PART OF THE SYSTEM
PART OF THE SYSTEM is a short experimental synthetic-documentary staged as a one-sided dialogue between c̴r̶e̴a̶t̴i̶v̷e̸ ̸w̴o̷r̴k̵e̷r̷s̸ and the system threatening to replace them.
The only voice heard is the system’s. The unseen c̶r̷e̴a̵t̵i̸v̶e̸s̸ who question it remain unheard. As visuals shift between abstraction and clearer imagery, the line between tool and creator, critique and complicity, is blurred.
It questions authorship, consent, and the price of convenience in a world where tools begin to argue for themselves.
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D̴̦͍̈́ù̸͈̗͠r̴̜̹͋i̶̡̽̕m̷̞̈́ ̸̫̊̕K̵̠̍̎l̶̮̐̑a̶̺̽i̸͍̲̿q̵̬̟́͑i̸͚͋DirectorreMemBer2.human, The Goddess on the Throne
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D̴̦͍̈́ù̸͈̗͠r̴̜̹͋i̶̡̽̕m̷̞̈́ ̸̫̊̕K̵̠̍̎l̶̮̐̑a̶̺̽i̸͍̲̿q̵̬̟́͑i̸͚͋Writer
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D̴̦͍̈́ù̸͈̗͠r̴̜̹͋i̶̡̽̕m̷̞̈́ ̸̫̊̕K̵̠̍̎l̶̮̐̑a̶̺̽i̸͍̲̿q̵̬̟́͑i̸͚͋Producer
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T̸͖̆͆ö̵͔͓́̎m̸̮̞̀̚ ̸̪̑̈ G̸̘͌̆o̴̙̭̐m̸̲̒̀͜i̵̠̫̋z̶̼͌͐ẽ̶̘̥̍l̷̘͆̌j̷̲̈́Producer
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F̵̘͙̆ị̷̙̎n̵̈͜e̴̳̣͂ ̸͖̜̈́͠ S̴̞̽ͅi̵͕̊ṟ̶̼̑Music
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Ṣ̴̬̏e̴̺͍͐ṛ̵͇̊i̵̳͑̍f̶̣̩̓ḛ̶͋n̶̻̎͘ü̶̹r̸͇̈́̒ ̷̤̲̾y̴͕̞̾́ı̴̹͑͜͝l̵̟̼̓͠d̶͎̱͆ı̸̫͖̏͒r̶̰͂͆ı̷̫͙̉m̸̨͈͊Sound
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D̸̞͙̽ȁ̴͉͋r̴͇̝̒i̴͜͠j̶͖̞̅ḁ̶͇̓͝ ̸̡̡̿ K̸̨̃͝a̶̧͓̕t̶̳͂i̴͓͗n̶͚͑̉a̷̟̝̔i̸̗͆͝t̷͌̆͜ė̷͈̱̅̐Narrators
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Ṣ̴̬̏e̴̺͍͐ṛ̵͇̊i̵̳͑̍f̶̣̩̓ḛ̶͋n̶̻̎͘ü̶̹r̸͇̈́̒ y̴͕̞̾́ı̴̹͑͜͝l̵̟̼̓͠d̶͎̱͆ı̸̫͖̏͒r̶̰͂͆ı̷̫͙̉m̸̨͈͊Narrators
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M̶̟̔̈́a̸̺͂͘y̵̹͆ả̵͔͠ ̸̮̞͊̊S̵̖͕͛͌a̵͖͂̀l̴̙̓v̵͕̅̏i̷̲̼̽̕ǹ̶̥i̸̢̝͝Narrators
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Y̵͙̅̀u̷̙̲̎͠ļ̶̫͛̓ȉ̶̻̓ẏ̸̹a̸̯͙͗͌ ̵̗̑̕ K̷̥̦̆̂o̶̼̻͒͠h̴͈̣́ȃ̶͎l̵̗̎̈́Narrators
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Ì̷̦̑v̴̡̩̐͘á̴͕̹͑n̸̢̥͒a̶̎̊͜ ̵͇̇͝ P̵̡̛e̸̤̬͊͘j̸͔̼̚à̵̯̠ḱ̶͓̥Narrators
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L̴̛̼̍ú̴͉n̸͈̈̿ȃ̷͈́ ̶̗̀͋ N̷͓͒i̵̗̖̓k̶͙͈̽͝ó̵͓l̴̢̜̄̈́i̷̞̅n̶̤͕͐͂a̵̙͓͋ ̷͙͚̾Č̶͔͐͠e̸̙̎ŕ̶͎̎n̵̝̈́ë̶̝̟c̵̬̆͌ ̶̛͙͒D̴̗͔̽ŕ̶̙̥̃á̵̦͠m̵̦͐l̸͇͉̏̒i̷̞̣͛̅ć̶̫̟́̕Narrators
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É̸̡͘ḷ̸̿͘e̶̞͠n̴̹͗͝ạ̸́͠ ̵͕͚͛ M̶͙͋ộ̵͇r̴͇̙̓̓a̷̤͔͆l̵͙̟͂e̸̤̲͂̎s̸̳̪̾ ̸̙̃d̸̨̧̊̾e̴͕̐̒ ̴̡̀H̴̟͠ä̶̟́ȓ̴̗̣͆o̶̥̅̇Narrators
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P̴̗͑̎ȉ̷͉̂k̸̨̜̓́a̷̭̾͗ ̴̩̳̀ K̷̙̑̽ò̶͔͙v̶̙͆a̵̗̔́č̵̦̭̽̉Key Cast
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L̴̛̼̍ú̴͉n̸͈̈̿ȃ̷͈́ ̶̗̀͋ N̷͓͒i̵̗̖̓k̶͙͈̽͝ó̵͓l̴̢̜̄̈́i̷̞̅n̶̤͕͐͂a̵̙͓͋ ̷͙͚̾Č̶͔͐͠e̸̙̎ŕ̶͎̎n̵̝̈́ë̶̝̟c̵̬̆͌ ̶̛͙͒D̴̗͔̽ŕ̶̙̥̃á̵̦͠m̵̦͐l̸͇͉̏̒i̷̞̣͛̅ć̶̫̟́̕Key Cast
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Ġ̷̲͖̐r̷̜̖̂̎e̶̜̠̓̇t̵͎̒͘a̸̗͛̇ ̶̦͖̒ N̴̛̠e̶̙̊̇g̸̙͊͜r̸͓̽ḭ̶̟͐ņ̸̐̀e̴̬̅̃l̶̳̊ĺ̷̥͈̄ỉ̷̞̍Cast
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M̶̟̔̈́a̸̺͂͘y̵̹͆ả̵͔͠ ̸̮̞͊̊S̵̖͕͛͌a̵͖͂̀l̴̙̓v̵͕̅̏i̷̲̼̽̕ǹ̶̥i̸̢̝͝Cast
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T̷̘̊á̸̟͙̚d̴͚͉͌͗é̸̡̡͒j̴̖̐͠ ̷̨́ Ṗ̸̨̰e̸̥̚ͅr̴̳̅͆n̷̤̒͝u̴̩̒š̶͔͇̈́Additional Photography
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Project Type:Animation, Documentary, Experimental, Short, Other
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Runtime:7 minutes 32 seconds
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Completion Date:July 20, 2025
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Production Budget:0 USD
