not to show it to anyone. Upon Žilnik’s return to Munich, he was almost immediately visited by the police. They couldn’t find anything to link him to terrorism, but saw receipts that showed that some of the film’s collaborators had been paid in cash. Claiming this amounted to tax fraud, they arrested Žilnik and his cameraman, Andrej Popović, and took them to Polizei Presidium at midnight. Žilnik called Alexander Kluge, who at the time was the president of the Directors Association and also a lawyer, to help them out. Kluge negotiated that the police would drop charges and release Žilnik and Popović from jail, on the condition they would leave the country. They had twelve hours to pack before the police escorted them to the Austrian border. They were never officially registered as expelled or banned from returning.

Paradies Eine imperialistische Tragikomödie (1976).mkv

General
Container:  	Matroska
Runtime: 	1 h 0 min
Size: 	761 MiB
Video
Codec: 	x264
Resolution: 	720x540 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 500 kb/s
BPP: 	0.154
Audio
#1:  	2.0ch AAC @ 256 kb/s

https://nitro.download/view/92F90B720CF28CF/Paradies_Eine_imperialistische_Tragikomodie_(1976).mkv
https://nitro.download/view/3C7A24F881E49EB/Paradise._An_Imperialist_Tragicomedy.srt

Language(s):German
Subtitles:English

The post Zelimir Zilnik – Paradies. Eine imperialistische Tragikomödie AKA Paradise. An Imperialist Tragicomedy (1976) first appeared on Cinema of the World.

Story follows a weekend in a village where young adults after a hard working week let there steam off in taverns eating, drinking, singing, breaking glasses and occasionally other things every Sunday.

Newsreel.1967.DVDRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	12 min 14 s
Size: 	175 MiB
Video
Codec: 	x264
Resolution: 	700x576 ~> 747x576
Aspect ratio:  	1.297
Frame rate: 	24.000 fps
Bit rate: 	1 800 kb/s
BPP: 	0.186
Audio
#1:  	Serbian 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/555B3FFD9C87985/Newsreel.1967.DVDRIP.x264.AC3.KJNU.mkv

Language(s):Serbo-Croatian
Subtitles:English hardsubbed

The post Zelimir Zilnik – Zurnal o omladini na selu zimi (1967) first appeared on Cinema of the World.

This is a series of portraits of women from different fields of work who find new occupations and ways to support their families in the transitional period. The following women give us their views of the relationship between men and women – a Chinese woman who owns a beauty salon and hairdresser’s studio; women who work for the first privately owned shoes factory; women who participate at the Erotic Fair in Budapest; a manager of an exclusive fish restaurant and successful business women.

DVD: PAL
Video: MPEG-2 720×576 (PAL) (PAL 625/50) (4:3)
Audio: Dolby AC-3, 2ch 48Kbps DRC
Menues: Untouched
Video: Untouched
Audio: Unouched

https://nitro.download/view/3CDC56383565083/Cosmo_Girls.rar

Language:Serbian
Subtitles:German

The post Zelimir Zilnik – Cosmo Girls (2000) first appeared on Cinema of the World.

The aged rocker Igor works as a journalist and DJ at the “Radio Student” in Ljubljana. He notices that the janitor Miha works for the police, tapping the walls and observing the journalists who are critical of the regime.

After a clash with his editor, Igor decides to leave for Greece by his old bike DKW from 1938, via Bosnia and Serbia. Rahela, the girl who left Igor’s son because of his snobbery, joins him on the trip. Traveling through Yugoslavia, Igor becomes involved in unexpected turmoil: in the Bosnian town of Velika Kladusa there is the scandal about Fikret Abdic. At the same time, Milosevic’s “antibureaucratic revolution” starts in Serbia and Vojvodina.

There are popular gatherings supporting new Milosevic’s policy of “Serbian union” and “preservation of Yugoslavia.” Igor witnesses a few of these gatherings, seeing them as retrograde theatrical performances with the stage design dating from the time immediately after the Second World War. The stage design has nothing to do with “brotherhood and unity” anymore, but rather with fragmentation of Yugoslavia into national neo-feudal dwarf states. Seeing that this country will not allow an ordinary life for decades, Igor finally sets off to Greece.

Film is the combination of fiction, in terms of a road-movie on the one hand, and documentary shots from Autumn 1988, on the other. It blends the story of rocker Igor, who is chased by a police officer all the way through Serbia and the shots from the rallies dedicated to Milosevic’s antibureaucratic policy.

festivals:
Mostra Internazionale, RIMINICINEMA, 1989

908MB | 1h 21m | 608×448 | avi

https://nitro.download/view/573B4ADBA72A0D5/Zelimir_Zilnik_-_Stara_Masina_(Old_Timer)_(1989).avi

Language:Serbo-Croatian
Subtitles:English (hard)

The post Zelimir Zilnik – Stara Masina AKA Old Timer (1989) first appeared on Cinema of the World.

