TOMAZ GORKIC (director & writer) looks like he is always staring at the Sun. He read his first comic when he did not yet know how to read. Unlike the animals in the ZOO, you better take no pictures of him, even without a flash. In the time of the occupation of the autonomous zone of Metelkova, he built a urinal according to his size. This urinal is now famous for being the highest urinal in Metelkova City. He is not a hippie.
Gorkič is a self-taught filmmaker, who won several awards for his full-length feature film debut Idyll (2014) at many film festivals at home and abroad (Weekend of Fear, Grossman Wine and Film Festival, Nevermore, BloodGuts, etc.). Just like with the Curse of Valburga, he wrote and directed Idyll, but this time he left the editing in the hands of another. As an editor, he is cooperating with the animated series Koyaa. He has directed quite an amount of short films of which he wrote the scripts for many of them. Among them, we find crime thriller Victim (2007), alcoholic-pothead film the Green Smoke (2008), horrifying Chain of Meat (2009/2010), smokers’ Elevator (2010), “Biblical” horror Between Me, You and the God (2012) and dystopic Apoptosis (2017). For more than 20 years he had been a drummer with the Deca Debilane music group.
NEJC SAJE (DOP) does not have a Facebook profile, but this is why he has a real life. He is the boss, but you can never notice. As much as he loves to make jokes, he loves to empty some half liter cans. For some, he looks like Cocker Spaniel because of his big nice eyes and the haircut.
Saje has been working in various areas of the film. He is the leader of STRUP production. He is also an animator. He animated short stop-motion film Courtyard (2006). As a director, he also collaborated with the animated film Martin Krpan (2017) and an experimental documentary portrait of a poet Tomaž Šalamun, Every proper poet (Vsak pravi pesnik, 2017). As a director of photography, besides already mentioned, Rudi Omota: Hidden Chapter of Slovenian Cinematography (Dražen Štader, 2004), Vixen in Fox Language (Miha Knific, 2009), Chain of Meat (Tomaž Gorkič, 2010), Idyll (Tomaž Gorkič, 2014), Apoptosis (Tomaž Gorkič, 2017). As a cameraman he cooperated with many other films. In animation Courtyard it was the first and so far only time he appeared also as an actor.
SAŠO KALAN (sound design & sound effects) loves to watch sunsets by the seaside and takes long walks on the beach. He cheated his aging process for a couple of hours when he moved from Canada to Slovenia. He does not discriminate any music, therefore, he can work on anything. He is also good with ballet and taking pictures of horizons in the nature.
Sašo Kalan is music itself. In 2005 he founded Sonolab Institute, where he works as an artist. He composes author music, designs sound and produces sonoric sounds. He writes music for theatre plays, ballet, contemporary dance performances and sound installations. He had already worked with most of Valburga’s crew while writing author music and designing sound for feature horror film Killbillies. For the Curse of Valburga film he took care of designing sound image and sound production.
Jani Mujič (music) is a person who is going to stand in the centre of the club just so he could go somewhere in the back later to push a few buttons. Probably this is a dancing style which happens to a punkhead after he crosses the theatre’s threshold. He operates on adapted guitar with only four strings.
Ex-bass player and songwriter of the avant-punk collective 2227 also performed in hardcore band Epidemija. For the project Curse of Valburga he wrote the other half of O.S.T. He also composed music for a short film I want a bridge, it belongs to me! (Boštjan Jerše, 2014). Jani makes his own author music and is working as a sound technician in Gala hala club at Metelkova mesto, autonomous cultural centre in Ljubljana.
ZORAN LESJAK (scenography and SFX) sometimes takes care of alcohol annihilation, so it does not come into the wrong hands. Once he was given a decorated phallus carved in a riverbank by his friends on his birthday. He is fond of colorful spring flowers.
Zoran is an educated painter. In 2013 he established his own company Atelje Lesjak, where he is also employed. He is a president and a guardian of the artistic section at the Cultural Artistic Society Happy Artists. In the last ten years, he devoted himself to film, commercials and music video scenography. To this day he made more than 33 film scenographies. He cooperated in many international productions, such as commercials for Spar, McDonald’s, Sberbank, etc. In 1998 he established Youth Cultural Center Medvode, now known by the name Public Institute Sotočje Medvode. Until summer of 2016 he used to be a curator of Jedro Gallery.
