A film that sieves historical shifts through the magic and candour of a child’s world, where family and friends, favourite songs and games, and neighbourhood routines draw the only boundaries you know. The film reminisces about an intimate past through the mesmeric protagonist Lana, releasing the grip of a haunting event. Radivojevic’s sonic sensibility and fondness for time-warps intersect through compelling reconstructions of 1990s life and dreamlike sequences. The work faces the quiet devastation of returning to a moment neither forgotten nor fully embraced, rendering with poignant precision the atmosphere of memory, where sensations of loss and recovery co-exist. A fragmented yet enveloping story, experienced like an echo – both elusive and unmistakably present.
~ Ilinca Vânău

Iva Radivojević was born in Belgrade and spent her early years in Yugoslavia, Cyprus and NYC. She’s an artist who currently divides her time between Athens and Lesbos.

Iva’s films have screened at the New York Film Festival, Locarno Film Festival, New Directors/New Films, Rotterdam IFF, Jeonju IFF, MOMA (NYC), Thessaloniki Biennale of Contemporary Art and others. She is the recipient of the Sundance Art of Non-Fiction Fellowship, Guggenheim Fellowship, NYFA, Princess Grace Film Fellowship. Avenue of The Living, her new art book was recently published by Big Black Mountain Press. She’s a PhD candidate at Villa Arson in Nice.

When The Phone Rang (2024), Gaada { togetherness } (2022), Aleph (2021), Quietly I Walk The Wrong Way (2021), Utuqaq (2020), Themistokleous 88 (2018), Natto (2017), Notes From The Border (2015), Evaporating Borders (2014), Between Colors Of I (2013), Ben : In The Mind’s Eye (2012), Despers USA (2012), Thread (2011), Following Crickets (2011), Nobody Can Predict The Moment Of Revolution (2011), We The People Have Found Our Voice (2011), Nelson (2010)