{"id":1348,"date":"2026-04-07T19:24:07","date_gmt":"2026-04-07T17:24:07","guid":{"rendered":"https:\/\/fefi.si\/program-2026\/retro-2026\/"},"modified":"2026-04-12T11:09:00","modified_gmt":"2026-04-12T09:09:00","slug":"retro","status":"publish","type":"page","link":"https:\/\/fefi.si\/en\/program-2026\/retro\/","title":{"rendered":"Retro 2026"},"content":{"rendered":"
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FeFi RETRO:
\nDORICA MAKUC and MIJA JAN\u017dEKOVI\u010c<\/h2>\n

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Franja Partisan Hospital<\/td>\nOgled filmaE<\/span><\/span><\/a><\/td>\n<\/tr>\n
Thursday views \u2013 Where are you from?<\/td>\nOgled filmaE<\/span><\/span><\/a><\/td>\n<\/tr>\n
The Cranes Are Flying South<\/td>\nOgled filmaE<\/span><\/span><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n
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Journalist and publicist Dorica Makuc, who established herself as one of the most insightful voices of Slovenian expatriates in the challenging post-war divided environment of the Gorizia region and in a male-dominated profession, had to emigrate to Milan in the second half of the 1950s \u2013 like many Slovenian intellectuals who, after Trieste and Gorizia were returned to Italy, found themselves without work. There, her investigative instinct and attentive eye for the Slovenian person intertwined with her love for cinematic art. \u201cGorizia was dying. So I moved to Milan, where at that time they were opening a representative office of the Yugoslav Foreign Trade Chamber. But this city was really large, and I saved myself from my spiritual loneliness by going to the cinema. It was the time right after Italian neorealism, a period of Antonioni\u2019s and Visconti\u2019s films, and I had a friend who was a cashier in the cinema. She helped me so that I could watch all the performances. I sought comfort in film culture and fell in love with film,\u201d she explained to Mojca \u0160irok in an interview for Mladina. The repeated experience of exile \u2013 before the Second World War her family moved to Dom\u017eale due to fascist persecution; between 1948 and 1952 she attended the Journalism-Diplomatic School in Belgrade \u2013 which awakened in her the desire to return to the Slovenian environment, and her newly discovered love for film led her in 1962 to the emerging Television Ljubljana. Although at first she wanted to work in foreign policy, she was given the choice of education or social work: \u201cWith education, there is always a fight, I thought, I'll rather do social work \/\u2026\/ Later I realized that this actually interests me a lot and do you know why? Because I come from the periphery, we on the border are all from the edge, we are not in the center around which everything revolves, and so I was always intrigued by various marginal topics, people from the periphery, alcoholics, old people, mentally challenged children, offenders, including women, you know.\" A few years later, when an educational-documentary program was established on television, she became, alongside editor Milo\u0161 Macarol, its first member. \"We knew very little or nothing about how to make a film, even a documentary. But we were lucky that at that time Slovenian film was already quite in crisis, and therefore the best film cameramen and editors would come to work at television, so we then learned something from them. Only a few directors, who were employed at TV at that time, had a degree from AGRFT, among them was also my long-time colleague and friend Mija Jan\u017eekovi\u010d-Jankovi\u010d, who had graduated in acting, and with whom I later worked wonderfully together.\" The encounter with the latter left an indelible mark on her documentary path, as in the seventies and eighties they formed an inseparable tandem and created a host of groundbreaking documentaries and documentary programs, learning from each other both in terms of content and form. \"Dorica, she opened the world of the coast to me. I had lived in Styria and knew that world. We were opening up the world to each other. It was a very good combination, from which we both benefited,\u201d Jan\u017eekovi\u010d explained in an interview for Kinoatelje. Together, in less than two decades, they created almost 30 documentary films and programs. The focus of their work was always on people, as Jan\u017eekovi\u010d also confirms: \u201cWe gained a lot from the people we came across. Many things opened up to us that we couldn\u2019t have obtained before from books or any other kind of study.\u201d This genuine, direct contact with people is perhaps the most outstanding feature of their films. You can read more about the creative work of Dorica Makuc and Mija Jan\u017eekovi\u010d in the publication<\/a> and watch the interview<\/a> that Kinoatelje prepared last year for the Welcome Home project within the framework of the European Capital of Culture GO! 2025.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n