GREGOR NARTNIK (scenography and SFX) realizes that one can always find good food in local trash bins. He learned how to be human by watching wild animals, such as bears he searched and waited for in the forest. They observed each other by looking straight at each other’s faces. For him, democracy is some kind of tool of evil and not the synthesis of the will of little folks.
Nartnik has already cooperated with dozens of Slovene feature film productions. Though it is worth mentioning he also worked on Disney’s Narnia (Andrew Adamson, 2007). He helped with the making of animated feature film Courtyard (Nejc Saje, 2006) and animated stop-motion series Koyaa (Kolja Saksida, 2005). His visual skills are also shown in some short and some documentary films, together with some commercials. He started to work with STRUP production in 2002 and has already recorded some music videos with them, among which are those for Noctiferia, Elvis Jackson, De Fact, Katalena, etc.
NATHALIE HORVAT (mask and blood) never has enough of blood, especially if there is a smile on the lips. And she likes smiles. She likes them big and regular. It does not matter whether the head is still attached to the neck or not. Depends on how nice you are to her. If you are not, she will show you the Satan she breeds on her chest. We are not kidding.
Nathalie Horvat has been working in The Slovene Youth Theatre, which developed to the center of theatre research and engaged theatre already in the 80’s. Today it is connecting theatre borders interdisciplinary and thematizes political subversities. Her business covers everything from mask design to make-up and hairdressing. She has been an indispensable part of the team in the making of horror film Idyll (Tomaž Gorkič, 2015), that involved a lot of slaughtering, facial deformations and cutting off limbs. She also cooperated in the making of the Fear (Dejan Babosek, 2016), which was made with the intention of shining a light over problems which erupt from intolerance in society.
DEJA ŠKERJANC (costume design) finished her master’s studies with the thesis about gender in Slovene film. Unfortunately, it does not include sex studies. She is one of those who like the latest Mad Max film. She cares about equality. As a child she adored national basketball players, but today she is more into football and good music.
Deja’s name is not only mentioned in the context of movies, but also with a quality international festival of different music Druga godba. She cooperated with frequently rewarded animated stop-motion series about a little man Koyaa (Kolja Saksida, 2017). As a costume designer and wardrobe manager, she worked on full-length horror feature Idyll (Tomaž Gorkič, 2015), as only costume designer she worked on a short film about intolerance Fear (Dejan Babosek, 2016), documentary music film Music is Time Art 2 LP film Buldožer: Pljuni istini u oči (Varja Močnik, 2017) and documentary film about an unusual death of a soldier In the Name of Truth (Dejan Babosek, 2017).
SEBASTIAN NARED (costume design) is a great enigma in the world of internet. Maybe because he is Santa Claus in his free time and his existence must not be fully confirmed. Though this is not diminishing his love of leather goods.
Sebastjan is working in front and behind the camera. He was in front of a camera as an actor in a Pirate hike (Gusarski pohod, Varja Močnik, 2000), Dogs in Space (Ekke Casil, 2009), Stealing the Corn (Martin Turk, 2009) and Generation 71′ (Boštjan Slatenšek, 2011). He was behind the camera or the photo camera with stop animation Vixen in Fox Language (Miha Knific, 2009) and The Kid (Mulc, Kolja Saksida, 2009) as a costume designer. He was also a designer with short film Žile (Dražen Štader, 2000) and Cloud Catcher (Miha Knific, 2009).
KATJA ROSA (costume design) has a passion for food an photography. Which of course means that her lunches have their own Instagram profile. So think very well before you invite her for dinner or at least book enough time for yourself. But – no Monsanto products, please!
A graduate of fashion design started to work in film industry quite a while ago. She began as a costume designer in shorts, such as The Kid (Mulc, Kolja Saksida, 2009), A Heart is Sad (Srce je žalostno, Milena Olip, 2007), A Dress (Jernej Kastelec, 2006), Every Breath you take (Igor Šterk, 2007) and A Chat with Pika (Jernej Kastelec, 2007). Soon afterward she cooperated with her first full-length film 9:06 (Igor Šterk, 2009). She is also involved with art photography, especially with taking pictures of food and clothing.