"Animation is... 

Animation is protesting against rigid forms. Animation, which only conveys natural movements cannot be creative animation. Animation is a technical process the result of which has to be creative. Animation means breathing spirit and life into a drawing, not by simply copying reality but by giving it a design. Life is warmth. Warmth is movement. Movement is life. Animation can be lukewarm or boiling. Cold animation isn't animation; it is like a stillborn child. Making animated cartoons means rubbing tree-trunks against each other until there is a spark perhaps or just a little bit of smoke. Take a kilogram of ideas (if possible not too confused), fifty kilograms of talent,, and a few thousand drawings. Stir it well and then with a bit of luck you won't get the right answer to your question." 

(Borivoj Dovnikovic, Ante Zaninovic, Zlatko Grgic, Vladimir Jutrisa, Aleksandar Marks, Dusan Vukotic and Nedeljko Dragic) 

The radical changes which have taken place in Europe since 1989 left their trace. A lot of things have improved, some developments, however, are more than unfortunate. One of the latter is the virtual disappearance of nearly all of the once so strong (artistically) animated film productions of the former socialist countries. Where once upon a time artists were employed on a regular basis and thus given all the time in the world to create their works to the benefit and avail of socialism, be it in their countries or for a political/human objective, we are now faced with a situation where harsh neo-capitalism and a rearmament in computer technology have made a clean sweep. Cheap Japanese mass productions, brightly coloured Disney world reiterations and HiTec productions from the likes of Lucas/Spielberg are threatening to ban irony and satire - or at least their more artistic expressions - from the silver screen. Only few of the honourable studios seem to have made it into this new era; at what cost remains to be seen. 

If the International Short Film Festival Oberhausen decides to honour Zagreb film for 40 years of outstanding and continuous creative work with a small retrospective, it does this not only because of the close historical relations between the Oberhausen festival and this exceptional studio, but also to recall a genre from the eastern part of Europe which is in danger of becoming extinct and for which Zagreb film stands as a kind of representative. 

Fadil Hadzic, publisher of the popular review Kerempuh, and often referred to as the "Cocteau of Yugoslavia", was the pioneer of animated film in Croatia; due to the cartoonists and their published works the review was so successful that Hadzic could afford to invest some of the revenues into the countries first animated cartoon. The 17 minutes long Veliki miting (The big meeting) was completed in 1949, it told the story of some frogs that were plagued by midges, in short: the story of Yugoslavia's break with Stalinism. Thus Hadzic managed to gain the support of the government and set up Duga Film, a studio for animated films. Walter Neugebauer, whose stile was clearly influenced by Disney, became the director of the leading production group. A second group was led by Dusan Vukotic who was given free rein to make a "national" film for Yugoslavia, one that reflected the mood in the country. Altogether there were four groups. Nearly everybody was trying to gather information on how to make an animated cartoon. As Yugoslavia was almost cut off from the rest of the world there were no books on the subject until one day Preston Blair's How To Do Animation arrived by mail and immediately became a kind of bible! But there was another equally attractive source of information: Trnkas Czech puppet films which differed completely from the American model. Moreover, they had exactly the kind of national character they were looking for. But the experiment lasted only one year and the studio had to close down: making animated films was too expensive, the money was spent better on building schools... 

Soon a group of former Duga artists around Kostelac and Vukotic started to get bored with drawing comics and illustrations for books and magazines. They were burning to get back to producing animated films and even prepared to invest their own money. Zagreb Film (which at the time worked exclusively on documentaries) took charge of copying and distributing the films. The studio was a hotel room where they would lock themselves in with a typewriter and a drawing board to emerge only when an idea was worked out in detail. When more complicated processes were to be tackled they ask friends to help out: writers, architects and sculptors offered their expertise whenever it was needed. 

As materials were scarce , especially good drawing foils, they developed the "reduced animation". The drawings had to be limited to an absolute minimum without losing the dynamics of the movements, and in some films the result was an even stronger visual effect. One should not underestimate the extend to which this reduced animation has liberated drawing - the mere depiction of a definite reality evolved into designing that reality. It became the forerunner of the modern, experimental commercial. With the reduced form of animation the Zagreb cartoonists discovered a new freedom and improved their originality and inventiveness. The pace of the films was increased and single scenes enriched through new forms of expression. Nuances in meaning entered the movements in the animated films; details determined the action, the precision of expression was emphasised by meticulously calculating the time sequences. In the Duga studios an animated film usually consisted of 12.000 - 15.000 drawings; reduced animation needed only 4.000 - 5.000 drawings. Although the films were quite daring and avant-garde, none of the commercial clients complained or rejected a film. 

