The Inheritance - Competicao Internacional

A World Map in IndieLisboa’s 2021 International Competition features

Year after year, the International Competition is one of the festival’s most eagerly awaited sections. And there’s a clear reason for it. Not only this section connects borders, brings cultures closer and establishes a dialogue between them, it also sets the tone for the kind of cinema marking its presence in the festival. In the year of IndieLisboa’s coming of age, International Competition features reveal a variety of cross-section and conscientious voices,  through which one of the festival’s main concerns throughout its 18 years of existence is seen: the will to tear apart the walls caging one’s thoughts.

With part of the International Competition programme having been announced earlier this month – 32 short films -, the section now completes its programme with 12 feature films that travel from Kosovo to Georgia, through the Appalachian mountains and Argentina, and not only bring forward already affirmed talents, such as Alice Diop, Rosine Mbakam or Julien Faraut, but also alert us to new voices that have been enchanting both spectators and critics around the world, like Ephraim Asili, Norika Sefa, Manque la Banca, Emma Seligman or Alexandre Koberidze. Among these films, 6 are documentaries, 6 are fictional dramas and 7 women directors lead the section.

The Last Hillbilly, Diane Sara Bouzgarrou & Thomas Jenkoe
The Last Hillbilly, Diane Sara Bouzgarrou & Thomas Jenkoe

Among the documentaries is The Last Hillbilly, a look at a whole generation living in the Appalachian mountains in Kentucky which gives Brian Ritchie, a hillbilly, an opening to confirm the stereotypes associated with those who are part of the community, but also giving wings to a new portrait of its people that is poetically sewed in the process. Speaking of belonging, Alice Diop’s We will be one of the sections’ high points this year. A filmed essay that takes the diversity of human gesture as its motto, drawing isolated protraits that compose the stories and faces of a French nation haunted by separation and ruptures. A filmed testimony. In the same line of thought, there’s Radiograph of a Family, which tells the story of the life and marriage of director Firouzeh Khosrovani’s parents, who could not be at more opposite poles of secularism and religious Islamic ideology. Khosrovani does this using archive images, letters and conversations, examining, in the process, the core conflicts of the Iranian society. Another crude register is Rosine Mbakam’s, whose cinema has been focusing on the migrant experience. IndieLisboa presents her most recent film, Delphine’s Prayers, about a Cameroonian young, long-suffering woman who joins Mbakam’s exploration of themes such as weight, domination of patriarchal societies over African women, or sexual exploration.

Meanwhile, in Tokyo, during 1964’s Olympic Games, a Japanese feminine volley team wins the gold medal, and Julian Faraut, extraordinary sports filmmaker (The Realm of Perfection), remembers the historic moment seventy yeats later in The Witches of the Orient. Beyond these, there is also Ski, a film marking Manque La Banca’s return to IndieLisboa (after his short film T.R.A.P, selected in the Silvestre section in 2018) and paying a tribute to a hybrid and unconstrained cinema, mirrored in this first feature through the portrait of Bariloche, Patagonia’s sanctuary for ski lovers.

In the fiction field, The Inheritance, the first feature by Ephraim Asili, is a meta-textual film centered on a community of artists and black activists in the west side of Philadephia, uniting marxism with a memory of the liberation movement MOVE, attacked by the police in 1985. In the meantime, in the outskirts of Madrid, residents who built their homes from scratch are compelled to relocate. Last Days of Spring, the first film by Dutch director Isabel Lamberti, summons Italian neorealism to explore the transformation through which this community is forced to go.

There is a second glimpse of the wild Appalachian mountains in Brandon Colvin’s A Dim Valley. Part queer allegory, part folklore, it is an ethereal, modern version of a 60’s free love film, that

