Cara Ronzetti

Zach Galsky

Legyaan Thapa

Irmak Akgur

Kalliopi Magnis

During the summer semester at a New York City arts school, boundaries begin to blur between an adjunct professor and the students in her Personal Documentary filmmaking class.

Gravedigger is the last name on the list of fighters facing the Corona epidemic. The gravediggers have buried the dead in one corona after another at the call of humanity even though they were not paid. In return, they received some rewards and an invaluable realization. One of them is Aslam of Ray Bazar Cemetery, The Last Man.

How do German couples communicate in private? What are they arguing about? Is the way to a man’s heart really through his stomach? This docu-fictional hybrid production discusses such questions with the help of authentic interview snippets that were edited under the staged plot. We get an insight into the life of an animal couple, who experience typical everyday situations on behalf of us humans. At first, our fox is emotionally contained, while the penguin lady may get wild as hell. With a wink, the filmmakers hold up a mirror to the audience in the cinema.

A radio DJ in pursuit of an exclusive interview follows ABBA during their mega-successful tour of Australia.

By the end of the weekend, nothing has truly changed. Ekin remains the same, the Anatolian side of Istanbul remains the same.  Set in 2020s Istanbul, the film follows Ekin, a young adult living with his mother whose days revolve around searching for a place to live, at least as he tries to believe. As childhood memories, friendships, and new encounters linger in the streets, anxiety quietly grows, and after sleep, life resumes exactly where it left off.

In a follow-up to his 2021 short, SUMMER, Liam once again spends the duration of a summer filming, editing, and releasing a single shot every day. Things have changed or have they?

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.