In 1956 Vukotic, father of the early Croatian and thus Yugoslav animation film, won an award at the festival in Pula. And Zagreb Film finally got its so long awaited animation studio. In the same year Nestasni robot (The playful robot) was produced, the first animated film of the new Zagreb Film studio and another 280 titles were to follow, in addition to the 59 films of the Professor Baltazar series, 13 films (of 10 minutes each) of the Inspector Mask series, 24 Maxi Cat films (of 1 min each) and over 100 Mini films (or "Sweet & Sour") and Little Flying Bear films. 

In spring 1958 die animation filmmakers from Zagreb celebrated their first success in Oberhausen. It was followed by a programme of their own in Cannes, where the films impressed critics and colleagues alike with their sophisticated technique and daring subjects. Film historian Georges Sadoul gave them the label "Zagreb School of Animated film". And - last but not least - Samac (The Lonely) by Mimica and Marks won an award for best animated film in Venice. This was the first international award for Zagreb Film, and many more were to follow. Although it only won an Oscar once (and three nominations for Igra , Tup Tup and Satiemania ) in 1961, Surogat was the first Oscar winner not made in USA. In fact the list of prizes and awards is impressive, probably no other production has been more successful at festivals. 

However, success is usually met by jealousy and suspicion. Instead of supporting the studio in its international success "artistic directors" were invented. According to the Leninist maxim "Confidence is good, control is better" they were supposed to keep the artist in the studio in check. Of course this kind of political spoon-feeding could not last forever but the price for overcoming it was high: it demanded a prominent victim. During the heyday of socialist realism Vladimir (Vlado) Kristl was a popular artist, famous and (to certain people) infamous for his abstract paintings; this changed when he left for Western Europe and Argentina. Back in Yugoslavia he soon had to find out that it wasn't him who got the credits for his films Kradja dragulja (The big jewellery robbery, 1959) and Sagrenska Koza (La peau de Chagrin, 1960), but the artistic directors Mladen Feman and Ivo Vrbanic. Don Kihot (Don Quichote, 1961) was the first film in which he "was finally given a free rein" (Holloway p. 19). For this graphical and abstract masterpiece which went beyond all existing conventions, excellently characterising its creator, Kristl won the main award at the Oberhausen festival. His brilliant performance, i.e. the fact that he had made the whole film all by himself helped the artists in Zagreb to liberate themselves. "In 1962 Kristl began with the work for General i resni clovek (The General and the real human being), a satirical realistic short film which got him into trouble with the board of censors. Annoyed about this he left and went to the Federal Republic of Germany." (Giannalberto Bendazzi: Cartoons. One hundred years of cinema animation. Indiana University Press 1995, p. 172). In Zagreb he was nonetheless still admired as a great artist, under the old as well as under the new government. Kristl's highly sophisticated standards left Zagreb with an important legacy which other artists felt inspired to live up to. Ever since there is an iron law saying: animated films are one-man productions, which means that ideally the artist should be responsible for every single step in the production process: from the first idea over the drawings to the final result. 

But let us come back to Sadoul: was the Zagreb Studio really a "School"? Or was it not rather a group of people who simply liked working together? In his book Z = Zagreb - Die Filmstadt der Cartoonisten. Frankfurt (which unfortunately is often not very informative) Ronald Holloway gives a perhaps to romantic view when he writes: "The Zagreb Studio isn't a "School" but a family. Perhaps nowhere else existed such a friendly atmosphere of mutual trust... The artists met in a café in the courtyard of the old Zagreb Studios. That's where they came up with their best ideas... In spite of tempting offers from other countries they were always drawn back home, to an atmosphere of freedom where they could freely exchange ideas and seek help when they needed it" It is true that in no other socialist country existed so much artistic and intellectual freedom as in former Yugoslavia. And if you look at the film credits there also seems to be some truth in the "big family": everybody helped out in everybody else's films so that the same names appear over and over again. However, a closer look at the films shows that all they basically have in common is an analysis of the Zeitgeist and a reflection of their artistic and philosophical origins. Originality is what matters, and most filmmakers seem to direct their ambitions towards giving each of their works an individual outlook. 

