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There’s a cruelty that feels so real about somehow being lonely in a city filled with millions of people. LOVERS IN THE BLUE NIGHT spends much of its runtime trying to come to terms with that contradiction, following people who are constantly surrounded by people, noise, traffic, work, and obligation while struggling to find anyone who actually sees them. Writer/director Anuparna Roy doesn’t treat loneliness as some abstract emotion here. It’s tied to money, sexuality, caste, marriage, migration, and the compromises people make when simply getting through another day has already demanded every ounce of their being.

Léo’s journey through ONE MINUTE TO MIDNIGHT spends much of the time looking backward at his life, although writer/director Nicolas Pariser is far less interested in whether he likes what he finds than in questioning why he assumes his self-examination should matter so much to everyone else. At 49, facing the end of a relationship and learning that the biological father he never knew has died, Léo has every reason to start taking inventory of his life. What sounds like another middle-aged man confronting his regrets becomes a movie about realizing that even your reckoning with yourself can become another form of self-absorption.

Other people’s homes tell Kasia things that their owners never intended to share. She makes her living breaking into apartments, entering spaces where photographs, furniture, bills, medicine, half-finished meals, and belongings reveal pieces of lives she has no right to know about. WHAT BELONGS TO OTHERS takes that violation of privacy and turns it in an unexpected direction, asking whether stepping into someone else’s life can make a person recognize what is missing from their own.

There’s something uniquely unsettling about a place created to make people beautiful becoming somewhere they go to die. SALÓN DE BELLEZA never needs to underline that contradiction because Director/co-writer Nathalia Acevedo builds the entire film around it, allowing beauty, illness, memory, loneliness, and mortality to exist beside one another without forcing them into a clearly defined statement. The result is a film that asks for patience and offers very little conventional comfort in return. However, the longer its strangeness settles in, the harder it becomes to shake its images and ideas.

The word "return" carries a different weight when the place waiting for you is somewhere you've spent years trying to erase from your mind. Vyan escaped the war, rebuilt some version of a life away from it, and learned to survive by shutting down any emotions that might force her to confront what had happened. NO PARADISE IF YOU ARE KILLED BY A WOMAN sends her back to Mosul with a rifle in her hands and the possibility that the younger sister she believed was gone may still be alive.

Some subjects become uncomfortable almost as soon as they're spoken aloud, and CHILDREN OF THE MONKEY deliberately chooses one of them. Dario is the father of a disabled child whom he loves and cares for, only to discover something about himself when he grows increasingly close to his teenage nephew. This boy represents the son Dario once imagined having, and some part of him prefers that imagined version of fatherhood to the life he actually has.

The cowboy hat and, honestly, the idea of it looks almost absurd at first, and that's exactly why it matters. DIANE IN THE LOOP takes an idea that could have resulted in an oppressively solemn family drama and dresses parts of it like a Western, allowing Writers/directors Ann Sirot and Raphaël Balboni to talk about anger, revenge, inherited trauma, sexuality, and recovery without trapping their characters inside a movie defined exclusively by suffering.

The most affecting thing about HOUSE OF THE WIND is how much meaning it gives to an ordinary home. For Josette, the house in Yaoundé isn't simply where she lives after her children have moved to Europe. It has become a place where she's storing the expectation that they might eventually return, and every space seems connected to a future she hasn't stopped believing in. Auguste Bernard Kouemo Yanghu builds his first feature around that waiting rather than treating it as background for a larger story.

Venice has always been a city of contradictions, a place where opulent façades conceal elaborate secrets. It feels fitting then that Ilya Khrzhanovsky brought his sprawling, controversial DAU project here under the banner of The Quantum Effect. Staged at the San Marco Art Center, the exhibition reframes the long-mythologized DAU experiment by presenting unseen “physics” reels—documented debates between real scientists dropped into meticulously recreated conditions of Lev Landau’s Soviet laboratory—while pairing them with restored screenings of three completed works: FOUR, DAU. NATASHA, and DAU. DEGENERATION.

Gianni Di Gregorio has built a career on capturing the overlooked moments of aging with humor and heart, and DAMNED IF YOU DO, DAMNED IF YOU DON’T may be one of his most direct reflections on how fragile stability can be. At 75, the director not only helms the film but stars in it as the retired professor whose days are disrupted by forces outside his control. What starts as a story of independence soon unravels into something messier, funnier, and far more affecting — a reminder that no matter how much we try to shield ourselves, family has a way of pulling us back into the mess of the real world.

Anuparna Roy’s feature debut is as modest as its 77-minute runtime suggests, yet its quiet emotional force persists long after the final frame. The film follows Thooya, a migrant actress trying to carve out a place in Mumbai while struggling to survive, and Swetha, a corporate worker who sublets a temporary home from her. The premise seems straightforward, but Roy is far more interested in the inner lives of these women than in melodrama or plot mechanics. What emerges is a deeply humane portrait of two individuals who find each other in a city that rarely slows down long enough to notice anyone.

FATHER is a film built on silence, endurance, and a kind of emotion that pulls the viewer into its world and refuses to let go. Directed by filmmaker Tereza Nvotová, the film has its world premiere at the 2025 Venice Film Festival in the Orizzonti section. Here, Nvotová presents a story that begins with a single, devastating mistake and spirals into an exploration of guilt, love, and the fragile limits of forgiveness.

In THE WITNESS, we “witness” the life of Tarlan (Maryam Boubani,) a retired dance instructor whose tranquil existence is shattered when she stumbles upon a gruesome crime implicating a high-ranking official. This startling incident pulls her into the treacherous currents of political machinations and moral dilemmas, propelling a narrative that starkly contrasts her serene past with the dangers she must now navigate. As Tarlan faces off against an oppressive regime, her story delves into profound themes of integrity and personal sacrifice.

