The First Twenty Years in Only One Take


Sanja Šamanović

One Take Film Festivala director

Twenty years, thirteen festivals, 800 films screened, almost 400 films in competition, ten exhibitions, about two hundred guests.

Now, during the Festival’s thirteenth edition – special in many ways – and its three festival days, we will refresh the memory of those twenty years.

Vedran Šamanović, the initiator of One Take Film Festival and then president of the Zagreb Cinema Club, died in 2009. Vedran directed the Festival for four editions and, as a filmmaker, director and cinematographer, he understood the authors’ need to express their ideas through an unconventional cinematic approach. This was precisely his guiding principle when he involved us in the organisation of the Festival twenty years ago. With his encouragement, we started and – through all these years – maintained a project that gave Zagreb and Croatia something unique in the world. He kept us together, reconciled and comforted us, pushed us when we wanted to give up. Even all these years after his death, the same is true. I think I can safely say that he deserves most of the credit for the Festival persevering to this day.

Since its beginnings in 2003, the concept kept changing. The festival was held biennially, annually. Sometimes the emphasis was on exhibition programmes, sometimes accompanying film programmes took precedence. But what has remained constant in these thirteen editions and full twenty years of the Festival’s existence is the competition. The competition always only featured films shot in one take, from the moment the camera is turned on to the moment it is turned off. Without compromise, without “just a bit of” dissolve, without “just” one shot before the credits, no fade in or out.


The competition is why we are still here after twenty years, though numerous accompanying programmes featuring films and exhibitions also played their part – we have hosted films shot in almost one take, long-take films, static-shot films, presented Iran, India, screened film programmes about human rights, about love...

The programmes Loading…, One Take in Space and exhibitions have showcased globally significant filmmakers as well as many local conceptual artists.

We have collaborated with similar festivals internationally, visited, hosted and shown their retrospectives as well.

The Festival was held at many locations in Zagreb, including Cinema Europa, Museum of Contemporary Art, Kino Tuškanac, MM Centar, Glyptotheque, Cultural Information Centre, Centre for Art Education of the City of Zagreb, Greta Gallery, and other venues – we have been present all over the city, Croatia and the world. We presented the Festival through workshops, screenings, panels. We have promoted the idea of one take film – and, I find, succeeded in this. Of course, we did not invent one take cinema, but we were the first in the world to start a festival of this kind. The Festival began as one of Zagreb Cinema Club’s projects, then went independent and stayed for twenty years, occupying a significant place on the Croatian festival scene as one of the most significant “small” festivals in the country.

Over these twenty years, many collaborators contributed to the organisation of the Festival. This catalogue being too short to mention them all, I would like to thank everyone, above all for their effort, patience and tolerance. Everyone was always there when they were needed. These collaborations grew into friendships, generated other projects, and even those who officially left the organisation of the Festival were always willing to help, and continued to, to this day.

This year, 26 films are competing in the official competition. As always, the themes, genres and durations are varied. For some authors, these are their debuts, while others are already award-winning, renowned filmmakers. However, all of them directed their films in one take, not because one take is interesting, not because they wanted to be different but because their story required it, because their films had to be shot in one take. Otherwise, they would have dissipated, and their message would not have reached us. And as always, in addition to the competition, we have prepared a wide array of accompanying programmes. Black-and-white one take films that take us back to the beginnings of cinema, when one take was the only mode of cinematic expression; a static shot captures all the curiosities of the world that surrounds us, even when we observe it from a single fixed angle; our traditional One Take in Space programme introduces us to the authors’ fresh metaphysical reflections.

The exhibition marking this anniversary is accompanied by a retrospective of the twelve winners. From Fabrizio Prada’s first fiction film, to last year’s laureate and this year’s Jury member Niklas Bauer. Ewa Górzna, Marcellvs L., Ben Ferris and Brian Lien received the Grand Prix for their experimental films. The winners came from all over the world; Morteza Fereydouni from Iran, Chus Domínguez from Spain, Slobodan Maksimović from Slovenia. Peter Blackburn won with his eighty-minute one take, while Lendita Zeqiraj and Fernando Franco told their stories in short bravados.

The winners have been diverse – action, meditative, drama, engaging, experimental... All this speaks in favour of the fact that one take, be it short or long, be it fiction or experimental, be it fictive, socially engaged on personal to the author, is just a way to tell a story and, as we always emphasise, one take is only a frame within which our ideas, stories and emotions flow.

Finally, to end this editorial, a difficult decision.

After twenty years, we have decided to stop. Temporarily or permanently, we have yet to see. In any case, stop and take a break – and consider how and whether to continue. Because of this, there will be no festival next year.

After that, we might return to the biennial pace, transfer the Festival completely online, create a new, different festival in accordance with new, contemporary trends of one take film, or end our wonderful twenty-year-long story here.

I don’t know. Give us some time and space to think up new ideas, work out new concepts, gather new young forces, then maybe see you in two years. Maybe this thirteenth edition – THE LUCKY ONE – ends up marking only the end of One Take Film Festival’s first two decades.

And if not, twenty years is a fine number.

And it has been wonderful to work, spend time and watch films with you. 


A Myriad Mind

dance video, Germany, 2022., coulor, 3 min

director / Marie Zechiel
screenwriter / Marie Zechiel
cinematographer / Lasse Liebelt
participants / Siri Elmqvist, Jaewon Jung, Susanne Eder, Maximilian Gärtner, Mihael Bellilov
producer / Dina Randrihaminay

about the film

Three young men and two young women dance in a specially designed space resembling the inside of a box. Some of them are more attractively dressed than others, but all of them perfectly follow the precise choreography, completely surrendering to the rhythm and feeling that carries them.

about the author

Marie Zechiel is a dancer and choreographer who was born and raised in Germany and today lives and works in Berlin. She graduated in contemporary dance from the Trinity Laban Conservatoire of Music and Dance in London. In the course of her career, she has performed professionally in various dance troupes and stage productions in Europe and globally. As a co-founder of the Siciliano Contemporary Ballet troupe, she continuously works on improving dance movements and performances. She considered herself a physical storyteller, an artist who uses the body as a storytelling tool and movement as a fundamental form of expression, not only in dance and on stage but also in film, photography and performance art. Her choreographic skill is based on authentic movements, characterisation and character development and the interplay of bodies in different forms of dance. As a dancer and choreographer, she participated in the making of various music videos, advertising films and fashion shows. Among the artists she has collaborated with are the German musician and producer Herbert Gronemeyer, the German rap duo Zugezogen Maskulin and the companies Vodafone and Deichmann.


Bambi: Cigarette

music video, Hungary, 2022., colour, 3 min

director / Előd Marosvölgyi
screenwriter / Előd Marosvölgyi
cinematographer / Nimród Nyúl
participants / Dominik Biró, Mátyás Kós, Előd Marosvölgyi
producer / Zoltán Füle

about the film

Music video for the song Cigarette by the Hungarian musician and singer Előd Marosvölgyi, who works under the stage name Bambi. It is difficult to say whether the gold heist was successful – it seems that the young robber has been arrested as he is in an elevator with two police officers who are escorting him to a vehicle with rotating lights in the parking lot. But what if the police officers are actually the young man’s partners in disguise?

about the author

Hungarian artist Előd Marosvölgyi was born in 1997 in Budapest. He is an actor and scenographer who started working on music videos as a director and production designer in his first year of university. His first music video was released in 2017, and more of his work can be found on YouTube, among it the video for the recently released song Kelbimbó. He returned to acting in 2021 with a role in the popular TV series FBI: International and has played several notable roles, among others in the TV series Keresztanyu and Drága örökösök. He points out authorial visions, industrial interiors, long shots and complex characters as the common features of the projects he chooses to work on.

Pure Baroque

fiction, Poland, 2023., colour, 13 min

director / Paweł Czarkowski
screenwriter / Paweł Czarkowski
cinematographers / Piotr Radocki, Piotr Zaworski, Michał Adamczyk, Michał Leśniewski, Marcin Kołodziejczyk, Szymon Jarzabek, Michał Kucharski, Paweł Czarkowski
actors / Miroslaw Zbrojewicz, Sandra Staniszewska Herbich, Miron Jagniewski, Mikołaj Fajfer, Piotr Walczak, Paweł Pawlak, Arkadiusz Pyć, Tatiana Złotowicz, Marcin Van Gimst, Arkadiusz Milczarek, Denis Woźniak, Marcin Piekoszewski
producer / Paweł Czarkowski

about the film

One evening, standing on a balcony, smoking, a middle-aged man tries to remember everything that had happened to him recently. Then, he first receives an unexpected photo on his phone, then someone knocks on his door demanding to be let into the apartment immediately. When he obliges, he finds himself in the kitchen of another apartment, where two men who are cooking tell him that the police have inquired about the events that took place the day before. Unfortunately, he has no memory of those events and only has vague recollections of images and people he had met. He goes down to the ground floor of the building and finds himself in what appears to be a night club, where different people keep reminding him of the unpleasant events of yesterday. There is also a young girl who has to tell him something but will not get to – he meets his son and together they go out to the terrace, where a gunshot suddenly pierces the air.

about the author

Polish author Paweł Czarkowski was born in 1982. In his homeland, he first graduated in the fields of literary criticism and philosophy, then completed a course in creative writing begore finally graduating with a degree in directing from Warszawska Szkoła Filmowa in Warsaw. He is an avid photographer, musician and writer whose film combine his experiences with different art forms. He is an advocate of a new spirit in cinematography, of new approaches in the depiction of the relationship between humans and reality, especially as these relationships continuously escape expectations and the definitions that we try to assign to them. Paweł is fascinated by the possibilities of interactive film and multimedia projects, which is why he chose to make his debut project Dvorac as a fiction-documentary hybrid. Afterwards, he made several short fiction films with legends of Polish theatre, among them Jan Peszek and Miroslaw Zbrojewicz, who also plays the main role in the film we are showing. He is currently working on his debut feature-length fiction film.

A Long Afternoon

fiction, Iran, 2023., colour, 88 min

director / Sohibanoo Zolghadr
screenwriter / Siamak Ahmadi
cinematographer / Jafar Aslani
producer / Sohibanoo Zolghadr

about the film

While she was still happily married to her now ex-husband Saeed, the bright and intelligent Maryam and he created an innovative engraving software together. But now that she and Saeed are no longer together, Maryam plans to make good money by selling it – and hiding all the important details from her ex-husband. What she does not know is that Saeed is aware of her plan and is toying with her. Moreover, Maryam is being monitored without her knowledge by two of their mutual friends, Sharar and Babak. However, none of them is aware that Maryam is also being monitored by the police, through a person presenting as her friend.

about the author

Iranian actress, producer and director Sohibanoo Zolghadr was born in 1979. She has been working in film for almost a decade and a half, ever since her acting debut in 2009 in the TV drama Saat-e Gij-e Zaman directed by Farzad Motamen. She acts both on television and film, has appeared in both feature-length and short productions. The most important author she has collaborated with to date is Asghar Farhadi. Sohibanoo played a noted supporting role in Farhadi’s 2011 drama Nader and Simin, A Separation, which won the Golden Bear, Academy Award and Golden Globe and was awarded at the Pula Film Festival. While she continues to work tirelessly as an actress – recently playing an interesting supporting role in Hossein Darabi’s thriller Maslahat in 2021 – Sohibanoo is increasingly active as an independent author. The film we are showing is her second directorial achievement, made five years after her directing debut, Sedaha-ye Khamush.


fiction, Nepal, 2022., colour, 4 min

director / Mohan Shrestha
screenwriter / Mohan Shrestha
cinematographer / Narayan GC
actors / Ujjwal Nepal, Subash Prasad Gajurel, Bidur Prasad Sigdel, Prince Bohora, Bhupendra Rayamajhi, Sushant Shahi
producer / Mohan Shrestha

about the film

While playing on the street in a Nepalese province by drawing chalk characters on the ground, a boy hears the voice of a waste collector who rides a bicycle and buys other people’s waste for a pittance with the intention of reselling it. The boy offers him his old textbook, which the man agrees to buy for four rupees, but the sale is not finalised because the man does not have change to give back to the boy. A few moments later, the boy takes some money from a man’s belongings that had been left at the foot of a tree and rushes towards another man with a bicycle, this one collecting voluntary contributions for the treatment of a gravely ill eight-year-old girl.

about the author

Nepalese artist Mohan Shrestha (Mohan Avilashi) is a gifted creative, writer, director and playwright. Numerous theatre plays were staged and performed under his direction, and he also directed short and medium-length fiction films and music videos. He teaches acting at several schools and related theatre and acting institutions. Mohan is also a media personality, an influencer with a base of mostly young followers, who has worked as a social worker in the mental health sector as well. He has won several awards, including the Banita Multifaceted Talent Award in 2022 and the Godhuli Art Service Award in 2023.

