In the village of Orozmani, there is a small, odd stage. But this is no ordinary theatre - on the bare soil two comrades, Giorgi and Acho, stand guard over the skeleton of a 1.8 million-year-old wolf.  Their props? A tent, a kettle, and a few stray dogs.  Their audience? Curious passers-by who stop to ask what on earth they are guarding. What led them here? A tooth.  Not just any tooth, but one as ancient as the wolf, discovered by Giorgi and swiftly impounded — not by the police, but by Georgia’s Minister of Culture. Research forbidden, history put under house arrest.

In the final months of 2024, America is anxiously preparing for a historic election.  Frustrations intensify with a lack of meaningful discourse and inability to affect change. People are out of work, the world is in conflict and everyone is fighting for what they believe in. The country is divided.  Conspiracies inundate the news and social media. Christian Nationalism is infiltrating politics. The masses are misled by false prophets and misinformation.  What happens when everyone has an answer but no one has the truth? What do you believe?

The forgotten genocide of the Urak Lawoi people echoes today's racial conflicts. Through deep-sea metaphors of trapped, dying creatures, this unrecorded tale from Thailand's margins connects ancient atrocities with contemporary ethnic cleansing, particularly the Israel-Palestine conflict. Marginalized voices carry memories of lost peoples, revealing humanity's tragic pattern: beauty and diversity replaced by systematic cruelty. Ancient genocidal echoes resonate with present brutality through haunting aquatic allegory.

Behind Open Doors is an autobiographical documentary that demystifies psychotherapy through the deeply personal lens of Nikola Kuprešanin, a Croatian filmmaker. Years after completing therapy, Nikola reunites with his former therapist Milena, to dissect their once-confidential relationship. Their candid conversations — filmed in Belgrade’s parks and cafés — reveal the turbulence of Nikola’s journey: crippling anxiety, resistance to treatment, and fears that therapy would ""steal"" his creativity (inspired by David Bowie’s scepticism). Parallelly, the film explores Nikola’s marriage to Ana, a psychotherapist whose profession amplifies their domestic challenges.

Braving The Breeze is a documentary that takes place across Malaysia and Taiwan, using real-life footage, reenactments, and poetic skills to follow people trying to find a way out of emotional storms. Xiao Wen left Malaysia to study in Taiwan, hoping to start fresh—but inskills a strange city, she found herself caught in a quiet battle with her emotions. Hua Hua, from Taipei, had her own sudden collapse, but slowly began to rebuild her life at her own pace. The two meet and walk together—through painting, music, daily walks, and quiet moments, they start learning how to live with what they feel instead of fighting it.

In the dim flicker of the night lights, we step into the immigrant workers’ world. A vulnerable space in between belonging, shown through a brief time gap of closing time of the street shops. Forgetting that they are still exposed, trapped in the neon night frames, touchingly unprotected from the outside gaze. The most honest moment of the day, with all the hours of hard physical work visible, while workers perform the closing operations. Reality starts to glitch, sides of the window switch and the inequality of immigrant workers comes to light.

Conversations with Exes is a hybrid documentary that follows the arc of my past relationships from beginning to end, examining ideas of love and limerence, and the affect of heteronormativity within queer relationships. Throughout the film, I collaborate with doppelgängers to re-enact pivotal moments from each relationship, deconstructing, reflecting, and repairing the relationships with each encounter.

Melania, from Uruguay, receives a scholarship to finish her medical studies in Barcelona. It's her first trip to Europe, and she discovers a new a life. After graduating, she decides to travel across the continent with her Italian passport. She works as a flight attendant for a low-cost airline and moves to London. Her friend Laura studies film in Cuba and later moves to Brazil for love, but circumstances force her to return to Uruguay. The distance separates them until May 30, 2019, when Melania suffers a homophobic attack on a bus in London. The case goes viral on social media and in the news. Laura, deeply affected, travels to reunite with her friend. Through sound and visual correspondence, they explore trauma and healing. 