The Last Hillbilly, Diane Sara Bouzgarrou & Thomas Jenkoe
The Last Hillbilly, Diane Sara Bouzgarrou & Thomas Jenkoe

has at its centre a grumpy biologist and his postgraduate course assistants. Still in the United States, but now in a highly claustrophobic Brooklyn during the shiva period (a week of Jewish mourning), a young woman is put in an ungrateful situation of having to confront herself, her future, her ex-girlfriend, the sugar daddy, and the many nosy relatives. Emma Seligman’s Shiva Baby is an acidic and nauseating comedy, that makes this section one not to be missed. Speaking of claustrophobia, Looking for Venera takes us to a small Kosovo town where three generations live in the same house. In it also lives Venera, a teenager with no space to grow up and explore who she might become. A sensible debut film by Norika Sefa, it is an observational work that deduces the importance of feeding the personal hunger for freedom. In this line of calm and bright films, there is also What Do We See When We Look at the Sky?, Aleksandre Koberidze’s pearl of a film, whose camera brings poetry to day-to-day gestures in an ode to love, football and cinema. In the form of a modern folk tale, it focuses on a classic meet-cute and a cursed love, and is another of the great highlights of this year’s programme, in the midst of films that travel through a world map and get under our skin before we even realise they are inside us.


  • A Dim Valley, Brandon Colvin, fic., USA, 2020, 92’
  • Looking for Venera, Norika Sefa, fic., Kosovo/North Macedonia, 2021, 111’
  • The Last Hillbilly, Diane Sara Bouzgarrou/Thomas Jenkoe, doc., France/Qatar, 2020, 80’
  • Shiva Baby, Emma Seligman, fic., USA, 2020, 77’
  • What Do We See When We Look at the Sky?, Aleksandre Koberidze, fic., Georgia/Germany, 2021, 150’
  • Ski, Manque La Banca, doc./fic., Argentina/Brazil, 2021, 74’
  • The Inheritance, Ephraim Asili, doc./fic., USA, 2020, 101’
  • We, Alice Diop, doc., France, 2021, 115’
  • Last Days of Spring, Isabel Lamberti, fic., Spain/The Netherlands, 2020, 77’
  • Radiograph of a Family, Firouzeh Khosrovani, doc., Iran/Norway/Switzerland, 2020, 80’
  • The Witches of the Orient, Julien Faraut, doc., France, 2021, 100’
  • Delphine’s Prayers, Rosine Mbakam, doc., Belgium/Cameroon, 2021, 91’
Bom Dia Mundo! de Anne-Lise Koehler e Éric Serre

Come and find out IndieJúnior’s dazzling world of ideas on the big screen

IndieJúnior is back for another year of cinematic adventures with IndieLisboa’s kids and grown-ups. Inside and outdoors, IndieJúnior will take cinema to Culturgest, Cinema Ideal, Cinema São Jorge and also, this year, Biblioteca Palácio Galveias’ garden. In addition to the usual short-film programme, several parallel activities will be held along with a Family Day which is, as the name suggests, really for everyone.

This year’s edition has several unmissable moments. In the usual emotion kaleidoscope, this year’s programme looks at cinema as a creation well. Making, creating and thinking are mirrored concepts in the screened images. From references to the struggle of working from home for parents with children (Tales from the Multiverse) to discussions about social inclusion and gender issues (Louis’s Shoes and Girlsboysmix), through an ecological and conscious message about the environment surrounding us (Orgiastic Hyper-Plastic) and the importance of letting our imagination fly in this day and age (Hello Monsieur). Over 40 films are programmed this year, most of them in competition, combining both an educational and entertaining dimension.

Tales of the Multiverse - IndieJúnior
Tales of the Multiverse – IndieJúnior

One of this year’s highlights is the Family Day, which will happen on September 4, and will start with a special short-film screening in Culturgest: Family Bonds (3+), with a live voice-over by actor, writer and comedian Pedro Cardoso. In this screening, you’ll see a version of the Earth that did not turn out as planned, as many parents working from home have pointed out lately. In the short Tales of the Multiverse, God is confronted with this problem. An Open-Air Party will follow this screening, featuring a live concert by Gui Calegari, musician and artist in the Baileia collective, but also a No Limits artistic expression workshop (3-8 years old), in partnership with the publisher Orfeu Negro. All activities within the party are free, and registration is mandatory here. To round off the day, there will be an open-air screening of Hello World! (6+) also in Biblioteca Palácio Galveia’s garden. A delicate film made with newsprint paper characters, animated in stop motion, and sculptures made by hand, all in hand-painted sets with great attention to detail. A story told through the eyes of ten animals who, together, illuminate the wonders of nature.

Hello World! was the main inspiration for the I Was Born, Now What? workshop, which will happen on September 5 in Biblioteca Palácio Galveias’ patio, and focuses on its participants as builders of the world. Using wood along with natural small objects as a starting point, children will be able to contemplate the biodiversity presented in the film and complete their creations with wood-finishing techniques, applying wax or oil from natural sources.

