How can we explain a specific, intense proximity between the images of Vlado Škafar’s Oča and its viewers, a relationship that is formed with a profound ethical stance? The text tries to answer this question by interrogating three basic dimensions: firstly, by focusing on the structure of Oča’s images, further, aiming to position them in a wider social context, while stating that it is possible to understand Oča as an example of a lyrical, yet critical response to the all-embracing contemporary global popular culture, which is dominantly based on the ocularcentric spectacle. Interpreting the director’s oeuvre, with particular attention given to Oča, the text concludes by proposing that the film can also be approached through Jean-Luc Nancy’s concept of the “evidence of film”.

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