Burning Democracy

documentary, Israel, 2023., colour, 21 min

director / Yaniv Berman
cinematographer / Yaniv Berman
producer / Yaniv Berman

about the film

At the end of March 2023, many citizens of Israel spontaneously took to the streets, protesting against the government and its prime minister for what they interpreted as an attempt to change the delicate fabric of Israeli society and state, that is, for attacking democracy. At 9 p.m. on Monday, March 27, the events escalated into conflict with the police, some protesters were injured, and the amalgam of dissatisfaction and anger turned into a loud cry from the frustrated crowd. The film we are showing captured these events – what the author calls “burning democracy” – without any editing and in continuity.

about the author

Israeli producer, screenwriter and director Yaniv Berman was born in Haifa in 1977. He graduated from the MFA (Master of Fine Arts) programme at Tel Aviv University at the Department of Film and Television. After gaining directing and screenwriting experience while working on the acclaimed short TV film My Last Novel from 2001, he turned to solo filmmaking and made Naked Laura, a short film that earned him recognition. His 2006 short Even Kids Started Small about youth taking over their school was screened in the Cinéfondation Selection of Cannes Film Festival. He had spent full six years filming an IDF (Israeli Defense Force) military reserve unit and eventually turned the footage into the award-winning documentary The Alpha Diaries in 2007. In his 2016 debut feature film Land of the Little People, awarded at prestigious international festivals in Tbilisi and Phoenix, he tackled the traumatic process of child recruitment in a violent militarised society. Yaniv also has a passion for literature and has been dedicated to the art of storytelling for as long as he can remember. It is then no surprise that in 2021 he published his debut novel, a thriller titled The Spinning Tops.


fiction, France, 2021., colour, 6 min

director / Lola Dubettier
screenwriter / Lola Dubettier
cinematographer / Lola Dubettier
actors / Cyril Patin, Hélène Bal, Samuel Airoldi
producer / Lola Dubettier

about the film

Gunshots echo in the night and heated voices can be heard as three people try to cross a border in the back of a truck. Two of them are wounded; one man’s face is beaten and covered in blood, and the other person, by all accounts a girl, is in serious condition, with a completely bandaged head. The third person seems to be completely unharmed and is trying to help his companions. Outside the vehicle, the explosions, gunshots and shouting are not subsiding.

about the author

Lola Dubettier grew up in the mountains, in the Savoie department in eastern France. Most of her childhood she spent enjoying nature and watching films. She enrolled in a film school at the age of 15, first in Annecy and then in Lyon, and had spent 12 years working as a camera assistant on film sets before finally deciding to make her own film. The film we are showing is her debut work, shot with no budget, but with the indispensable cooperation from several friends. She is currently working on her first feature-length film, guided, as in all else she does, by ideas of the world’s beauty and nonviolence, and the desire to tell stories about the fates of the so-called ordinary and small people.

Cold Blood

fiction, France, 2022., colour, 4 min

director / Franck Marchand
screenwriters / Joss Berlioux, Franck Marchand
cinematographer / Mathieu Lam
actors / Joss Berlioux, Marion Dauvilliers, Morgan Niquet
producer / Franck Marchand

about the film

It is a sunny winter’s day in Paris, but Theo has no time to enjoy it. Before his girlfriend comes back from downtown Paris, he has to cover his traces as thoroughly as possible. This means washing the blood-stained knife, airing the room to get rid of the telltale smell and disposing of the bloody cloth wrapped around something – as soon as possible. When his partner returns, surprised that all the windows are open despite the cold, Theo throws the wrapped cloth out the window, accidentally hitting the neighbour in front of the building, who soon comes knocking on their door.

about the author

French director Franck Marchand always collaborates with his colleague and friend Joss Berlioux, and has been doing it as part of their screenwriter-director duo Les Casquettes since 2022. One of their films is the short thriller L’ascension filmed in 2022, which won them the best French film prize at the 48HFP film competition, for which authors are required to create a short film within 48 hours. The same film was then crowned with the Grand Prix Canal + award at Paris Courts Devant, after which TV stations Canal + and TF1 purchased the rights to show several of their films. The duo continues to work tirelessly and aims to professionalise their work as much as possible. They are currently preparing a TV series and a feature-length film. Franck was active in film even before partnering up with Joss, making 14 prominent short films and video projects from 2018.


fiction, India, 2022., colour, 5 min

director / Somudra Banerjee
screenwriter / Somudra Banerjee
cinematographer / Ashwin Shukla
actors / Ashwin Sharma, Arjun Amol Kikale, Yashasvi Sabharwal, Jonaki Bhattacharya
production / Film and Television Institute of India

about the film

As he enters his grandfather’s old house, a middle-aged Indian writer recalls a strange afternoon from his childhood, the day that his grandfather died. The house seemed deserted and cheerless that day, his mother, exhausted, slept for a very long time, even into the evening, which she normally never did, and several geese were freely walking around the house. The writer also saw his grandmother then, confusedly walking around and uttering prayers, and seemed to also see things that must have been supernatural. To this day, he is unsure whether the memory is real or just a figment of his imagination. However, he does clearly remember his grandmother’s words that dreams dreamed at dusk never come true...

about the author

Indian filmmaker Somudra Banerjee studied directing and screenwriting at the Film and Television Institute of India, a prestigious educational institution in the city of Pune, run by renowned filmmaker Shekhar Kapur. He had spent several years working as a journalist and writer before devoting himself to film and considers his rich literary and journalistic experience a valuable asset in his work. In 2023, he finished his thesis film titled Towards an Exegesis on Dying Inayat Khan.

Same as Me

fiction, Iran, 2022., colour, 4 min

director / Lida Ansari
screenwriter / Lida Ansari
cinematographer / Reza Azadi
actresses / Mahsa Abbasi, Neda Nouri
producer / Lida Ansari

about the film

Two women share the common space of an apartment. While one is dressed somewhat more traditionally and is just getting ready to go out, the other woman is dressed in modern clothes and seems to be suffering from a headache, for which she has to take a pill. What connects them is a mobile phone – when it rings, the first woman reaches for it, then the other. They seem to feel each other and are seemingly surprised by the other’s presence. Is the phone really the only connection they share?

about the author

Iranian author Lida Ansari says she has had a love for poetry and music since childhood. Although she did not grow up in a family of artists, she got involved in art semi-professionally already as a teenager, when she discovered her gift for painting, an activity she occasionally engaged in. At the encouragement of her family, she attended costume design studies and remained active in the field for a while by designing clothes for small stage productions and pursuing fashion design as much as it was possible in Iran, but this career choice did not bring her enough satisfaction. She decided to devote herself to writing, first taking a course in story writing, then in writing screenplays. She eventually turned to directing and started a master’s programme in dramatic literature. Studying dramatic literature allowed her to achieve some of her dreams; it helped her realise that she loved film and that every experience of working on a film with students proved valuable to her. She tried her hand at filmmaking several times, but she either did not like the story or the projects turned out to be too demanding. Despite this, she remained determined to make one. The film we are showing is the result of her work, and she already has a new project in mind.


fiction, United Kingdom, 2022., colour, 16 min

director / Lana Luchka
screenwriters / Lana Luchka, Jake E. Dufton, Illias John Politis
cinematographer / Isabel Morales-Detkova
actors / Alina Cheban, Lewis Williams, Giulia Rose, Marius J. MacTalovvich
producer / Nathan Wang

about the film

Today is Mia’s 25th birthday. She is a student from Ukraine who lives in London and has family and friends who love her. After the birthday party, her best friends Peter and Jo stay to keep her company. As they are opening the remaining presents, their good mood is disrupted when Mia’s emotionally abusive ex-boyfriend knocks on the door, desperately wanting her back. Deciding to ignore his advances, Mia isolates herself in her room, leaving Peter and Jo in the company of her ex. However, the date is February 24, 2022 – the day the Russian invasion of Ukraine began.

about the author

Lana Luchka is a Ukrainian-born screenwriter and director who lives in London and has been directing short films for the past five years. The film we are showing is very personal to her, as it represents her own experience on the first day of the Russian attack on Ukraine. With this film, Lana wants to support her compatriots in the fight against the occupiers and hopes that it could help attract additional support for Ukraine from the international community.


documentary, India, 2023., colour, 7 min

director / Suriya Manna
screenwriter / Suriya Manna
cinematographer / Sandipan Nath
participants / Bapi Das, Amit Biswas, Sumon, Sumonto Paul, Sushmita Hemram, Swaraswati Murmu, Mandira Baske, Riya Saren, Pushpita Saren
producer / Ananya Sen

about the film

During the global covid pandemic, two Indian economic migrants sitting not far from the migration route talk about their difficult fates and life in general. Both of them are hungry and share a bag of snacks; neither is making enough to send money back home, and neither sees a way out of their current situation. They are forced to wander in search of any job they can get; while one of them would like to use his earnings to help his elderly mother, the other knows that his wife and children count on him to provide. When they see a larger group of people approaching them down the migration route, they both decide to join it.

about the author

Suriya Manna is a filmmaker born in the western part of the Bengal region of India. Although he has no formal film education, he gained valuable experience and knowledge by working on several projects of tech crew members and ambitious filmmakers like himself. In his work, he is particularly inspired by the work of the prominent Indian director, screenwriter, playwright and theorist Ritwik Kumar Ghatak whose films, similar to the works of the champions of contemporary Bengali cinema Satyajit Ray, Tapan Sinha and Mrinal Sen, meticulously portray social reality and divisions in India. Ghatak used film as an important tool of political and social activism aimed at various struggles with hope for a better tomorrow. Suriya Manna is guided by the same ideas and has made it his life’s mission to shoot socially engaged and important films. The film we are showing is no exception.


fiction, Russia, 2023., colour, 5 min

director / Rufina Prshisovskaya
screenwriter / Rufina Prshisovskaya
cinematographer / Alexey Popov
actresses / Ksenia Karatygina, Evgeniya Karatygina, Maria Safronova
producer / Rufina Prshisovskaya

about the film

One evening in a Russian city, a young girl is troubled by serious questions. As she intensively browses social media and her WhatsApp messages, everyone seems to be prettier and happier than she is. Behind her nervous eyes, turbulent and jumbled thoughts swirl in the private purgatory of her head. Looking out the window and neurotically smoking a cigarette, the girl blames herself for many shortcomings, including her social media post not being good nor interesting enough. With her mobile phone constantly in her hand, she tries to maintain control over her actions but is aware that she is slowly “cracking” as her thoughts are turning suicidal.

about the author

Rufina Prshisovskaya was born in 1988 in the Urals. She majored in Art History at St. Petersburg State University and is currently studying filmmaking at G. N. Daneliya High Courses for Scriptwriters and Film Directors in Moscow. In addition to working and developing as an independent filmmaker, she manages educational and charity projects, writes stage plays and publishes non-fiction about art.

