During the COVID-19 pandemic, Washington, D.C., swings from a ghost town to a protest epicenter. Sergei Kostin, a local activist moves between these extremes daily. His days are split between the roaring chaos of street demonstrations and the tender moments with his aging dog, Snoball. Against the backdrop of a divisive election that brings thousands to the heart of America's capital, Sergei faces a more intimate challenge—the painful preparation to say goodbye to his beloved dog.
A flickering survey of worlds both urban and botanical. The field of vision unrolls indefinitely into off-screen space – a durational panorama, too vast for the eye to behold. A moving arabesque, a painting in the woods.
Radio Gwendalyn is facing a crucial challenge: professionalization. It is the first community radio station in the Italian-speaking part of Switzerland to obtain the status of a complementary non-profit radio station. Through this story, the documentary explores the broader context in which the station operates: a network of often invisible yet deeply interconnected realities. It is also a journey into the lives of the people who keep the radio alive, their stories, daily challenges, and the motivations that drive them forward. The film follows the Radio Gwen community through a year of transformation: from the complete renovation of the studios in Chiasso to a new internal organization and the launch of a renewed programming schedule. This recognition defines the station’s mission: to fill the gaps left by commercial and public broadcasters, offering an authentic service rooted in the local community.
After several months spent caring for her sick mother in a hospital, Laia receives a visit from her three siblings, whom she hasn't seen in a long time.
At night 45-year-old Kolya is waiting for a bus to go to see his daughter. But instead he comes across the phantom of his late mother and their conversation unearths images of the past: his brother funeral, family quarrels, humiliations. a theft. Reality mingles with visions and the bus stop turns into a spot where life and death face each other. The film raises the question of responsibility, family relations and redemption.
A personal film on love, loss, and time. Through fragments of home, old footage, and found sounds, the filmmaker traces his mother’s quiet transformation and the fading world of his childhood—a tender reflection on memory and change.
Built in 1969, this former staff quarters of the Taiwan Tobacco and Liquor Corporation bears witness to Chiayi's postwar housing development and urban memory. Today, its walls are cracked, concrete eroded, timber decayed, tiles shattered, and the entrance hall is entirely gone. Yet traces of past daily life still linger. Drawing on experimental methods, the film seeks to construct a visually dislocated narrative in which past and present coexist out of sync, offering an alternative perspective on the act of gazing.
The guard accompanies the wolf to Little Red Riding Hood, but leaves without giving her the farewell letter. Back home, memories of Little Red Riding Hood fill the village, intensifying his loneliness and sense of regret.
From her crumbling estate on the Potomac, Yolanda Signorelli battles to wrest control of her late husband Harold’s iconic toy Amazing Live Sea-Monkeys from the corporate men who stole them from her and from the stain of her husband’s dark legacy.