Distressed at an unexpected news, Klara keeps it a secret from her boyfriend thereby risking their relationship.
Trailer
Stills
Awards
- Direct Monthly Online Film Festival – Best Screenwriter Winner, Best Editor Winner
- Feel The Reel International Film Festival – Best of the Fest Nominee, Best Actress Winner, Best Original Score Winner, Best Director Nominee, Best Editing Nominee
- Top Indie Film Awards – Best Cinematography Winner, Best Music Winner, Best Short Nominee, Best Writing Nominee, Best Actress Nominee
- Mindfield Film Festival • Albuquerque – Diamond Award for Best Short Film, Platinum Award for Best Screenplay
- TMFF - The Monthly Film Festival – 3rd Film of the Month Winner, Actress of the Month Winner, Screenwriter of the Month Nominee, Director of the Month Nominee
- Future of Film Awards – Best Indie Short Film Winner
- SHORT to the Point – Official Selection
- Festival neodvisnega filma Slovenije – Official Selection
- Festival slovenskega filma – Official Selection
Cast and Crew
Cast: Lara Fortuna, Miha Rodman, Blaž Setnikar
Writer and Director: Jan Fabris
Director of Photography: Tristan Dragan
Production Designer: Anja Zabavnik
Costume Designer: Barbara Drmota
Music: Ruslan Perezhilo
Sound Designer: Julij Zornik
Assistant Director: Gordan Golubović
Script Supervisor: Žiga Ciber
Key Make-up Artist: Lea Bole
Camera Assistant: Borij Levski
Production Sound Mixer: Alojz Lopič
Boom Operator: Benjamin Lopič
Gaffer: Jaka Žilavec
Focus Puller: Maja Štojs
Editor: Jan Fabris
Colorist: Tristan Dragan
Set Photographer: Ada Trkulja
Sound Editors: Julij Zornik, Miha Jaramaz
Re-recording Mixer: Julij Zornik
ADR Recordist: Peter Žerovnik
Foley Artist: Jaka Skočir
Foley Mixer: Žiga Rangus
Sound Post Production: 001
Executive Producers: Ada Trkulja, Yun Shen
Producer: Jan Fabris, ELEPHANT art film production
Q&A with the Filmmakers
Jan Fabris, Director
Q: What inspired you to make a black and white film in today’s age of color filmmaking?
A: Inspiration for making a black and white film came from the success of several black and white films in the 2010s and 2021, like Cold War and C’mon C’mon. While finishing the script for Klara’s Dance, we noticed that it was the first time that no colors were mentioned. This fact led to considering a black and white format.
Q: What are the challenges you faced while filming in black and white and how you overcame them?
A: Since there were no colors available, the main challenge was to somehow remain visually expressive. So, we tried with other techniques - especially with contrast (in the means of light and shadow) and different patterns&textures. Regarding this (and beside cinematography of course) a lot of effort was put in costume and production design as well.
Q: How do you think the black and white format enhances the storytelling in the film?
A: Very frequently color films use black and white sequences to express either flashbacks, different timelines, some surrealistic perceptions or similar. Or it can also happen the other way around. Unlike mentioned above, we didn’t want to put any emphasis on those sequences, but we thought that a uniform black and white format alone might enhance such storylines the most.
Q: How will you compare Klara’s Dance with your previous black and white film Ten Till Seven?
A: Ten Till Seven is an homage to the old film-noirs and therefore we also tried to put the story in some other period of time. Visually we decide to make it truly noirish, with black and white low-key look. On the other hand, Klara’s Dance is a contemporary story told in black and white mostly because the main character is constantly dealing with her past.