Don´t sell

fiction, Iran, 2023., colour, 19 min

director / Mehrav Nouri
screenwriter / Mehrav Nouri
cinematographer / Mohammad Ezatkhah
actors / Taraneh Kouherstani, Omid Mohammadzade, Amir Babashahabi, Baran Kaabi, Raha Fakhravar, Nairika Amiri, Reza Khankhani, Mostafa Ghavami, Hamid Nazari, Mozhde Ghavami, Arash Ashadad
producers / Mehrav Nouri, Mostafa Ghavami

about the film

The consequences of Iran’s economic crisis are also affecting Aman, a middle-aged factory worker who was recently fired from his job. To make matters worse, Aman’s younger daughter is sick, the costs of her treatment are high, and the whole family is deep in debt. While his wife Mehri cleans other people’s homes, Aman comes up with the idea of selling his sick daughter to much wealthier people who cannot have children. Although he has already agreed on the sale, Mehri and their older daughter, who shares a bond with her sister, do not approve of his plan.

about the author

Iranian author Mehrav Nouri was born in Tehran in 1980. He is a stage and film director, screenwriter and playwright. He is a member of the Persian Encyclopedia Art Group, devoted to the research of poetry written by children and youth. He graduated in Theatre Studies from Arak University, received a diploma in film from the University of Teheran and also holds a diploma from the Iranian Youth Cinema Society, where his film education started in 2000. His debut short film Asir won the Special Award at the first Student Short Film Festival at Azad University, led by the distinguished Iranian filmmaker Mohammad Reza Aslani. Mehrav considers attending the Mythic Cinema workshop with Bahram Beyzai an important part of his career and is particularly proud of the fact that he has shot more than ten short films that he was recognised for. He also works in the theatre – together with Ali Rafei, he has staged Lorca’s The House of Bernarda Alba as a dramaturge, and directed Bondar Bidakhsh’s Record, Char Akhshij Pit, Ferdowsi’s Letter and Family of Death. In addition, he also wrote the script for a fiction film, which he intends to shoot in the future, and is working on books about film and theatre, Seven Thousand Years of Drama in Iran and Cinema Myth.

Open Doors

fiction, Australia, 2021., colour, 20 min

director / Farshid Akhlaghi
screenwriter / Farshid Akhlaghi
cinematographer / Farshid Akhlaghi
actors / Don Bridges, Clare Pickering, Karlis Zaid
producer / Farshid Akhlaghi

about the film

A full six and a half decades after leaving the orphanage, the already aged Bill – a survivor of the Australian institutional care system – is back to where he started. He thought he had left the world that once surrounded him for good, but now, in the course of one night, he is forced to face its terrible reality again.

about the author

Producer, cinematographer, screenwriter and director Farshid Akhlaghi was born in Tehran in 1981. He is an independent Iranian-Australian filmmaker who began his career by directing short narrative and experimental films. He has directed 15 short films to date, including several documentaries, which participated in various festivals around the world. In 2012, he moved to Australia to continue his education and make films in a new environment; he was awarded a Special Award for his work at the prestigious Camerimage Film Festival six years later. His first feature-length film, the 2018 biographical music documentary From Music into Silence, was released in Australian cinemas the following year, while the short music documentary Pain is Mine, made in the same year, screened at more than 30 festivals, winning numerous awards, including Best Documentary Short at the DOC LA festival in 2018.

Dead Sea See

fiction, Israel, 2023., colour, 4 min

director / Bilhan Derin
screenwriter / Bilhan Derin
cinematographer / Yonatan Shehoah
actress / Alona Löwenberg
voices / Harriet Gilletz Scher, Matthew Perret, Adi Shahar, Yael Scher, Alexandra Klein-Franke
producers / Sefi Rechtman, Bilhan Derin

about the film

A young woman dressed in blue is sitting on the rocky shore of the Dead Sea. She seems to be meditating as she watches a sailboat move across the surface of the sea. While the camera slowly approaches her from behind, human voices in the background warn of keeping the distance from others for one’s own safety and carrying all belongings with you. The coronavirus pandemic is ongoing, and the laptop that she holds in her lap reveals that she has experienced both illness and death in a unique way.

about the autor

Bilhan Derin is a Turkish-German filmmaker and artist born on the coast of the Black Sea in Turkey, from where she moved to Germany with her family when she was a child. She started creating art at a young age, and worked in the field of theatre and film for many years. She studied directing at Die Deutsche Film- und Fernseakademie Berlin and has been living in Israel with her family for several years now. She has conceived and executed numerous artistic projects there, mostly at the Dead Sea, among them the film we are showing. Her standout projects include Ayla und die Strumpfhoze from 2001 and Banu from 2003, for which she also wrote the script. In addition to being a director and screenwriter, her credits as an actress include a supporting role in the feature-length comedy drama Im Schwitzkasten from 2005 directed by Eoin Moore.

The Offspring

fiction, Spain, 2022., colour, 11 min

director / David Luque
screenwriter / David Luque
cinematographer / Jesús Perujo
actors / Jaime Lopez, Cristina Rojas, Guadalupe Araujo
producers / Miguel Ángel Luque, David Luque

about the film

When young Javi’s mother returns home, she unexpectedly finds herself in a shockingly tragic situation. Her son, covered in blood, is incoherently trying to explain that something terrible had happened, while a lifeless girl lies on the couch in the back of the room. Apparently, Javi was in a relationship with the girl who is his age, neither his parents nor anyone else knew about them, and the girl comes from a dysfunctional family with neglectful parents. Faced with a terrifying situation, the mother has to make difficult, quick and perhaps tragic decisions herself.

about the author

Spanish actor, producer, screenwriter and director David Luque was born in 1972 in Madrid, where he still lives today. He graduated in English philology from Universidad Autónoma de Madrid, and has been active in theatre, television and film since 1994. He was the first Spanish actor to participate in the famous Royal Shakespeare Company troupe and began his professional career as an actor performing in two languages in several British theatre companies, later joining the ensemble of Teatro de La Abadia. In New York, he studied with Leonardo Petit and Joan Merlin at the Michael Chekhov Acting Studio and with Anne Bogart at SITI Company. He also completed clarinet and German language studies. His acting credits include many TV series, while his film collaborations include working with director Costa-Gavras on the historical drama Adults in the Room, with Miloš Forman on the biographical historical drama Goya’s Ghosts, with Carlos Saura on the biographical war drama Goya in Bordeaux and with Paul McGuigan on the crime drama The Reckoning. In addition to film, he has acted in a lot of TV series. In 2011, he and director Fefa Noia founded the production company Los Lunes, which mainly produces theatre plays.


The Binding

fiction, Indonesia, Czech Republic, 2022., colour, 14 min

director / Alessandro Manuel Rustanto
screenwriter / Alessandro Manuel Rustanto
cinematographer /  Fadhlan Makarim
actors / Silvana Wasitova, Arzia Wargadiredja, Minanto Ali
producers / Meggie Rustanto, Wiktor Grodecki Alessandro Manuel Rustanto

about the film

One night in 1965, somewhere in Indonesia, an elderly superior of a Christian monastery receives an order from a general to do something in secret. Soon, a young pregnant woman is brought before her. The superior takes her to a room with a tub filled with water, where the young woman should be baptised. However, the woman complains that the site does not meet her expectations; she was hoping for a larger room in the church. In response, the superior emphasises that the most important thing is that the act itself be performed; in order for her child to grow up safe and clean from sin, the mother must free herself from the evil spirit of the unclean ideology of communism.

about the author

Alessandro Manuel Restanto is a director of Indonesian descent who lives and works in Prague. In the earlier stages of his career, he was known under the stage name Cak Nunu. He studied film directing and screenwriting at the famous Barrandov Film School under the mentorship of the distinguished Polish filmmaker Wiktor Grodecki. He describes his growing up as painful and unhappy due to being the black sheep of the family and years of exposure to bullying at school. Through these experiences, he developed a sensibility towards sad stories not only from his country but from all over the world, towards stories of injustice, oppression and exploitation. Although the films he creates vary in genre from surrealist satirical comedy and romantic drama to horror, all of them dissect hidden and hushed up cases of human rights violations that took place in his homeland’s past. Alessandro believes that cinema is universal and, wanting truth, justice and humanity to always prevail, dedicates his work to oppressed people around the world. The film we are showing is dedicated to the vast number – over a million – of victims of mass killings (politicide) that took place in Indonesia in 1965–1966.

War vs Peace

fiction, Kazakhstan, 2023., colour, 2 min

director / Marat Narimanov
screenwriter / Marat Narimanov
cinematographer / Marat Narimanov
actors / Kira Zvezdun, Ksenia, Arina, Marat Narimanov
producer / Marat Narimanov

about the film

A snow-covered rural landscape in a winter evening would be idyllic if the silence was not disturbed by the sound of not-so-distant gunshot and explosions. We seem to be witnessing war, but as the door of a cabin in the frame opens, two undressed children and a woman run out into the snow. The cabin is in fact a sauna, and the three of them are having a great time. After the children and the woman return inside, a shadow of a man emerges from darkness and enters after them.

about the author

Russian filmmaker Marat Narimanov was born in 1981 in Moscow. He holds a degree in cinematography, has spent ten years in Moscow’s drama theatres, and currently works as an illustrator/designer and director of animated films. In the past ten years of screenwriting, directing, and producing, his films have successfully screened at more than 300 festivals around the world, including the prestigious Shanghai International Film Festival, World Festival of Animated Film – Animafest Zagreb, Palm Springs Shortfest, Flickerfest in Sydney, Cleveland International Film Festival, Busan International Short Film Festival, and many others. He has won a series of awards, most notably at the Clermont-Ferrand International Short Film Festival and Interfilm Berlin International Short Film Festival.


fiction, Spain, 2022., colour, 4 min

director / Adrián León Arocha
screenwriter / Adrián León Arocha
cinematographer / Adrián León Arocha
actors / Cynthia Centol, Víctor Hubara, Andrea López, Francisco Melo Jr., Oscar Aranda, Ania Kiewicz, Sabrina White, Kike Pérez
producer / Adrián León Arocha

about the film

A young girl is sitting on a bed in a room. After a telephone conversation ends, she sadly looks at the screen on the verge of tears. When a man’s voice is heard and his hand enters the frame, it becomes clear that she is an actress shooting a scene. The director, however, is not satisfied with how she conveyed being on the verge of crying and, moreover, the actress feels that he is not entirely clear about her character’s disposition nor the way in which the scene should play out.

about the author

Spanish filmmaker Adrián León Arocha was born on the Canary Islands in 1993. He discovered his passion for film and filmmaking at a young age and made his first short film at the age of 14. His love for filmmaking later led him to move to Madrid, where he studied screenwriting and filming. Driven by the desire to gain as much knowledge and professional experience as possible, he had also spent some time in Los Angeles before returning to Spain with the aim of producing his own project influenced by the ways and themes of avant-garde art, independent film and local urban musicians.

Things Get Rough

fiction, France, 2021., colour, 6 min

director / Miles Drexler
screenwriters / Emeric Gallego, Miles Drexler
cinematographer / Cyrielle Coué
actors / Gerard Surugue, Emeric Gallego, Matthieu Lafrance, Aymerick Bandou, Magali Blatter
producer / Miles Drexler

about the film

After the radio presenter announces that a gangster showdown had taken place in the French town of Sartène, a young gangster who took part in the showdown is brought before old mobster Tommy. The tavern conversation over a glass of fine wine between the mafia boss and his injured man seems pleasant at first, even when the young man admits that he had made a mistake and did not react to the provocation as he was supposed to. But this is only true at first glance; one can never really know how one stands with sweet-talking mob bosses.

about the author

French-American actor and director Miles Drexler was born in 1994 in Paris, where he is still based. From 2013 to 2017, he studied cinematography at Université Paris 8. He says that he is passionate about acting and likes to direct films with people from his immediate environment. His other great passion is theatre – he tries to do just as much on stage as on film. Over the past few years, he has made a number of short films in different roles: as a director, he is credited for the 2019 film Je suis un chou à la crème, in 2019 and 2020 he appeared as an actor in the films Je suis une photo pour elle and Ariane by his colleague and friend Emeric Gallego, and as a technician (electrician) he collaborated on Gallego’s film Je suis devant la télé in 2021.

