Quit Staring at My Plate, the debut feature from Croatian filmmaker Hana Jušić, explores the life on an introverted young woman, Marijana, whose story revolves around her family whether she likes it or not.
One of Turkey’s most promising young directors, Mehmet Can Mertoğlu, puts a surrealist spin on the issue of adoption in his debut feature, Albüm. The filmis centred on a couple who try to hide the fact they cannot have kids from their adopted children.
One young homeless boy’s persistent fight to have an ordinary life is the subject of Hristo, the feature debut by Bulgarian co-directors Todor Matsanov and Grigor Lefterov.
Sofia Exarchou balances poetic imagery with raw realism in Park, a coming-of-age story full of diary-like snatches of memory. It’s set in the abandoned surroundings of Greek Olympic stadiums, where neighbourhood kids now play.
The Days That Confused (Päevad, mis ajasid segadusse) is immersed in the atmosphere of a small Estonian town in the late ‘90s, and reveals 28-year-old director and screenwriter Triin Ruumet as a dynamic talent to watch. It premiered at the 51st Karlovy Vary International Film Festival, and was also presented in the Discoveries section of the 32nd Warsaw Film Festival.
Godless, winner of the Golden Leopard at this year’s Locarno Film Festival, is a dark and daring debut feature by Bulgarian filmmaker Ralitza Petrova. Bezbog, its Bulgarian title, refers to the name of a peak in southwest Bulgaria’s Pirin Mountains.
Following its premiere at this year’s Cannes Film Festival, Chouf – the new Marseille-set crime drama by French-Tunisian director and screenwriter Karim Dridi – shoots its way into Polish cinemas with a showing in the Special Screenings section of the 32nd Warsaw FF.
Toril, the first feature by French filmmaker Laurent Teyssier, begins with a poetic image about contemporary society: an immense bullfight, intercut with red title cards, in which the beast is given chase not by a single torero armed with a spade, but rather dozens of agitated men armed with measly daggers.
WARSAW: Following his feature debut La Playa, director Juan Andrés Arango explores the topics of immigration, inhospitable environments and mental changes in his latest documentary-style drama X500, which screened in competition at the 32nd Warsaw Film Festival following its premiere at Toronto.
One of the most divisive titles so far at the 32nd Warsaw Film Festival has been Polish production Playground, Bartosz M. Kowalski’s debut feature, which explores the topic of child crime and is inspired by actual events.
Canarian Spanish director Alba González de Molina presented her debut feature Julie at the 32nd Warsaw International Film Festival in the 1–2 Competition for first and second features. It is an engaging escapism story set in a real ecovillage.