Lulek, a hit man, is released from prison and given an offer he can't refuse by the man who put him away. If he kills the chief of the Central Bureau of Investigations, he will earn a huge sum of money and have his record cleared so he can leave.
When Danish filmmaker Lea Glob first portrayed Apolonia Sokol in 2009, she appeared to be leading a storybook life. The talented Apolonia was born in an underground theater in Paris and grew up in an artists’ community—the ultimate bohemian existence. In her 20s, she studied at the Beaux-Arts de Paris, one of the most prestigious art academies in Europe. Over the years, Lea Glob kept returning to film the charismatic Apolonia and a special bond developed between the two young women.
Joko is a young man who works on the cistern, he is the only breadwinner in a family. On his second anniversary of employment, Joko and his colleagues meet with foreign delegates who force boy and the rest to… carry on their back. At first, Joko is against and rebels against this humiliating activity. However, under the pressure and desire to earn good money, he subsides.
During the production of the play based on Aristophanes’ „Birds” the three artist friends face the painful truth about themselves. Someone regrets abandoning someone. Someone seduces the director of the play, because they believe in polyamory. Somebody thinks that the war has never ended and one must never surrender. Someone else claims that it’s all about how you fall and you should know how to drop. And in the meantime, somebody decides to express an unusual declaration of love.
After his mother’s death, Adam finds his parents’ correspondence. We discover a love adventure entangled in the 20th century, when the world was cut in two and the war between Iran and Iraq marked the start of tragic conflicts in the Middle East. Mixing animation and found footage, we dive in a odyssey full of bombshells and secrets.
A poignant professional directing debut of Kobas Laksa, a visual artist, photographer, performer and an experimenter. Larysa and Boris, immigrants from Ukraine, are raising their son Mitia together. They try to balance their private and professional life. Larysa plays the flute and tries to be admitted to the local philharmonic orchestra, while Boris is a street mime. When they seem to have luck on their side, an accident that happens forces them to redefine the vision of the future they have had so far. Very close to man, this kind of cinema is balanced and intimate, with a sparse use of dialogue and great consistency of the form.
Old age. It affects everyone and there is no cure for it. Stanislaw and Maria are elderly and are slowly losing their ability to live independently. Their daughter Ewa comes to their aid when she discovers her mother's embarrassing problem. Because of this, women go on the warpath. The film shows how important it is to call a spade a spade - especially in the bosom of the family. Facing difficult challenges together turns out to be - in itself - an important therapeutic tool and at the same time integrating family bonds.
The Tiger - a forty-year-old film director - uses life by sprinkling it generously with alcohol and cocaine. The problem is that when hangover is left as the only companion in life.
A story about the meeting of three men: Father, Son and Uncle. A story about returning to the roots and the inseparable bond between the Son and the Mother. The Son's visit calls into question the existence of one and only one personality model. The alcohol-enhanced conflict fuels subsequent loops and repetitions, pushing the characters towards the inevitable end.
Two women, one house. An intimate story about a Pole and a German placed by war on enemy sides and their parallel lives accidentally brought together. The film reflects on the concepts of invaders, victim, guilt and forgiveness. It confronts different experiences and their paradoxical similarities. It deals with the controversial subject of the post-war accountings. The visual narration is flowing, guided by memories and archives. Traditional documentation confronts experimental use of archival footage in the cinematic impression about displacement.
