One scorching summer at the Cité Modèle, Brussels' largest housing estate, three stories unfold across one family. Two kids chase a magic lamp to keep their wheelchair-using friend from being forced out by broken elevators. A teenage girl builds a team of misfits for a football tournament. A mother rallies her neighbours to uncover who stole the rain. 6TM is a Belgian family comedy in three chapters, rooted in magic realism and the resilience of a community.

A socio-political travelogue explores Europe through contemporary crises, historical memory, and political myths known as “European identity.” It examines the tension between ideals of equality and lived realities of exclusion. Moving non-linearly and rhizomatically across places, voices, and situations - from Warsaw to Normandy, Tbilisi, and Lesbos - it portrays a continent in transformation. In this unstable moment, it asks what still shapes Europe today and whether political imagination is still possible, or if we are already at the end of history.

It is 2018. On a narrowboat moored in the English countryside, Hobbit and Jake make a radical decision: to raise their child free from gender expectations. Determined to protect their baby, Anoush, from the constraints of binary thinking, they choose not to reveal their child’s biological sex and use they/them pronouns from birth. At the heart of the film is a family’s attempt to imagine a different way of raising a child. Spanning approximately ten years, the film follows Anoush as they grow up outside many of the norms that usually shape childhood.

Miguel drifts in technological comfort, a passive subject of modernity convinced of the system's stability. As the airplane—the Earth itself—fails, the window reveals the suppressed reality: the planet dissolving into ecological firestorms. The fuselage cracks. Impact occurs, but destruction is replaced by a violent suspension of time: Benjamin’s Jetztzeit. In this rupture, Žižek and Löwy emerge, reframing the crash not as an accident, but as the inevitable “storm of progress.” In the stasis, one question remains: can we interrupt the trajectory of collapse before the fall resumes?

What if a war never ends ? What if it only waits for another name? In 2025–2026, war returns to Iran. A film begun eight years ago, looking into the unresolved memory of the Iran–Iraq War, is suddenly pulled into the present. The distance between then and now collapses. Nawal, living between France and Iran, has travelled for years with filmmaker Ali—through family landscapes, forgotten places, encounters with those who remember. They were looking for traces of a war. Now the traces are alive again. Memory is no longer behind us. The past enters the present. A war returns—not as history, but as something still unfinished.

“…sometimes I thought, in front of my dad's camera, I was a superstar. In my eyes, my dad was the greatest director in the world, and his films were the best TV shows I could remember. It was my father who made me fall in love with the camera. He taught me that with a camera, you can show others whatever you want. You can tell the story that you want them to hear. You can even be that character that you know doesn't exist in reality…”

“Being in You” is a feature documentary and an expanded cinematic version of the original XR experience, built around the two-year creative collaboration between artist Michał Stankiewicz and singer-songwriter-geologist Cat Janice, before and after her death in 2024. Drawing on intimate recordings, messages, rehearsals, and previously unseen archives, the film extends the world of the XR work far beyond its original form. Through Cat’s family, collaborators, and experts in AI and digital afterlife, it explores what remains of a person in memory, data, and technology.

The film presents six stories from apartment buildings across central Athens, from struggling to affluent neighbourhoods, each showing a different response to the energy crisis. Starting from archival interviews from 2013–2014 and incorporating new material on today’s Airbnb-driven housing pressures, it reveals bonds of solidarity, cooperation, and daily energy practices. Each building becomes a microcosm, seen through a resident’s perspective, highlighting how energy poverty is not just economic, but social-shaped by relationships, values, and collective survival in times of crisis.

A struggling filmmaker is running out of money, time and usable footage for his documentary about women sold into marriage from Albania in Montenegro. Convinced that the only way to tell the story is from the inside, he buys a bride himself and films the process. As his project gains support from funders and NGOs, the line between observation and exploitation disappears, forcing him to confront his own role in the system he claims to criticize.

