Director Aneesh Chaganty was given early access to Movie Gen, the AI video generation research models from Meta. His only instructions were to use the tool to make something he found compelling or useful. This is what he made.
In a coastal climate, surrounded by pine trees, a creature strives to return to its origins. A private house in Jūrmala is an Eden set in horror, where shadows and lights create a visual poem reminiscent of a bedtime fairy tale by Hoffmann – under direction by Pakalne, it offers hope while carrying a warning.
More than anything, I want to rise into the air with you and share an arena – this could describe the choreography of Latvian dancers Artūrs Nīgalis and Mārīte Supe, where nearly two lifetimes are danced out. In the Riga Circus building, opened in 1888 and now reconstructed, endless longing, tears, emotionally charged equilibristics, truth, and duality revolve. Have our relationships also reached a circus-like amplitude? Estonian director Pulk seems to have found the answer to that.
Starting from the discovery of a propaganda film from 1927, L’Estate Silana, made when King Victor Emmanuel III visited Calabria, the film Sons of No-one focuses on the unused fragments in the film, and digs into the edges of the shots pointing a finger at how history, and cinema, is staged. The texts, from the book Calabria grande e amara by Leonida Repaci, seek in these reels what propaganda excluded and deliberately kept in the side-lines. Sons of No-one is a short film made during a workshop conducted by Gaetano Crivaro and Margherita Pisano for The Memories Film Fest, organized by the Cineteca della Calabria Association.
The first sports documentary about the Vietnamese women's national football team and their historic journey to the prestigious FIFA World Cup. From barefoot beginnings in rural Vietnam, these women have steadily risen to reach the esteemed stage of the FIFA World Cup.
Twelve students from Istanbul Özyegin University's Bicycle Club embark on a cycling journey around seven lakes in the Mediterranean region to raise awareness about the severe droughts affecting the area.
The Tetterode building, a former type foundry in Amsterdam’s city centre, was squatted forty years ago. An unconventional community of almost 250 artists and other creatives still lives and works there. Although this haven remained independent of the housing market for years, the world around them has changed beyond recognition. A place to live and work is unaffordable for many people today. In Power in Our Hands, Onur Can Tepe paints a melancholic and contemplative portrait of an unusual community. The residents are growing old, and spaces are rarely vacated. New energy is needed, but where can the old guard go? The film is an appeal for diversity in housing and creative studios in the city centre. To what extent can we cling to a rich history while making room for the future?
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