Us Reborn

A stranger arrives in Sarajevo and barges into Damir's reclusive world. Little by little she takes over his life. She absorbs his dreams, until finally she threaten his very existence.

A family prepares to meet friends.

A woman goes hunting night after night, looking for someone, anyone, to satisfy her hunger in an alienating urban landscape.

An abstract, minimalistic showpiece of late structuralist film made up of 360-degree pans across a children’s playground – and to one of the gods of his cinephilic pantheon, Anthony Mann. In concrete terms, he alludes here to a scene in Mann’s Glenn Miller Story in which black-and-white documentary material from the Second World War is in experimental film fashion nightmarishly intercut into a scene, breaking with Hollywood conventions.

A Serbian-born actress who lives in Berlin comes to Belgrade to play role in the project called "State". The encounter with her girl friend who deals with her family's past, encourages her to discover the past of her own family as well, which leads her to unlikely findings.

In a small hut on an island in the wintry lake landscape around Berlin lies a young man, Johann, wrapped up in a sleeping bag and blankets.

Two boys take different life paths.

An experimental film, a register of the peculiarities of life in rural Paraguay.

Executed and printed with two hands, that is to say, made using all possible means of imprinting the right and arm freshly applied ink, sand paper, stamps, etc. Everything was done on non-emulsion clear leader.

Boy meets girl (or vice versa) and they predictably fall in love to follow the canons of the strictest convention.

Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

If we lived in the world of cinema, could flowers blossom without withering?