纪录片自媒体解说素材-新闻动态参考-瑞士DOC节日视觉DU Reel到屏幕屏幕160部混合动力版/Swiss Doc Festival Visions du Reel to Screen 160 Films in Hybrid Edition
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/5117tm3xa2vsoc4.jpg瑞士DOC节日视觉DU Reel到屏幕屏幕160部混合动力版
Swiss Doc Festival Visions du Reel to Screen 160 Films in Hybrid Edition
上周透露其行业计划的瑞士纪录片电影节视觉景色DuRéel（VDR），在准备亲自和在线欢迎参与者时，已经公布了其完整的阵容。整个节日将在4月7日至4月17日在Nyon市及其周围的六个场地上放映160部电影。虽然活动又以其身体状态恢复了，但组织者从过去中学到了。两个版本，决定保持强大的在线形象。“我们意识到这是扩大参与人们的范围的一种方式。这并不是要取代剧院，但大多数电影都不会发行，所以我觉得我们的工作超越并接触那些无法参加身体的人。电影将作为一个惊喜节目的一部分，以及今年特别嘉宾的大师班 -Marco Bellocchio，Hassen Ferhan我和柯斯滕·约翰逊（Kirsten Johnson）。由Vdrsixtecixten电影提供的“ Bitterbrush”电影正在参加主要国际比赛，其中包括九部首映和14部世界首映。他们是伊朗导演Vida Dena的“ Ma Vie En Papier”，由伊朗导演Vida Dena（一部混合电影），这是一部混合电影，布鲁塞尔公寓中两个年轻的叙利亚难民的故事，包括图纸来说明女孩的记忆和梦想。“ 5个梦想家和一匹马，这是Vahagn Khachatryan和Aren Malakyan的第一部电影，提供三张通过四个主人公肖像的三个截然不同的肖像从一个想去太空旅行的电梯操作员，一个寻找完美妻子的农民，以及一对年轻的酷儿夫妇，他们只是想过自己的爱情故事。在音乐节巡回演出中赢得了多个锣，包括2019年的“午夜旅行者”（与哈桑·法兹利（Hassan Fazili）共同执导）的VDR观众奖。在偏远的爱达荷州拍摄当他们踏上一个漫长的夏季时，它跟随两个女牛仔。这部电影在特柳赖德（Telluride）举行了全球首映式，并被描述为从两个年轻女性的角度看的西方流派的一种精湛的看法。“ Dogwatch”由VDRFORMER VDR-PITCHITER vdr-Pitching条目“ Dogwatch”提供（其原始2019年标题是“ To To”希腊的格雷戈里斯·伦蒂斯（Gregoris Rentis）在国际比赛中将举行全球首映。布吉斯（Bujès敌人。“我们以前有很多电影参与了我们的行业活动，”布耶斯说。“我们非常有兴趣从一开始就关注项目，并允许他们参加比赛后通过节日进入巡回赛。”她说，大多数第一部电影中的大多数电影都认为，拥有第一张特征很重要，因为我们将其视为VDR的主要任务，要在VDR上进行提交，并帮助新人进入巡回赛，以对选拔过程有民主的理解。”15部电影正在竞争更具实验性的燃烧灯部分。条目包括阿根廷的Maximiliano Schonfeld的“ Luminum”，他欢乐地采用科幻类型来描绘不明飞行物研究社区的诗意肖像，Maxime Martinot的“ Ohlo Animal from France”来自法国，包括数百张狗图像的动物喜剧在整个电影历史上的电影中，以及俄罗斯的亚历山大·马尔可夫（Aleksander Markov）的“红色非洲”，该电影在1960年至1990年之间仅使用档案材料描绘了苏联在非洲国家的存在。在VDR上举行世界首映（请参阅下面的列表）。“ 5个梦想家和一匹马” courteVDR The Festival的其他部分是宏伟的角度比赛，其中包括已经巡回演出的电影，或者预计将纪念来年，国际中型和短片比赛，Latududes，Latududes，这是一个非竞争力的部分，展示了Panorama panorama Doc电影制作练习和开幕场景，专门针对第一部电影或学生电影。Bujès渴望强调后者在一个节日中的重要性，该节日的目的是成为新兴的导演和实践的跳板。 “本节总是非常雄心勃勃，令人信服和令人兴奋。在这里，您可以看到明天发生的事情，他们的方法非常自由。她告诉Variety。 TêteUn Rond Point，2016年，“ 143 Rue du dusert”，2019），其全部作品将以回顾性展示，并向美国摄影师Kirsten Johnson展示。这位屡获殊荣的电影制片人和DP将介绍她指导和合作的一系列电影，包括劳拉·波特拉斯（Laura Poitras）奖获得的Doc“ cilesenfour”（2014年）。节日将以乌克兰的Iryna Tsilyk的“地球为蓝色作为橙色”，以与乌克兰人民团结一致。