When The Beatles landed in New York City in the summer of 1965, they brought with them more than just their music—they carried a seismic wave of cultural impact that transformed the Big Apple into an epicenter of historical excitement, unlike anything we’ve ever seen. TWST - THINGS WE SAID TODAY captures this monumental moment, offering a dynamic window into the city's vibrant pulse during a truly legendary concert at Shea Stadium.

In the gripping documentary SONGS OF SLOW BURNING EARTH, director Olha Zhurba captures the incremental decline of normalcy against the stark backdrop of war. The film examines this journey as a profound diary of a nation transitioning from peace to turmoil, merging haunting landscapes with personal narratives to reveal the harsh realities of a country under siege. This journey invites the audience to witness the transformation of the extraordinary into the every day, blurring the lines between a once peaceful past and a chaotic present in a way that resonates.

ALPHA. is an intricate tale of family conflict and survival amidst the harsh and hauntingly beautiful landscapes of the Alps. At its core, this film is more than merely a story about man versus nature. It’s a deeper examination of the volatile bond between a father and his son. As they navigate the icy slopes and their frosty relationship, the film cuts through the chilly exterior to expose the fiery emotions lurking beneath.

In MALDOROR, we plunge into the murky depths of Belgium's criminal underworld through the eyes of Paul Chartier, a young officer brought to life by Anthony Bajon. Directed by Fabrice du Welz, the film examines the chilling echoes of crime, drawing a line through the shadows of the past into the present. As the film progresses, it delves into the tension between institutional failure and personal morality, portrayed through Chartier's dramatic shift from law enforcement to a lone crusader against injustice.

TAXI MONAMOUR pulls us into a captivating journey through the lives of Anna (Rosa Palasciano) and Cristi (Yeva Sai), set against a world painted with personal heartache and the chaos of geopolitical conflict. As Anna wrestles with family tensions and self-doubt, she crosses paths with Cristi, a Ukrainian refugee whose world has been shattered by war. Their encounter opens a window into the themes of liberty, resilience, and human connection, showcasing their ability to find common ground amidst adversity.

In the delicate contrast of Carine Tardieu’s L'ATTACHEMENT, viewers are treated to a subtle yet profoundly impactful look at family dynamics that defy conventional boundaries. As Tardieu’s fifth directorial venture, the film captures the unexpected connections that bind individuals from various backgrounds, revealing a mosaic of relationships that redefine the essence of family.

In the sun-drenched expanses of Corsica, France, a drama unfolds as tradition clashes with the tide of modernity. THE MOHICAN offers a fresh take on the classic Western motif, placing Joseph (Alexis Manenti,) a tenacious shepherd, at the heart of a land dispute with unyielding mafia interests. Amidst the intense summer heat, a deadly confrontation propels him into a dangerous escape across the island, marking the beginning of his transformation into a symbol of grassroots resistance.

Set against the early 2000s backdrop of Rome’s crumbling pillars, the film introduces us to Luigi Celeste, otherwise known as Gigi (Francesco Gheghi,) whose journey in FAMILIA develops a deep dive into familial turmoil and societal pressures. Struggling against the dark influence of his abusive father, Franco (Francesco Di Leva,) Gigi’s life is a canvas of deep emotional scars and an ongoing battle for acceptance. This film intricately portrays these dynamics, creating a narrative rich with psychological exploration and complex character interplays.

MON INSÉPARABLE extends the journey of human emotion through the eye of a mother-son duo, where director Anne-Sophie Bailly explores the complex currents of autonomy, dependency, and love. This film charts the journey of Mona (Laure Calamy) as she faces new realities following her son Joël's (Charles Peccia-Galletto) surprising life choices. Joël, embodying the challenges of cognitive disabilities, discovers love and impending fatherhood with Océane (Julie Froger,) shaking the foundations of Mona's world.

ISRAEL PALESTINE ON SWEDISH TV 1958-1989 reveals an astonishing account of the prolonged conflict between Israel and Palestine (even though some people are under this misunderstanding that this conflict only started in October of 2023.) Director Göran Hugo Olsson essays a 30-year history of media coverage. The series focuses on the Swedish public broadcaster SVT´s perspective and experiences throughout this era, during which massive geopolitical changes occurred. This unique perspective allows each side of this incredibly polarizing, seemingly irresolvable conflict to tell their story fully without bias. This authenticity — which extends to interviews with key figures and archival footage from Yasser Arafat and Abba Eban — gives viewers a solid grounding in the events that helped shape today's Middle East.

From the landscapes of Sweden to the intimate struggles of a displaced family within a sterile, unknown environment, QUIET LIFE captures the heart-wrenching plight of Sergei (Grigoriy Dobrygin,) Natalia (Chulpan Khamatova) and their children as they seek asylum amidst an unwelcoming bureaucratic onslaught. Directed by Alexandros Avranas, this film offers the audience a stark contrast between the cold arms of bureaucracy and the warmth of family bonds, showcasing a visually stunning and emotionally resonant narrative.

Welcome to the future, 2039—a year not defined by flying cars but by its poignant reflection on human resilience and struggle. At the center of this narrative whirlwind is PLANET B, a film whose landscapes mold the emotional and psychological boundaries of its lead, Julia Bombarth (Adèle Exarchopoulos). Director Aude Léa Rapin captured this journey in her second feature film, which delves deep into the crevices of political and personal battlegrounds, with Julia emerging in the bizarre and stress-filled world of PLANET B.