Meeting Rose

fiction, Brasil, 2022., colour, 10 min

director / Lia Fortes
screenwriter / Lia Fortes
cinematographer / Pedro de Freitas
actresses / Beatriz Malecha, Beatriz Linhales
producer / Lia Fortes

about the film

Young Rose is an attractive girl dressing up as if she is about to embark on an exciting social outing, when a woman she does not know, approximately her age, rings her doorbell and introduces herself as Angela, a housewife and wife to a man who is cheating on her with Rose. Angela is temperamental and possessive, wants to save her marriage, and openly attacks Rose. She is surprised when Rose starts defending herself in a conciliatory manner, acknowledging what she is doing, sharing that it does not make much sense to her either – and that she is seriously contemplating suicide. The relationship between the two women slowly begins to change, and a surprising ending awaits when it becomes clear that they share some common traits.

about the author

Lia Fortes is a 19-year-old filmmaker born in Rio de Janeiro, where she is currently studying film at Universidade Federal Fluminense. She is one of the founders of the independent film production collective Apolo Filmes, and has won three awards and earned more than 20 nominations at film festivals around the world. She has taken part in the organisation of renowned film events, such as Festival do Rio, the largest film festival in Latin America, and participated in the making of more than ten short fiction films, as well as one feature-length film. She currently works independently as a film editor, cinematographer and assistant director, and has recently started working as an intern in the music content analysis department at Globo, the largest media and communication company not only in Brazil but the whole of Latin America.


experimental, Spain, 2023., colour, 2 min

director / Yolanda Moreno Torrado
screenwriter / Yolanda Moreno Torrado
cinematographer / Yolanda Moreno Torrado
producer / Yolanda Moreno Torrado

about the film

A hard is throwing pebbles on a surface that looks like a frozen pond. It is a metaphorical and auto-discursive construct that invites viewers to establish a personal and distinct relationships to the images on the screen. On a metaphorical and connotative level, a dialogue develops that generates different angles of reflection.

about the author

Yolanda Moreno Torrado was born and raised in the Spanish city of Badajoz, where she still lives today. She graduated in Fine Arts from the University of Salamanca and teaches sculpture and audiovisual media in public high schools. She develops her work through different disciplines, from photography and painting to graphic design and video art. In recent years, she has mostly focused on creative photography, experimental video, and short documentary and fiction film. She has made two short films so far, the documentary Con Pájaros y sin ellos and the fiction film Entre Líneas. She also works for the organisation CinHomo, where she designs posters and graphic solutions.


fiction, USA, 2022., colour, 7 min

directors / Ruby Fuller, Jacob Schindler
screenwriters / Ruby Fuller, Kevin Lucero Less, Jacob Schindler
cinematographer / Kevin Lucero Less
actors / Dana Armstrong, Lu Macias, Rosie Novak, Kevin Lucero Less, Jacob Schindler, Catie Mitchell
producers / Kevin Lucero Less, Dana Armstrong

about the film

Something strange and apparently terrible is happening in the spaces of the Infinity Arts Academy in Chicago. There are distraught people running down a corridor, and scattered belongings, shoes and cell phones with unanswered calls are abandoned on stairwells and floors. A dark-haired woman is hurriedly checking the classrooms, side corridors and toilets. In one of the classrooms, a man is standing in front of the window, looking out, his hand dripping with blood. The woman, in hurry and in fear, manages to find a couple of students and get them to safety outside.

about the authors

Ruby Fuller and Jacob Schindler are award-winning film students from Chicago, Illinois. Both have been studying film at the Infinity Arts Academy in Chicago for over five years, working intensively on film projects since the beginning of their studies – Ruby for a litter longer, since 2019, as a cinematographer, screenwriter and director, and Jacob since 2022, not only as a filming and technical assistant but also as a director and actor. To date, they have made several short films together that have successfully screened at international film festivals, with some receiving awards. Their most notable short is Bicycle, the story of the life of a bicycle as it interacts with its five keepers, which won them the Golden Lion Award for Best Long Narrative Film and Best Screenplay at the All American High School Film Festival in New York in 2022.

Hit ´n´ run

fiction, Greece, 2023., colour, 4 min

director / Apostolis Gkanatsios
screenwriter / Apostolis Gkanatsios
cinematographer / Thanasis Kamvisis
actors / Dimitris Simeakis, Dimitris Vosnakis, Spiros Papafilippou, Dionisis Antipas, Nick Grivos, Varvara Bourdakou, Orfeas Fragkos, Christos Gidersos, Christos Artemiou
producers / Apostolis Gkanatsios, George Kordas

about the film

One evening, four masked motorcyclists set out to rob an illegal casino located in an underground garage. When they reach their destination, armed with guns and an explosive device, they head towards a small room and throw the latter inside. Before the smoke clears, they barge into the room and, met with almost no resistance, overpower and disarm a group of men who had been drinking and playing cards. Nothing seems to stand in their way of carrying out the heist.

about the author

Greek author Apostolis Gkanatsios was born in 1996. By profession, he is a network programmer and front-end developer, and has produced a number of works as a designer over the past few years as well. In his free time, Apostolis is a poet whose first collection of poetry is soon to be published. On top of that, he is an avid cinephile; the film we are showing is his debut project, inspired by the works of his favourite directors.

Fuck Up

fiction, Taiwan, 2022., colour, 15 min

director / Li-Yuan Chen
screenwriter / Li-Yuan Chen
cinematographer / Li-Yuan Chen
actors / Li-Yuan Chen, Ting Rou Tu, Ting-Cian Wang, Yan-Hua Jhang, Siang-Sheng Jhu, Fu-Syuan Jhang, Cheng-HaoYang
producer / Guan-Lin Chen

about the film

After having sex with his girlfriend, who is not very happy with how things went down, a young Taiwanese man goes out into the night from their shared apartment. There are not many people on the streets, and the young man is quite thirsty. He stops at a store to buy a can of beer, then continues to wander around the city, feeling increasingly nauseous both because of the beer and because of what had happened before. His father calls him soon after, and the young man tells him a story about being a diligent student. When his girlfriend calls shortly after that, he realises that she wants to end their relationship. This, however, is not the full extent of the problems the young man will have to face in the same night.

about the author

Over the past four years, the young Taiwanese filmmaker Li-Yuan Chen first gained experience as an art designer on the popular family romantic drama Han Dan from 2019 and as an assistant director on the acclaimed drama series Workers from 2020. This prompted him to finally try his hand as an independent author of the film we are showing. He hopes to continue working in film and complete a series of other projects.


fiction, USA, 2022., colour, 26 min

director / Sebastian Hou
screenwriter / Sebastian Hou
cinematographer / Zohar Varadi
actors / Jolene Andersen, Alex Shore
producers / Sebastian Hou, Tessa Holtzman, Gerardo Vazquez

about the film

One evening, a middle-aged woman and her partner are making love in a house in the suburbs of an unnamed American city. When she later asks him where something is, he tells her that he doesn’t know because it’s not his house. As she goes to the bathroom, the presence of unusual energy is felt in the house. That energy lifts one of the photos of her with another man from the hallway wall and throws it on the floor. This is just the beginning of a series of supernatural events that lead to tragedy.

about the author

Sebastian Hou was born in China in 2001. Today, he is a student at Chapman University in the city of Orange in the county of the same name in California. He has been actively involved in film since his high school days; his 2019 short film Days was successfully screened at the All American High School Film Festival in the same year and is available on YouTube. The film we are showing won Best Thriller in Top Shorts International Film Festival’s monthly competition in June this year.

Cinema Love

fiction, North Macedonia, 2021., colour, 94 min

director / Jani Bojadži
screenwriter / Jani Bojadži
cinematographer / Ivan Zoroški
actors / Dejan Lilić, Jelena Žugić, Blagoja Čorevski, Robert Veljanovski, Nino Levi, Marija Novak, Dimitrina Mickoska, Robert Ristov, Mirjana Ristov, Tinka Risteska, Mladen Krstevski
producers / Jani Bojadži

about the film

In 2020, on the day the COVID-19 outbreak was declared a pandemic in Macedonia, middle-aged lawyer Mira plants a bomb under the car belonging to her brother Stevo, hoping that this would save the whole family from disintegration. Not long after, she sees her estranged husband Kosta – whom she still loves despite their differences, just as he loves her – and their conversation, garnished with convulsive sex, gradually reveals the details of a story riddled with misunderstandings and wrong decisions, but not lacking in love and passion. A year later, the grand opening of a movie theatre called Love, owned by Stevo, is taking place. Stevo became disabled as a result of the explosion and, by opening the cinema, fulfilled Kosta’s lifelong wish.

about the author

Jani Bojadži was born in Strumica, North Macedonia, in 1970 in a family of refugees of the Greek Civil War. After finishing high school in Macedonia, he studied film art at the Krastyo Sarafov National Academy of Theatre and Film Arts in Sofia, the capital of Bulgaria. As a writer, screenwriter, producer and director, Jani is equally active in film, theatre and television. He also teaches film directing at the International University Europa Prima in Skopje and serves as the chief executive officer of the Macedonian TV station Alfa TV. He has been active in film and television for two decades, often working on international productions. The films he has worked on most notably include his own projects Krajot na svetot from 2010, Mocking of Christ from 2018 and the film we are showing. This year saw the premiere of the acclaimed and eagerly watched TV drama Bistra voda, an ambitious project that Jani co-wrote and directed.

The Kidnapping of Laura Silverman

fiction, Uruguay, 2022., colour, 4 min

directors / Eduardo Granadsztejn, Marcelo Sanguinetti
screenwriters / Eduardo Granadsztejn, Marcelo Sanguinetti, Agustín Lorenzo
cinematographer / Mateo Pigola
actors / Eduardo Granadsztejn, Joel Pereyra, Luna Calistro, Kito Berasain
producers / Eduardo Granadsztejn, Marcelo Sanguinetti, Agustín Lorenzo

about the film

When he takes on the case of the kidnapping of a girl named Laura Silverman, the private investigator does not know what kind of trouble the case is about to get him into. The girl’s kidnapping hides many secrets, and uncovering them will take the detective to the edge of the abyss where nothing is as it seems.

about the author

Uruguayan filmmaker Eduardo Granadsztejn was born in 1982 in Montevideo. He studied digital animation and audiovisual production at Universidad ORT Uruguay from 2004 to 2009 and specialised in professional animation, character animation and post-production at the Animation Campus in Montevideo during 2007 and 2008. He is a film director, actor and one of the co-founders of the production company RQM Media. His compatriot and colleague Marcelo Sanguinetti was born in 1989, also in Montevideo, and graduated with a degree in audiovisual communication from the same university, Universidad ORT Uruguay. He works as first and second assistant director, collaborating with several production companies, and considers the experience he gained while working as a cameraman and editor on feature-length documentary projects to be invaluable for his work.

In Parallel with Infinity

fiction, Iran, 2022., colour, 10 min

director / Javad Mozdabadi
screenwriter / Javad Mozdabadi
cinematographer / Hashem Atar
actors / Sahand Jahedi, Rahele Komeili, Soheil Mirza Aghaei, Elham Gholami, Erfan Rashidpour
producer / Rahele Komeili

about the film

In an Iranian province, next to large cornfields and not far from a railway line, two men pull a third man’s bloodied body out of a vehicle. While they panic about getting rid of the body, a car pulls up near them, and two young women get out. One of them is looking for a great photo location – and this seems to be an ideal spot. The two women go walking through the cornfield, and the two men carrying the body realise they have to run. Sooner or later, their paths will inevitably cross.

about the author

Iranian screenwriter and director Javad Mozdabadi was born in 1973 in the holy city of Mashhad. After studying industrial design at Tehran University, his film career began with acting engagements in a series of television projects, most notably Brilliance and Rainland. He made his directing debut in 2003 with the short documentary Yek ghafas azadi and went on to make many more short films and television projects in the following two decades, most of them very well-received. He simultaneously worked on several popular TV series and directed several feature-length films, the most widely recognised among them being Ice Cream, No Entrance for the Blind and Ababel.

Where the Winds Die

animated, Iran, 2021.,colour, 13 min

director / Pejman Alipour
screenwriter / Pejman Alipour
animators / Pejman Alipour, Marzieh Maysami Azad
producers / Pejman Alipour, Documentary and Experimental Film Center (DEFC)

about the film

In the Iraq-Iran War, the Kurdish city of Sardasht in western Iran was attacked by Iraqi forces, becoming the first target of a deliberate chemical attack against Iranian civilians. Mustard bombs were dropped on the city on Sunday, June 28, 1987, at 4:15 p.m. For most of the residents of Sardasht, the afternoon before the catastrophic event was quite a normal one. Those walking by the river were occupied by different affairs: a young man successfully wooed a girl, a boy bought a colourful toy from a toy seller, a man in the company of a woman considered picking up a dropped apple, some had fun riding bicycles. No one suspected that their idyllic moments would soon be disrupted by fighter planes, with tragic consequences.

about the author

Iranian artist Pejman Alipour was born in 1975 in the city of Sardasht in the western part of Iran, the first city in the world whose residents became victims of mustard gas chemical weapons, killing more than a thousand and gravely injuring more than eight thousand civilians, many of whom were left permanently disabled. Pejman still lives in Iran, in the city of Mahabad. He has an MA in animation directing from the University of Art in Tehran, and actively works as a director, animator, illustrator and caricaturist. The film we are showing is his fourth short animated film to date included, among other festivals, in the competition section of Animafest Zagreb 2022. Previously, in the period from 2000 to 2006, he made the films Cold War, Small Heart and I Don’t Know the Way My House. He also participated in the making of various animated series, most notably several seasons of the popular series Injoriyeh and two seasons of Hamin hala, hamin farda. He was worked as a producer and screenwriter on the animated series Adi and Bodi.