Zilnik made Marble Ass in the same year as his Tito film, i.e., in the middle of the war period under the regime of ex-Stalinist Slobodan Milosevic The main figure, Merlin, is a transvestite prostitute, aging and slowly losing his/her charms, but still trying to carry on trade as usual under the most abnormal of conditions. Before the war, Merlin was the most exotic figure in Belgrade. Now everyday life is so crazy that he is the only one who seems normal. Merlin’s companion is fellow prostitute Salena, a strapping woman armed with a knife and skilled in kick-boxing. Eager to advance in her trade she wants to learn English so she can win new customers from amongst the occupying NATO troops.

An old acquaintance, Dzoni (Johnny), returns from the war. Traumatised by the brutality of what he has seen and done, he is a ticking bomb who only feels secure with a weapon in his hand. Despite the extremity of the situation and its characters, the film charts their respective search for love, warmth and recognition—for normality. But the scars left by the war run too deep. The tide is ebbing against frail eruptions of humanity. The film ends on a bitter note of self-destruction
*
Zelimir Zilnik’s film entitled “Marble Ass” (1995) represents a most radical metaphor for a complete downfall of a country destroyed by degenerated outcomes of collectivism in the catastrophe of war which befell young people. Zilnik’s characters come back from the battlefield only to face a criminal milieu deeply rooted, extermination of humans, pillage, break down of law and order, quotidian robberies.

Therefore, their only way to survive becomes sharp dropping of all values. Amidst the rottenness of a social scene which represents collectivism destroyed, the first signs of a certain resistance come from desperate people. These live as if in a puddle left after big floods, marginalized and stigmatized because of their perverted outlook of the world of the bottom. In the film of new Yugoslavia (the country could otherwise be called small Yugoslavia and its production referred to as small film production from two Yugoslav republics),

Zilnik’s “Marble Ass” is beyond doubt the first ray of hope signaling that film art will make an accusation against life extinction motivated by maintaining the power in an impoverished country heading toward the catastrophe of no return. Zilnik anatomizes the margin, believing it has always been a faithful picture of circumstances destroying man and degrading all moral values. In these circumstances human life becomes worthless, taken down to the lowest scale of the basement stratum poverty.

Zilnik’s criticism was the first to reveal the defeat of humanness in the age of powerful tycoons of corruption snatching and recklessness. The corruption reaches to the ottom, where there are people emerged from the muck of inconceivable and crushing war conflict. The picture of the endangered individual (a young man), which used to be dreary in earlier films, seems to be so smooth and tender when compared to the milieu of “Marble Ass” – a vision of catastrophe in the quotidian living routine of the mid-nineties. (Professor Petar Ljubojev, Ph. D.)

1.06GB | 1:23:37 | 640 x 480 | avi

https://nitro.download/view/F9CCEAAD647290B/Zelimir_Zilnik-Dupe_od_mramora_(‘Marble_Ass’)_(1995).avi

Language:Serbo-Croatian
Subtitles:English (non-removable)

The post Zelimir Zilnik – Dupe od mramora AKA Marble Ass (1995) first appeared on Cinema of the World.

Director invites six homeless men to his flat for a few days (surprising his wife). He asks officials and people on the street if someone can help them, this being SFRJ, a state officially without those left on their own.

222MB | 15 min 30 s | 744×576 | mkv

https://nitro.download/view/923E7D5600425A7/Black.Film.1971.DVDRIP.x264.AC3.KJNU.mkv

Language:Serbo-Croatian
Subtitles:English hardsubbed

The post Zelimir Zilnik – Crni film AKA Black Film (1971) first appeared on Cinema of the World.

People from the Jazak village in Fruška Gora Mountain show how they fought undercover against the occupation forces during the WWII. They speak about the dramatic events – of how they helped to hide partisans and how young people joined partisan units in Bosnia. We listen to people’s recollections on the arrests, persecution and tortures. In the last quarter of the film, the participants speak about the events that took place in the autumn of 1944, when the village was liberated and when Russians passed through their area. They remember the joy and great expectations because of the oncoming freedom and socialism.

258MB | 18 min 5 s | 741×576 | mkv

https://nitro.download/view/9104CDD2D6899F0/Uprising.in.Jazak.1973.DVDRIP.x264.AC3.KJNU.mkv

Language:Serbo-Croatian
Subtitles:English

The post Zelimir Zilnik – Ustanak u Jasku AKA Uprising in Jazak (1973) first appeared on Cinema of the World.