该节日表达了对乌克兰艺术家和电影制片人的支持。“我们强烈谴责正在进行的俄罗斯入侵。同时，该节日希望传达对目前正在表达抵抗力的俄罗斯艺术家和公民的支持。”在其网站上发表的一份声明。下面的国际，燃烧灯和国家比赛的参赛作品清单。International竞赛vahagn khachatryan的“ 5个梦想家和一匹马”，阿伦·马拉基扬（世界首映）（世界首映）的三个亚美尼亚人在这里出色地勾勒出了三位渴望实现梦想的主角。一家医院的电梯操作员想去太空旅行，寻找一个完美的妻子的农民，还有那对年轻的酷儿夫妇，他们只是想忍受自己的爱情故事……同时在等待革命的示威和希望。”猫王（Elvis a-Liang Liang Lu）（全球首映）的一个神圣家庭”，导演接到了他年迈的母亲的电话。她是一个顽固的女人，她担心家庭其他成员的未来。父亲是健康状况不佳的赌博瘾君子。哥哥一文不见，但他的才华是一种媒介。回顾他20年前离开的原因，Elvis A-Liang Lu创建了一幅精彩的家庭肖像，触动和充满光线。“我们所有的心跳都通过爆炸的星星联系在一起” Jennifer Rainsford（International Premierere）2011年3月11日，海啸摧毁了日本海岸，夺走了数千人的生命。今天，这场悲剧的伤痕仍然可见。然而，尽管如此，人们，动植物仍然存在。通过在陆地和海中拍摄的醒目的图像，詹妮弗·雷恩斯福德的电影庆祝人类的韧性和我们星球的无尽美丽。埃米莉·马哈达维安（Emelie Mahdavian）（国际首映）在偏远爱达荷州，科利（Colie）和霍莉（Hollyn）登上了一个漫长的夏季季节，射程骑士放牧牛。我们通过景观的巨大和亲密的友谊时刻密切关注他们。 Emelie Mahdavian重新审视了西方人的流派，并邀请我们从两名年轻妇女的角度重新考虑游牧的挑战。保罗·皮里里塔诺（Paul Pirritano），克拉拉·特佩（Clara Teper）（世界首屈一指）chaylla奋斗以使自己摆脱一种暴力的共轭关系。她的决心与她自己的一部分有关，仍然希望可以分享她与孩子的父亲一起生活。第一部长片使人们对妇女的暴力行为感到沮丧，并难以找到正义的方式。为了保护自己免受海盗侵害。如今，攻击已经下降，雇佣军遇到了一个新问题：缺乏行动。每天面对不存在的敌人的日常训练会产生一种荒谬的感觉，由格雷戈里斯·伦蒂斯（Gregoris Rentis）的相机捕捉，具有极大的灵感和精确度。通常来自移民背景。玛丽（Marie）和朱丽叶（Juliette）在经典的学习结构之外创造了一个地方，孩子们可以学会成为或成为孩子。但是价格是不断解构的常规教育和无尽的奉献。朱曼娜·曼纳（Jumana Manna）（世界首映）“觅食者”的“觅食者”交织在一起的纪录片和小说，以报道以色列自然与公园管理局与巴勒斯坦觅食者之间的灼热冲突。这部电影通过精致而优雅的作品，成功地捕捉了这些传统的继承的爱，韧性和知识，这是在一个非常政治的背景下。“如何拯救死去的朋友”，由Marusya Syroechkovskaya（世界首屈一指）Marusya是16岁，就像许多人一样，就像许多人一样，就像许多人一样俄罗斯青少年决心结束她的生命。然后，她在另一个千禧一代基米（Kimi）遇到了她的知己。他们花了十年的时间拍摄欣喜和焦虑，年轻人的幸福和痛苦，在“沮丧的俄罗斯”中被暴力的专制政权所掩盖。这部电影是发自内心的哭泣，向整个失落的一代致敬。皮埃尔·耶维斯·范德韦尔德（Pierre-Yves Vandeweerd）（世界首映）皮埃尔·耶维斯·范德韦尔德（Pierre-Yves Vandeweerd）继续他的强大政治和这部新电影以16毫米拍摄的诗意作品，该电影沿着阿拉拉特（Ararat）的“内部线”（Inter Lines）沿着阿拉拉特（Ararat）周围的地区进行了运行，以使用军事术语。这些平行路线也被信使及其承运人鸽子使用来连接冲突分散的社区。出于神秘的原因，TizianBüchi（世界首映）的“ L gin -lot”，两名守望者被制造出来，以防守在Lausanne的一处河流中驶入河流。和移民家庭生活。通过他们遇到的不同人，一个领土就会成形，友谊诞生了。 TizianBüchi创建了一个寓言，旨在典型地质疑我们的监视社会。 ，逃离战争的叙利亚家庭的父亲。在他们不稳定的房屋的墙壁内，她通过绘画与他的两个长女哈拉（Hala）和里玛（Hala）和里玛（Rima）交谈。小双人彩色纸在屏幕上栩栩如生，将这个家庭的回忆，梦想和命运与流放者联系在一起。史蒂文·弗文（Steven Vit）的“我的老人”（世界首映）Rudi Vit属于濒危物种：他是一位高级主管，他是一位高级高管43年后退休，这是他一生的中心。他的儿子史蒂文（Steven）跟随他的相机过渡时刻。他描绘了一个普通的20世纪男人的临床和敏感肖像，他与家庭生活重新建立了联系，他长期以来一直是一个遥远的人物。 ），库尔德电影制片人ZaynêAkyol与被监禁的伊斯兰国成员进行了对话，并以乡村的空中景观交替出来。意想不到的是目前深远的政治问题和一部电影，其主题和节奏创造了令人印象深刻的电影对象。曼努埃尔·鲍尔（Manuel Bauer）（世界首映）曼努埃尔·鲍尔（Manuel Bauer）撰写的“钢铁生命”我们在一辆货运火车上穿越秘鲁的旅程令人着迷。从高海拔4,800米的高海拔到太平洋海岸的高海拔地区，阿尔特普拉诺（Altiplano）铅矿的令人难以置信的下降。在令人惊叹的风景中，钢生命在一部充满遭遇的公路电影和新殖民系统的乡村受害者的社交X射线之间交替。“塔拉”弗朗切斯卡·贝尔丁（Francesca Bertin），沃尔克·萨特尔（Volker Sattel）（世界首映）在塔兰托（Taranto）的郊区，据信，塔兰托（Taranto）的水具有治愈性。洗澡有一个传统的城市居民。从这个富裕的地方开始，沃尔克·萨特尔（Volker Sattel）和弗朗西斯卡·贝丁（Francesca Bettin ” Wenqian Zhang（世界首映）的“葬礼”（Emilijaškarnulytė（世界首映）（世界首映）的“ Eami”，paz encina（International Premiere）（国际首映）的“欧洲”，菲利普·谢夫纳（Philip Scheffner）（国际首映）Wang Chun-hong（国际首映式）的《遥远的眼睛》（《 Get of Old Stinks》（Get of Old Stinks），彼得·恩特尔（Peter Entell）（世界首映）（世界首映）的“幽灵公平贸易”，劳伦斯·邦文（Laurence Bonvin帕尔多·罗斯（Pardo Ros）（世界首映）“赫德罗·列利多尔（Leandro Listorti）（世界首映）（世界首映）露西·克拉洛瓦（LucieKrálová）（世界首映）（Maximiliano Schonfeld（世界首映）的“ Luminum”（World Premiere）的“ Olho Animal”，Maxime Martinot（世界前提）“ Olho Animal”埃里斯·弗洛伊斯（Elise Florty），马塞尔·蒂尔科夫斯基（MarcelTürkowsky）（世界首映）“红色非洲”（Red Africa），亚历山大·马尔可夫（Alexander Markov）（世界首映）（世界首映）的“剩余者”，作者：劳尔·卡普德维拉·穆里洛（World Premiere）国家竞赛“ patrick Muroni（世界首发）” Rudi van der Merwe（世界首映）的“ Calvinia”“ Couvre-Feu。 De Monique Saint-Hélier期刊1940-44“雷切尔·诺尔（RachelNoël）（世界首映）（世界首映）的“不用担心印度”，作者：Nama Filmcollice（世界首映）（世界首映）的“ Dragon Womens”，撰写的Frédériquede Montblanc（国际首映式）“ Fuku Nashi”撰写的“ Julie”沙o（世界首映）的“Garçonnières”CélinePernet（世界首映）（世界首映）Louise Carrin（世界首映）的“ La Cour des Grands”（世界首映）的“ Le Film deMonpère” Jules Guarneri（World Premiere）（世界首映）的“LePénitencier”（Anne Theurillat）（Anne Theurillat）（全球首映）Paulo Carneiro（世界首映）的“PériphériqueNord”（Wind of the Wind of the Wind of the Wind of the Wind of the Wind of the Wind of the Wind of Wind of Felipe Monroy（世界首映）（世界首映）的“ Supertempo” DanielKemény（世界首映）
Swiss documentary film festival Visions du Réel (VdR), which revealed its industry program last week, has unveiled its full lineup as it prepares to welcome participants both in person and online. A total of 160 films will be screened throughout the fest, which runs from April 7 through to April 17 in half a dozen venues in and around the city of Nyon.
