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Zenith

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“Visionary writer-director Vladan Nikolic . . . concerns and motifs [are] vivid and idiosyncratic, designed to intensify a highly contemporary concern about the loss of freedom and power of the individual to secret, manipulative cartels.”
- Kevin Thomas, Los Angeles Times

“chillingly realistic vision of the future… amazing… nothing but talent.”
- Joe Meyers, Connecticut Post

“a weird reflection of current reality. . . an odd example of artsy obscura . . .an experience not quickly forgotten.”
- Tor.com

Zenith at top of its game.”
- Boston Herald

“a high-concept, brave-new-world sci-fi puzzle… echoes futuristic thrillers such as 12 Monkeys and Children of Men… an atmosphere of mounting paranoia that’s grim and chilling.”
- Loren King, Boston Globe

“A visually stunning art-house Blade Runner.”
- Flavorwire

“Smoothly incorporating influences as diverse as Philip K. Dick and Terry Gilliam. . . a low-budget, high-concept mind-teaser, the sort of provocatively ambiguous sci-fier that often can attract a devoted niche audience and inspire repeated viewings. . . deadly serious, if not grimly fatalistic, about the grave new world it depicts.”
- Variety

“a brooding science-fiction trip…Nikolic’s lust for paranoid desperation is powerful, and his way with actors is stunningly graceful.”
- Michael Atkinson, Village Voice

“a trippy, frontal-lobe screwer that plays like the illegitimate spawn of Memento and 12 Monkeys… highly imaginative … slick visuals.”
- Rod Lott, Oklahoma Gazette

A LOST OBJECT FROM THE FUTURE
THE FILM THEY DON’T WANT YOU TO SEE
THE UNDERGROUND CULT MOVIE SENSATION

“Imaginative sci-fi thriller…conceptual imagination…a talent to watch!”
- Frank Scheck, Hollywood Reporter

“collision of noir narration and purple paranoia…long on atmosphere…brave-new-world dystopia.”
- New York Times

“rank[s] up there with indie mind-bending powerhouses like Primer and Being John Malkovich… like all great science fiction, Zenith hits us with a powerful series of “what ifs” that take the world as we expect it to be and give it a short, sharp turn on its ear… smart sci-fi… something to add to your must-see list.”
- Apex Magazine

“fuses the trippy paranoia of Philip K. Dick’s novels with canny use of locations that are already a bit post-apocalyptic.”
- Steve Dollar, Wall Street Journal

“a brain-bending 12 Monkeys vibe.”
- Devin O’Leary, Albuquerque Alibi

“works on the knife-edge of what Ridley Scott and company were onto with Blade Runner . . . an impressive and certainly downbeat dystopia built from found locations, insistent hypotheses and studded with superlative acting, termite performances from gifted actors playing paranoids and conspiracists with unbridled glee.”
- Ray Pride, New City Chicago

“entertainingly fast-paced and visceral…impressive…pulp fiction.”
- Will Coviello, Gambit Weekly New Orleans

In a hellish future where human beings have become stupefied by the state of permanent happiness they have been genetically altered to experience, Jack (Peter Scanavino) offers relief via drugs that cause his customers the welcome phenomenon of pain. But when Jack receives a mysterious videotape of his dead father, he sets out to unmask the dangerous conspiracy that has created this dystopian world.

Long Knives Night and Reporting from a Rabbit Hutch

A ferocious film in two parts, depicting and severely criticizing the rise and reign of Alexander Lukashenko, dictator of Belarus.

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“…makes Fahrenheit 9/11 seem tepid and weak…a brutal and brilliant bit of filmmaking.”
- Jim Knipfel, New York Press

“Indelible portraits of power’s absolute corruption…an astonishing diatribe…heaves with disturbing scenes of violence against innocent Belarussians…a primal howl of outrage.”
- Jeannette Catsoulis, New York Times

“scuffed-knuckle…open a window on an atrocious reality American media channels don’t bother to report…sharp, instructive, and mad as hell.”
- Michael Atkinson, Village Voice

“Fearless… here through vision and daring.”
- Milos Stehlik of Facets Multi-Media

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With fury and agony, Long Knives Night and Reporting from a Rabbit Hutch confront Europe’s last dictator: Alexander Lukashenko of Belarus.  Writer / director Victor Dashuk has risked imprisonment and abuse – common for dissidents, as you see in the films – to depict and attack Lukashenko’s rise to authority.

Long Knives Night chronicles the 1996 anti-constitutional coup in Belarus.  Lukashenko’s actions are both symbolic and explicitly political: he reverts to Soviet-style state symbolism, blocks voting, and sics riot police on protesters to beat them bloody.  With breathtaking access, Dashuk also reveals footage of the actual elected legislators locked out of their offices by the President’s own guards.

The New York Times describes Reporting from a Rabbit Hutch as “less philosophical and more turbulent…explores the realities of life in Belarus and the fates of those who dare oppose the president. Driven by the voices of Belarussian citizens…the film heaves with disturbing scenes of violence against innocent Belarussians.”

Though widely recognized as one of the most dangerous men in the world, Lukashenko has rarely before been depicted on film.  When finally revealed in New York City in 2006, they caused a sensation.  Now, at last, these harrowing and absolutely essential films are ready for all.

“Long Knives Night.”  Documentary, 56 minutes, 1999.  Written and directed by Victor Dashuk.  “Reporting from a Rabbit Hutch.” Documentary, 40 minutes, 2001.  Written and directed by Victor Dashuk.