In his early twenties, Karpo Godina was one of the youngest members of Ljubljana’s Odsev (Reflection) cine-club; the opening three films of this sixty-minute program originate from that earliest stage in the then-amateur filmmaker’s 8mm creativity. They exude a youthful—yet not naïve—fascination with the trappings of urban non-place modernity (Game), a psychodelirious intensity matched only by Jack Smith’s wildest dreamworks (Dog), and a balletic, grandiose elegance all the more rapturous for the fact that it was edited entirely in-camera (Anno Passato). Godina unassumingly kept these stunning experiments in motion and montage under his bed for almost fifty years, after which they were rediscovered and restored by the Slovenian Cinematheque in cooperation with the Austrian Film Museum and Österreichische Filmgalerie. In the early 1970s, Godina entered professional filmmaking with a series of visually astounding and thoroughly subversive experiments in rapid succession. Shot on color 35mm, these cine-poems satirically implode Cold War militarization (On the Art of Love), ethnonationalist identity politics (Litany of Happy People) and the oppression of man and love under any governmental regime whatsoever (The Gratinated Brains of Pupilija Ferkeverk). In these infamous ecstatic outbursts, Godina’s stationary yet tremendously energetic tableau aesthetic comes into its own, elevating life in all its expressive freedom to a higher, unalienated level.