Amazonian Slowness – Pindobal 1

documentary/experimental, Brasil, 2022., colour, 10 min

director / Lucas Rebelo
screenwriter / Lucas Rebelo
cinematographer / Lucas Rebelo
producer / Lucas Rebelo

about the film

At first, the scene in front of the camera suggests that it might be capturing a desert landscape – cracked soil under vibrating air, swallowing the horizon. But then, birdsong and birds flying into the shot point to something else. Soon after, a group of people enter the shot from the left; they appear to be a family consisting of several adults and several children. They are walking in the area along the Amazon that, shot under certain circumstances and from certain angles, takes on almost surrealistic qualities.

about the author

Brazilian author Lucas de Albuquerque Rebelo was born in 1991 in the city of Santarém in the state of Pará. He moved to the city of Belém in the same state in 2014, first to study multimedia production at Universidade Federal do Pará for the next five years, then going on to specialise in audiovisual production at Instituto de Estudos Superiores de Amazónia (IESAM). He began working more intensively in film in 2018, when he assisted in the production of several dance videos. A year later, he started producing his own videos and posting them online. In addition to video, he also creates music, digital photography and digital art in general, and occasionally writes. Whatever he does, the focal point of his activity is above all experimentation and improvisation. The film we are showing is the first segment of a web series which aims to portray the nature of the Amazon, specifically the beach along the Tapajós River, in the realest and most concrete way possible.

Public space

documentary, Norway, 2023., colour, 5 min

director / Cato Fossum
screenwriter / Cato Fossum
cinematographer / Cato Fossum
producer / Cato Fossum

about the film

 Advertisements are constantly changing on three billboards in one of the passages of Oslo’s public transport complex. People who use public transport and walk through the passage do not seem to notice them. However, the one noticed by a passer-by at the very beginning is the film’s author, who has to explain to them who he is filming and why.

about the author

Cato Fossum lives and works in Oslo. His primary occupation is distributing independent and art films. He does this under the auspices of the film agency Jack, which he co-founded. He is also a film critic and publicist whose works have been published in various publications and media. The film we are showing is his first short film after the short video Why Jack? made in 2021 as part of the Mapping Distribution: New Norwegian Initiative project, in which he introduced his agency. The video explores alternative ways of distributing independent art films and was created as part of the collaboration between Kunstnernes Hus Cinema from Oslo and On & For Production and Distribution from Brussels.

Wings of Spring

fiction, Republic of Korea, 2023., black-and-white, 7 min

director / Eun O
screenwriter / Eun O
cinematographer / Eun O
actress / Eun O
producer / Eun O

about the film

As she waits for spring to come, a young Korean woman writes the poem Wings of Spring in silence. To her it seems that she hardly even lives at all, until the day she finally feels that spring has arrived. 

about the author

Eun O is a young South Korean artist who is the sole author of the film we are showing. She was born in Seoul and has been acting and modelling for ten years. She acted in a number of popular and acclaimed TV dramas and stage plays. She made her debut as a stage director at a very young age of only 17, making her one of the youngest debutants. After moving to New York, she received an honorary B.F.A. scholarship and enrolled at the New York University Tisch School of the Arts. When she graduated, she started actively working as a producer, director, screenwriter, editor, cinematographer, production designer and composer, in all film genres. Her short film A Sunny Day, which she made when she was 18, was included in the official selections of various international film festivals, while her well-received films De-Flower, A Butterfly in My Stomach, Ohnaya, Take 1 about wanted and Soleil Noir were screened at numerous events in South Korea and abroad. She is also the author of original film scores, including the compositions A Lost Siren and Non-Echo, which were performed at the Fusion Film Festival and at concerts in New York. Her wish is to found a film and art company that would operate equally in Seoul and New York. 

The Unbearable Lightness of Being

documentary, Hungary, 2018., colour, 13 min

director / János Kis
screenwriter / János Kis
cinematographer / János Kis
producer / János Kis

about the film

Due to a multitude of obligations, our daily lives rarely allow for the opportunity to slow down and take a break. Still, what we should do is to stop, even if only for a short time, in order to free ourselves at least a little from the pressure of the powerful forces that influence and direct us. In contrast, in the story we are watching, it is as if nothing is happening at all. And yet, we just have to be patient. A cow lies peacefully and chews her cud by the side of a dusty dirt road. The cow’s utter calmness gives the scene the impression of a painting. From time to time, she wags her tail to ward off flies and shakes her big black ears. She is alone, seemingly left on the sidelines, practically at the edge of the frame. It is a scene that is not too unusual but not entirely ordinary either.

about the author

János Kis is a Hungarian avant-garde author and photographer who studied sociology and film. In his work, he aims to capture the passing of time, slow it down and make it visible, while thematically focusing on the unpredictability of everyday life. He shoots minimalistic projects using long static or tracking shots. As much as possible, he prefers to use natural light, low lighting and audio recorded on location. He often shoots in only one very long take, paying attention to diegetic sounds outside of the frame. His work questions the non-narrative forms of experimental film while capturing unpredictable occurrences in everyday life. His aspiration is to open up space for a theoretical re-examination of under-explored aspects of the temporary and that which lies beyond, in which he is guided by Carl Gustav Jung’s theory of synchronicity. The film that we are showing was shot in Cambodia.


documentary, China, 2022., black & white, 28 min

director / Lai Chun
screenwriter / Lai Chun
cinematographer / Lai Chun
participants / Guo Ailian, Qin Caixia, Sun Xinfang
producer / Lai Chun

about the film

At a time when China, like the rest of the world, is affected by the coronavirus pandemic, an elderly woman with a mask is sitting on a bench in a small square between buildings. It is evening, darkness is slowly descending, and the woman is evidently bored. That is, until her peer, also masked, approaches the bench that she is sitting on. They strike up a conversation, mostly about the other woman’s children and grandchildren; she is pleased with how her family members have succeeded in life. But the women also comment on the weather; it has been a long time since it last rained. It then occurs to the second woman that, at their age, it would be good for both to move as much as possible, and the two women go for a walk in the square hand in hand.

about the author

Lai Chun was born and raised in China, where he still lives today. He is a poet and film director who has been making films since 2021. He has made three documentaries to date, a short that is screening at the festival, and the somewhat longer documentaries Poetry · Football · Country School and The World Outside My Windows, in which he subtly dabbles in fiction.



fiction, France, 2022., black-and-white, 4 min

director / Emeric Gallego
screenwriter / Emeric Gallego
cinematographer / Emeric Gallego
actors / Méline Rocher, Antoine Kovalenko, Linda Hwang
producer / Emeric Gallego

about the film

While the ticking of a clock inexorably counts down seconds in the background, a frightened young girl sits opposite two adults questioning her in a way that makes it seem like a hearing. Her name is Clara, and a few months earlier she was a victim of harassment at the college she attends. As she talks to her interrogators, she is constantly on the verge of tears. There was a tragedy, and Clara is trying to explain how it all happened.

about the author

Emeric Gallego was born in Paris in 1995. He has been in love with film from an early age, which he credits to the fact that his parents did not properly look after him, so cinema and film became his main occupations. When he started film studies at Université Paris 8, he began to suffer from eating disorders and other ailments. A woman played a crucial part in helping him overcome them and, ever since, women have always played central roles in his films, which he considers to be a golden rule of his authorship. Emeric is also an award-winning photographer whose work focuses on portraits and travel series. He takes all of his photographs in natural lighting as he is keenly aware that this emphasises the authenticity of the subject. During the past eight years, he directed around twenty short films, shooting and writing many of them as well.

Hurry up

fiction, Morocco, 2022., black-and-white, 11 min

director / Karim Tajouaout
screenwriter / Karim Tajouaout
cinematographer / Karim Tajouaout
actors / Mohamed Naimane, Ilyass Elhani, Farid Delyasse, Boujama El Ibrahimi, Abdelaziz Tahiri, Sohaib Ahini
producer / Naima Sikkal

about the film

A funeral is taking place at a cemetery on the edge of a Moroccan village. The area is desolate and barren, and the funeral procession is approaching a spot where several people are digging a grave. It is a traditional ceremony, and the one most affected by the death is a boy. He is saying goodbye to one of his closest family members. His pain is immense, and he will be the last one to linger, crying, on the mound.

about the author

Moroccan author Karim Tajouaout was born in 1992 in the city of Oujda in the north of the country. He works as a director, cinematographer and photographer. After graduating with a degree in applied arts in 2013, he started editing and special effects studies at L’Institut Spécialisé Métiers du Cinéma in the city of Ouarzazate the following academic year. He later specialised in the field of audiovisual arts, graduating in 2016.


fiction, Turkey, 2020., black-and-white, 5 min

director / Ali Şenses
screenwriter / Ali Şenses
cinematographer / İbrahim Halil Atuşağı
actors / Remzi Kurtulmuş, Pelin Nerse, Ali Yıldırım, İbrahim Yılmaz, Nafiye Doğan
producers / Özgün Şenses, Ali Şenses

about the film

A family is celebrating a little girl’s first birthday. Everything is set: the table, with a clean tablecloth, a cake with a single birthday candle. The little girl’s family is all gathered together: her mother is busy trying to make everything go smoothly; her grey-haired grandfather is wishing his granddaughter a long and happy life, her father with her older brother, and another man. At first, everything seems to be going really well, until Grandpa complains about a strange pressure in his chest.

about the author

Turkish director Ali Şenses was born in 1967 in the city of Saray in the district of the same name in the province of Tekirdağ, European part of Turkey. He is married with a child and currently works as a family physician in the city of Gaziantep in southeastern Turkey. He has made several short and three feature-length films to date, and the film we are showing is his second short film, filmed a year after his debut titled MAVI. The film was successfully screened at a series of festivals, including the 6th edition of the International Uşak Winged Seahorse Short Film Festival, the Montreal Independent Film Festival, the 4th AFSAD Festival and the Eternal International Film Festival, where it won Best Film Experiment in 2023.

It´s time

fiction, Germany, 2022., black-and-white, 9 min

director / Melanie Hierhammer
screenwriter / Melanie Hierhammer
cinematographer / Martin Peter
actress / Jill Weller
producer / Melanie Hierhammer

about the film

Young Florence Bright is a fashion design student working for a large fashion house. One day, she decides to use her lunch break to stay in the room with suits and women’s hats to try to practice something that had been bothering her for a while – she has fallen deeply and passionately in love, but the person in question is not aware of this. And so, Florence decides to practice approaching the person and telling them how she feels. But are things really that simple?

about the author

Melanie Hierhammer is a German musician, poet and prose writer who has passionately devoted herself to filmmaking in recent years as well. She jokingly claims that, for her, it all started at the age of three, when she played the popular children’s song Alle meine Entchen on the kids’ piano. A few more years had to pass before she wrote her first poems, short stories, and later several piano compositions. She emphasises that impacting people is the most important thing for her in everything she does, from music and literature to film. Her piano compositions are partly wistful and partly classical or sensually playful ballads. Each of her works tells a story, thematising life, emotions, people, dissonance or contrasts – whether a discrepancy between reality and wants, love and loss, or pain and hope. This is also the theme of her independent screenwriting and directorial debut – the film that we are showing. Her work on the film benefited from the experience she gained while working as a director on the popular TV series The Challenge Show.

