 We are sitting now in a student's cultural center, which is a place famous for conceptual generation of artists in Belgrade in the 70s, and for many different and alternative projects that were held throughout these four decades or more. And now we're in the final stage of realization of a project titled, from Dionysian and Socialist into Predatory Capitalism. We already have presented two workshops coming out of these projects, and now we're showing the third workshop, and the third workshop was dealing with film, and actually the kind of specific genre of film called docu-finction. So we tried to work with archiving materials, with found footage to tell different stories and different histories. There may be some kind of smaller stories, small narratives that were not so dominantly given to us in text books, in childhood that we all read, especially to reflect upon the idea of a social change from this period of socialism in Yugoslavia and to this new period that we call, like, wild predator capitalism of today. My first idea was to make a film about the volunteer work Brigades, which were formed straight after the Second World War, which first aim was to rebuild the country after the grave devastation which occurred here in Yugoslavia during the Second World War. Romana's idea was to make a portray of the famous shock worker from Yugoslavia. His name was Alias Irotanovich and was a miner in a coal mine in central Bosnia. He was famous because he has beaten the world record in digging the coil which was set in the Soviet Russia straight after the Soviet Revolution. So in one sense we realized that Alias, the famous miner and the shock worker from Bosnia, was also, how would I say, a great fan of the volunteer labouring actions. He was a proud member of the volunteer labour brigade. My film is called Needle Threads Ink and I began working in this workshop with a really broad theme of ending of obligatory military service and it took me quite a while to come to this really simple thing. It's about the tattoos from Yugoslav National Army and how this thing got to a lot of arms around Yugoslavia. I don't have any reference to the past meaning I don't use the historical footage and everything is recorded now and it's about how each person's relationship toward this tattoo because there is also a daughter from somebody that has a tattoo and also people that bear them on the arms and one guy that began his tattoo career as doing these tattoos in national, it's not national, it's people's armies. And finally we have really an interesting kind of situation that all these stories are presenting, let's say, kind of mosaic of different ways of treating the history of this whole period and especially with the focus on small heroes or small narratives that are maybe just representing personal histories and that's how we hold this presentation and this part of the project, personal histories and personal stories.