Iztok Kovač, Sašo Podgoršek

The Last White Bisons

#coming soon

2026

The twenties of the twenty-first century.
An age of late capitalism.
An age of ruthless exploitation, of devouring the planet’s resources, of destruction, an age of climate change.
An age of water and food shortages on one side, and sickening excess on the other.
The world’s wealth lies in the hands of elites who exploit people globally and relentlessly — and soon, humanity itself may no longer be needed.
Human dignity cries out to the sky, but the sky remains deaf.

The filmmakers raise a series of questions:
Who is considered redundant today, and by whom?
Who among us is unnecessary?
Am I the surplus one, or are you?
Do we even exist if we neither produce nor consume?
How thin is the line between being useful and being disposable?

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Performed by six dancers and three musicians, and captured through fifteen cameras, the piece unfolds as both an aesthetic exploration and a philosophical inquiry into the boundaries between necessity and redundancy in contemporary society. Trapped within an anonymous space that offers no clear exit, the performers navigate shifting relations of visibility and agency. The film is based on Ilija Trojanow’s essay The Superfluous Man: An Essay on Human Dignity in Late Capitalism.

The long-term collaboration between choreographer Iztok Kovač and film director Sašo Podgoršek has developed into one of the most distinctive and enduring artistic partnerships in European dance film. Emerging from the experimental atmosphere of Slovenian contemporary dance in the 1990s, the duo gradually shaped a hybrid cinematic language that resists conventional categorisation.  After nearly three decades —and the loss of their former industrial setting in Trbovlje—Kovač and Podgoršek turned to a neutral white space. This deliberate reduction strips away context to foreground the individual as a site of meaning and resistance. 

Do we even exist if we neither produce nor consume?

Film +

The film is part of a broader artistic project that brings together different formats and media. Each element can stand on its own or connect with the others to create a shared experience. Alongside the film The Last White Bisons, the project includes the VR experience Branded, the stage performance Superfluous, a music programme featuring Damir Avdić, Tomaž Grom and Boštjan Gombač, and a literary and discursive programme centred on the ideas and writings of Ilija Trojanow. Together, these different elements offer multiple perspectives on the same artistic material.

bio

Iztok Kovač is a choreographer and founder of En–Knap. Following the international success of his solo How I Caught a Falcon (1991), he became one of the key figures in the development of Slovenian contemporary dance. He founded En–Knap Group, Slovenia's first permanent contemporary dance ensemble, and serves as artistic director of both En–Knap and the Španski borci Cultural Centre. His works have toured internationally for more than three decades. Additionally, his artistic practice includes six dance films, international pedagogical work, guest choreography and the direction of major national events in Slovenia. During the Covid period, he initiated Stage360, developing dance works in virtual reality.

Sašo Podgoršek is a Slovenian film director and visual artist whose work spans music videos, documentaries, dance films, commercials and feature films. After graduating from the Academy of Theatre, Radio, Film and Television in Ljubljana, he gained international recognition with his award-winning short film But the Goat Survived (1991), which was screened at festivals worldwide. A long-time collaborator of artists and collectives including Laibach, Marko Peljhan and Iztok Kovač, Podgoršek has developed a distinctive visual language that moves fluidly between film, music and performance. He has directed more than fifty music videos for some of the most prominent artists in the region, while his films and video works have received numerous national and international awards. His work is characterised by a strong visual sensibility, a focus on atmosphere and movement, and an ongoing dialogue with contemporary performing arts.

credits

Concept and artistic direction Iztok Kovač

Directed by Sašo Podgoršek

Co-created and performed by Mattia Cason, Luke Thomas Dunne, Tina Habun, Rada Kovačević, Tamás Tuza, Carolina Alessandra Valentini

Music created and performed by Damir Avdić, Boštjan Gombač, Tomaž Grom

Screenplay Iztok Kovač, Sašo Podgoršek

Director of photography Stanko Herceg HFS

Set design Niko Novak

Costume design Katarina Markov (Atelje d.o.o.)

Editing Sašo Podgoršek

Music producer Tomaž Grom

Sound design Julij Zornik, Samo Jurca

Camera operators Stanko Herceg, Omar Ismail, Sašo Podgoršek

Lights MB Grip

Sound recording Igor Iskra, Miha Rudolf

Additional music Tomaž Grom

Colorist Filip Tot

FX and title design Komposter

Technical support Leon Curk, Omar Ismail, Hotimir Knific, Gal Škrjanec Skaberne, Špela Škulj

Technical coordinator Jaka Šimenc

En–Knap production team Karmen Keržar, Zoran Dževerdanović, Marjeta Lavrič, Iztok Kovač, Sašo Podgoršek, Julija Travančić

Thanks to Vlado Škafar, Stojan Pelko, Matevž Jerman, Erzen Shkollolli, Agota Harmati, Darko Vinkl, Akaša Bojić, Luka Umek, Andrej Lamut 

 

Production En–Knap Productions

Coproduction Švenk, 001, MB Grip

In collaboration with Croatian Audiovisual Centre

The film was made with the financial support of the Slovenian Film Centre, a public agency of the Republic of Slovenia.

Members of the expert programming commission of the Slovenian Film Centre: Vilma Štritof, Siniša Gačić and Primož Ledinek

Director of the Slovenian Film Centre: Nataša Bučar

 

Copyright En–Knap Productions. All rights reserved.