Internationally, disability art is a more or less established genre, including different fields and disciplines. Disability film has also become a kind of a special genre in the film world and disability film festivals are increasing in number all around the world. Although the Extravagant Bodies festival is the first event in Croatia to promote the variety, complexity and quality of different approaches to disability art, presenting some of its most eminent protagonists in the world, the film part of the program is based on a slightly different approach.

Instead of selecting films from recent disability film production - the authors of which are mostly artists with disabilities, and which, while dealing with specific disability-related issues, often experiment with different possibilities in the very approach to the film as form - the Extravagant Bodies film program focuses on the ways in which more mainstream film production has dealt with the phenomenon of invalidity, monstrosity, difference, the relation between the body and the world, the boundaries of the skin and screen, and perception of the different body as object but also as a fetishized object. It was thus hard not to begin with the 1932s Tod Browning cult movie Freaks. The film deserves special credit for making a significant turning point in the film industry: instead of using 'normal' actors to play people with disability, the actors in this warm and touching story about love and the victory of justice over injustice are actually disabled people. The film's cult status was intensified by the controversy it had produced and its subsequent banning - in the UK the film was banned for 30 years. In A Zed and Two Noughts, Greenaway deals with the human obsession with the biology, observation, manipulation and transformation of the body, the creation and violation of normalness, the concern for classification and symmetry, while his main characters, the Deuze separated Siamese twins work on the destruction of such a world and the creation of a utopian vision - the return to a formless mass, where there are no classifications, imperfections and differences. Marina de Van's In my Skin deals with the imprisonment of subject within the body. The main protagonists Esther becomes obsessed with questioning of boundaries of herself and the body, the body and other bodies, and the body ans the world, while compulsive selfinjuring becomes the way to reach the answers to those questions. 

 The documentary film selection shows thress different stories , one of which is a portrait of the famous body artist Bob Flanagan, who has managed to live for years with severe cystic fibrosis: accepting pain instead of rejecting it. For him, a sadomasochistic sexual praxis and self-injuring rituals have become the only model that enables acceptance of illness, life and art. The film My One-Legged Dream Lover shows the world of subculture communities in the USA, where people with invalidity are desirable sexual objects and amputtation is the biggest fetish, contrary to normative culture which rejects them as scorned signifiers of deviation. Finalyy, Martin Bruch in his handbikemovie, instead of showing an external gaze of his or other people's disability, twists ther perspective and documents the disabled person's gaze - his own. Using a camera attached to a handbike, he stresses the relation between himself and the enviroment, the moments of his integration with the speed and dynamics of the street, as well as moments when he falls short, slows down the traffic and becomes an 'obstacle' to the usual rhythm of the street.