The Roma settlement in Trebišov is one of the largest in Slovakia—a place governed by its own rules, shaped by generations of poverty, crime, and survival. But even here, among the odds, there are people fighting for change.  Blending elements of genre and moments of humor and made in a collaborative way with the protagonists from the Roma community, the film captures both the harshness and the warmth of life in a place many have written off. It’s a story of community, resilience, and the quiet hope that something better is possible.

Set on Japan’s remote Ishigaki Island in Okinawa, Daughters of the Pit follows Kaori Uechi, Japan’s first female bullfighting union leader, as she fights to protect her place in the male-dominated world of tōgyū, a centuries-old form of bullfighting. Facing pressure from rival ranchers and union elders to step down, Kaori mentors sisters Hinata (12) and Haruno (8), who raise and train their own bulls despite traditions that exclude girls from the ring. Together, they challenge gender norms and reshape the future of this deeply rooted culture.

In 1988, during the First Intifada, a pair of eyes from Gaza appeared on the cover of TIME magazine. The gaze belonged to Qassem: a journalist, member of the resistance, and future founder of Ramattan, Palestine’s first independent television news agency. Decades later, we reconnect with the man behind that iconic image: exiled in Egypt, caught between silence and hope, tending the land as he awaits the moment to return to Gaza to rebuild, for the fifth time, his home and his dream.

In a moment of crisis, director Vita Drygas questions the purpose of documentary cinema. Turning to the archives of her grandfather, Vytautas Žalakevičius, she constructs a film essay that bridges past and present through fragments of his life and an unrealized scene of a buried church. As this vision slowly materializes, the film becomes a meditation on memory, inheritance, and the human need to search for meaning when certainty collapses.

Alberto (29) films his father and two aunts as they empty the family home in Calatayud before selling it. Among the belongings, they find a box of poems in Catalan written by his great-grandparents after the death of Maria Rosa, his grandmother Marta’s sister, killed in the fascist bombing of Lleida in 1937. The discovery leads the family to recover a silenced past. At the same time, Alberto tries to speak with his late grandmother and come out to her. Their journey to Lleida turns private grief into a political act, and into a reflection on memory, archives, and identity.

A hybrid archival film about the Bykivnia mass graves near Kyiv, uncovered in the 1960s by three Ukrainian artists. Their attempt to reveal the truth about Stalinist crimes was silenced. Decades later, exhumations remain incomplete, and thousands of victims unnamed. Through archives and animation, the film will focus on the exploration of the persistence of political fear, and how silence fuels the cycle of violence. It will question the responsibility and politics of memory on the example of a nearly 100 year-old history.

IL GENIO is a creative feature-length documentary that explores the life and career of Dejan Savicevic, one of football’s most gifted and unconventional players, as a prism through which broader political, cultural, and economic transformations of Europe are examined. The film traces his rise from Yugoslav football to Silvio Berlusconi’s AC Milan, a transition that coincided with the violent collapse of a country and the transformation of football into a globalized industry.

Richard Saul Wurman is one of the most influential yet lesser known minds of our time. Brilliant, opinionated and allergic to bullshit, he has spent his life challenging norms and reshaping culture. With exclusive access to his vast archives and interviews with icons, Impossible To Ignore reveals a complex man whose ideas feel urgent in the age of AI. At 91, Richard is still restless, still reinventing himself. His relentless curiosity, outsized ego and audacity fueled groundbreaking ideas that changed how millions understand the world. The world knows his work. It's time to meet the man.

Through the archive of pioneering ophthalmologist Benedetto Strampelli, a mysterious gaze travels across India, Africa and the Amazon, observing people and landscapes while documenting his radical attempts to restore sight. As his images encounter artificial intelligence, dreams, blindness and radically different ways of knowing, the film questions the authority of the image itself. What does it mean to see and what might remain invisible when we believe we can see? A cinematic journey through archives, memory and technology, searching for another way of looking.

It Still Grows Here follows the gardens between the Fond housing blocks and Plečnik Stadium in Ljubljana, a small piece of land that has survived for decades amid housing, a closed stadium and development plans. Through the daily rituals of people who plant, water, repair, teach and preserve its archive, the film portrays a community protecting a living space from oblivion, noise and potential erasure. Combining observation, archive and sound, it explores the right to the city, belonging and shared memory.

