The sixth year of our Summer Film Seminar will be dedicated to a phenomenon that is unavoidably associated with elementariness: revolutions. The program of our seminar should incite thinking about the forms and characters that revolutions can have, whether it be in the society, arts or in film. We will not aim to systemically map the radical changes in the history of cinema or individual countries. What we want to do is attempt an intuitive and elemental collective reflection on large and marginal revolutions. Revolutions both personal and collective; violent as well as peaceful. We want to look at revolutions as vehicles for innovation, rebellion, the revolt against what is traditional and mainstream as well as their being the patrons of everything labelled ‘outsider’, odd, different, mad and resistant to conform to the standards. Revolutions are often characterized by certain degree of novelty and the ability to tear down the prevailing system and establish a new one. We want to look at the principle of breaking idols as a driving force of revolutions, eliminating the old norms and establishing new ones, resulting in the destruction of the revolution itself as well as the revolution’s initiators. By instinct, revolutions presuppose certain definitiveness; a state of permanent novelty. If we look at revolutions from this point of view, they can be considered visionary as well as naïve. Since our elemental understanding of revolutions opposes systematisation, our choice of this year’s films has been somewhat intuitive, though not completely haphazard. It was not delimited by the very criteria of what defines a revolution. Rather than that, we tried to assemble the films by focusing on the affect of revolutions, on their novelty and the way in which they are different. We do not claim their being the representative sample of the most revolutionary films in the history of cinema. You will have a chance to see the works of some notable film avant-gardes and their successors, films representing new filmography phenomena as well as films and their creators who embarked on a new journey, liberated from the conventions of the established norms. Some of the films also touch on the subject of some historically significant revolutions and rebels. In the ideal scenario, the lines of revolution in arts and in the society coincide. We hope that this selection of films will stir up a discussion on revolutions as well as constitute questions about their purpose and form.