After moving to Portugal to start a family, I face the challenges of being a migrant in a new country. While developing a “film about memory,” I connect with archivists, my partner’s grandmother, a neurologist, and others, forming a web of relationships. The film intertwines my process with letters exchanged with my father, once an undocumented migrant in Japan, exploring memory, migration, and how our stories echo across generations.

Documentary filmmaker captures his grief after his youngest daughter’s suicide. After her funeral, he begins observing his mourning process, using both modern and spiritual tools to understand his loss. Gradually, documenting grief becomes a form of cinematic therapy.

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.

After 21 years in the jungle, La Mona lays down her weapon. At fourteen, she joined the FARC, Colombia’s largest rebel army, in a desperate bid for survival and purpose. Decades later, when a historic peace deal ends 50 years of conflict, she walks away from a clandestine life in the mountains to start over — but reintegration is far from simple. She struggles to reconnect with the son she was forced to abandon and tries to reinvent herself in a society that labels her a terrorist. When a shattering loss strikes, she learns that peace offers no protection from the past. As the urge for revenge surges, La Mona stands at a crossroads: take up arms again or break the cycle of violence that has entrapped her family and her country. 

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?

Bülent, a turkish farmer, splits his time between driving a taxi in Kars and working on his farm in Boğatepe, on the Anatolian steppe. Each spring, he returns to the land, alone during the week, joined by his family on weekends. Amid daily farm work, he dreams of treasures said to be buried by Armenians. A DNA test revealing Armenian roots fuels his obsession. As he digs through the soil, symbols and silences emerge, echoing a past erased. The film explores fantasy, denial, and the marks left by forced absence in a multiethnic land haunted by memory.

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.

Cheap and close, the Canary Islands attract 18 millions of Europeans yearly. Although tourism generates one of the highest GDPs in Spain, locals struggle with low wages, housing crisis, fecal sewage in the sea and water shortages. Two women: Olga, a hotel housekeeper, and Elena, a high school teacher, fight against environmental destruction and workers' exploitation in a tourism model that seeks profit only for the few. They are not alone: the movement is growing and the Islands are getting fed up with being someone else’s paradise.

Filmed in both North and South Gaza, Free Fish follows two brothers navigating daily life under siege. Separated by displacement but connected by the sea, Mohammed and Ahmad cling to fishing as a fragile form of survival and memory. With them, young Rami—who lost his twin in the genocide—searches for meaning amidst destruction. This is a raw, grounded story of resistance against erasure.

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.

In the high-deserts of the West, a young buckskin-clad woman and man ride wild ponies in search of forgotten gardens of native wild foods; after nearly a decade of this nomadic existence, traveling between a network of highways and barbed-wire fences that oppose their movement, will the greatest drought in written history force an end to their path?

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.

In the heart of the French countryside, an old manor welcomes a hundred pupils for a unique educational experiment where children are in charge. They make the school rules, handle discipline, and choose how to spend their time with no obligation to attend classes. The adults at the school are also on a learning path — seeking how best to walk alongside the students without ever leading the way. But what happens when you give autonomy to children to shape their days as they wish? And what paths do they embark on once they leave this archipelago of freedom?

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.

It’s 1996. War has been raging in Georgia for years. Buildings that survived, still echo the violence. People who survived, still feel the pain. Nana, playing with her granddaughter in a room lit by the candlelight, decides to make a change. She moves to a desolate town and starts to rebuild from ashes - turning the town of broken dreamers, debt collectors and smugglers into a rebellion of art, resistance and fight.  The mixture of documentary, social realism and fantasy narrated by her granddaughter takes the audience into a dreamlike journey of turning a theatre play into an act of survival.

A model residential building for the workers of Sisak Ironworks (Željezara Sisak), constructed to commemorate the introduction of self-management, undergoes a radical demographic shift seventy years later. As part of a European program, the state relocates refugees from the Middle East into the apartments once occupied by the working class. Most of the newcomers share the fate of their neighbors’ children and soon depart for Germany. This dynamic of arrivals—and even swifter departures to a new life—is interrupted by a catastrophic earthquake.  

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.

The film follows the resurfacing of coexistence conflicts in Croatia's border region of Međimurje, known for issues between Croatians and Roma community. Newcoming foreign workers arrive and reveal the rhythm of discrimination repeating- former victims now mirror the same exclusion in their treatment of the new groups. Three Croatian grandmas all named Ana, three Roma footballers, and three Nepalese food workers guide the filmmaking process. Through humor and self-reflection, the film is an intervention as well as observation, and asks if discrimination ever ends, or only changes its victims. 

Not Funny created a breakthrough documentary format that uses projection mapping and cinematic metaphors to externalize comedians' psychological battles. Season 1 aired on Finland's YLE to critical acclaim. Season 2 expands this proven format to English-speaking markets, exploring how established comedians transform trauma into comedy through innovative visual storytelling that makes the invisible visible.

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.

