I do not Know What That Should Mean
This film collage is based on Heinrich Heine’s poem "Lorelei". Traditional German postcards were used with images of the siren on the Rhine who lured fishermen and sailors to their death with her beauty and song. The stop-trick was used to film the participants who recite the poem, as well as old beer-drinkers who sing in beer cellars.
Tenants of one old building in the centre of Münich are featured in this film: most of them are foreigners who work in Germany as "guest workers" (Yugoslavs, Italians, Turks, Greeks etc.). In their mother tongue, each of them tells who he or she is, and briefly talks about their major worries, new hopes and plans for the future.
One night, Zilnik picks up a group of homeless men from the streets of Novi Sad and takes them home. While they enjoy themselves in his home, the film maker tries to "solve the problem of the homeless" carrying along a film camera as a witness. He speaks to social workers, ordinary people. He even addresses policemen. They all close their eyes in front of the "problem".
Želimir Žilnik is a Serbian film director best known as one of the major figures of the Yugoslav Black Wave film movement of the 1960s and 1970s. He is noted for his socially engaging style of filmmaking and criticism of censorship that was commonplace during the Yugoslav communist era. After the fall of communism and the breakup of Yugoslavia in the early 1990s, he became an outspoken critic of Slobodan Milošević's regime in Serbia.