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\"hydra<\/span><\/div>\n\n

Franja Partisan Hospital<\/b>
\nDirector: Mija Jan\u017eekovi\u010d
\nScreenwriter: Dorica Makuc
\nDocumentary, Jugoslavija (Slovenija), 1975, 35 min
\nProduction: RTV Slovenija<\/p>\n

The feature film comprehensively presents the setup and operation of the famous Partisan hospital Franja, both through breathtaking footage of the environment in which it was established, and through archival photographs, documents, and moving testimonies \u2013 including a long interview with its director, Dr. Franja Bojc-Bidovec. In the first part, it also comprehensively and concisely presents the entire Partisan medical and care infrastructure and the challenging journey to its establishment and maintenance \u2013 the result of which was the hospital Franja, which was not discovered by the occupier until the end of the war. While in the film \u017derjavi letijo na jug it is logical that the focus is on a female narrative and the choice of the theme itself already spoke of Dorica Makuc's sensitivity towards it, in the film Pre\u010duden je cvet v grapi \u010drni it was by no means obvious that the authors would place a female narrative of this extraordinary endeavor at the forefront, as male narratives or even the repatriarchalization of the National Liberation Struggle prevailed in Yugoslav cinema at the time. The exceptional opening sequence bears witness to the sensitivity of the Makuc-Jan\u017eekovi\u010d duo towards humans and their rebellious perseverance, in which they one by one, without words, presented photographs of all 94 fallen medical workers in the National Liberation Struggle, which took them more than two minutes of film. They strictly maintain this approach throughout, so that every person whose contribution to partisan medical care is mentioned is also shown with an archival photograph, giving the film almost a memorial aura.<\/p>\n<\/div><\/div>\n\n

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\"hydra<\/span><\/div>\n\n

Thursday views \u2013 Where are you from?<\/b>
\nAuthor: Dorica Makuc
\nCo-Author: Mija Jan\u017eekovi\u010d
\nDocumentary, Jugoslavija (Slovenija), 1972, 29 min
\nProduction: RTV Slovenija<\/p>\n

A reportage that stands out for its exceptional sense of empathy and masterful interviewing by Dorica Makuc, who talks with migrant workers in Slovenia from other Yugoslav republics. It is practically completely focused on people, both in content and form, which makes it exceptionally powerful. The interviewees are placed in their space, which tells as much about them as their answers do, and the camera is completely subordinate to the main message, emphasizing the difficult social position of immigrants and their homesickness.<\/p>\n<\/div><\/div>\n\n

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\"hydra<\/span><\/div>\n\n

\u017derjavi letijo na jug (The Cranes Are Flying South)<\/b>
\nDirector and Screenwriter: Dorica Makuc
\nShort Documentary Film, Jugoslavija (Slovenija), 1975, 33 min
\nProduction: RTV Slovenija<\/p>\n

The first highlight of Dorica Makuc's documentary creation in the pioneering documentary-television period and probably her most notable short film. In it, the camera finally gains independence; a new element that raises the whole work, both journalistically and historically, to a higher quality level and became a hallmark of the Makuc-Jan\u017eekovi\u010d duo in all future works, is the thoroughly researched, previously untold story of the so-called Aleksandrinke \u2013 women from Primorska who, due to their families' difficult social situation, had to go to work in Egypt. With this milestone in Slovenian documentary filmmaking, which Makuc reinforced two decades later with the book Aleksandrinke (1993), the story of Slovenian wet nurses, maids, governesses, cooks, and other overseas workers entered the consciousness of the entire Slovenian nation and essentially became part of our history and, thus, also our identity.<\/p>\n<\/div><\/div>\n\n

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