Abstract
The paper addresses a central tendency of Slovene film production of the first decade and a half of the country's independency which is to avoid dealing with its specific socio-historical context of post-communist transition. This ‘lost baggage of transition’ is significant for two reasons: firstly, its widespread adoption closely resembles a generic blueprint that binds this body of auteur films into a coherent whole, and secondly, because this blueprint closely resonates with Slovene official national and political discourse. The author uses the categories of nation and national identity to analyse the ideological dimensions of this correlation.
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