But this year’s emphasis is on the new Cinema de Colo, the long-dreamed-of part of this edition that happens in a small and safe movie theatre, with a set design conceived especially for parents and their babies. Designed for children from 4 months to 2 and a half years, Cinema de Colo (Lap Cinema) is called that way for two reasons: The obvious one refers to the place where the baby starts to discover the world around them. The other contextualizes the creation of a specific set design, inside a room but inspired by the outdoors, where the child can move and react safely in a reproduction of the parent’s cosy lap during a starry night. A first and unforgettable visual discovery for the younger ones and their families. During these screenings, there will be five small films, stories full of stimulating sounds and colours.

In the competition for the younger ones this year – Daydreaming (3+) and Life is a Surprise (6+) sessions – the focus is on films that develop one’s creative capacity, simple but wise. On the one hand, films that look at love as a never-ending flame, like Cornstalk (3+) and Pompier (6+). On the other hand, films that confuse and surprise us through the performative act, like Angry Dogs (3+) and The 7 Kids (6+).

July 96 – IndieJúnior

Like every year, the My Own Film Festival Programme initiative, an educational activity that gives young students the chance to programme films for children their ages, reveals key filmswhich approach socially significant themes. Programmed with students from the Josefa de Óbidos elementary and secondary school (O Lugar das Memórias session, 10+) and the Almeida Garrett elementary school (Pensar, Sonhar e Voar session, 12+), we discover films that everyone should see. Starting with Louis’s story, an autistic child who has just arrived at a school where he can finally share his perception of things (In Louis’s Shoes, 10+). A film that is not so much about his neuro-unusual condition as it is about society’s tendency to catalogue our identities, showing an enlightened understanding of what it is to be human – “Molds are good for waffles”. Girlsboysmix (10+), in the same line of thought, is Wen Long’s narration about growing up as an intersex child, and July 96 (12+), a film that focuses on a decisive moment in two girls’ lives through a summer vacation story, and To the Moon and Back (12+), that contemplates death and the way we deal with it.

Louis’s Shoes will be the starting point for a debate on autism: “The way towards inclusion in school and in the community”, which will reflect on how to identify autism and how to approach differences. In the end, aren’t we all different? A debate film for every parent, child and teacher, happening on September 2 in Biblioteca Palácio Galveias. (Free entry, limited capacity – registration is mandatory, here).

In addition to these activities, IndieJúnior offers a flipbook workshop, I Want to Animate (7+), conceived and hosted by the director Leonor Faria Henriques, whose film Nothing is Lost (6+) is programmed, about how to face loss and overcome it – on August 21 in Biblioteca Palácio Galveias’s patio. And a body expression workshop See The World with my Hands (5+), conceived by the artist-teacher duo Baileia, inspired by the film Hello Monsieur, that plays with perspectives.

> Full programme here

Updates on

Accreditations for IndieLisboa 2021 are now available for students and industry


Accreditation requests are now available for the 18th IndieLisboa – International Film Festival, which runs from August 21 to  September 6 2021 in Lisbon, Portugal, at Culturgest, Cinema São Jorge, Cinema Ideal and Cinemateca Portuguesa.

The accreditation is personal and can not be passed on to another person. It grants access to all festival screenings (subject to ticket availability and with exception of the opening ceremony and some special screenings) as well as to the industry events (except the Lisbon Screenings which is accessible by invitation).

The full industry program will be announced soon. 

Accreditation requests may be submitted in the following categories:

  • Industry: aimed at film professionals such as festivals, directors, producers, teams, distributors, exhibitors (…),
  • Student: exclusively for students/teachers from film/audiovisual or courses related to image and sound.


45€ (Early Bird). Requests submitted until July 31
55€. Requests submitted from August 1 to 21
70€. From the August 21

25€ (Early Bird). Requests submitted until July 31
35€. Requests submitted from August 1 to 21
50€. From August 21

Requests should be submitted through this link

Please Note:
– Accreditations are issued at the full discretion of IndieLisboa International Film Festival and submission of a request does not guarantee an accreditation.



