Belgrade, 1996. During the student demonstrations against the Milosevic regime, 15-year-old Stefan leads his own revolution in the heat of events: accepting the unacceptable, seeing his mother as an accomplice in the crime and finding, despite the love he feels for her, the strength to confront her.

A wonderfully playful and symbolic manifestation of the spirit of childhood can be found in Dimitrie Osmanli’s short fiction debut. The film follows a little girl with her doll who meets a neighbourhood boy with his tank; after her doll is damaged we are invited into a surreal dream where dolls rise up against the boy and their face resembles the little girl he hurt. The rebellion of the dolls signifies a rebellion against the boy’s malice and essentially against his refusal to be like a child. The dream yields fruit: on waking up, the boy, grateful to be alive, has joy restored in his heart and runs to makes amends with the little girl. The Rebelion of the Dolls renders the concept of rebellion as an internal event: an uprising of the conscience against the spirit of cruelty and disobedience and as a lesson to the little boy shows true conscience restored in the spirit of gentleness.

Live performance of educational film about the film. Experiencing cinema as Bildungsroman, told with references on history of film as a free resource, and then film itself as manifesto.

A possible impostor torments a newly crowned medieval czar who may have ordered the real successor's death.