While the event is back in its physical form, organizers have learned from the past two editions and decided to keep a strong online presence. “We realized it's a way of expanding the spectrum of people taking part. It's not about replacing the theaters, but most of the films won't be released so I feel it's our job to go beyond and reach the people who cannot attend physically,” the festival's artistic director Emilie Bujès told Variety.
A selection of around 50 films will be accessible online as part of a surprise program, along with the masterclasses of this year's special guests - Marco Bellocchio, Hassen Ferhani and Kirsten Johnson.
Sixteen films are competing in the main International Competition including nine first features and 14 world premieres.
Among them are “Ma vie en papier” by Iranian director Vida Dena, a hybrid film, which follows the story of two young Syrian refugees in a Brussels apartment and includes drawings to illustrate the girls' memories and dreams.
“5 Dreamers and a Horse,” a first film by Vahagn Khachatryan and Aren Malakyan, offers three very different portraits of Armenia through four protagonists, ranging from a lift operator who wants to travel into space, a farmer in search of the perfect wife, and a young queer couple who simply want to live out their love story.
Emelie Mahdavian is back at VdR with her feature “Bitterbrush” after winning multiple gongs on the festival circuit including the VdR audience award in 2019 with “Midnight Traveler” (co-directed with Hassan Fazili). Shot in remote Idaho, it follows two cow-girls as they embark on a long summer season. The film had its world premiere in Telluride and has been described as a masterful take on the western genre seen from the perspective of two young women.
Former VdR-Pitching entry “Dogwatch” (whose original 2019 title was “To Sail Close to the Wind”) by Greece's Gregoris Rentis will be having its world premiere in the International Competition. Described by Bujès as “a very ambitious, visually striking film,” it tells the story of three mercenaries in the High Risk Area on the Somali coastline, who are running out of work and face the absurdity of daily training to face a non-existent enemy.
“We have a lot of films that have taken part in our industry activities before,” said Bujès. “We are very interested in following projects from the beginning and allowing them to enter the circuit through the festival after they have taken part.”
On her choice to include a majority of first films, she said: “We feel it is important to have first features as we see it as our main mission at VdR to work on submissions and help new people enter the circuit in a democratic understanding of the selection process.”
Fifteen films are competing in the more experimental Burning Lights section. Among the entries are “Luminum” by Argentina's Maximiliano Schonfeld, who joyously adopts the sci-fi genre to paint a poetic portrait of a UFO research community, Maxime Martinot's “Ohlo animal” from France, an animal comedy that includes hundreds of images of dogs in films throughout the history of cinema, and “Red Africa” by Russia's Aleksander Markov, which portrays the USSR's presence in African states between 1960 and 1990 using only archive material.
Thirteen films have been selected in the National Competition category – all but one will be having their world premiere at VdR (see list below).
The festival's other sections are the Grand Angle Competition, which features films that have already toured other festivals or are expected to mark the coming year, the International Medium-length and Short Film Competition, Latitudes, a non-competitive section displaying a panorama of doc filmmaking practices, and Opening Scenes, dedicated to first films or student films.
Bujès is keen to underline the importance of the latter at a festival that aims to be a springboard for up-and-coming directors and practices. “This section is always very ambitious, convincing and exciting. It's where you can see what's happening tomorrow, they are very free in their approach. It is not a sidebar for kids, but the future of filmmaking,” she told Variety.
