According to the famous interpretation by Peter Bürger (Theory of the Avant-Garde, 1974), within historical avant-garde movements, the social subsystem of art enters a stage of self- critique. In other words, it's only then that the entirety of artistic means ceased to be limited by the style of the period (previously predetermined and only slightly surpassable) and became accessible as a repository of equal artistic procedures. This aspect of the avant-garde is explored within the rich tradition of experimental film (from the 1950s and 1960s), with a particular focus on the contribution of Mihovil Pansini, the „master of amateur film“, and the pioneer of Yugoslav anti-film. The paper examinse the emergence of experimental film and the problem of its definition, focusing on Pansini's films, such as Brodovi ne pristaju and Zahod. On one hand, the paper analytically examines the status of the film subject in the mentioned films, while on the other, it attempts to place anti-film in the context of the avant-garde value of works as simultaneous means of exploring and criticizing society. Drawing from the most influential theoretical considerations of the avant-garde (Bürger, Poggioli, Murphya, Calinescu), this thesis investigates the characteristics of experimental film within the broader framework of film art, specifically focusing on the uniqueness of Pansini's anti-film, relying on the most relevant filmological research (Peterlić, Turković, Drummond, Gidal, Branigan, etc.).