LOGLINE
An outline of a night in Zagreb without the direct presence of people.
SYNOPSIS
An outline of a night in Zagreb. A film portrait of the city without the direct presence of people. Nocturnal pictures obtained by usage of concrete material characteristics of a city. Human influence is still sensed in every scene by subtle intervention of an external contact. The city at night is not empty because one can feel heavy breaths of its residents, passers-by and night people in the frames of every scene. In three parts, slightly separated by their formal diversity, we move through a multitude of motives of a memorable night. The first part includes static, dead and distinctive panoramas of the city. A postcard of the capital by night. The camera enters into a systematic definition of nightly details. We walk around familiar places that, colored by the night, take on a new look and surprisingly function and radiate an entirely different kind of meaning than they usually do during the day. The second part enters into moving matter. By means of transport we enter into the pulse of the city. We go through its veins. We travel by train, taxi, bus, car, bike. We drive with a camera and cut across city lines, transforming an ordinary night into an iron grid on which our perception of the city is made. We move the city. We enter into its womb. A desolate nightly city suddenly comes alive before our eyes. We travel around in the night and draw a new draft of the awakened city. In the third part the camera is relieved of all shackles and, with its relaxed acrobatics, goes crazy in the arms of the city. We follow stray dogs. We follow the shadows that lurk around every corner. We create the pinnacle of an abstract view of a drunken city with light and its abundance by night. The city is adorned in a lavish visual stage. Finally, in a formal vortex, with the help of stylized violence, we round up the nightly city in its full reality.
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