Examining two sets of contemporary documentary and experimental films from the former Yugoslav region, this paper outlines two mirror-like relations between the onscreen presence or absence, and the voice or the voicelessness. In the first (works by Ognjen Glavonić, Tea Lukač, Kumjana Novakova, doplgenger), the voice-over is projected onto landscapes and buildings, without the speakers ever being shown on the screen, whereas in the second (films by Ivan Marković, Bruno Pavić, Ivan Ramljak), the protagonists are deprived of their voice.

Conference presentation by Nikola Radić