A Vicious Circle

fiction, Russia, 2021., black-and-white, 3 min

director / Alyona Polyakova

screenwriter / Konstantin Chelidze

cinematographer / Maksim Khomenko

actors / Serafima Smolina, Elizabeth Damsker, Vladislav Medvedev

producer / Konstantin Chelidze

about the film

A young girl is irked because her mother barged into the bathroom right when she was enjoying a foamy bath. As the mother scolds her, as usual, for her various failings – from being irresponsible to probably never getting married – the girl only wants her to get out of the bathroom. When that finally happens, a young man’s head emerges from the foamy bath water. He immediately has to go under again as the temperamental mother barges into the bathroom once more to continue her tirade.

about the author

The director of the film - Alyona Polyakova -  was born on the coast of the Black Sea in 1988. After studying at the State University of Management in Moscow, she worked as a producer of student films at the prestigious Gerasimov Institute of Cinematography. For the past five years, she has been working as a script supervisor for TV series and feature films, writing screenplays for short films as well. She is currently attending a film directing course at the Gerasimov Institute of Cinematography, also known as the All-Russian State University of Cinematography.


fiction, Iran, 2022., colour, 15 min.

director / Hesam Rahmani

screenwriter / Hesam Rahmani

cinematographer / Hesam Rahmani

actors / Sorena Salehi, Omid Shahmoradi, Masoud Ramezani, Mamali Rahmani, Ehsan Aliakbari, Shahin Faridpour, Farshad Ershadi, Afshin Aslani

producers / Afshin Aslani, Mohammad Raeisi


about the film

An Iranian boy walks into a café to play video games. He is evidently a regular, his name is Sourena, and he is well known not only by the café’s owner but also by several other slightly older gamers who challenge him to a Champions League match. While the youths mostly play fair, Sourena is prepared to cheat in order to win. His inclination for cheating could really surprise his opponents this time as a virtual hero unexpectedly appears in the real world.


about the author

Iranian filmmaker Hesam Rahmani was born in Tehran in 1992. He is an independent film director, screenwriter, editor and producer who also works as an experimental composer and performer. The profession he originally wanted to pursue was architecture, but financial difficulties interrupted his education. Since then, he has devoted himself entirely to film and new media, and is determined to pursue his dreams as an independent artist uncompromisingly and to the end. The film we are showing is his third directorial project, following the short films Rabbit-T and How Long Does It Take? from 2020 and 2021. He is currently working on his new shorts Mer and Faces Without Visage as director, editor and producer.


Markus Keim was born in the town of Sterzing in South Tyrol in 1969. After studying history and political science at Universität Innsbruck from 1990 to 1995, he attended two semesters at DAMS (Discipline delle arti, della musica e dello spettacolo) in Bologna the following year. From 1999 to 2006, he worked as a co-founder and actor in the renowned theatercombinat in Vienna, winning several awards for his work there, including the prestigious Nestroy Theater Prize. Since 2008, he has also been working as an independent artist in the field of installation, film, and performance. He lives and works in Vienna and Sterzing.

One Take in Space


experimental, USA, 2023., colour, 5 min

director / Gabriela Villasenor
screenwriter / Gabriela Villasenor
cinematographer / Gabriela Villasenor
producer / Gabriela Villasenor

about the film

As a subjective camera follows the descent of an escalator, a male voice in the background is proclaiming that a fully coherent and integrated social order cannot be maintained under only one functional principle. A different and unique perspective of society is presented to the audience as the narrator questions the pragmatic idea of modernity. He challenges the way in which maintaining the social status quo selects and marginalises certain social elements based on whether and when they support or disrupt it, ultimately offering the possibility of changing the current dominant social structure.

about the author

American-Mexican author Gabriela Villasenor is an award-winning director and artist whose work encompasses a wide range of fields. Her fiction and documentary films have been shown on five continents, at prestigious festivals, in museums, on digital platforms and TV. She is the founder and director of the production company and media arts organisation Tekños Films, which organises affordable film workshops and provides access to technical equipment to emerging filmmakers and community organisations. She started practicing art as a child, when she took her first acting steps in the theatre. Her affinity for the stage and performing arts continued throughout her childhood with performances in the stage productions of Snow White, Annie and Jesus Christ Superstar. What she likes most about acting is the possibility of sharing emotions and warmth with the audience and her colleagues. Her interest in film naturally followed after many years of doing theatre for children and youth. She started making short films during her high school years, which had led to the opportunity to participate in more ambitious film productions in college, when she not only acted but also worked as a producer, screenwriter, cinematographer and editor. Eventually, she began to write and direct her own films, which are now being selected for festivals around the world.

Null Cone

experimental, Croatia, 2022., colour, 9 min

director / Vladislav Knežević
screenwriter / Vladislav Knežević
animator / Boris Goreta
video shooting / Predrag Vekić
producers / Vladislav Knežević, Boris Goreta, for KinoKlub Zagreb

about the film

Integrating itself within the micro-level of high-speed cosmic dust particles, the nanogenerator encodes models, conjectures and possibilities using an unknown protocol. The process encompasses firmly elaborated scientific theories and theses, doubts and phantasms, imaginaries and fringe discourses at different scales. The interior architectonics of the pataphysical machine are scaled up from the nano-level and render emergence with their movements. The spiral rotation with variable speed within the particle simulates, but potentially also realises formation. The top of the null cone represents the process of energy exchange in the form of absorption and emission of photons. At the centre point is the observer in the present moment as an interactive part of formation with an indeterminate future in the making. The film is not an attempt at scientific visualisation but an energetic construct.

about the author

Vladislav Knežević was born in Zagreb in 1967. After studying directing at the Academy of Dramatic Art in Zagreb, he went on to study at the Audio-Visual Department of De Vrije Academie in The Hague. He has been involved in experimental film, video and sound since 1988 and started working as a director of various television formats and programmes five years later. He is a media artist and director who creates using recorded video material, digital photography, micro-animation, stereoscopic 3D and generative electronic sound in an attempt to create a new film-watching experience. His interests revolve around concepts related to the marginal areas of reality categories, the experience of new media images, digital aesthetics, utilitarian/fantastic constructs and the consequences of technological and scientific research for the human experience. He is the initiator and organiser of the programme Reference to Difference, a TV programme about experimental film and video called Videodrom, co-author of the TV programme about animated film Animatik and the co-founder of the international festival of experimental film and video 25 FPS. His experimental and art films have screened at over 200 festivals and exhibitions in Europe, USA, Australia, Japan and Brazil.

Nature´s Being Natural 160904

experimental, Iceland, 2020., colour, 12 min

director / Marcellvs L.
screenwriter / Marcellvs L.
cinematographer / Marcellvs L.

about the film

A portrayal of part of the operation of Iceland’s largest hydroelectric power plant, Kárahnjúkar. In order to build it, it was necessary to submerge the second largest unexplored natural area in Europe, a move that destroyed a unique ecosystem to provide foreign aluminium manufacturers operating in Iceland with affordable, cheap energy. The film aims to test the integrity of the viewer: on the one hand, under the impact of the palpitation-inducing changes in what they observe and, on the other, in the face of external forces beyond their control.

about the author

Marcellvs L. was born in 1980 in Belo Horizonte, Brazil, and has been living between Berlin and Seyðisfjörður, Finland, since 2006. He works in both video and sound, and has exhibited extensively in Finland and abroad since the mid-2000s. Over the past twenty years, he has participated in numerous group exhibitions and biennials, including the 27th São Paulo Biennial in 2006, the 9th Lyon Biennale the following year and the 16th Biennale of Sydney in 2008. His work was also exhibited at MAC – Musée d'art contemporain in Lyon, the Helsinki Art Museum, Astrup Fearnley Museet in Oslo, Living Art Museum in Reykjavik, Singapore Art Museum, Museo Nacional Centro de Arte Reina Sofia, the ZKM Museum of Contemporary Art in Karlsruhe and the São Paulo Museum of Modern Art. His awards include the Ars Viva Prize for 2007/08 and the Grand Prize from the 51st International Short Film Festival in Oberhausen in 2005.

Painter of fish

fiction, Iran, 2022., colour, 1 min

director / AsgharBesharati
screenwriter / AsgharBesharati
cinematographer / AsgharBesharati
actor / Afan Sorody
producer / AsgharBesharati

about the film

While several people on thin long tables grab and throw fish using sticks, bird’s-eye view shows one man drawing several specimens of the fish on paper. He seems to be aware of human kind’s indiscriminate exploitation of the sea and lack of concern for nature and the environment.

about the author

Asghar Basharati was born in 1977 on Iran’s Qeshm Island. He has been doing photography for seventeen years and actively pursued film in the past three years as well. He is ready for and open to new knowledge and experiences, whereby he is especially attracted to experimental films, a genre in which he believes himself to be quite skilled already. He has already won more than 30 awards for his work on film.

In the Barren Presence

experimental, Iran, 2020., colour, 18 min

director / Amir Ahmad Kheiri
screenwriter / Amir Ahmad Kheiri
cinematographer / Hamin Shademani
actor / Ahmad Toosi
producer / Amir Ahmad Kheiri

about the film

Taking the sentence “I think he said that you are looking at the opening of existence through the crack between your legs” as a starting point, the author elaborates the thesis that life is like an oscillation between suffering and boredom. Everything looks like a short theatre performance in which the actor, dressed in rags resembling a beggar’s clothes, performs movements without a sound and carries a metal barrel open on one side across the stage, trying to work out its contents by lighting matches and throwing them into the barrel. When he finally straddles the barrel, it does look like a crack between his legs.

about the author

Iranian author Amir Ahmad Kheiri graduated in Graphic Design from Shahid Rajaee University in Tehran. He has recently produced two short films in which he discusses his new experiences in filmmaking. One of these films was selected for the International Portrait Film Festival in Bulgaria. Amir is also extensively involved in photography; in the previous few years, a selection of his photographs has been successfully exhibited at international exhibitions such as Jardino Arte & Natura in Milan (photographs from the Intim-us series) and MARMO | Marble. Carving the Future under the auspices of the Italian Ministry of Foreign Affairs (the Mi-sul photo series). His photographs have also been featured in reputable magazines such as The Margins Magazine, published by the University of Toronto. One of his posters was selected for a collective exhibition at Colorado Mesa University in the USA.

German photographer and filmmaker Telemach Wiesinger was born in 1968 in the city of Bielefeld in the province of North Rhine-Westphalia. He studied visual communication at Universität Gesamthochschule in Kassel, where he obtained an M.A. degree (summa cum laude) in 1995. He is a storyteller who uses tape, cameras and projectors as his tools. In his work, landscapes are represented as can only be depicted on film; in specifically processed black-and-white images, with the sound of the engine that drives the 16-millimeter projector adding value to the projections. His films are at the same time visual poems, travelogues and anthropological studies of port cities and mechanical, functional architecture.

 His work builds on the idea of a “travelogue machine,” grouping sequences recorded on 16 mm analogue film into formally structured sequences that create a coherent kaleidoscope of memories and emotions. His films have been screened at numerous international festivals and events, at alternative film festivals, in museums and galleries. He is a guest lecturer at a number of prestigious universities, institutes and schools around the world, including the University of Wisconsin, ENSCI – Les Ateliers in Paris, the Milwaukee Institute of Art & Design, Aberystwyth University in Wales, L’Institut National des Beaux-Arts in Tétouan and Escuela de Arte in Granada.

