George, a shy teenager with misaligned eyes, struggles to connect with others after his parents’ divorce. Finding refuge in the world of insects, he bonds with a cricket named Isabella.
Drawing on films made by Chinese state studios in the 1950s–1980s, this work revisits island narratives of war, revolution, espionage, and class struggle once shaped to engineer shared sentiments. Images from these features are dismantled and recomposed as propaganda dissolves into tropical murmurs, blurring borders between history and fantasy, individual and collective.
Portrait of an artist Epp Maria Kokamägi. The film invites us into the world created by the artist on Sepamaa Farm, which is at once picturesque and fairytale-like, yet completely natural, where life, away from the hustle and bustle of the city, flows in the rhythm of nature.
Mirai (The Abyss) draws on the world of Ghost of Tsushima to shape a brief, concentrated meditation on conscience under pressure. Beginning with a textual intervention, the film turns toward habituation, moral fatigue, and the threshold where violence stops appearing as rupture and sinks into the texture of experience. De Simone counters the game’s dramatic momentum with a quieter dissonance, redirecting attention to ethical aftertone, the residue produced when repetition dulls the force of response. Its restraint is what gives the work its edge. Mirai (The Abyss) follows the normalisation of the intolerable, showing how exposure reorders feeling before crisis fully declares itself.
In the Netherlands, a large proportion of men face mental health challenges. However, openness regarding this remains rare, especially in the world of football. What does it mean to act strong in a culture where silence is the norm? A group of professional football players gather in a retreat to start to open themselves up to themselves and to others.
After finding her mother drunk at a karaoke bar, a young woman reluctantly brings her home for the night. The two are forced to confront the complicated question of whether either of them truly love each other.
Life is a constant movement between the depths of our personal universe and the surface of the world. We dive within ourselves, emerge into everyday life. We oscillate from introspection to extroversion, from our microcosm to the real world. This pendulum is the story of the artist Kleio Gizeli, a pendulum that reaches from the secret space of an apartment to the visible world of a school classroom, from a penthouse in Kypseli, Athens to the life of its streets, from miniature works to the social work of education. This pendulum is the story of the film, the pendulum of a woman but also of all of us.
A sweeping yet intimate journey across a planet in flux. Moving from the sinking shores of North Carolina’s Outer Banks to the windswept deserts of Mongolia, from the subterranean dwellings of Coober Pedy in Australia to the thawing coasts of Greenland, the film enters the “rooms” of our shared global home. In each place, lives unfold at the fault lines of change: a family planting trees against encroaching sand, communities building underground to escape relentless heat, fishers navigating uncertain waters.
Inside Korydallos women’s prison, incarcerated women share fragments of their lives before and during imprisonment. Through memories, daily routines, and the choices that shaped them, the film weaves individual voices into a collective portrait of life behind bars and enduring hope.