Looking at the films, included in this small retrospective, as a whole (there is simply not enough space to look at them individually) the rather unusual diversity of the works of a single studio is striking. At times dominated by the extremely reduced stick drawings ( Tup Tup ), then by lavish details in the stile of French adult cartoons ( Album ) Timeless graphics ( Don Kihot ) next to contemporary ones similar to that of Edelmann ( Macka ), or those that remind of classics like Klee ( Surogat ). Kafkaesque fables ( Muha ) can be found next to ecological horror tales ( Riblje oko ), straight forward stories ( Posljedna stanica ) next to complex images ( Uzbudljiva ljubavna prica ). And, as the Yugoslav used to say with regard to his socialist brothers "You are a product of Marxism , but we are the descendants of the Marx Bros.!", there is of course no shortage of jokes - the southern Slav version of socialism too offered a huge source of inspiration for parables and satires ( Neboder , Tolerancija , Idu dani ). The Zagreb artists had actually discovered quite early that sometimes a single gag could provide the basis for a convincing film. On the other hand one is constantly confronted with deeply human issues which we should have liked to have seen considered as the old Yugoslavia was beginning to fall to pieces - warnings to beware of the difference of your neighbours, the rejection of militarism and appeals for a peaceful coexistence were heard quite frequently. Fortunately only rarely with the propagandistic persistence practised by some neighbouring countries. 

Apart from an extreme individuality in the design and reflection of current trends in graphics, the tendency to break with traditional forms and techniques is the third outstanding characteristic of the works of Zagreb Film. In fine arts one would probably call it mixed media. Noticeable in this context are the collages of Mala kronika or the mixture of real and animated film in Igra and Mrlja na savjesti . 

And then there is of course Satiemania , the monomaniacal oeuvre in the face of which words simply fail (Eva M.J. Schmid wrote a full ten pages on this for the Oberhausener Dokumentation - the probably longest film review ever in the history of the festival). What could trivially be called an extended music clip is in fact a fireworks of techniques and moods accompanied by the piano music of Eric Satie. Each frame could easily stand on its own as a drawing or a painting. Holloway who actually only dealt with the first 18 years of animated film in Zagreb described quite vividly how deeply those filmmakers were rooted in the fine arts: "Apart from influences of Disney and Trnka, and the inspirations deriving from magazines on modern graphics there existed another much more important impulse within a group of young graduates of the Zagreb Academy of Fine Arts: they had been confronted with German expressionism and the Bauhaus School. They were fascinated by the social messages of the "Brücke", the "Blaue Reiter", expressionism and the Bauhaus School, where art and craft were unified. Moreover they read Freud, Kafka and Camus, played a little bit around with pop art, surrealism and "happenings" and spent nights on end discussing the prophetic and socio-critical drawings of Käthe Kollwitz and George Grosz. With these pictures at the back of their minds they started making animated cartoons. 

Art was not always at the forefront of the activities of Zagreb Film. It is generally recognised that during the artistic flight of the beginnings (the years from 1958 - 62 are called the golden age of Zagreb Film) animated films had outdone feature films and documentaries and became the most important Yugoslav film form. Unfortunately, disillusionment was to follow soon. Vukotic and Mimica started concentrating on feature films. Kristl's departure coincided with the first major crisis in film production. An attempt was made (and not for the last time) to use free capacities for the production of commercials, though, in this field socialism did impose certain limits - even if, as in this case, commercials like the one for Zanussi refrigerators won several awards. On the other hand the crisis allowed a breathing space for experimenting with new short forms, omnibus films, and the concentration on the gag. When in the mid-sixties things started to pick up again, the young filmmakers had long found out that there was no need for a narrative framework. Around 1967 the plot had virtually disappeared and the audience had to make up its own interpretations. And, by the way, they seemed to like it too; the following years were very successful and resulted in a number of international co-operations followed up by co-productions with for instance Windrose Dumont Time. 

