Soldier's tale

Failing in his desperate efforts to find his beloved owner, an abandoned dog eventually joins a canine revolt leading a revolution against their human abusers.

In this dreamlike film, a nameless father and his son, Aleksei, live together in an apartment in St. Petersburg. Aleksei's mother has died and consequently the two have a very close relationship. When Aleksei acquires a girlfriend, she refuses to take a back seat to his bond with his dad, and breaks up with him. Aleksei is also experiencing nightmares, dreading separation from his father to be a part of the military as his father was.

Directed by Zaza Khalvashi.

The war is over. Once a young sculptor, and now a soldier, he returned home. Married, there were children. In search of work, he was hired to make grave monuments. Time passed... At one time, visiting a cemetery with friends, he saw with different eyes all his work done over the years...

Banned in the Soviet Union for its "negative" content and never released, Kalatozov was forced to retreat from filmmaking for seven years because of this film. The film sets out to illustrate the old adage, "For want of a nail, the battle was lost," showing how the inferior quality of something so trivial as a nail in a soldier's boot leads inexorably to the capture of an armored train. Kalatozov had intended to demonstrate the crucial and universal importance of efficiency in Soviet industry, but the government decided that his fable gave a negative impression of the Red Army's capabilities.

This film ballad is dedicated to those who never returned home from WW2. A group of retreating Soviet soldiers, crossing a lunar terrain in a desperate attempt to escape death, is attacked by a German fighter plane that appears like a bolt from the blue. One by one they are killed. Then suddenly, in an unlikely denouement bordering on the mystical, the attacker is shot down with a simple rifle. For ideological reasons that defy understanding this film, one of Viktor Hres’ earliest works, was shelved in 1967 by Soviet censors. In 2010, it was restored by the Debut Studio of the Oleksander Dovzhenko Film Studio with the support of the Ministry of Culture and Tourism of Ukraine.

A poetized chronicle of the events taking place in one of the Georgian villages in the late 19th century, when, to save a forest, the innumerous intelligentsia could rally the people and oppose the industrialists…

Two monks on a mission choose very different paths

The short film (conveyed in a parable-like story structure) follows a man devoted to himself and the blessings of his attributed god. He struggles to survive a primitive life and is forced to take action to ensure his own prosperity.

A full-blooded, interesting life has long eluded the house where a mother, father, son and daughter live. Trivial household matters, conversation at dinner about duty — that's all that connects them. The situation changes when it becomes known that the family inherited the village house, and that it will probably be necessary to enter into a struggle with the joint heirs. From the bottom of chests, old albums and documents confirming the priority of the family are extracted, and intrigues begin ...

The way home for Aleksandr Rekhviashvili is not charted in the conventional sense. It takes the viewer along some peculiar roads and across a unique landscape: Georgian history and legend, politics and social stratification, religion and ethics. Allusive, stylized and allegorical from beginning to end, his long-banned The Way Home is in part a tribute to Rekhviashvili’s favorite director, Pasolini, especially to The Hawks and the Sparrows (1966). Together with the short film Nutsa (1971) and the widely acclaimed Georgian Chronicle of the 19th Century (1979; SFIFF 1983), The Way Home closes a triptych of films that represent Rekhviashvili’s poetic contemplation of Georgia’s past. It makes extensive use of poems by Bella Akhmadulina (the major female poet of the cultural ‘thaw’ of the ’50s and ’60s and a Georgian by descent), and of sets by Amir Kakabadze. Like other films in the trilogy, The Way Home is stunningly photographed in black-and-white.--Oxymoron

Garib in the Land of Jinn

Lithuania, 1977. Memories of childhood, adolescence, and first love in a small provincial town, shown through complexity of human relations at this periodical film.

Where do we go when we die? The nostalgia of no longer being here will allow us to take a journey through longing and the memory of what is really part of life or what at some point was, a walk through the memory of a person already dead in which we will know the disadvantages of being dead.

Mi amor también se ahoga

Destroy Vicious

In a near future of environmental degradation, a couple meets for an internet hook-up in an animal lover's apartment.

Divided by the stunning and vast expanse of water that is London’s River Thames, a young pair of shy beachcombers are united by their fixation with metal detecting in search of rare antiquities. They soon strike up a sweet and unique connection across the water and build up a language of signs and signals with which they are able communicate daily. But when one of the pair stumbles across a chance discovery, it gives them the ideal opportunity to finally cross over the river.

One day, corpses fall from the sky like a torrential rain. DEATH (The Crazy SKB), a man who has fallen among the corpses, gathers together with Matilda, a woman with no legs, Linda, a woman with one leg missing, and a killer for "a plan". The plan was a punk plan that no one could imagine. A man with cerebral palsy decides to commit indiscriminate terrorist murders; a female office worker whose grief runs wild; a yakuza who is forced to modify their body; and a punkster who wants to kill all the police. The moment all the sorrows become one, they ascend into the universe...

Rockin' Heart Breakers