本片堪称上世纪60-70年代前南黑浪潮电影运动中最反叛、最激进之作。相比Dusan Makavejev、Zivojin Pavlovic、Kokan Rakonjac等人的作品中对政治的间接隐喻和讽刺所不同，以Jovan Jovanovic、Zelimir Zilnik为首的一批青年导演的作品则更多是一种赤裸裸的直接对抗，相当具备火力和煽动性，其中绝大多数他们的影片在前南时代无法公映。本片导演斯托贾诺维奇当时只有26岁，还是贝尔格莱德电影学院的学生，影片剪辑一流，穿插了大量二战时期纳粹德国希特勒的纪录影像，以此直接向东欧政治体制开火，将政府与独裁者相提并论，将共产主义与法西斯主义和极权主义等同，并用1968年的国际事件来煽动前南青年学生起来造反。在当时所谓的“政治导演”纷纷流亡海外的时候，前南政府几乎封锁了所有黑浪潮电影公开放映的机会，并逮捕了斯托贾诺维奇，结束其电影生涯，此后行踪不明。1991年本片解禁后获得蒙特利尔世界电影节非竞赛单元评审团大奖。

The autobiography of Koki, an immortal parrot. Artist Quenton Miller portrays the life of this unique animal, a loyal comrade of Marshal Tito, leader of Yugoslavia for 35 years. A rich photographic archive relives the caged memories of this cockatoo, who had the honour of meeting Hollywood stars, and bloodthirsty dictators. A funny portrait, non-aligned with the documentary orthodoxy, that deals with the false constructions of history.

After WW II many young people arrive to Zagreb, among them a young worker Sonja Kacar. She is supposed to participate in the construction of the first generator in the Rade Koncar factory. Because there aren't enough experts and materials in Yugoslavia, the factory counts on help from fellow communist countries, Czechoslovakia and Soviet Union. However, after the Inform Bureau's resolution this help is no longer available. Sonja experiences a great intimate disappointment because Stjepan, who she is in love with, supports Stalin.