To what extend political events manifested themselves in animated films is difficult to say. Holloway mentions explicitly the traumatic events surrounding the invasion of the Czechoslovakia in 1968, which is supposed to have led to a change in stile. Much more obvious, however, is the reflection of a newly strengthened Croatian cultural consciousness which had its preliminary climax in the "Croat spring" and its radical suppression by the Yugoslav federal government in 1971. Taking into account the necessary preliminary phases, the year 1972 is worth mentioning for several reasons: for the first time in years there was a smaller number of productions, the 1. World Festival of Animated Films (taking place every other year) took place in Zagreb; the "Croat Cultural House" (Zavod za kulturu Hrvatske) published a richly illustrated three volume (1.060 pages) work on animated films from Zagreb Zagrebacki krug crtanog filma (a forth volume on the period 1972 - 82 followed in 1986). And last but not least: the provoking film Tup Tup did not not win a first prize in Belgrade. 

In 1974 the first - still restrained - political criticism of animated films is made known and a little later formulated as the antagonism of "art versus inspiration". The number of productions decreased and even lucky shots like Satiemania or Riblje Oko were no longer appreciated in the rest of Yugoslavia. At the same time new production centres were set up in the other republics, in Skopje, Ljubljana and Novi Sad; by then Zagreb Film had long lost its quasi monopoly even in Croatia. In 1982 the interest in animated films had become so low and the artistic stagnation gone so far that the 5th Zagreb World Festival of Animated Films didn't have a Grand Prix winner. 

The increasing economical difficulties after Tito's death (a shortage in hard currency, rampant inflation) and an obvious international crisis in short film restrained production even further. When in 1991 Croatia declared its independence, production finally came to a complete halt. However much Zagreb Film represented Croatia's grand cultural achievements, the government was not prepared to help - in face of a war ragging within the country culture was certainly not a priority. Many artists looked towards other countries for possibilities of artistic expression; those who stayed held their position for months without any hope of being paid their salaries. 

In 1994 the future of the studio started to look bright again, and in 1995 Zagreb Film was thoroughly restructured. The glorious name was kept and Kinoteka 16 incorporated to simplify not just the production but also the distribution of the films. Animated film is only one branch of Zagreb Film, which is still in process of change and currently owned by the city of Zagreb. It has a general manager (Dragan Svaco) and an artistic director (Josko Marusic). In contrast to times of socialism the artists are not on the monthly payroll but work free-lance and are paid a fee out of the budgets available for the film projects they are involved in. They have a contract with the producer which guarantees them an additional 20% of the film's net takings. 

Congratulations to 40 years of excellent works of art which have enriched film history! And if in the course of the next 40 years only half as many masterpieces will be created the studio is looking forward to a brilliant future. 

© Ingo Petzke 3/1996 

Voices to the anniversary: 

"Throughout the 70's, I looked forward to seeing the latest works by Dovnikovic and Vukotic and Marusic and Dragic. When I finally attended my first Zagreb Animation Festival, in 1982, and met Bordo and Dusan and Josko and Nedeljko, I understood immediately that the great warmth and humor of their films was a heartfelt expression of their personal humanity. Zagreb Film is more than a studio. It is a group of artists that we all have come to love." 

David Ehrlich, ASIFA Vice-President, USA 

"Congratulations! 40 Years of Zagreb Film! Animation made by Zagreb Films are full of humour... The moment I see the logo of Zagreb Film on the screen, I always cannot resist bursting into laughing! Today, our field is inclining toward commercialism, and under such situation, I believe it is very important and worthwhile that a studio like Zagreb Film and the artists have been very active and creative for 40 long years. Please, give us more humour continuously. Once again, congratulations to a very wonderful animation studio Zagreb Film!" 

Renzo Kinoshita, President ASIFA Japan 

"Early sixties. A hot summer in Zagreb...stop...Boris Kolar brings me to Zagreb Film...stop...Tropical heat Colour dpt., painting pots wrapped in ice blocks...stop...Meet a couple of years later two other great artists of Zagreb Film, Vukotic and Dovnikovic...stop...Have the impression Croat, Serbian, Bosniac, Montenegrin, Macedonian and Slovenian animation artists are the most sensible citizens of the once so respected Yugoslav federal republic...stop." 

Raoul Servais, Belgium 

"We, Russian animators, met Zagreb-Film's label in the early 60ies at Moscow Soyuzmultfilm Studio's screen - and immediately we all were fallen in love with it. Very from Soyuzmultfilm, Sergej Alimov and Anatoly Petrov, went to Zagreb Film for strong and long workshop. After a while they returned to Moscow absolutely changed and even more talented, thanks Zagreb! Now they both are well known all over the Animation World. In the late 60ies, famous Bordo, the Superstar, appeared in Moscow - it was absolutely unbelievable. Bordo and Russian master Kotjonochkin made a nest in the Soyuzmultfilm - and soon after the first Zagreb-Moscow creature appeared, it's name was Strange Bird , not bad film, really. And after... I can continue without ending, but I know I have to be short, and because of that - just one more line: If you call me in the middle of my sleep and ask me to spell the names and films from Zagreb - I'll do it at one, be sure." 

