The Bag of Luck
Nov 04 1961
•2h 30m
•Comedy
The boss of service station, Raka, prevents thieves of stealing money after attempted robbery. But Raka doesn't know what to do with all the millions in his possession, but can't go told to police afraid that they may accuse him of complicity. He somehow manages to get rid of the money and marry Mara, the motel's maid who didn't want to hear about him while he was full of cash.
Cast
See all
Milosav 'Mija' Aleksić
Raka

Vera Ilić-Đukić
Mara

Miodrag Petrović 'Čkalja'
Jordan
Aleksandar 'Aca' Stojković
Badža
Recommendations
See allLa marca del cuervo
Masked avenger on horseback, one of a series.

There Are No Small Gods
In a small motel located next to the highway there's nothing but boredom and laziness, but only until the waiter Raka gets promotion becoming a DE chief (Duty executor) of it. He becomes obsessed with his position in no time, start pushing everybody around and acting like a "Small God", introducing reorganization. The staff prepares their revenge upon the visit of the general manager of all motels to this so-called renovated facility.

Snitch
Construction company owner John Matthews learns that his estranged son, Jason, has been arrested for drug trafficking. Facing an unjust prison sentence for a first time offender courtesy of mandatory minimum sentence laws, Jason has nothing to offer for leniency in good conscience. Desperately, John convinces the DEA and the opportunistic DA Joanne Keeghan to let him go undercover to help make arrests big enough to free his son in return. With the unwitting help of an ex-con employee, John enters the narcotics underworld where every move could be his last in an operation that will demand all his resources, wits and courage to survive.

1-2-3
How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.