VdR will be paying homage this year to Italian director Marco Bellocchio with a retrospective and an honorary award, to festival veteran Iranian director Hassen Ferhani (“Dans ma tête un rond point,” 2016, “143 rue du Désert,” 2019), whose entire body of work will be showcased in a retrospective, and to U.S. cinematographer Kirsten Johnson. The multi-award winning filmmaker and DP will present a selection of films she has both directed and collaborated on, including Laura Poitras' Academy Award winning doc “Citizenfour” (2014).
Opening with Sara Dosa's critically acclaimed “Fire of Love,” the festival will close with “The Earth Is Blue as an Orange” by Ukraine's Iryna Tsilyk in a show of solidarity with the people of Ukraine. The festival has expressed its support for Ukrainian artists and filmmakers.
“We strongly condemn the ongoing Russian invasion. At the same time, the festival wishes to convey its support for the Russian artists and citizens who are currently expressing their resistance,” read a statement published on its website.
Visions du Réel kicks off on April 7 and runs through April 17.
See the full list of entries for the International, Burning Lights and National Competitions below.
International competition
“5 Dreamers and a Horse” by Vahagn Khachatryan, Aren Malakyan (World Premiere)
Three Armenians are sketched out here, brilliantly and with delicacy, through four protagonists aspiring to fulfill their dream. There is the lift operator in a hospital who wants to travel into space, the farmer in search of a perfect wife, and the young queer couple who simply want to live out their love story... while awaiting the demonstrations and hopes of the revolution.
“A Holy Family” by Elvis A-Liang Lu (World Premiere)
The director gets a phone call from his aged mother. A stubborn woman, she worries about the future of the rest of the family. The father is a gambling addict in poor health; the brother is penniless yet sure of his talent as a medium. Looking back at the reasons he left 20 years earlier, Elvis A-Liang Lu creates a wonderful family portrait, touching and full of light.
“All of Our Heartbeats Are Connected Through Exploding Stars” by Jennifer Rainsford (International Premiere)
On March 11, 2011, a tsunami devastated the coasts of Japan, claiming thousands of lives. Today, the scars of this tragedy remain visible. Yet in spite of this, people, plants and animals alike continue to exist. Through striking images shot on land and in the sea, Jennifer Rainsford's film celebrates human resilience and the endless beauty of our planet.
“Bitterbrush” by Emelie Mahdavian (International Premiere)
In remote Idaho, Colie and Hollyn embark on a long summer season working as range riders herding cattle. We follow them closely through the immensity of the landscapes and intimate moments of friendship. Emelie Mahdavian revisits the genre of the western and invites us to rethink the challenge of nomadism from the perspective of two young women.
“Chaylla” by Paul Pirritano, Clara Teper (World Premiere)
Chaylla is fighting to free herself from a violent conjugal relationship. Her determination comes up against a part of herself that still hopes it is possible to share her life with the father of her children. This first feature film sheds upsetting light on violence against women and the difficulties of finding a way to justice.
“Dogwatch” by Gregoris Rentis (World Premiere)
For a long time, vessels crossing the High Risk Area on the Somali coastline would hire private mercenaries in order to protect themselves from pirates. Nowadays, the attacks have dropped off and the mercenaries encounter a new problem: the lack of action. Daily training to face a non-existent enemy creates a sense of absurdity, captured by Gregoris Rentisʼ camera with great inspiration and precision.
“Éclaireuses” by Lydie Wisshaupt (World Premiere)
La Petite École in Brussels welcomes children who have never attended school, who are often from an immigrant background. Marie and Juliette have created a place outside of the classical structures of learning, where children can learn to be or become children again. But the price for this is the constant deconstruction of conventional education, and endless devotion.
“Foragers” by Jumana Manna (World Premiere)
“Foragers” interweaves documentary and fiction to report on a searing conflict between the Israel Nature and Parks Authority and Palestinian foragers. Through an elaborate and elegant composition, the film successfully captures the inherited love, resilience and knowledge of these traditions, against an eminently political backdrop.
“How to Save a Dead Friend” by Marusya Syroechkovskaya (World Premiere)
Marusya is 16 and, like many Russian teenagers, is determined to end her life. Then she meets her soulmate in another millennial, Kimi. They spend a decade filming the euphoria and anxiety, the happiness and misery of their youth, muzzled by a violent autocratic regime in the midst of a “depressed Russia.” This film is a cry from the heart, a tribute to an entire lost generation.
“Inner Lines” by Pierre-Yves Vandeweerd (World Premiere)
Pierre-Yves Vandeweerd continues his powerful political and poetic body of work with this new film, shot in 16mm, which travels through the regions around Ararat along its “inner lines,” to use the military terminology. These parallel routes are also used by messengers and their carrier pigeons to connect communities scattered by conflict.