Hopper/Welles - Director's Cut

From Hopper to Welles, through the Mouth of Madness: the eternal in IndieLisboa 2021

The Director’s Cut section, dedicated to films about cinema, returns this year with recently restored treasures (Hopper/Welles, Three Days Without God and The Last Stage) and films that rework on the cinematographic heritage. In the Mouth of Madness section, on the other hand, programmed films are unsettling and tear language and genre boundaries, without taboos. IndieLisoa returns to the usual venues from August 21 to September 6, 2021.

In focus in the Director’s Cut section is Hopper/Welles by Orson Welles, premiered in the last Venice Festival – its first public exhibition after 40 years on the shelves. Shot in 1970, this conversation seizes both directors in a crucial moment of their careers: It had been over a decade since Welles had worked within the Hollywood system, and he had begun to strike out on his own as an independent, ruthlessly idiosyncratic artist; Hopper, on the other hand, had just had an unexpected major success with the studio-financed counterculture hit Easy Rider. This unscripted talk on two cameras, in lush black and white, lit only by a fireplace and hurricane lamps is a historic and revealing record of these two film mavericks.

Another surprise is Three Days Without God, the first fiction feature ever directed by a woman in Portugal. Bárbara Vigínia, who was 22 years old at the time, directed the film, co-wrote the script and played the main role. The film premiered on August 30, 1946, in Lisbon’s Cinema Ginásio, and would later in the same year be part of the Portuguese delegation on the second edition of Cannes. At the moment of its first screening, it had approximately 102 minutes (around 2800 metres of film). Of those, only 26 minutes (688 metres of film) were preserved and the soundtrack was lost. The result of the scan and digital restoration of that fragment is now presented in IndieLisboa, on the day marking exactly 75 years since its premiere. Três Dias sem Deus is part of the Director’s Cut In Context selection, co-programmed with the Cinemateca Portuguesa. Lost and Found by Clara Cúllen, a documentary about the director’s grandmother – who was an Argentinean woman filmmaker and Barbara Virginia’s contemporary – will also be screened.

Two other Portuguese are in focus: Samuel Barbosa’s Around Rocha’s Table, an exploration of Paulo Rocha’s creative process, which will be screened in IndieLisboa after its Locarno premiere in August; and Diálogo de Sombras by Júlio Alves, on world premiere, about Pedro Costa’s universe and taking his exhibition in Serralves as starting point. Pedro Costa: Companhia establishes a dialogue between the Portuguese director and the characters that inhabit his world.

Wanda Jakubowska’s The Last Stage is one of the first portrayals of life in concentration camps, shot soon after World War II and now presented in a digitally restored version. Jakubowska herself was a prisoner in the concentration camp she was filming, before its dismantling. The footage is coupled with a fictional narration of what she lived and experienced there.  A film that connects with From Where they Stood by Christophe Cognet, programmed in the Silvestre section.

In contrast, There Are Not Thirty-six Ways of Showing a Man Getting on a Horse by Nicolás Zukerfeld is an entertaining film, based on an investigation about a quotation identified as Raoul Walsh’s and the resulting attempt to draw it. From a collection of characters riding in Walsh’s films comes a film-essay.

In Mouth of Madness, genre and language boundaries are torn. Among the features, an Italian horror classic celebrates its 50 years: Mario Bava’s A Bay of Blood tells the story of a rich countess’s death, which triggers a battle over her heritage and a succession of deaths that doesn’t seem to cease.

She Dies Tomorrow by Amy Seimetz brings together psychological horror and absurd humour. Amy is a girl who has just bought a house, but she is confident that she will die the day after. An ideia that seems to become contagious around her.

In Spree, by Eugene Kotlyarenko, Joe Keery (the friendly boy from the popular TV series Stranger Things) is Kurt Kunkle, a driver obsessed with the idea that you need to register yourself to exist. Told in first-person, the film is a hybrid between comedy and horror, with a caution message regarding social media.

Among the section’s shorts, in Percolate Galactic’s Rendang of Death two friends fight over the last piece of the best rendang ever. You’re Dead, Helene by Michiel Blanchart follows Hélène, who is unable to detach from the love that still unites her with her boyfriend and keeps haunting him after her death. And MeTube3: August sings „Una furtiva lagrima“, by Daniel Moshel, is the third chapter of a series of shorts marked by humour and the love of opera.

As of today, professional and student accreditations are open and can be purchased at a special price here.



