a car ride, filmed from inside the vehicle, the view straight ahead, through the windscreen, frontal, onto a non-descript landscape, then an industrial area, then a town full of gaps and ruins and skeleton frames and newly sprouted houses whose miens bespeak their hurried assemblage. from the manifold writings scattered throughout the film one may infer that the events must have taken place in that part of the world that once went by the name of sfr yugoslavia, or, more precisely: in one of the countries in which, for a long time, there was war; words like "firearms" and descriptions of war-like conditions would seem to corroborate this. so probably that is where it all occurred, if the story is true and not merely truthful. but then, maybe, it isn't. (olaf möller)
concept & realisation selma doborac | screening format dcp | distribution / copy source sixpackfilm
some memories exist in a borderland. they fill your thoughts; you're gripped by a sensation of the unreal - "did that really happen?" snö is about a mother and her son, driving a short distance. she suddenly, unexpectedly, takes a wrong turn. (richard dinter) 
489 years is transcribed according to the testimony of a former soldier in south korea, kim. it gives us access to the dmz, and makes us immerse in the heart of the personal memory of a soldier. he tells us his experience in a research mission and the amazing discovery he made in the field full of mines (mines laid by south korea with no record of where they were placed). he speaks of a place where people are forbidden, a place where nature has totally reclaimed its hold. (kwon hayoun)
the immovable eye of a camera is documenting an actress trying to show pure emotion. the seemingly banal and ordinary act of recording a dramatic scene is transformed into a painful experiment, an audiovisual stipulation of the fact that every memory is a re-creation, not a playback. (croatian audiovisual centre)
with very few images culled from the flood of footage originally taken during world war ii, the filmmaker manages to express the incomprehensible trauma of war as a strong visual experience. with a highly compressed use of sound and image, sounding glass creates a visceral impact that can only be achieved by cinematic means. (kurzfilmtage oberhausen)