KINO! 58/59

Table of Contents

NEW WAVE

Resurrection, Matjaž Zorec

Let the Door Open Here, Eva Mahkovic

Movement that Eludes Us. Notes on Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song, Robert Kuret

“This world is not for us, sister. – This world is not for me either. But I simply know who I am, what I want, and what I deserve.”. On the Fluidity of Identity and the Transgender Gaze in Fantasy, Ula Talija Pollak

Little Trouble Girls Socialized by the Church, Darko Štrajn

MICRO-HISTORICISING

The Privilege of Duality. On the Passage of Motifs and Images in Films by Anja Medved and Nadja Velušček, Nino Grohar

Documentary Formalism: Fragment, Memory, and Border in the Films of Anja Medved and Nadja Velušček, Blaž Andrašek

A Map of the Periphery: Documenting Cities Through the Derivatives of Reality, Eva Pavlič

Speaking of: Women’s Documentary Filmmaking and the Subjectivity in It, Lina Horvat

BREAKTHROUGHS

God, Quit Staring at My Plate, Emanuel Krajnc

Western References and Revisionism in Hana Jušić’s God Will Not Help, Lucija Furač

An Exercise in Empathy, Blaž Kavšek

Sirāt – A Cinematic Ritual to the End of the World, Nerina T. Kocjančič

“Franz” in Trieste, Darko Štrajn

INTERVIEW

See You Under the Fig Tree!. Interview with the 2026 Prešeren Fund Award Recipient Petra Seliškar, Maja Krajnc

“Apparently, Looking Back Is Also Necessary If We Want to Move Forward.”. Interview with the 2026 Prešeren Fund Award Recipient Gregor Božič, Tinkara Uršič Fratina

Micro-Histor(y)icising.. Interview with Anja Medved, Blaž Andrašek, Nino Grohar, Lina Horvat, Maja Krajnc

Film Worlds That Are Not Necessarily Dangerous and Ugly, Like the World We Live In. Interview with Ester Ivakič, director and co-screenwriter of Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song, Varja Močnik

It Is Worth Listening to Doubts While We Still Can; Once You Are in the Cinema, It Is Already Too Late. Interview with Nika Jurman, Anže Okorn

The Temporal Interspace. Interview with Rok Kajzer Nagode about Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song and Certain Other Things, Bor Bizovičar

Between the Dream Logic of the Music Video and Film. Interview with Kukla, Gašper Stražišar

SHARPENING THE GAZE

Art on the Margins in Theory and Practice: Marina Gržinić, Necrorealism, and the Retro-Avant-Garde, Maša Guštin

A Few Problems and Examples of Heat in Film, Oskar Ban Brejc

FILM AND TELEVISION

Creating Corporate Dread and a Sense of Helplessness Through Narrative and Visual Elements in the Series Severance, Veronika Šoster

FILM AND TV STUDIES – PEER-REVIEWED

Feminism and Girlhood Through Chaos and Deconstruction in Daisies, Manca Tea Devetak

On the Teenage Femme Fatale of Postfeminism, Ana Pikovnik

PILLOW SHOTS

Dahlem-Dorf–Rosenthaler Platz, Lina Eržen

Notebook After Watching the Film Tetraplan, Robert Kuret

18.50 €

KINO! 58/59

KINO! 58/59 focuses on contemporary Slovenian filmmaking. The opening thematic section, New Wave, brings together essays by Matjaž Zorec, Eva Mahkovic, Robert Kuret, Ula Talija Pollak and Darko Štrajn on key recent works by Slovenian women filmmakers, with particular attention given to the feature films of Ester Ivakič and Urška Djukić. Contemporary Slovenian cinema also remains at the forefront of the Interview section, which features conversations with Ester Ivakič and Kukla, alongside interviews with Prešeren Fund Award recipients Petra Seliškar and Gregor Božič, as well as Nika Jurman, Rok Kajzer Nagode and Anja Medved. Another thematic focus is devoted to the work of Anja Medved and Nadja Velušček: under the title Micro-Historiographing, essays by Nino Grohar, Blaž Andrašek, Eva Pavlič and Lina Horvat approach the authors’ oeuvre from different critical and theoretical perspectives. The Breakthroughs section includes two readings of God Will Not Help (Bog neće pomoći, Hana Jušić) by Emanuel Krajnc and Lucija Furač, while Blaž Kavšek writes on Peacemaker (Mirotvorac, Ivan Ramljak), Nerina T. Kocjančič on Sirât (Oliver Laxe), and Darko Štrajn on Franz (Agnieszka Holland). In Sharpening the Gaze, Maša Guštin examines the intersections of Marina Gržinić’s theoretical and artistic practice, while Oskar Ban Brejc reflects on the paradoxical manifestations of heat as a modality inaccessible to cinema. Veronika Šoster turns to the television series Severance (Dan Erickson), exploring the overlap between the corporate and the uncanny. Questions of feminism also emerge in the issue’s peer-reviewed section, where Manca Tea Devetak revisits feminism through Daisies (Sedmikrásky, Věra Chytilová), while Ana Pikovnik explores the relationship between postfeminism and the figure of the teenage femme fatale.