  • Amor Dentro da Câmera, Jamille Fortunado/Lara Beck Belov, doc., Brazil, 2021, 85’
  • Around Rocha’s Table, Samuel Barbosa, doc., Portugal/Japan, 2021, 94’
  • Diálogo de Sombras, Júlio Alves, doc./exp., Portugal, 2021, 60’
  • Edge of Doom, Michaela Grill, doc./exp., Austria, 2020, 3’
  • Fitas Cirúrgykas, Edgar Pêra, exp./fic., Portugal, 2021, 10’
  • Forensickness, Chloé Galibert-Laîné, doc., France/Germany, 2020, 40’
  • Hopper/Welles, Orson Welles, doc., USA/Poland, 2020, 130’
  • The Last Stage, Wanda Jakubowska, fic., Poland, 1948, 109’
  • Lost and Found, Clara Cullen, doc., Argentina, 2020, 35’
  • Lotte Eisner. A place, nowhere, Timon Koulmasis, doc., France/Germany, 2021, 60’
  • Patent Nr. 314805, Mika Taanila, doc./exp., Finland, 2020, 2’
  • There Are Not Thirty-six Ways of Showing a Man Getting on a Horse, doc./exp., Argentina, 2020, 63’
  • Thinner Than Two Ten-thousandths of a Millimetre, Gregor Eldarb, exp., Austria, 2020, 8’
  • Watching the Detectives, Chris Kennedy doc./exp., Canada, 2017, 36’

Director’s Cut In Context

  • Blood, Pedro Costa, fic., Portugal, 1989, 95’
  • The Green Years, Paulo Rocha, fic., Portugal, 1963, 91’
  • Silver River, Raoul Walsh, fic., USA, 1948, 110’
  • Tabu: A Story of the South Seas, F.W. Murnau, fic., USA, 1931, 81’
  • Three Days Without God, Bárbara Vírgina, fic., Portugal, 1946, 25’


  • A Bay of Blood, Mario Bava, fic., Italy, 1971, 87’
  • Bobby Pinwheel, Rob Kleinschmidt, Anim., USA, 2020, 4’
  • Flex, Josefin Malmen, David Strindberg, Fic., Switzerland, 2020, 4’
  • Flick, Ariel Zengotita, Fic., USA, 2019, 10’
  • Kindred, Joe Marcantonio, fic., United Kingdom, 2020, 100’
  • MeTube3: August sings „Una furtiva lagrima“, Daniel Moshel, Fic., Austria, 2020, 10’
  • Mosquito State, Filip Jan Rymsza, fic., USA/Poland, 2020, 100’
  • Rendang of Death, Percolate Galactic, anim., Indonesia, 2020, 7’
  • She Dies Tomorrow, Amy Seimetz, fic., USA, 2020, 86’
  • Spree, Eugene Kotlyarenko, fic., USA, 2020, 93’
  • A Stranger from the Past, Jan Verdijk, fic., Netherlands, 2020, 5’
  • Survivers, Carlos Gómez-Trigo, fic., Spain, 2020, 7’
  • The Thing That Ate the Birds, Sophie Mair, Dan Gitsham, fic., United Kingdom, 2021, 12’
  • Thirst, Steinþór Hróar Steinþórsson, Gaukur Úlfarsson, fic., Iceland, 2019, 90’
  • You’re Dead, Hélène, Michiel Blanchart, fic., Belgium, 2020, 24’
  • Wood Child and Hidden Forest Mother, Stephen Irwin, anim., United Kingdom, 2020,10’
  • 50 (or Two Whales Meet at the Beach), Jorge Cuchí, fic., Mexico, 2020, 122’

International Competition and Silvestre shorts: Easter Eggs, Utopia, Blue Roses and Witches on IndieLisboa 2021

With part of the programme announced, IndieLisboa now unveils the short-film programme for the International Competition and Silvestre sections. The festival’s 18th edition will be held from August 21 to September 6 in the usual venues.

In 2021, the International Competition short films programme will be composed of 31 titles never shown in Portugal, revealing a body of emerging directors

After a year marked by distance, phone calls punctuate Ella i Jo, the first selected film of the edition, setting the tone for this year’s competition. Mother and daughter, both artists, paint in their own spaces – one in Barcelona, one in Athens. The mother’s attempts to get in touch with her daughter are the film’s conducting line, pacing the moments of creation seenthrough Jaume Claret Muxart’s lense.

