Through the intimate stories of seven young directors, October is the generational attitude towards Serbia today, shown in different perspectives and through different genres - from black comedy to melodrama, poetic portrait to the socially engaged horror. Motif that binds all of the stories together is the tenth anniversary of the democratic revolution. Each film is taking place on that day, 5th of October in 2010, and each film is differently related to the anniversary and what that event means 10 years after. The film brings fresh visions of the seven young directors who were teenagers at the time of the overthrow of president Milosevic and his regime. On a personal and emotional way they show a complex picture of modern Serbia.

Forty-six years after its completion, the International Trade Fair Complex in Lagos, Nigeria, lies waterlogged and in disrepair, its modernist concrete pavilions flooded and overgrown with vegetation, and its shopping stalls and convention centers now serve as makeshift workshops, bike repair stalls, and playgrounds. Shooting in a soft-edged standard-definition video, Komljen observes the complex’s grounds with equanimity and warmth, marking both its history as a former utopian project and its present-day vernacular uses.

Forty-six years after its completion, the International Trade Fair Complex in Lagos, Nigeria, lies waterlogged and in disrepair, its modernist concrete pavilions flooded and overgrown with vegetation, and its shopping stalls and convention centers now serve as makeshift workshops, bike repair stalls, and playgrounds. Shooting in a soft-edged standard-definition video, Komljen observes the complex’s grounds with equanimity and warmth, marking both its history as a former utopian project and its present-day vernacular uses.

From here, you can see everything: the sea to the right, the mountains to the left, the sky in between.

From here, you can see everything: the sea to the right, the mountains to the left, the sky in between.

Jone is ready to fly. She finds herself at the beginning of something new, but before she moves on, there needs to be a closure. Jone is one of Mollies, the queer-feminist collective that had been living for a decade at a trailer park next to Ostkreuz, Berlin.

Jone is ready to fly. She finds herself at the beginning of something new, but before she moves on, there needs to be a closure. Jone is one of Mollies, the queer-feminist collective that had been living for a decade at a trailer park next to Ostkreuz, Berlin.

Jone is ready to fly. She finds herself at the beginning of something new, but before she moves on, there needs to be a closure. Jone is one of Mollies, the queer-feminist collective that had been living for a decade at a trailer park next to Ostkreuz, Berlin.

It’s like almost all is lost. Yet still they are here – abandoned bungalows, an artificial lake, dirty plastic bottles, lost donkeys and stray dogs, draining pipes running over fields of salt, deserted factories, statues of revolutionaries, concrete playgrounds covered with weeds, rotten fruit, folded T-shirts, pop songs, decades of forgetting, a single room with a blue tent inside. And it felt like a kiss.

A breathtaking quest for the dream the imposing city of Brasilia was based on, a marked contrast with the chaos of the adjacent construction workers' village. Everything about Brasilia was devised and designed, but not on the basis of some cold urban design concept: the plan proves to originate from 19th-century priest Don Bosco’s dream. The chaos and disorder of the adjacent construction workers' village Vila Amauri long stood in stark contrast to the grandeur and majestic regularity of Brasilia. Now the village has disappeared beneath the reservoir’s surface, the necessary order has been restored. All Still Orbit examines both these histories.