Grace James, a 37 year old eternal optimist, has spent the past decade living in Los Angeles, trapped in an unending state of limbo within the US asylum system. When Grace begins attending dance therapy, long buried memories resurface and Grace becomes haunted by moments from her former life: a fleeting romance cut short by US immigration; her abusive marriage to a Kiribati government official; and the loss of her beloved homeland, the island of Kiribati, which is rapidly being consumed by rising seas. Utilizing VO recitations of Grace’s diary entries from detention, Grace’s writing evolves from pining love notes to a man, to aching calls to her vulnerable island, and eventually messages of love to her future self. 

DIRTY DAYS IN FUN CITY is about the 1968 sanitation workers’ strike in New York, a nine-day stand-off between union leaders and city officials that led to a public health emergency and city-wide panic. It highlights the importance of organized labor to securing fair pay and safe workplaces, which remains relevant to workers in every industry today.  Act 1 drops us into garbage-ridden New York in the middle of the strike. Mayor Lindsay tours us around Bed Stuy–where garbage is heaped especially high–and points an angry finger at the union. Act 2 brings us back to events leading up to the strike. We follow the bargaining process through the eyes of union president John DeLury, who worked tirelessly to secure better contracts for his men.   

Two Cambodian female contemporary dancers venture by boat along the Mekong river hoping to find inspiration for a new dance piece. Their journey was struck by an accident midway. They wake up and find themselves in a forest village, where people speak different language. They bond with the people and continue to find inspiration for their piece. The exploration leads them to get lost in a strangely nightmarish place, where they encounter people living in decaying wooden houses. The dancers start to feel like they were dead from the accident and now their souls wander the other space and time. They continue to wander the area to find a way out and a proof whether they were dead or still alive.

Free Joan Little tells the story of Joan Little, a 20-year-old African American woman who became the first woman acquitted of murder in a sexual assault case, transforming her into a cause célèbre that united diverse activist movements in 1975. This documentary reveals how nearly half a century before #MeToo, #SayHerName, and Black Lives Matter, African American women pioneered innovative coalition-building strategies that created lasting social change and established blueprints for contemporary justice movements.

Rezki, a resilient and aging single mother, devotes herself to caring for her adult sons, Emil and Agam—one with schizophrenia, the other with autism. After a marriage fractured by secrets, she juggles caregiving and her work as an advocate for families like hers. But this fragile stability she's fought to maintain comes under threat when her ex-husband reappears and proposes an arranged marriage for Emil. Can Rezki navigate her sons' needs while balancing societal pressures and her own past traumas?

In the Penal Camp is a creative documentary that visualizes the Israeli detention and torture camp Sde-Teiman using 3D gaming tools. Digital characters embody anonymized testimonies of Palestinian survivors, Israeli soldiers, and health professionals. The cruel and tedious daily routine unfolds within a constantly transforming digital environment, generating a visual speculation with shifts across space and time, revisiting memories from a taxi in Khan Younis or a balcony in Be’er Sheva, and exploring possibilities for rendering atrocities visible.

A young Finnish woman, Laura, leaves her spotlight in show business to embrace Islam. Now living in Indonesia, she works hard toward her new big dream: becoming a well-known Quran reciter.  But her family in Finland struggles to accept her faith—especially her father, who holds strong misconceptions about Muslims. Hoping to heal their bond, Laura aims to write him a heartfelt letter explaining her life choices and addressing the biggest taboo in their family: his alcoholism. The writing process sends her on an emotional journey as she seeks guidance on bridging Islamic and Western values.

Three women—Ismé, Elif, and Fatmé—embark on a symbolic journey through the mountains of Xanthi in search of the legendary “Momtski Kamen - Girl's Rock” where Pomak women once leapt to their deaths to escape oppression. This journey becomes an allegory of their own modern day struggles: Ismé battles illness and defies norms within the conservative community. Elif questions tradition while clinging to faith. Fatmé longs for freedom from imposed roles. Bound by their friendship, they ultimately try to explore their identity and gain agency and the courage to shape their own destinies.