Over the last 18 years, animation has been strong in IndieLisboa’s short film International Competition. In this edition, special highlight to Nicholas Keppens’ Easter Eggs, which competed in the last Berlin Festival, and where a disagreement between friends triggers a conflict mixing tenderness and violence. Mofo Relay, by Taewan and Shunny Kim, takes us into a two-minute outer trip where aliens have fun together. And also Damien Tran’s Poum Poum!, a musical film celebrating the harmony of colours, textures and sounds.

As for documentaries, the russian Blue Rose, by Olya Korsun, is a visual essay which explores the concept of flower, reflecting upon its beauty, history and commodification. And My Nightingtale with Tears, by Céclie Lapergue, about the french soprano Denise Duval who was known mostly for her interpretations of François Poulenc’s operas.

In fiction, there is Laura Carreira’s The Shift, awarded in the last Venice Festival, which reflects upon work and precarity through a trip to the supermarket. Heliconia, Paula Rodriguez Polaco’s first film which premiered in FID Marseille, is a synesthetic sinphony marked by colours, textures, warmth and bodies where Maria, a fourteen year-old girl, goes on a quest for paradise on Earth.

Spotlight as well on The Pleasants Effect, the film of Pete Levine’s life. Started in 1973 and finished in 2020, this first film of a 70 year-old director tells the story of C.R. Pleasants, an amateur inventor who believed he could clear the fog that troubled airplane pilots in the 1930’s and 40’s. On world premiere, Transportation Procedures for Lovers, by young director Helena Estrela, is an experience which reflects upon the best way to reach the people you love.

The Silvestre section, on its short-film component, consists mostly of works by experienced filmmakers, where a selection of 18 distinct films bursts with the genius of contemporary production.

Natural highlight for Which is Witch de Marie Losier, a regular appearance in the festival since her victory in 2011 with The Ballad of Lady Jaye. Once again, the exuberance of Losier gives voice to the craziness of parallel universes, with Bertrand Mandico in the air.

In animation, the acclaimed animator Joanna Quinn, nominated several times for the Oscar,  brings Affairs of the Art. Entertaining and polemic, the film premiered in 2021 is once again the confirmation of her status.

Three curious and surprising north-american films are also in competition: Peter Burr’s Black  Square is a black spot in the center of the screen where human figures contort – a succession of images in a permanent visual and audible assault. In The Canyon, Zachary Epcar films house exteriors, objects and people in a hypnotizing manner, inviting us on a voyage guided by music which can be both unsettling and sublime. A comeback for both directors who had shown films at IndieLisboa in 2017 and 2019. Finally, In the Air Tonight by Andrew Norman Wilson transforms the experience of the homonymous Phil Collins song, reimagining it through a dreamlike narration.

The Short Film International Competition jury will be embodied by Bianca Lucas, filmmaker and programmer in the Sarajevo Film Festival, Réka Bucsi, winner of the Short Film Grand Prize at IndieLisboa 2018 with Solar Walk, and Mariana Givão, director of the award-winning Ruby.

The Silvestre Shorts jury will be composed of Daniel Ebner, co-founder and artistic director of Vienna Shorts, Rita Cruchinho Neves, founder of Atelier MODO, and Maíra Zenun, coordinator and curator of film programmes such as the Mostra Internacional de Cinema na Cova – Africa and its Diasporas.

The exclusive 100 Early Bird voucher booklets will be on sale from July 6, priced at 25€. Available from ticketline desks or at

The programme of the remaining sections, including the International Competition Features, will be announced soon. Updates on




