Night before the 11th 25 FPS Festival edition kicks off, on 23rd of September at 22:48, Third Program of the Croatian National Television broadcasts Free Radicals - A History of Experimental Film, feature documentary by Pip Chodorov, portraying great filmmakers - Robert Breer, Stan Brakhage, Peter Kubelka, Jonas Mekas, Michael Snow, Ken Jacobs and others.

Deleuze’s The Movement Image is sitting on a strange mount in the middle of the stage, before the film screen, numbly facing the audience. Once it squeezed under philosophers’ arms, imprinted its great ideas into the minds of film enthusiasts, fed its hermetic theories to the masses of film scientists and other scholars. Its name spilled across the lists of references below countless texts, from distinguished essays to theses and ambitious student papers. And now it dwindles in the dark of a screening room, scruffy and wrinkled like an alcoholic in rehab, exposed to the public view, but nevertheless too far to communicate anything.

Three characters in search of an authentic cinematic experience – perhaps this is the bestway to describe programmes curated by the 25 FPS jury. This year’s jury consists of three individuals orbiting across different spheres of film activity, with quite diverse fields of interest, but equal fascination in the film medium and its capability to provide something that goes beyond our sensory frame with its audiovisual stimulation.

We are happy to announce that addmission is free to all the festival screenings. And there's no need for paper or e-tickets. But we do appreciate all support, so you are more than welcome purchasing our past festivals goodies (in Croatian only, but you'll see through) or brand new ones once you're around our cinema in September.

Acclaimed as one of the most significant artists in the field of avant-garde filmmaking, Peter Tscherkassky returns to Zagreb after nearly a decade to present his recent film The Exquisite Corpus, honoured with a special mention at this year’s Cannes Festival in the Quinzaine des réalisateurs program.

What do landscapes tell us? How is their narrative experienced by the media recording it? Which are the spaces opening within the very process of transferring information to our senses? What kind of tricks take place in these ‘interspaces’? We gorge on information and flaunt them as if they were God-given, ignoring the fact that the poor souls are under constant terror of an entire force of mischievous micro-phenomena that have an inevitable impact on our perception of them. However, we do not see the ‘interspaces’ so we ignore them, although they are sometimes sensed. In other words, we are unaware of the fact that we are in a constant conflict with the surrounding world.