Edward Nazarow, Moscow 

The films of the retrospective screening: 

Nestasni robot 
The Playful Robot 
1956 6.38 Min., 209 m 

Script: Andro Lusicic  
Director: Dusan Vukotic  
Drawings: Aleksandar Marks  
Animation: Vladimir Jutrisa, Vjekoslav Kostanjsek  
Backgrounds: Zlatko Bourek  
Music: Aleksandar Bubanovic 

Sagrenska Koza 
The Chagrin Leather 
1960 10.59 Min., 290 m 
 

Script: Dragutin Vunak, Tomislav Butorac  
Director: Vladimir Kristl, Ivo Vrbanic  
Drawings: Vladimir Kristl  
Animation: Zlatko Grgic  
Backgrounds: Zvonimir Loncaric  
Music: Miljenko Prohaska 

Awards in Belgrade, Vancouver 

Don Kihot Don Quixote 
1961 10 Min., 275 m 

Script, Director, Drawings, Animationen, Backgrounds: Vladimir Kristl  
Music: Milko Kelemen 

Awards in Oberhausen, Cork, Gent 

Surogat 
1961 10 Min., 274 m 
 
Script: Rudolf Sremec  
Director, Drawings, Animation: Dusan Vukotic 

Awards in Oberhausen, Belgrade, Melbourne, Philadelphia, Prag, San Francisco, Zagreb.  
Oscar for animation film 

Igra 
A Game 1962 11.20 Min., 310 m 

Script, Director, Zeichnung, Animation: Dusan Vukotic  
Backgrounds: Zvonimir Loncaric  
Kamera: Mihajlo Ostrovidov  
Music: Tomica Simovic 

Awards in Oberhausen, Annecy, Barcelona, Belgrad, Buenos Aires, Cannes, Cork, London, Mailand, Mannheim, Melbourne, Necochea, New York, Prag, San Francisco, Tuceman, Zagreb.  
Oscar-Nomination  

Mala kronika 
Little Chronicle 
1962 10.51 Min., 297 m 

Script: Vatroslav Mimica, Zvonimir Berkovic  
Director: Vatroslav Mimica  
Drawings: Aleksandar Marks  
Animation: Vladimir Jutrisa  
Backgrounds: Mladen Pejakovic 

Awards in Oberhausen, Bergamo, Cork, Edinburgh, London, Moscow, Vancouver 

Vau Vau 
Wau-Wau 
1964 9.59 Min., 255 m 

Script, Director, Drawings, Animation, Backgrounds: Boris Kolar  
Music: Andelko Klobucar 

Awards in Oberhausen 

Peti  
Number Five 
1964 2.47 Min., 97 m 

Script: Pavao Stalter  
Director: Pavao Stalter, Zlatko Grgic  
Drawings: Pavao Stalter, Zlatko Grgic  
Animation: Zlatko Grgic  
Backgrounds: Pavao Stalter  
Music: Andelko Klobucar 

Awards in Kracow, Vienna 

Zid 
The Wall 
1965 4 Min., 101 m 

Script, Director, Drawings, Animation: Ante Zaninovic  
Backgrounds: Pavao Stalter  
Music: Tomislav Simovic 

Awards in Belgrad, Locarno, London, Mamaia, San Francisco, Zagreb  

Muha 
The Fly 
1966 8.40 Min., 230 m 
 
Script: Vatroslav Mimica, Aleksandar Marks  
Director: Aleksandar Marks, Vladimir Jutrisa  
Drawings: Aleksandar Marks  
Animation: Vladimir Jutrisa  
Backgrounds: Pavao Stalter 

Awards in Oberhausen, Belgrade, Chicago, New York, Sitges, Triest, Zagreb 

Znatizelja 
Curiosity 
1966 8.30 Min., 227 m 

Script: Dragutin Vunak, Borivoj Dovnikovic  
Director, Drawings, Animation, Backgrounds: Borivoj Dovnikovic  
Music: Tomica Simovic 

