During his twenty-five years teaching film here at Harvard, founding HFA curator Vlada Petric amassed hundreds of images that reflect his pursuit of "cinematic artifacts." This video essay—at once a reflection on Petric’s theory of film aesthetics and a nostalgic examination of a life devoted to film—is the result of his collaboration with video artist Antony Flackett.

Made exclusively of material a friend recorded from television during the 78 days of NATO bombing in Yugoslavia in 1999, Petric’s "video poster" employs three different versions of the popular song "C’est si bon" to comment humorously on the tragic events that occurred in his native land before Milosevic’s fall.

While visiting the Moscow Film Institute (VGIK), Petric supervised a first-year student’s project, shot in Belgrade and edited in Moscow—prelude to a feature-length film the pair is planning.

This "instant video report" is a hysterical-ontological documentation of Petric’s cinematic journey to the 1998 Pordenone Silent Film Festival in Italy.