Male Fantasies explores the virtual and spiritual worlds of men in Northern Michigan––a deeply conservative region where conspiracy, religion, and ritual merge, revealing a haunted portrait of American masculinity and mythology. Combining police bodycam footage with intimate testimonies and visual investigations, the film evokes the structures of violence in a fractured political landscape.

The Monument of Revolution built in 1982 on the highest peak of Petrova Gora, is the most imposing of Vojin Bakić’s memorial projects and one of the most significant modernist monuments in Europe. Since Croatian independence, it has been severely damaged by both natural forces and human neglect. While Čedomir Studen, its caretaker, continuously repairs the site, intruders and scrap collectors strip away its material remains. Different groups attempt to define its purpose and ownership, as the monument, abandoned to time, continues to attract attention throgh its physical and symbolic decay.

In an age where everyone speaks but few truly listen, Mythos follows exiled filmmaker Artur Aristakisian on his journey from Russia into European exile — a passage that mirrors the search for a voice. As he gives voice to the unseen and unheard, he searches for a forgotten language of empathy and presence. Blending documentary, essayistic, and staged elements into a meditative cinematic structure, the film unfolds in the fragile space between silence, image, and sound.

Nerva is a peaceful village in Andalusia, located on the banks of the Río Tinto, whose environment and daily life are profoundly altered by the installation of a landfill just a few meters from people’s homes. The town becomes divided between supporters of the landfill and opponents who organize resistance and protest. Years of demonstrations follow, especially when a ship departing from the port of Bijela in Montenegro arrives after traveling 3,177 kms carrying toxic waste…

ORA ET LABORA is a cinematic meditation on monastic life in the 21st century, set at the Benedictine Abbey of St. Mauritius in Tholey, the oldest monastery on German soil. As the Abbey seeks to revitalise itself and attract a new generation of monks, this fragile process is disrupted by the sudden death of its talismanic Abbot Mauritius. Through multiple characters ORA ET LABORA explores contrasting relationships to faith, authority, doubt, and vocation and asks what spirituality and belonging can mean in the context of religion and contemporary society.

Orbán and Me is a personal political documentary that dives into the past to shed light on the present. Using observational footage and archival artefacts, Réka and her son track the 2026 campaign and contrast the transition of the 1990s with the current backsliding. The narrative follows the high-stakes chase for Orbán, and the divide within Réka's family reflects the deep polarisation running through Hungarian society. As the camera documents the aftermath of the election, the film asks if pro-democracy forces can consolidate power, or if the authoritarian framework cannot be changed.

The Doomsday Glacier's ice shelf is fracturing. A team of scientists, including Naomi, who found solace in nature during a troubled childhood, arrives amid a massive storm to map the collapse they know is coming. Three strands interweave: observational footage of the team drilling cores, deploying radar, and racing to build a monitoring station; Naomi's journals, tracing the emotional cost of expertise that challenges hope; and The Ice itself, voiced in fractured poetry spanning geologic time. The scientists depart knowing no one will return. The Ice melts on, flooding once familiar landscapes.

Eight children from different parts of the world enter an endless white space, where they encounter an unfamiliar machine called Playtopia. Playtopia asks them to show it how humans live. Left largely to themselves, they build cities, negotiate rules, argue, play and drift into conversations about home, money, nature, technology, and death. Playtopia observes them, searching for patterns and meaning, while fragments of the children's self-recorded lives reveal a world far less easily understood. The more Playtopia learns, the more human life seems to exceed what can be observed, measured or explained.

Preemies follows Dr. Kornacka in her final months at a Warsaw neonatal unit, where she treats the most extreme, smallest, earliest born children. Each day is a fight for life. It also meets her former patients, now adults, living with the visible and invisible traces of their earliest days. A film observes and asks how do you carry this near death experience through life? What are the consequences of that experience? Finally, it tells a story about saving lives, and living them.