Quiet War follows Ukrainian filmmaker Lana as she flees Kyiv on the first day of Russia’s invasion, documenting not only destruction but also the quieter ideological battles shaping Europe. From refugee lines at the Polish border to activists in Warsaw, Berlin, and Lisbon, her journey exposes how disinformation and fear spread across borders. Through Lana’s eyes, the film reveals that the most dangerous wars are fought not on frontlines, but within memory, identity, and truth itself.

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.

Rita, 37, lives with her three children in a small Lithuanian town. Born with cerebral palsy and marked by trauma – abuse, alcoholic parents and her husband's suicide – she struggles to rebuild her life. Despite poverty and disability, she fights to care for her kids, though they drift away. Her brief reunion with her imprisoned first love ends in violence, forcing her to choose her children over him. Left alone, Rita has a new hope – to study social work and to give her kids the better life than she had.

Patrik grew up among fourteen children in a foster family. When he turned eighteen, he found himself alone, without support or home. After a series of failures, the loss of work and falling into addiction, he accepts an offer to work at a remote shepherd’s hut. Peter and Veronika, who overcame addiction and now run the hut, see in him a chance to heal their own past. Between the three of them unfolds a fragile web of relationships, where the roles of parent, employer, and savior intertwine. The Sheepfold becomes a metaphor for the invisible mechanisms of power that grow out of good intentions.

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?

Olga, a filmmaker, returns to war—this time in Ukraine—where she embeds with firefighters who rescue lives under fire. Years earlier, as a child in Africa, she had been saved from a school hostage situation. In documenting the men’s quiet strength and humanity, she confronts her own trauma. Their care and resilience create a space where she begins to heal. Amid the destruction, Olga chooses to become a mother. The film weaves war and rebirth into an intimate story about connection, memory, and choosing life as an act of resistance.

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.

A 25-km stretch of road switchbacks up and over a mountain heath. This is the only overland route in and out of Seyðisfjörður, a remote village in Iceland. Here, the extremes of nature shape everyday life—dense fog, ice, and snow isolate residents for days at a time, cutting them off from the rest of society.  Through poetic and haunting visuals, THE HEATH immerses us in the lives of a community bound to a fjord. As a promise of security triggers utopic visions of the future, the residents’ stories and reflections become framed by their collective fixation for a long-awaited tunnel.

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.

Xia, my mother, married into Taiwan long ago but hadn’t returned to China for years. When she finally went back, amid the turmoil between China and Taiwan, I was forced to face my own shame and the lie I’d built—how could I be half Chinese yet support Taiwan’s independence? At her red-brick childhood home, her stepmother no longer knew her, and she repeated her name—Lei Xia, Thunder and Rosy Clouds. Later, she gave up her Chinese identity to be recognized as Taiwanese. Between faith and politics, we search for where we belong.

Bukra unveils Jenin Refugee Camp's resilience, transforming systematic destruction into a narrative of hope. The film weaves three stories: a theater defying attacks, a painter etching history, and an organization empowering its community. Military invasions shatter daily rhythms, yet resilience erupts through rehearsals in fractured theaters, artists amid rubble, and women resisting devastation. Bukra witnesses those who turn potential erasure into creation, making imagination itself an act of revolution, a testament to a spirit that simply refuses to be broken.

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.

Vanished Elites is a six‐part anidoc series (6×58’) unfolding in two temporal planes: animation reconstructs history— the stories of the founders of famous brands, their efforts and setbacks on the road to success — while the contemporary, contemplative documentary layer returns to the “scenes of the crime,” searching for traces in abandoned or privatized factories, archives, and families. The series is not a pious excursion; it’s a vivid, visually striking narrative about inventions, marketing, urbanism, the power of commodities (sugar, alcohol), social responsibility, and how antisemitism, nationalism, and communism rewrote family histories and the memory of cities and society.

Around its riding stables artists, beekeepers, war drumming kids and homeless people give life to a temporary city based on resistance, ritual and imagination. Four layers of time intertwine: history, animal biology, political action and future ruins. Morena explores forgotten attics; Cioto sculpts earthen shells and performs a rebirth; Sergiu takes his bees to the upper floors. War is re-enacted, beauty is recovered and everything burns. The palace goes up in flames. The beekeeper marches through the snow where the surviving bees are asleep for the winter.

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.

Growing up in a former Belgian mining town, I witnessed coal slag heaps slowly reclaimed by nature. Now, as Europe rushes to extract lithium for its ecological transition, I travel across France, Portugal, and Serbia to follow three characters confronting new mining projects. Through intimate portraits spanning generations, I explore how this "green" mining boom echoes past cycles of exploitation. Can we break free from extractive patterns while building a sustainable future?

In her Brooklyn apartment filled with books and slogans, 82-year-old feminist icon Silvia Federici cares for her partner George with humor, love, and exhaustion—embodying the very unpaid labor she’s long fought against. Between caregiving, lectures, and writing, she demands that care work be valued as the invisible force sustaining life and economy. Guided by the filmmaker’s voice, Who Cares journeys through global care realities, linking witch hunts, inequality, and hope for a collective, caring future.

“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.