We didn’t start filmmaking with a plan. We started because it felt like a natural extension of how we already looked at things.
Over the last ten years, film has followed us through very different places and phases of life. Sometimes personal, sometimes commissioned, sometimes unexpected. What stayed consistent wasn’t a style or a genre, but a way of paying attention.
Early Days
Filming with what we had and figuring things out along the way.
Fun Beginnings
More structure, heavier tools, and the same attention to getting the frame right.
Early Work
The first projects were small and self-initiated.
Short artsy films and fashion flicks made with our own clothes, our own concepts, and no outside expectations. Simple setups. Learning how movement, light, and timing could carry an idea without explanation. All over Slovenia was where this happened. Walking, testing, watching how images behaved once they moved.
Those early pieces weren’t made for clients. They were a way of understanding what film could do beyond still images.
Ten years in, the work feels simpler, not bigger.
— Daniel & Maruša
Here’s what this work has involved:
- Starting Small: Working with limited setups and self-initiated ideas shaped how we approach film more than any brief ever did.
- Learning by Doing: Moving between short films, commercial work, and long edits taught us where attention actually matters.
- Editing as the Core: Most decisions happen after filming. The edit is where rhythm, pacing, and meaning settle.
- Working Across Contexts: Fashion, weddings, medical environments, and documentaries each required a different kind of presence.
- Returning to Personal Work: After years of commissioned projects, we’re back to short films driven by our own ideas.
Music, Commercials, and Learning the Language
From there, the work expanded naturally.
Music videos, brand films, short commercial pieces. Different rhythms, different limitations. Learning how sound, pacing, and editing shape meaning. Learning how to say something clearly without saying too much. Commercial work taught structure. It also taught limits. What to keep and what to leave out.
Weddings, Over Time
For many years, weddings became a large part of our work. Not as documentation, but as film projects with narrative weight. Each couple brought a different tempo, a different kind of presence. We filmed across countries. Italy, Croatia, Germany. Long days. Early mornings. Trust built quickly and quietly. These films required sensitivity more than direction. That period shaped how we work under pressure, how we stay present, and how we edit with care.
Perfume, Detail, and Atmosphere
Later came niche perfume projects.
Short films built around texture, movement, and suggestion. Working with something intangible forced precision. You can’t explain scent. You can only imply it. These projects sharpened our approach to pacing and detail.
Working With What Can’t Be Shown
Filming scent through texture, light, and suggestion rather than explanation.
Behind the Work
This is us, surrounded by the perfume inspiration.
Inside the Operating Room
One of the most demanding phases of our work happened inside hospitals. Filming surgeries and medical procedures changed everything about how we approached the camera. There’s no space for interpretation there. Only accuracy, calm, and respect.
Those experiences left a mark. Not stylistically but personally.
Other Places, Other Contexts
We worked with fashion boutiques, health institutions, and independent projects outside Europe. Documenting communities, craftsmanship, and daily life in environments far from our own. Different conditions. Different responsibilities. The same approach: observe first, decide later.
Closing One Chapter, Opening Another
Wedding work came to a natural close. Not out of fatigue, but completion. It gave us experience, discipline, and perspective. Now the focus has shifted back to short films driven by our own ideas. More controlled. More deliberate. Informed by everything that came before. Personal projects, commissioned work, operating rooms, and long edits.
Why We Keep Working With Film
After ten years, filmmaking feels less like a path and more like a loop. Each phase informs the next. Nothing is wasted. We’re not chasing volume or visibility. We’re working on pieces that make sense to us, using what we’ve learned, and letting the work develop at its own pace.
The next films are already in motion.
We’ll share them when they’re ready.
