In Melita Vrsaljko’s debut film Knin – Zadar we follow the daily routine of the director’s father, a railroad shunter at the Benkovac railway station, where time seems to have stopped sometime in the last decades of the 20th century. The basis of this film’s dramaturgy is a subtle counterpoint between serenity and expectation achieved by minimalist and static shots of a space in decay, against the backdrop of a quiet and multifaceted soundscape.