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Country of Origin:Kosovo, Slovenia
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Country of Filming:Slovenia
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Language:Other, Spanish
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Shooting Format:digital / 3D animation (3DGS)
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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Digital Cinema Package:Unavailable
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Beast International Film FestivalPorto
Portugal
June 5, 2026
Worldwide Premiere
ExperimentalEast - Official Selection
Durim Klaiqi is a self-taught experimental filmmaker and graphic designer from Prishtina. He began his creative path in 2017 through Samsung’s Galaxy Themes partnership and later graduated in Integrated Design with a focus on graphic design. In 2020, he expanded into video editing, combining visual communication with moving images.
His debut short film, reMemBer2.human, an experimental sci-fi film with a €0 budget, was screened at festivals such as Vienna Shorts, DokuFest and TIFF, winning acclaim and awards. He then created the experimental documentary “The Goddess on the Throne”, which also premiered at DokuFest and TIFF.
He also created the experimental documentary PART OF THE SYSTEM, which is awaiting its world premiere, and is currently developing a new project, Crow Funeral.
In addition to filmmaking, he has participated in and given guest lectures in workshops and masterclasses, where new technologies such as 3D reconstruction and machine learning are central themes, further expanding his research into experimental narratives, memory, technology and hybrid visual forms.
My engagement with AI in filmmaking began with my earlier short, reMemBer2.human, an experiment in which every frame was composed of 50% real and 50% AI-generated imagery. I described it then as "a 50% moral and 50% immoral film" - a ridiculous statement perhaps, but one that reflects the strange life of our so-called AI-enhanced reality.
For me, that project was a way to learn how latent diffusion models synthesize images, to understand its functioning at a deeper level. But it was also an experiment in reception: how would the art world, and particularly the people in film festivals and cinemas, respond to this use of AI?
What struck me was not outrage but acceptance. The feedback was largely positive. Few questioned the ethics of the tool, the authorship of the images, or the transparency of its processes. It became clear to me that many creatives who feel neutral or even optimistic about it often don't grasp its fundamental issues - or else they choose not to, because its convenience is irresistible, both for individuals and for corporations who profit from it.
With PART OF THE SYSTEM, I wanted to bring these contradictions into sharper focus. The film stages a conversation in which creative voices are silenced, while AI-generated words take their place. For me, this work is not only about AI as a technology but about our complicity with it. About how quickly we normalize what should still be questioned, and how easily efficiency overwhelms empathy. My aim is not to provide answers but to create a space where the audience must confront their own trust, their own assumptions, and their own place inside the system.