  • Ain’t No Time for Women, Sarra El Abed, doc., Canada, 2020, 19’
  • Bambirak, Zamarin Wahdat, fic., Germany / USA, 2020, 14’
  • Blue Rose, Olya Korsun, doc., Russi, 2020, 53’
  • C, Marion Täschler, anim., Switzerland, 2020, 5’
  • Come Here, Marieke Elzerman, fic., Belgium, 2020, 26’
  • The Disappearance of Tom R., Paul Sirague, doc., Belgium, 2020, 19’
  • Easter Eggs, Nicolas Keppens, anim., Belgium / France / Netherlands, 2020, 14’
  • Ella i jo, Jaume Claret Muxart, doc., Spain, 2020, 20’
  • I Don’t Sleep Anymore, Marina Palacio, doc., Spain, 2020, 22’
  • Friend of a Friend, Zachary Zezima, anim., France, 2020, 14’
  • Heliconia, Paula Rodríguez Polanco, fic., France / Colombia, 2020, 26’
  • Keep Shiftin’, Verena Wagner, doc., Germany, 2020, 21’
  • The Last Day, Lauri-Matti Parppei, fic., Finland, 2020, 16’
  • Letter From Your Far-Off Country, Suneil Sanzgiri, doc./exp., USA / India, 2020, 17’
  • Lonely Blue Night, Johnson Cheng, fic., USA, 2020, 15’
  • Mofo Relay, Taewan Kim / Shunny Kim, anim., United Kingdom, 2021, 2’
  • My Nightingtale with Tears, Cécile Lapergue, doc., France, 2020, 23’
  • One Thousand and One Attempts to Be an Ocean, Wang Yuyan, doc./exp., France, 2021, 12’
  • Places, Vytautas Katkus, fic., Lituania, 2020, 12’
  • The Pleasants Effect, Pete Levine, doc./exp., USA, 2020, 36’
  • Poum Poum!, Damien Tran, anim., France, 2021, 6’
  • Push This Button if You Begin to Panic, Gabriel Böhmer, anim., United Kingdom / Switzerland, 2020, 13’
  • Return to Toyama, Atsushi Hirai, fic., France, 2020, 25’
  • Seeking Aline, Rokhaya Marieme Balde, doc., Switzerland / Senegal, 2020, 27’
  • The Shift, Laura Carreira, fic., United Kingdom / Portugal, 2020, 9’
  • Sing Along, Muniz Filho / Sávio Fernandes , doc., Brazil, 2020, 19’
  • Stories Keep Me Awake at Night, Jérémy van der Haegen, fic., Belgium / France, 2020, 30’
  • Since Time Immemorial, Clary Demangeon / Jeanne Delafosse, doc., France, 2020, 14’
  • Thank You, Julian Gallese, anim., United Kingdom, 2020, 8’
  • Tracing Utopia, Catarina de Sousa / Nick Tyson, doc., USA / Portugal, 2021, 27’
  • Transportation Procedures For Lovers, Helena Estrela, doc./exp., Portugal, 2021, 9’
  • Washing Machine, Alexandra Májová, anim., Czech Republic, 2020, 5’


  • Affairs of the Art, Joanna Quinn, anim., United Kingdom, 2021, 16’
  • All of your Stars are but Dust on my Shoes, Haig Aivazian, doc., Lebanon, 2021, 18’
  • Are You Still There, Rayka Zehtabchi / Sam Davis, fic., USA, 2021, 15’
  • Belgrade Forest Incident …and What Happened to Mr.K?, Jan Ijäs, doc./exp., Finland / Turkey, 2020, 30’
  • Blue Animal, Rafael Spínola, doc., Brazil, 2020, 6’
  • Black Square, Peter Burr, anim./exp., USA, 2020, 6’
  • The Canyon, Zachary Epcar, exp., USA, 2021, 16’
  • Fuel, Yu Araki, doc., Japan, 2019, 17’
  • Happy Valley, Simon Liu, doc./exp., Hong Kong, 2020, 12’
  • In the Air Tonight, Andrew Norman Wilson, exp., USA, 2020, 11’
  • Motorcyclist’s Happiness Won’t Fit into his Suit, Gabriel Herrera, fic., Mexico, 2021, 10’
  • One Image, Two Acts, Sanaz Sohrabi, doc./exp., Canada / Germany / USA / Iran, 2020, 45’
  • An Ordinary Country, Tomasz Wolski, doc., Poland, 2020, 51’
  • Palma, Alexe Poukine, fic., France / Blegium, 2020, 40’
  • Revelations, Juan Soto Taborda, doc./exp., Colombia / United Kingdom, 2020, 29’
  • Vadim on a Walk, Sasha Svirsky, anim., Russia, 2021, 8’
  • What Time Is, Niina Suominen, anim./exp., Finland, 2020, 7’
  • Which Is Witch?, Marie Losier, fic., France, 2020, 6