I recently rewatched the Slovenian made for TVmovie Radio.Doc which was produced by Austrian and Slovenian national television in 1995 . I still remember the first time when I watched the film with my mother, and the uneasiness I felt during it. Back then I was much younger, so as i saw the Video lying around, I thought I'd give it a proper second viewing. 
Half thriller half a journey towards self-discovery, the film is set in a somewhat cliche post-socialist surrounding, that tries to find it's place in a new world, while struggling with the remnants of the past. A young reporter tries to find out if and why her father was murdered back in 1970, and in the course stumbles into a complex net of her own believes and desires. A film that shows that "truth" is subjective, what's gone is gone, and that the gosts of the past can only be silenced if we accept the uncertainty of life. The film is based on the actual case of my grandfathers "suicide", but I couldn't detect many connections to my family, as most facts were put in only if it fitted the story. 
Following a sequence of the "murder" the film introduces us to the main character Vesna (Natasa Matjasec) who is lost on a deserted street in the middle of the night. When a taxi-driver picks her up, a journey to the end of the world is hinted at, but in contrast to the actual trip, what is meant is the inner journey of the protagonist.
This sequence at the beginning already contains most of the strenghts and weaknesses of the film. A surreal atmosphere is created in which a metaphorical monolgue by the taxi-driver introduces us to the philosophical touches the director will use as a fundament for the story. The mise-en-scene defies the low budget on which the film was obviously produced, but the acting at times already borders on the unbearable. A problem in many slovenian films, where most actors come from the stage and cannot express the subtleties required for film. Though the protagonist shows some talent she is forced to hysterically overact her way through most of the picture, and the substandard supporting performances aren't a big help. But when she is silent her facial features and movements show an ability to carry emotions that should have been put to better use by the director. Every time he relies on
the expressive cinematography by Karpo Godina (a director himself, known for his elaborate mise-en-scene) and the inventive sounddesign, the film works extremely well - the editing and the use of colors is outstanding - but otherwise a weak script, uneven (sometimes awful) acting, and an inexperienced director who doesn't always seem to know why exactly he shot a scene in a particular way, make this a mixed bag. 
Still worth watching, as at times some great ideas shine through. 

I've also seen a later film by the same director, "Rascals!" (2001), which seemed an improvement. Definitely someone to watch out for in the interesting landscape that is Slovenian cinema.