In a quiet bedroom, beneath the blanket, two men begin to talk about their fear of a ghost that haunts them, leading to an unexpected space of conversation.
The final (?) days of the Cumberland Terrace mall in Toronto's central Yorkville neighbourhood, originally built in 1974 and announced in 2025 as being scheduled for closure/demolition.
Exchange of prisoners of war. In the hospital courtyard, hundreds of relatives have gathered — far more than the number of freed Ukrainian service members. Who will embrace their loved one today, and who will have to keep waiting? The first moments of reunion become the climax, as people and viewers share anticipation.
Rosa, alone in her house in southern Italy which she built herself. Her children and grandchildren still live in Germany. This is not the way she thought it would be. Must she let go of her legacy?
Moving snapshots of people taken along a river in Kyoto develop a captivating rhythm one is only too willing to give in to. People play, sing, and take walks.
A 96-year-old begins to talk about her spirituality, her view of life, and her perspective on what lies ahead. The granddaughter gently weaves moments and memories together.
Super 8 material from the 1980s poses a mystery, so an Al tool is tasked with deciphering Berlin life. It recognizes surprising connections to the ancient city of Ekbatana.
The filmmaker captures daily life in her grandparents' home between painting nails, napping and ironing. Her images are filled with deep emotional attachment and the absurdity of aging.
On 9 February 2022, four friends in Kyiv discuss the situation: There are 120,000 Russian soldiers at the borders - what will happen? An equally historical and private moment.
Between minesweeper and family photos, the filmmaker faces the grief over the grandfather with radical honesty. A rough yet deeply tender work of remembrance.
At the heart of London, Ontario, lies Xuux Artist Venue—a creative hive buzzing with music, poetry, performance, and collaboration. In The Hive is a documentary that immerses viewers in the world of this community-driven studio, where artists of all disciplines find refuge, inspiration, and belonging.
On the Mexican Pacific coast, the land Ina Marija adopted before dying too young, her father and younger sister Una embark on a journey in her footsteps. There, amidst the lush nature of the mangroves—in a lagoon ravaged by hurricanes and constantly reborn—they begin the process of mourning. As he films this journey, Sharunas Bartas lays bare his emotions and, in an act of transmission, seeks a reconstruction nourished by the natural cycles of life and nature.
In April 1980, a massive "disturbance" erupted in Sabuk, a town in Jeongseon County, Gangwon Province. Over 3,000 miners, pushed to the brink by relentless surveillance and exploitation, seized control of the area and clashed with authorities. A last-minute deal was struck, narrowly averting the deployment of martial law forces and a potential bloodbath. Nevertheless, the conflict resulted in numerous casualties. Even now, more than four decades later, the scars of this event remain deeply etched in the community's collective memory.
After leaving the psychiatric facility where they had been wrongfully confined, Katya and Yulia, two young Russian women whom I have been filming for many years, finally achieve independent lives. This newfound freedom, which they have fought so hard to attain, promises to make their dreams of a new future come true. But how can one be free and pursue their aspirations in today’s Russia?
In 1967, extensive archaeological excavations took place near the Auschwitz-Birkenau concentration camp, during which over 16,000 objects belonging to deportees were uncovered. The excavations became the subject of a 14-minute documentary film, shot on location by director Andrzej Brzozowski. Ania Szczepańska followed in the footsteps of this film and the entire event with her film Unearthed, which she worked on for 14 years. Her documentary follows the author’s search for the circumstances surrounding the making of the film, and the significance of the excavations themselves.
Ammar and Bilal both have experience as refugees living in present-day Germany. They meet thanks to an interview conducted by an actress and actor, who are using it as inspiration for a play they are preparing. However, the documentary follows their conversations, their everyday lives, and ultimately the theatrical performance that emerges from these conversations.