“Lʼîlot” by Tizian Büchi (World Premiere)
For mysterious reasons, two watchmen are made to guard access to the river in an area of Lausanne where retirees and immigrant families live. Through the different people they encounter, a territory takes shape and a friendship is born. Tizian Büchi creates a fable—part documentary, part fiction and tinged with magical realism—to subtly question our surveillance society.
“Ma vie en papier” by Vida Dena (World Premiere)
In Brussels, the Iranian artist and film director Vida Dena meets Naseem, father of a Syrian family who fled from the war. Within the walls of their precarious home, she talks with Hala and Rima, his two eldest daughters, through drawings. The little bits of colored paper come to life on the screen to relate the memories, dreams and destiny of this family in exile.
“My Old Man” by Steven Vit (World Premiere)
Rudi Vit belongs to an endangered species: he is a senior executive who is due to retire after 43 years during which work was the center of his life. Steven, his son, follows this moment of transition with his camera. He paints a clinical and sensitive portrait of an ordinary 20th century man who reconnects with family life, from which he has long remained a distant figure.
“Rojek” by Zaynê Akyol (World Premiere)
After “Gulistan, Land of Roses” (VdR 2016), the Kurdish filmmaker Zaynê Akyol returns with these conversations with imprisoned members of the Islamic State, alternating their words with aerial views of the countryside. An unexpected look at a far-reaching current political issue and a film whose subject matter and rhythm create an impressive cinematic object.
“Steel Life” by Manuel Bauer (World Premiere)
Manuel Bauer offers us a fascinating journey across Peru aboard a freight train; an incredible descent from the Altiplano lead mines, at an altitude of 4,800 meters, to the shores of the Pacific Ocean. Set amidst staggering scenery, Steel Life alternates between a road movie peppered with encounters and the social x-ray of a country victim of the neo-colonial system.
“Tara” by Francesca Bertin, Volker Sattel (World Premiere)
The Tara is a river on the outskirts of Taranto whose waters are believed to have healing properties; bathing there is a tradition for the inhabitants of the city. Starting from this bucolic place, Volker Sattel and Francesca Bettin take us on a journey through a territory where myths clash with reality and where so-called “progress” has taken a heavy toll on nature and society.
Burning Lights Competition
“A Long Journey Home” by Wenqian Zhang (World Premiere)
“Burial” by Emilija Škarnulytė (World Premiere)
“Eami” by Paz Encina (International Premiere)
“Europe” by Philip Scheffner (International Premiere)
“Far Away Eyes” by Wang Chun-Hong (International Premiere)
“Getting Old Stinks” by Peter Entell (World Premiere)
“Ghost Fair Trade” by Laurence Bonvin, Cheikh Ndiaye (World Premiere)
“H” by Carlos Pardo Ros (World Premiere)
“Herbaria” by Leandro Listorti (World Premiere)
“Kapr Code” by Lucie Králová (World Premiere)
“Luminum” by Maximiliano Schonfeld (World Premiere)
“Olho animal” by Maxime Martinot (World Premiere)
“Ollin Blood” by Elise Florenty, Marcel Türkowsky (World Premiere)
“Red Africa” by Alexander Markov (World Premiere)
“Remainders” by Raúl Capdevila Murillo (World Premiere)
National Competition
“Ardente·x·s” by Patrick Muroni (World Premiere)
“Calvinia” by Rudi van der Merwe (World Premiere)
“Couvre-feu. Journal de Monique Saint-Hélier 1940-44” by Rachel Noël (World Premiere)
“Don’t Worry About India” by Nama Filmcollective (World Premiere)
“Dragon Women” by Frédérique de Montblanc (International Premiere)
“Fuku Nashi” by Julie Sando (World Premiere)
“Garçonnières” by Céline Pernet (World Premiere)
“La Cour des grands” by Louise Carrin (World Premiere)
“Le Film de mon père” by Jules Guarneri (World Premiere)
“Le Pénitencier” by Anne Theurillat (World Premiere)
“Périphérique nord” by Paulo Carneiro (World Premiere)
“Sons of the Wind” by Felipe Monroy (World Premiere)
“Supertempo” by Daniel Kemény (World Premiere)
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感谢论坛提供了这么多好资源啊 太好了，终于找到宝藏论坛了！ 感谢分享啊。谢谢版主更新资源。 资源真不错，感谢分享！
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