Through symbolic imagery — like the cocoon and the fragile exhalation — the journey of suffering and purification unfolds: a metamorphic process of death, release, and rebirth. The film reveals how the body’s inner messengers link pain, transformation, and hope, shaping both our perception and our very being.
One day, a child sits quietly and attentively in a dilapidated apartment building. A fan gently stirs the air as the child plays with a Rubik's cube, its colorful faces sparkling in the fading light. With delicate movements, the child crosses streets and alleys, discovering hidden possibilities. Despite the threat of decay, small moments full of play, wonder, and hope arise, nourishing creativity. A delicate contrast to the faceless world of adults and the impending collapse that threatens to engulf everything.
Dance connects! Several generations dance for themselves and yet together. Each movement reveals its own attitude toward space, time, and internal and external barriers. The bodies and their gestures resonate with the sound and open up new approaches to silent acts of resistance, vitality, and becoming. A loving film miniature on 16mm, hand-developed, marked by traces and scratches from the analog process, revealing the fragility of the moment.
The suicide rate in prisons is ten times higher than in the general population. But instead of improving prison conditions, politicians are focusing on technological solutions. The film documents the training of artificial intelligence designed to predict and prevent prisoner suicides in German prisons.
In a dream, the artist transforms into an animal and crosses unnoticed through the forest at the border fence between Poland and Belarus. There she encounters her grandmother—silent and close. The poetic video work combines personal memory with political reflection and shows how transformation can express longing, fear, and resistance at the same time.
Final chapter of the Saaya & Koharu Trilogy. Saaya and Koharu are living happily together when Momoka, who is aiming to reach the top of the yuri doujinshi world, stand in their way. In order to take her place at the top, Momoka tries to drive a wedge between Saaya and her rival. Furthermore, Koharu faces a new obstacle when her mother pressures her to marry Makoto. (R15+ version premiered at the OP PICTURES+ Festival 2025).
Made from a reconstruction of the memories of his uncle's empty apartment, this film transports us to a nephew’s reflections on absence and the regrets of his vague memories.
A long-time resident of the farm, the filmmaker sets up a camera to observe this community living physically and ideologically on the margins of consumer society. In this multigenerational, interdependent community, each individual contributes in their own way to growing or raising almost all their food and, more broadly, to creating their own shared space and way of life. They seek to live in harmony with plants and animals, adopting an approach based on respect and recognition for their ecosystem. Images and sound express this vision, often placing humans in relation to their environment. The flexible frame also highlights manual labour with its sometimes delicate, sometimes laborious gestures. This visually stunning work was filmed over two years and follows the seasons. It’s punctuated by cycles—from sowing to harvesting and from birth to slaughter—developing an inspiring reflection on society, nature, and life through ellipsis and fluidity.
"Shades of Life" is an introspective and melancholic anthology that threads together different stories, all set against the backdrop of Indian village life
Adela, a woman with an undiagnosed mental illness, seeks relief through folk rituals. Misunderstood by her family and a medical system that offers her only medication, she lives convinced that someone, or something, is watching her. At times, she feels its presence: it touches her, hurts her, and leaves her bedridden for days. Only religion seems to offer her a sympathetic ear, leading her to consult a healer and confess the disturbing origin of her suffering.
THE FIRST INDIGENOUS FEMALE PORNOGRAPHER is a mockumentary film running (13 minutes and 20 seconds) that blends and bends archival, pornography, re-enactments, and the only existing interview with Audrey Little-breast, “the first Indigenous female pornographer,” as she refuses to be labelled or represented as anything but herself. She is interviewed about her notorious pornography that exploits settler desire of “Imaginary Indians”. The film is a comedy that playfully engages the subjects of Indigenous identity, the politics of recognition, the “playing Indian” phenomenon, and Canada’s hottest piece of tail - The Beaver. We are invited to ponder how deeply historical and contemporary settler-indigenous relations impact our sexuality.
"Happy, happy, who cares." After undergoing the major surgery that is torsoplasty, he will no longer worry about what the world might think. Reclaiming his body, completely, is the only thing that matters. This documentary film follows Clair through his emotions: apprehension, euphoria, melancholy, gratitude—not at seeing his body change, but at recognizing himself. Finally. And for the first time in his life.
‘Sharp Objects’ follows the forgotten story of the Klungkung keris back to its origins and to its post-colonial relevance to Bali today, tracing the looting of the keris to modern day tourism in Bali. The film juxtaposes the 'knowledge' of colonial archives against community-based knowledge and mythology, convoluting the understanding of what is preserved, what is dead and what is lost. The artists apply a tangible intervention on the photochemical material they use for the film. This time consuming approach embodies the narrative of the labor intensive iron forging craftmanship of a keris blacksmith.
Adrián and his lover meet at an old apartment downtown. The date takes a turn when he discovers neither of them scheduled it. A phone call then reveals they've been ambushed.
Samuel, desperate to buy his little sister a gift for her birthday, gets pulled into the world of gambling. As he chases quick money, he faces peer pressure and animosity, learning that every win comes with a price and every loss comes with a lesson.
Karl Marx, a middle-class man in his mid-forties, lives in a small housing board quarters with his mouthy wife and his two kids. As long as he can remember Karl Marx had only one dream, to buy a couple of acres of land in his native village and do farming. This middle-class man with his middle-class dream gets a reversal of fortune because of a good deed done by his father in the past. That being a cheque for an amount of one crore rupees. But fate plays a cruel trick on Karl Marx as he misplaces the cheque and struggles to find it. He has only two days to find the missing cheque and encash it. Does he find it? Does he fulfil his dream? The story that unfolds is Middle Class