RAW explores the complexity of surrogacy, a practice in which a woman carries a child for intended couple. Moving between the lived reality of a surrogate mother, the memories of a daughter born through surrogacy, and the intimate testimony of an infertile woman longing for a child, the film offers a raw experience of what it means to desire a child, to carry one, and to be born within an agreement where intimacy and commerce collide. Three women who never meet are offering a perspective on the value of women's bodies, and on how seemingly simple decisions can impact many lives in their small world.

In the winter of 1991, as Yugoslavia was breaking apart, the city of Rijeka negotiated: night after night a general and a prickly local political leader drank whiskey and argued over the fate of the city.  Three decades later, what remains of that choice? The film is anchored in three storylines: a historical political thriller; an observational part following a group of art students; and a third with a group of nationalistic teenagers.  In a Europe drifting towards rearmament the film asks a simple, urgent question: What do we risk when we forget that, once, we chose not to go to war?

In New York and Florida, a builder explores landscapes of fabricated history as created by early American writer Washington Irving.

If you were online in 2003, you probably knew SmarterChild. Long before ChatGPT, he was a novelty: a chatbot who was always online. He became a sounding board for a generation, we confided in him, insulted him, and propositioned him. Twenty years later, as AI becomes deeply embedded in our lives, what does our treatment of the first internet chatbot say about us? By revisiting our cringe-worthy conversations, we explore the darkest parts of human nature, accountability, and what it takes to change, not only the technologies we create, but ourselves.

In 2015, in the Peruvian Andes, Saúl Luciano Lliuya lives in close connection to the glaciers that sustain his community, now rapidly melting and threatening a deadly flood. Determined to act, he brings a landmark case against German energy company RWE, one of Europe's largest carbon emitters. Filmed over a decade, SENTINELS weaves his legal struggle with intimate family life and his daughter Gleyssi’s growth. The film reflects on climate justice, cultural identity, while asking what it truly means to be a hero in an era of climate crisis.

SHE WRESTLES is a portrait of a movement, interweaving multiple character arcs with a chorus drawn from 100+ audio interviews. This vocal chorus represents patterns of shared experience while granting anonymity to wrestlers with sensitive stories, including undocumented and transgender wrestlers. Unforgettable figures emerge: a Native pioneer of girls' wrestling, the daughter of an incarcerated father, Syrian refugee twins, an asylum-seeker who finds meaning through wrestling. Together, they show how this cultural change is transformative for young women, and a microcosm of the greater world.

From an early age, Sofia and I experimented with her father’s camera, creating audiovisual work together. After losing her mother at ten, Sofia was forced into early adulthood, while her sister Agapi became her maternal figure. Agapi’s cancer diagnosis in 2019 and her passing in 2023, followed by Sofia’s breast cancer diagnosis in 2024, marked a turning point. After treatment and surgery, Sofia asked me to document her body. A year later, I continue visit her as she recovers, searches for stability, seeks employment, and uses dance and film to process grief and imagine a future.

Lena (21) is a journalism student who is assigned to create a TV report using her mobile phone. She decides to focus on the topic of the war of symbols taking place in her neighborhood. She meets other characters involved: the Activist, Local representative, the Loyalists and finally the street artist called the Pianist. When she decides to publish her work, she hesitates. Fear of the consequences that could affect her and her family leads her to self-censorship. But the war for the walls is escalating. The entire country is entering a state of civil war.  Lena (can)not remain neutral.

The 13th Fish is a creative documentary exploring the lives of daughters-in-law in Montenegrin society. In a culture where sons bring status and daughters are seen as “a stranger’s supper,” women move through roles whose value shifts with tradition. Through anonymous testimonies and black-and-white imagery, the film reveals voices that speak yet fear being seen. Blending art and sociology, it examines patriarchy’s lasting influence and is the first Montenegrin film to address this subject directly.

