K3

Some would say that this film shows nothing, but at the time, this “nothing” was a charged “everything” — a cinematic fleshing-out of Pansini’s theories of antifilm. It was playful, carefree, seriously scientific and exploratory all at once, evoking equally the spirit of Dada and the blasphemous provocations of Kazimir Malevich. Shocking local audiences and film theorists alike into an awareness of the medium, K3 stands as a landmark in the history of Yugoslav cinema.