3 x 1

experimental, Germany, 2007., black-and-white, 10 min

director Telemach Wiesinger

screenwriter / Telemach Wiesinger

cinematographer / Telemach Wiesinger

producer / Telemach Wiesinger

about the film

Three different views of one swing bridge. In the first, we see an access road with a ramp and busy nighttime traffic, further accentuated by accelerated motion. In the second, we follow ships sailing near and under the raised bridge. In the third, people move across the bridge, at times resembling a marshalling yard. The film consists of three three-minute sequences from the author’s previous experimental film Landed, a sequence that the director calls Augenblick, namely Augenblick No. 28, Augenblick Nr. 46 and Augenblick Nr. 47. The score by composer Tobias Schwab rounds off the whole with a distinct atmosphere.


documentary-experimental, Germany, 2011., black-and-white, 20 min

director / Telemach Wiesinger

screenwriter / Telemach Wiesinger

cinematographer / Telemach Wiesinger

producers / Telemach Wiesinger


about the film

In his film poem Passage, the author choreographed “moving” bridges. From his point of view, these structures are mechanically, acoustically and optically closely connected to his analogous film pictures in motion. As a continuation of this analogy, the film we are showing presents a sequence of several different harbour settings in the West of France, where the filming took place. Sound, the work of Andreas Gogol, is extremely significant for this film as well – analogously produced sound structures complement and supplement the observed landscapes. Motor is simultaneously a continuation of the film performance Landed Takes & Sound Times, which won Telemach Wiesinger and Andreas Gogol the teamwork award at the 20th Stuttgarter Filmwinter – Festival for Expanded Media in 2007.


fiction-experimental, Germany, 2017., black-and-white, 4 min

director / Telemach Wiesinger

 screenwriter / Telemach Wiesinger

cinematographer / Telemach Wiesinger

producer / Telemach Wiesinger


about the film

The film – shot on 16 mm film by means of double exposure – merges two locations from the Swiss town Bale on the Rhine River. The leading actor, artist Werner von Mutzenbecher, uses his “inner eye” to expose the viewer to a drama suspending space and time. Water and air seamlessly pass into one another, as horizontal and circular movements become one. The music, adapted from Franz Schubert’s “Der Doppelgänger,” has been arranged and varied for two organs in reference to the motif of doubling in the film. The instrumentation additionally alludes to the sounds of a carnival, while the character of the music emphasises the melancholic mood of the overlayed scenes.


documentary-experimental-fiction, Germany, 2012., black-and-white, 20 min

director / Telemach Wiesinger

screenwriter / Telemach Wiesinger

cinematographer / Telemach Wiesinger

producer / Telemach Wiesinger


about the film

In his works, which he calls film poems, the author develops his own image of Europe. The film we are showing contains seven sequences, each approximately two and a half minutes long, consisting of shots from France, Ireland, Germany, Greece and Switzerland. The frames are dominated by ports and bridges, as well as spaces and rooms within them or near them and people doing something in the frames. The author filmed the seventh chapter together with director Daniel Schmid on the roof of the family hotel run by Schmid’s parents, not knowing that it would be his final appearance in front of the camera. Andreas Gogol is once again responsible for the score, and the chapters and the people who appear in them are, in order of appearance: Honfleur in France with Wolfgang Lehmann, Dublin with Michael Wiesinger, the German-Swiss border with Markus Dörner, Munich with Ole Ott, a region in Greece with Jasmin Matzakow and Georgios Kokolatos, and a place in Switzerland with Dieter Krauss, Wolfgang Lehmann and Daniel Schmid.


Two Decades in Every Frame


by: Boško Picula


The first twenty years are certainly the most intense and, in many ways, the most beautiful years of a lifetime. In the lives of people and festivals both. In this time, almost everything is new. First experiences, first delights, first encounters, first advancements, first setbacks, first joys, first disappointments, first big decisions and the first people leaving a permanent mark. In the lives of people and in the life of a festival. When all this is captured by film cameras, in one take or almost one, the expressiveness and simplicity of the material becomes synonymous with that time. Zagreb and Croatia’s international festival of films shot in one take had its first edition in November 2003. The twenty-year difference in relation to 2023 seems both small and great. Small, because the past two decades are remembered vividly – 2003 could have been yesterday. Great, because the world has changed a lot in those two decades, as did our human lives, shaped by all the beautiful and difficult things they entail. The year 2003 was the International Year of Freshwater, a resource that is the very essence of life, and something comparable to one take films. In 2003, we still lived without social media, Facebook and YouTube, which would appear and conquer the world in 2004 and 2005. Can anyone imagine never connecting through Facebook or never watching something personally meaningful on YouTube in the meantime? Yes, twenty years is a long stretch of time in a world that is changing exponentially through the digital. This is why this year’s 20th anniversary of One Take Film Festival marks much more than a new edition. In 2023, the festival represents a kind of a timeline of everything that happened in the past two decades.


Previous festival editions and all the films screened from 2003 to this day have been interwoven with personal, social, political, artistic, economic and other events. The exhibition marking the 20th anniversary of One Take Film Festival is as simple and suggestive as the Festival itself. It includes frames from the winning titles from 2003 to 2022, a total of twelve, in anticipation of the lucky thirteenth winner this fall. It also features posters from previous editions, designed and produced in a way that meets the highest contemporary standards of international graphic design exhibitions. Indispensably, visitors can experience the beauty of the festival prize by Margareta Lekić, which, with its refinement and layering, mirrors what this film festival is about: seemingly transparent in every frame, but truly complex in every frame’s composition. In the context of the Festival’s new anniversary edition, the exhibition in a way serves as a time machine for going back into the past, feeling the present and guessing at the future. The past is described in a rich and metaphorical language of film; the present unfolds before us with every film from this year’s edition; and all of us are wishing for a future of new achievements that bring fulfillment. In the synergy between new films and past winners, in front of the powerful and subtle visual solutions of the festival posters and in the reflections of the festival prize in which – and through which – time and creativity incessantly flow, the exhibition is an interactive confrontation of all authors and all viewers from all previous and this year’s edition of the Festival. Held anually in the first two years in 2003 and 2004, biennially from 2004 to 2020, then annually again from 2020 to the present day, One Take Film Festival at this exhibition reveals its artistic sensibility, through its winning films, the posters’ graphic solutions and the magical prize resembling an object from an Arthur C. Clarke novel.


The year 2003 was marked by the first ever winner of the Festival’s Grand Prix, a Mexican film suggestively titled Real Time, while the poster’s graphic design, also tellingly, features a mouse and a loaf of bread. For the festival’s second edition, the poster had two matches ready in a box, and the award went to the Australian film Ascension. The poster for the third edition in 2006, by then as a rule, also played with the number by featuring two empty glasses and a third full of film content, while the winner was the Brazilian film Man.Road.River. At the fourth edition, a fourth fly buzzed across the poster, and the winner was 7.23, another Australian film. The visual solutions for the first four posters are the work of the graphic and industrial design studio Petrak-Žaja Studio. Since 2010, the posters have been designed by Krsto Jaram, whose creativity was also recognised by the Golden Arena award for best visual effects for the film My Grandfather Fell from Mars. The poster for the fifth One Take Film Festival in 2010 dismantled a paper clip, and the sixth poster in 2012 opened up a cube, reflected in the shape of the festival prize as well. At these editions, two Spanish films received the award, La Sortie and Room respectively, confirming the vitality of this film form in Spanish cinematography. At the 2014, the Grand Prix went to the Finnish-Polish production Rearranged, while the poster read “Reloaded.” The eighth edition of the Festival in 2016 sent the message that infinity is vertical, and the expert jury once again awarded an Australian film, titled Eight, no less. In 2018, the award went to Slovenia for The Invisible Hand of Adam Smith, while the poster featured a tape folded to form the number nine. The tenth Festival took place under pandemic conditions in 2020 with an “x” on its poster, as ambiguous as the the title and content of the winning film, Fence from Kosovo. Returning to the annual rhythm, the Festival poster in 2021 lucidly featured the number 11 formed by the digit one and its shadow, and the award went to the Iranian film Hawaii. Finally, the 2022 edition was held “under pressure,” while the dominoes on the poster fell all the way to the number twelve. The Grand Prix was awarded to the German film Text me when you get home xx.


On this year’s poster, the lucky thirteen can be found in the combination of three playing cards, two sixes and an ace. The single ace perfectly sums up the essence of a film festival unique in Croatia and this part of Europe, which has been approaching film in a recognisable, simple and unique way. Its singuarity has been made possible by everyone from its initiator, multiple award-winning Croatian cinematographer and director Vedran Šamanović, to all the featured artists from Croatia and the world, its organisers and its vast audience. In this exhibition, all this can be seen and felt – in every frame.  

Real time - Grand prix 2003.

fiction, Mexico, 2002., colour, 90 min.

director / Fabrizio Prada

screenwriter / Renato Prada

cinematographer / Everardo Gonzalez

actors / Jorge Castillo, Enrique Rendon, Raul Santamaria, Leticia Valenzuela, Monica Valle, Waldo Facco, Felix Losano

producers / Hugo Stieglitzy, Cesar Balestra, Fabrizio Prada


about the film

The characters live, steal, scheme, suspect, betray, escape, kill and die, but everything happens as it does in life - without editing and without the manipulation of time. Everything is captured by the invisible camera; everything happens in Real Time. 


about the author

Fabrizio Prada is a screenwriter, producer and director born in Belgium in 1972. He graduated from the International School of Film and Television (Escuela Internacional de Cine y Television) in de San Antonio de los Baños, Cuba. His first film Tiempo Real (Real Time) was made with no cuts, in a single 86-minute take that opened a new category in the Guinness World Records TM as the first such film with no cuts, one camera and no editing. Tiempo Real is the winner of the first One Take Film Festival. Since 1991, Fabrizio has directed many independent films and documentaries, produced in 35 mm and digitally. His documentary Soy un niño todavía (Im still a child), in which Cuban children give their opinions on the problems in their country during the Special Period, has participated in over 50 festivals and international shows, winning mentions and prizes at many of them. Fabrizio is also the author of the comedy Chiles Xalapeños from 2008, in which the famous Mexican singer and actress Iran Castillo appeared and which earned the title of the most pirated Mexican film. In 2012, he founded the Veracruz World Extreme Film Festival which showcases short and feature-length films from five continents shot in extreme production conditions, with virtually no budget and sponsorship contracts.

Ascension - Grand prix 2004.

experimental, Australia, 2004., colour, 7 min.

director Ben Ferris

screenwriter Ben Ferris

cinematographer James Brahanos

actors Jean – Alexander

producers Rainbow Chun, Tobias Kohl


about the film

A young woman breaks free from the cycle…


about the author

Ben Ferris was born in 1975 in Sydney, Australia. He studied Latin and Ancient Greek at the University of Sydney, winning both the Salting Exhibition and Coopers Scholarship. In 1998, he graduated with First Class Honours in Ancient Greek after reconstructing Alexandros, a fragmentary play by the Athenian tragedian Euripides. From 1992 to 2004, he acted and directed in the theatre, establishing the Two Black Shoes Theatre Company, with which he performed and directed for the Sydney Festival. In 2002-3 he worked as a literary consultant for the Griffin Theatre Company. In 2000 he established the UBS Film School at the University of Sydney which he ran from 2000 to 2004, and in 2004 he founded the Sydney Film School where he was Executive Director until 2018. Ben’s film The Kitchen screened at the inaugural One Take Film Festival held in Zagreb, Croatia in 2003. In 2004 he won the Grand Prix at the festival for his one-take film Ascension. His career spans more than two decades; during that period, he produced 41 projects, directed seven and wrote five. In 2009, he made the fiction film Penelope as a screenwriter and director. The film is an Australian-Croatian production with original music composed by Max Richter. In 2016, he shot the critically acclaimed fiction-documentary hybrid 57 Lawson, and a year later received a residency at the prestigious Cité internationale des arts in Paris. At the 53rd edition of the renowned Karlovy Vary Film Festival in 2018, his fiction film In(di)visible made it to the shortlist for the Eurimages Project Lab award. During his career to date, his films have won awards at numerous festivals around the world, from Paris and New York, Tokyo and Singapore to Amsterdam.

Man.road.river. - Grand prix 2006.

experimental, Brasil, 2004., black-and-white, 9 min.

director / Marcellvs L.

screenwriter / Marcellvs L.

cinematographer / Marcellvs L.


about the film

A mysterious man, whom we cannot clearly see, crosses the river by foot and begins a metaphorical journey.


about the author

Brasilian video artist Marcellvs L. was born in 1980 in Belo Horizonte. His film Man.Road.River. won the Grand Prix at the 2006 One Take Film Festival in Zagreb. He is an experimental artist whose main field is work in progress, and these include VideoRizoma (2002-2005), Esquizodramas (2004) and Man.Road.Cars (2003), Man.Road.River. (2004) and Man.Canoe.Ocean. (2005). The film Man.Road.River. (2004) won best film at the prestigious International Short Film Festival Oberhausen. The film was also crowned best experimental film at film festivals in Teheran and Rio de Janeiro. His solo exhibitions include: Wer mich lenkt ist das Meer, carlier | gebauer, (Berlin, 2007), Bolsa Pampulha: Marcellvs L., Museu de Arte da Pampulha, (Belo Horizonte, 2007), Temporada de Projetos 2005/2006 Paço das Artes, Paço das Artes (São Paulo, 2005), VídeoRizoma, Instituto Felix Guattari (Belo Horizonte, 2003).