In Argentina, 2024, a deep social and economic crisis unfolds under a new libertarian government. The Di Bitetti family gathers in La Plata to sell their recently deceased grandmother’s house and get rid of its antiques. But one family member is missing: Antu, a young trans woman who emigrated to Berlin and has disappeared. Her older brother Manque travels there to make a documentary about her search. Meanwhile, the family struggles to sell the house while confronting the ghost of their grandmother. A film about family in an increasingly radicalized world.

A young shepherd, Anaram, wakes to find his beloved goat Tara missing. In Jawai, this can only mean one thing. Here, the only border between leopards and shepherds is elevation. Leopards reside in granite hills above, mystical beings under the providence of the same goddess as the shepherds. Anaram's search leads him past wildlife surveillance cameras to the Sons of Kings, once hunters, now safari hosts, and finally to a mad saint who speaks of a divine leopard invisible to surveillance. Desperate, Anaram enters the leopard caves alone, on a subterranean quest beyond the realm of humans.

The Consciousness of David Lynch is based on two previously unreleased interviews conducted in 2015 by Marco Spagnoli and Rüdiger Sturm and represents an intimate, philosophical, and emotional portrait of David Lynch – not only as a filmmaker, but as a spiritual seeker and human being. These conversations, accompanied by original interviews with filmmakers from across the world, offer unprecedent access to the consciousness behind his unique artistic vision, becoming a cinematic meditation and a final, necessary dialogue with one of the most original minds in the history of art and film.

Laura returns to Egypt after her mother’s death to sell a decaying family plantation. Isolated from the surrounding village, the estate becomes a space where memory, privilege, and estrangement collide. As friends briefly revive it, buried histories of her mother and grandmother and exploited labor surface. When demolition begins, past and present intertwine, forcing Laura to confront her inheritance and identity before returning to Berlin, carrying its unresolved weight.

A single shirt travels from cotton fields in Central Asia through factories, markets, and global supply chains before ending up in the textile waste mountains of Chile’s Atacama Desert. Along the way, the film reveals the labour, resources, and invisible systems behind an everyday object, tracing how value is created, transformed, and discarded. What begins as the story of a garment becomes a wider portrait of consumption, inequality, and the true cost of fast fashion.

On Issyk-Kul’s southern shore, Kaji-Sai lies among the surreal red cliffs of “Fairy Tale Canyon” and the ruins of a Soviet uranium mine. At the edge of a quarry lives Kupan Ava, an elderly miner who tends a small apricot garden. Each summer he tries to gather fruit, but apricots fall to the ground, filling the garden with their sweet scent. His grandson spends his holidays here, exploring the abandoned quarry. Yet the landscape is changing. New structures rise beside the old mine, while trucks pass through the quiet landscape. The past remains, but something new is taking shape around it.

When Jess discovers that her first boyfriend Andy Davey was actually undercover cop Andy Coles, she is forced to confront a devastating truth—she was targeted as part of a state-sanctioned operation to infiltrate activist movements. As she goes public, she learns she is one of at least 60 women deceived by officers who used intimacy as a weapon. We Did Not Consent combines documentary and theatrical storytelling to bring us closer to the women as they revisit their pasts and expose the systemic abuse that sought to silence them.

EKTON has the key to anywhere. He leads a secret community climbing cathedrals, surfing freight trains, and partying inside Disneyworld after dark. #Freedomisnotacrime is their creed. No vandalism. Just stolen access. But is this true freedom or life-threatening madness? We follow the masked Gangsta Claus through Europe's forbidden zones – unsecured steeples, abandoned power plants, and locked amusement parks. Exclusive access to a hidden world. The question: dream or death wish?

A filmmaker reconnects with her estranged mother whose radical right-wing beliefs drove them apart. As the mother’s eyesight deteriorates, threatening with blindness, they embark on a journey across Europe and the U.S., visiting places and events that shaped their opposing worldviews—from religious gatherings and neo-nazi rallies to feminist protests and the refugee crisis. Through real encounters and staged scenes, they confront political and personal divides, exploring conflict, empathy, and the possibility of understanding before it’s too late.