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      Eastern Neighbours Film Festival (ENFF) began in The Netherlands in 2008 with the idea to offer Dutch and international audiences a unique glimpse into the cinema of their neighbors from Eastern and Southern Europe. This annual event presents the most recent, exciting, and thought‐provoking films, from countries with small, but often powerful film industries, that… Read more: New Talents Open Call
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Hotel Jugoslavija

DirectorNicolas Wagnieres
ProducerBenjamin Poumey / C-Side Productions
WriterNicolas Wagnieres
EditorDamian Plandolit
CameraDenis Jutzeler, Benoit Peverelli
SoundMasaki Hatsui
ScreeningSat 10 November | 12:45 hours | Filmhuis Den Haag
Sun 11 November | 20:15 hours | Filmhuis Den Haag
Sun 11 November | 15:00 hours | Theater Dakota
Length78 min

A documentary-reflection of a Serbian society in search of new points of reference, premiered at this year’s Berlinale. Screenings will be followed by Q&A with the director Nicolas Wagnières. Dutch Premiere


The Hotel Jugoslavija was a mythical place, both a symbol and a witness to the different moments that shaped former Yugoslavia. From Tito to Milosevic, from NATO’s bombing to corrupted liberalism. With journey through the times and spaces of the building, the Swiss-born director explores a collective unconscious as well as a part of his own Yugoslav identity as a second generation immigrant. By exploring the Hotel Jugoslavija and by meeting people with a strong link to the building, he wanted to bring his own testimony to a country that does no longer exist. What secrets are hidden in the Hotel Jugoslavija?

Director’s statement

While filming „Hotel Jugoslavija“ the owner of the building changed three times – each one bringing his own new transformation project: bigger, higher, and more luxurious. To me, this is watching the new political and economical paradigms at work after the transition from a socialist to a post-socialist world and how it reshapes a city and a country. By exploring the various eras and states of the Hotel Jugoslavija and by meeting people with a strong link to the building, I wanted to bring my own testimony to a country that does no longer exist. If there’s an inherent nostalgia in the film, then it’s about a country I never really got to know except through childhood memories. As an adult I discovered what remained of it. The gap between Tito’s ideal socialism and the reality of the people and the way they were represented was real. But can today’s reality allow any kind of identification? As the Hotel Jugoslavija has still not finished its mutation, I keep wondering about our relationship to the built environment and its impact on changing values.

Festivals & Awards (selection)

Berlin International Film Festival, 2018 – Panorama Dokumente, European Premiere | Subversive Film Festival, 2018 – Best Documentary | Thessaloniki Documentary Festival, 2018 | Taiwan International Documentary Film Festival, 2018 | Beldocs, International Documentary Film Festival, 2018 | Sao Paulo International Film Festival, 2017