7:23 - Grand prix 2008.

fiction, Australia, 2007., colour, 6 min.

director / Brian Lien

screenwriter / Brian Lien

cinematographer / Alvaro D. Ruiz

actors / lan Swallow, Li Leng Au

producer / Caite Adamek


about the film

A man and a woman, two complete strangers, share a moment on a crowded evening commuter train.


about the author

Australian director and screenwriter Brian Lien was born in 1972 in Malaysia. He grew up in Australia, where he still lives and works today. A graduate of Sydney Film School and The University of NSW College of Fine Arts, he has made a number of short films, the most successful being 7:23, which won the Grand Prix at the 2008 One Take Film Festival in Zagreb. 7:23 has also screened at several other Australian and international festivals and has been included in a number of DVD collections. Brian is a member of the Secret Film Society and directed the 11-minute humorous drama Tgif under its auspices.

Leaving - Grand prix 2010.

documentary, Spain, 2009., black-and-white, 11 min.

director / Chus Domínguez

screenwriter / Chus Domínguez

cinematographer / Chus Domínguez

actors / Rosa Ana Fernández, Mari Carmen Garrido, Isidora Godos, Florentino González, Gerardo Iglesias

producer / Efim Graboy


about the film

TThe first film ever made was Workers Leaving The Lumière Factory in Lyon by brothers Louis and Auguste Lumière in 1895. Many films and shots later, Spanish director Chus Domínguez shows the audience leaving the Cine Kubrick in Leon in his film Leaving, thus rendering an homage to cinema, its staff and the ways they see film, their work and life.


about the author

Spanish film director and video-artist Chus Domínguez was born in 1967 in León (Spain). He makes his films and videos using elements of reality in order to create distinctive performative and narrative forms with an emphasis on their poetic and experimentation. He also explores the relationtip between film and the performing arts – dance, performance art and theatre – in close collaboration with other artists. His works have been screened at various international festivals (Oberhausen, Vila do Conde, Tampere, Bafica...). He also teaches workshops in audiovisual production. Since 2007 he has been curating film and video programmes at the MUSAC (Museo de Arte Contemporaneo de Castilla y Leon) and has been working at the Univeristy of Alcalá since 2009. In collaboration with the musician and performer Nilo Gallego, he has been developing Orquestina de pigmeos, a unique project in which he examines an experimental approach to film with the help of other artists and viewers. He won the Grand Prix at the 2010 One Take Film Festival with his excellent documentary Departure (La sortie). Since then, he has made the short films Kubrick, Photographs and K. A. Portrait, which have been successfully screened at numerous festivals throughout Spain and the world. He has held a series of solo and group exhibitions in León, Gijón, Barcelona and Salamanca in Spain.

Room - Grand prix 2012.

fiction, Spain, 2011., colour, 18 min.

director / Fernando Franco

screenwriter / Fernando Franco

cinematographer / Daniel Sosa

actress / Nuria López

producer / Fernando Franco 


about the films

A psychological and existentialist drama by Fernando Franco introduces us to the intimate world of a young girl (Nuria López). One night at ten to 8 p.m., as she drags herself around her untidy apartment, an email notification snaps her out of her lethargic mood. After she logs into a chat room with Iván21, AlexxXx and other virtual friends under her nick aNa, her existential anguish and possible tense relations with her family come to light.


about the author

Spanish editor, director and lecturer Fernando Franco was born in 1976 in Seville, Spain. He began his work in film in 2001 as an editor of mostly short films and documentaries. He decided to try his hand at screenwriting and directing in 2007, making the award-winning short film Mensajes de voz. Both the short fiction film Tu(a)mor and the experimental film Les variations Dielman were successfully shown at numerous festivals around the world. In 2013 he was nominated for the Spanish national film award for his editing of the film Blancanieves. After working on a series of short and experimental films and videos, Franco directed his first feature-length film La herida in 2013, while simultaneously teaching at the Spanish Film School where he heads the editing department. He received awards at numerous festivals (San Sebastian, Mar del Plata...), including the Goya award for best new director for the film La herida. In 2012 he won the One Take Film Festival Grand Prix in Zagreb with his film Room. In addition to his pedagogical work as a professor of editing, Franco actively works as an editor, screenwriter and director. He followed his feature-length debut La herida in 2013 with several short films (Fuego, El lugar adecuado, Deséame suerte) and two more feature-length films, the 2017 drama Morir and La consecración de la primavera from 2022 in the same genre, for which he won multiple awards, including the Goya for Best New Actor (Telmo Irureta).

Rearranged - Grand prix 2014.

experimental, Finland, 2014., colour, 9 min 20 sec.

directorEwa Górzna

screenwriter Ewa Górzna

cinematographerKatarzyna Miron

producer / Ewa Górzna


about the film

Experimental film produced, written and directed by Ewa Górzna depicts a slow travel through space that turns into an unexpected transformation. When wilderness starts its usual metamorphosis of the established order of things according to turbulent laws of nature, a surreal scene starts to unfold in front of the camera. Rearranged premiered in September 2014 at Forum Box Gallery in Helsinki, where it was screened as part of the exhibition group CATCH.


about the author

Polish-Finnish visual artist and filmmaker Ewa Górzna was born in 1982 in Poland. She makes short films and multichannel video installations. She completed a Master of Fine Arts Degree at the Nicolaus Copernicus University in Toruń, Poland and the Finnish Academy of Fine Arts in Helsinki. Her works have been shown at various art exhibitions and international film festivals. Her film Rearranged received multiple international awards including the Grand Prix of the 7th One Take Film Festival in Zagreb, Croatia (2014); an Artist Award at Odense International Film Festival in Odense, Denmark (2015) and a Silver Mikeldi for Fiction at 57th ZINEBI International Festival of Documentary and Short Film of Bilbao, Spain (2015). In the course of her career, she exhibited all over the world, from Warsaw and Bolzano in Italy, Tehran and Tampere in Finland to Montevideo and Bayonne in France. Her films have been screened at numerous international festivals, from Athens and Bochum, Moscow and Egypt to Cairo and Bogota and, among others, at the Split International Festival of New Film in 2018.

Eight - Grand prix 2016.

fiction, Australia, 2014., colour, 81 min.

director / Peter Blackburn

screenwriter / Peter Blackburn

cinematographer / Brad Francis

actors / Jane Elizabeth Barry, Libby Munro, Cadence Parkes, Darrell Plumridge, Luke Townson

producers / Graham Young, Caitlin Johnston, Peter Blackburn


about the film

A debut fiction film written and directed by Peter Blackburn is a psychological drama about young Sara Prentice who has not left the house for two years. Her fear of going out blocks any contact with the outside world and manifests itself in an everyday struggle with her obsessive-compulsive disorder that she has no control over. For Sara, the usual parts of everyday life, such as getting up in the morning, dressing and going to work, turn into a storm of emotions that she struggles to cope with...


about the author

Australian producer, director and writer Peter Blackburn began his career in film in 1997 through acting, before realising that his ambitions lie behind the camera. In 2005, Peter wrote and produced Walking Off, a finalist at the Bondi Film Festival and winner of the Mayor's Award at the Heart of Gold International Film Festival 2007. Since then, Peter has written, directed and produced a series of award-winning short films and documentaries that have screened both nationally and internationally. For him, 2014 was an especially successful year in which he completed the one-take fiction film Eight, while the first season of the television series People of the Vines screened on Network 10 in Australia and throughout Asia. Eight won best feature film at the 2015 Snowdance Independent Film Festival in Germany, was is in the official competition of the 2015 Atlanta Film Festival and also won best picture at One Take Film Festival in Zagreb, Croatia. In addition to his education in the fields of literature and film, he received a master's degree in directing from the Victorian College of the Arts in Melbourne. He was granted the prestigious 2019 National Institute of Dramatic Art (NIDA) Mike Walsh Fellowship in Directing, which he used to attend the prestigious UCLA Filmmaking Education Programme.

The Invisible Hand of Adam Smith

fiction, Slovenia, 2017., colour, 15 min

director / Slobodan Maksimović
screenwriter / Slobodan Maksimović
cinematographer / Almir Dikoli
actors / Konstanze Dutzi, Makis Papadimitratos, Arnaud Humbert, Saša Pavlin Stošić, Francesco Borchi, Michael Baum
producer / Lija Pogačnik, Vlado Bulajić

about the film

Somewhere in Europe, a Greek owes money to a Frenchman, who in indebted to a Slovenian woman, and she to an Italian who owes money to the Greek. A German woman does not owe anyone, she just wants a quiet life and careless dreams, while a British seeks a way out of an uncomfortable situation he had ended up in. The "invisible hand od Adam Smith" – an expression used by economists to describe the self-regulating nature of the market and the whole global economy – will intervene in all of their plans and struggles.

about the author

Director and screenwriter Slobodan Maksimović was born in Sarajevo (Bosnia and Herzegovina) in 1975. He graduated in Film and TV Directing from the Academy of Theatre, Radio, Film and Television in Ljubljana. His first student short film 1/2 screened at the 60th Cannes Film Festival's Tous Les Cinémas du Monde. His short films 1/2 and AgapE have participated in competition programmes at more than thirty international festivals, winning 14 international awards. The film Hvala za Sunderland is his first feature-length film, which won four Vesna awards at the 15th Slovenian Film Festival in Portorož, including the Best Film award. His second feature-length film Nika was named the best youth film of the Motovun Film Festival and screened at all major youth film festivals. His short one-take film The Invisible Hand of Adam Smith screened at about fifty international film festivals and won eighteen international awards. He also directs utilitarian films and has directed several episodes of the popular TV series Pozabljeni, Mame and Primeri inspektorja Vrenka. The biggest success of his career to date is directing the film for children and youth titled Kapa from 2022, an international European production which became a big regional hit and won several awards at festivals in Sarajevo and Portorož.

Fence - Grand prix 2020.

fiction,Kosovo, Croatia, France, 2018., colour, 15 min.

director / Lendita Zeqiraj

screenwriter / Lendita Zeqiraj

cinematographerSebastien Goepfert

actors / Arti Lokaj, Rozafa Celaj, Adriana Matoshi, Ilire vinca, Alketa Sylaj, Melihate Qena

producerBujar Kabashi


about the film

While living under the same roof with several women belonging to different generations of his family, a boy from Kosovo named Genti fantasises about having a dog as a pet. But not only does the mother turn a deaf ear to his pleas, but the women Genti is surrounded with oppose each other loudly and temperamentally, falling into escapating, distressing discussions as they express their views on life, passion, and the patriarchy. When the whole situation ultimately gets out of hand, Genti decides to choose his own path, jumps over the fence, and ventures on a search for the puppy he longs for in the company of a Roma boy named Xeni.


about the author

Producer, screenwriter and director Lendita Zeqiraj, who sometimes signs her films as production designer as well, was born in Pristina (Kosovo) in 1972. This filmmaker and visual artist completed her graduate and postgraduate studies in Visual Arts at the Kosovo Academy of Sciences and Arts in Pristina and studied Film Aesthetics in Paris at Université Paris 8 Vincennes-Saint-Denis. In 2014, she was named National Film Author of the Year and received a recognition from the Kosovo Ministry of Culture, while her short films Balcony and Fence have been screened at more than 250 festivals around the world. Her 2013 film Balcony premiered at the 70th Venice Film Festival and travelled to festivals in Warsaw, Palm Springs, Busan, and numerous others, winning over 35 awards including the Special Jury Award at the American Film Institute Festival in 2013. The film Fence has also been screened at numerous festivals, including the Palm Springs International Festival of Short Films ShortFest, and received awards at a dozen international festivals including One Take Film Festival in 2020. The author made her feature-length debut in 2019 with the humorous drama Aga's House, which shares part of its plot and most of its cast with Fence.

Hawaii - Grand prix 2020.

fiction, Iran, 2020., colour, 27 min.