Awards in Belgrade, Kracow, Leipzig 

Mrlja na savesti 
Stain On The Consciousness 
1967 16.40 Min., 456 m 
Coproduktion with Dunav Film, Belgrade 

Script, Director, Drawings: Dusan Vucotic  
Animation: Vladimir Jutrisa  
Backgrounds: Ante Nola  
Music: Tomica Simovic  
Camera: Dorde Nikolic  
Actors: Slavko Simic, Ervina Dragman, Ivona Petri 

Awards in Cork, Madrid, Porto  
 
Tolerancija 
Tolerance 
1967 9.10 Min., 251 m 
Coproduktion with Atlantic-Film, Zürich 

Script, Director: Zlatko Grgic, Branko Ratinovic  
Drawings, Animation, Backgrounds: Zlatko Grgic  
Music: Davor Kajfes 

Awards in Berlin  

Idu dani  
Days Go Bye 
1968 10.12 Min., 278 m 
Coproduktion with Corona Cinematografica, Rom 

Script, Director, Drawings, Animation: Nedeljko Dragic  
Backgrounds: Rudolf Borosak  
Music: Tomica Simovic 

Awards in Oberhausen, Belgrade 

Put k susjedu 
Way To The Neighbour 
1970 1.20 Min., 38 m 

Realisation Nedeljko Dragic 

Awards in Lille, Zagreb 

Macka 
The Cat 
1971 10.48 Min., 278 m 
 
Script, Director, Drawings, Backgrounds: Zlatko Bourek  
Animation: Pavao Stalter  
Music: Franco Potenza 

Awards in Oberhausen, Atlanta, Belgrade, Chicago, New York, Olbia 

Tup Tup 
1972 9.54 Min., 270 m 
 
Script, Director, Drawings, Animation, Backgrounds: Nedeljko Dragic  
Music: Tomica Simovic 

Awards in Oberhausen, Belgrade, Melbourne, New York 
Oscar-Nomination 

Putnik drugog razreda 
Second Class Passenger 
1974 11 Min., 298 m 

Script, Director, Drawings, Animation: Borivoj Dovnikovic  
Backgrounds: Rudolf Borosak  
Music: Ozren Depolo 

Awards in Belgrade, Zagreb 

Dnevnik 
Diary 
1974 8.31 Min., 233 m 

Script, Director, Drawings, Backgrounds: Nedeljko Dragic  
Animation: Nedeljko Dragic, Radovan Devlic, Branislav Teslic, Zvonimir Delac 

Awards in Oberhausen, Belgrade, Chicago, Zagreb 

Satiemania 
1978 16.40 Min., 449 m 

Script, Director, Drawings, Animation, Backgrounds: Zdenko Gasparovic  
Music: Erik Satie 

Awards in Oberhausen, Athens, Belgrade, Chicago, Houston, Lille, Ottawa, Melbourne, San Antonio, Zagreb 
 
Riblje oko 
Fish Eye 
1980 10.01 Min., 274 m 
 
Script: Goran Babic  
Director, Drawings, Animation, Backgrounds: Josko Marusic  
Music: Tomica Simovic 

Awards in Belgrade, Brussels, Chicago, Madrid, Melbourne, Ottawa, Rotterdam, Sitges, Tampere, Zagreb 

Neboder 
The Highrise 
1981 9.54 Min., 310 m;

Script, Director, Drawings, Animation, Backgrounds: Josko Marusic  
Sound effects: Miljenko Dürr 

Awards in Oberhausen, Annecy 

Album 
1983 10.44 Min., 325 m 
 
Script, Director, Drawings, Animation: Kresimir Zimonic  
Backgrounds: Srdan Matic, Kresimir Zimonic  
Music:Tomica Simovic 

Awards in Annecy, Belgrade, Madrid 

Posljedna stanica 
Final Destination 
1988 4.40 Min., 155 m 

Script: Petar Kvesic  
Director, Drawings, Animation, Backgrounds: Pavao Stalter  
Music: Tomica Simovic 

Uzbudljiva ljubavna prica 
A Thrilling Love Story 
1989 5.51 Min., 180 m 

Script, Director, Drawings, Animation: Borivoj Dovnikovic  
Backgrounds: Pavao Stalter  
Music: Davor Rocco 

Awards in Belgrade, Bourg-en-Bresse, Titograd, Treviso, Zagreb