Ten aging siblings return to their dilapidated childhood home in Newville, NY for the first time in 35 years. An encroaching industrial cow farm disturbs the once-peaceful setting as they work together to repair the house's failing bones. But soon political and spiritual tensions arise, mirroring the fractured American communities they now represent - liberal to conservative, gay to straight, evangelical to atheist, and everything in between. While the siblings grapple with their disparate points of view both ideological and personal, the house watches and waits.

Olimbi Hoxhaj – Mother Courage is a documentary that follows the journey of Olimbi Hoxhaj, an Albanian mother who turned personal tragedy into a fight against stigma, discrimination, and systemic barriers. After the death of her husband in 2003, Olimbi discovers that she and three of her four children are HIV-positive in a country where treatment was unavailable. Confronting widespread prejudice and institutional neglect, she embarks on a determined struggle for survival, ultimately changing history by securing HIV treatment in Albania, establishing an organization to support HIV/AIDS patients, and advocating for protective anti-discrimination laws.

How do you make sense of the world when memory cannot be trusted? Our Imagined Islands is a poignant exploration of memory, identity, and the elusive search for belonging, told through my deeply personal journey of retracing my roots, abruptly lost with the disintegration of the former Yugoslavia. This self-reflexive documentary intertwines memory, loss, and the passage of time as seen through the lenses of two cameras—my grandfather’s photo camera and my film camera—offering a poetic narrative that questions the reliability of memory and the identities we imagine for ourselves. The journey begins with the discovery of my late grandfather’s photographic collection, years after his death.

READ MY BREASTS is a film about the Ukrainian FEMEN activist Inna Shevchenko. Her political actions changed our world, but her struggle in nudity reaped contradictions. Even torture. So the film also shows disappointment and trauma. Inna has learned too much about our harsh world. But Inna does not give up. The film is built in visual layers, in which Inna is put back into old press shots. We work with large print photographs of actions of FEMEN, where we retouched Inna out. She appears in the same photograph, but she is real and can move in front of the photograph.

A used car speaks to us during long night drives. After a debilitating breakdown, it joins a young family of three—two people and a dog—struggling with a housing crisis. Initially bought to carry belongings from place to place, the car begins to think. It finds itself drawn to Gaston Bachelard's "The Poetics of Space" and reflects on home. "Come what may, the house helps us to say: I will be an inhabitant of the world, in spite of the world." As the family moves between temporary places, the woman cares for the car—cleaning, polishing headlights—as if it were her home. Could it become exactly that?

In Lviv’s Superhumans Center, war survivors confront a new kind of battlefield: their own bodies. Through intimate, sensory fragments — metal against skin, phantom pains, quiet laughter — the film explores how identity is reconstructed beyond trauma. A war film without explosions. No heroes, no victims; only fragile, fierce humans, each step an act of resistance.

In the middle of Dalmatia proudly stands the city of Split, one of the main European destinations for young partygoers. During the tourist season, the film follows Blanša (43) and her nephew Doni (10) who live in the old city center and whose life is limited because of the tourists. Blanša wants to stay in her home and fight, her only weapon is her mobile phone. From her window she starts to record vulgarity and night chaos that tourists produce hoping to be heard. The real question that arises is will the modern tourism swallow their way of life or will Blanša succeed in her fight?

The Game of Women and War is a documentary based on testimonies of Ukrainian women who survived war but remain silent due to trauma or fear. Their voices are performed by Belgian actresses with no war experience. Through physical and emotional exercises, the actresses confront the women’s stories and their own limits. The film culminates in a public performance in the Brussels metro, creating a living emotional archive about empathy, responsibility, and the female memory of war.

Qazbabalı, nestled beneath Chiraqqala fortress, faces a growing water crisis due to rising tourism. In summer, springs dry up, and villagers like Teyyub dig for water in the mountains. Despite pleas to authorities, no help comes. Teyyub invites journalist Joshgun to document the issue. While in the village, Joshgun learns local children can't study past 4th grade. He volunteers to teach, inspiring women like Surayya, who begins to pursue the education she was denied. Together, they spark change through water, learning, and hope.

