Krstić’s travel diaries of a view seen through a window, and eventually a city street. Belić’s home diaries, where she stands, poses, and films her reflection in a bedroom mirror. The title might recall a weaving Penelope awaiting the return of her husband Odysseus, unravelling thread each night as a line of suitors linger outside her door. With the exception of Penelopa 77 and the 1972 film Pieta, all of Belić’s 11 films are considered lost. In his 1985 essay on Belić — one of the few documents describing the breadth of her work before her death in 1986 — Jovan Jovanović writes: “In 1977, as a protest against the (Yugoslav) institutions of non-professional filmmaking — particularly against juries — Biljana Belić, together with Dragiša Krstić, withdrew from the cine-club and organised amateur cinema. The two of them founded the Family Workshop for Filmmaking and Film Distribution, within which Penelopa 77 was created.” The film is largely considered unfinished, but it is known to us as it is.