Amid another unusually hot summer in Birmingham, UK, we meet a youth group of people from communities of colour and migrant backgrounds. Anxious about what’s to come for the climate and the end of the world as we know it, they imagine a different future, not just surviving… maybe even thriving.  We’ll follow them as they try to push past their sense of powerlessness: using digital simulations and real world enactments we’ll transport viewers into our contributors’ imaginations and explore radically different versions of our possible futures. With unexpected joy and humour, this process invites audiences to view the climate crisis through a fresh, youthful... and ultimately hopeful lens.

In the Toura valley, a harsh alpine landscape becomes a tourist playground each winter, welcoming over a million visitors. At its heart, Les 2 Alpes resort is investing €500 million in modernization: a new gondola lift under construction and a planned artificial lake for snowmaking. Engineers promote “eco-responsibility,” while activists denounce noise, soil damage, and water privatization. The film explores this contested space, where visions of progress clash with calls for environmental care.

Over the years, my mother has started to resemble her own mother more and more. That quiet realisation, paired with the fear of emotional distance and loss, became the driving force behind this film—a personal journey to understand what is passed between generations of women. The narrative is framed through letters to my late grandmother, which form the emotional and structural core of the film. Their tone is tender but searching, revealing a desire to reconnect with something irreversibly lost. These voice-overs are interwoven with intimate conversations between my mother and me, as well as slow, quiet images of the places we once called home.

Karin and Honza, two Czech seasonal workers in their thirties, join the morel harvest in the post-wildfire forests of British Columbia. Living out of their car in a rough community of pickers, they start with a shared ideal of freedom. But as Honza grows fixated on profit and risk, and Karin starts longing for stability and connection, their ideals come into conflict. The film captures the struggles of an escapist generation navigating the tension between a fast-paced world and the quiet need to settle down.

On a quiet dusk, my mother—Lei Xia—sits alone in our home, praying to her God. Her back is straight, her voice steady. But her accent still betrays where she came from. I hear her prayers: that her children might return to church, that her family in China might one day worship legally—every day, every night. Suddenly, thunder cracks. Rain begins to fall. The sound takes me back to the 1990s, in Guangdong, China. My mother worked in a factory. I lived beside her. I remember waiting for her at the gate with an umbrella. That memory feels blurred and soaked, like an old photo left out in the storm. One day, I found her old Chinese ID card on the desk, half-covered by our faded passports. It reminded me of the lie I keep telling

Upon digging herself out a mass grave, Angéla Lakatos becomes the matriarch of the only Roma family to survive the extermination of her city’s community during the holocaust. Her story, told through her descendants who themselves grapple with inherited trauma, weaves together with an amateur historian’s efforts to shine a light on the nearly-forgotten grave site. Through their struggles, UNDERNEATH THE WAVES traces the echoes of this killing into the modern day.

Maung Saungkha, a poet and a human rights activist in Myanmar, was once a firm believer in peaceful protests. After he and his fellow artists faced deadly attacks by the military for demonstrating, he decided to take up arms.  Now the commander of one of the most influential people’s armies in Myanmar, he promotes women’s and LGBT rights, and hosts poetry readings in his camp, but he must also prepare soldiers for the realities of the frontline. “When a Poet Goes to War” tells the forgotten story of Myanmar, how young people have transformed from non-violent protesters to hardened soldiers, and how they wrestle with that impossible transition.

“Wood Street” shows a year in the life of Oakland’s largest homeless encampment as there’s a countdown to evict them. The community comes together to file lawsuits, attend city council meetings, and camp outside city hall. Despite losing their community, “Wood Street” is an empowering story of unhoused organizing that has never been told. John Janosko and LaMonté Ford lead the resistance movement, facing challenges organizing a diverse community struggling with drug use and mental health. Systemic issues are highlighted through verite scenes and narration from video diaries.