Tangaj Production

A night. Dozens of stories. A city. Lică, a taxi driver, is an all knowing guy, while Liviu, his friend, also a taxi driver keeps a lot to himself. They are completely different and their ideas about life and people only meet when they are eating and drinking at the bar. They are frustrated with their jobs. For Lică money is the most important thing, while Liviu thinks that a happy and fulfilling life represents more. They are trying to rediscover who they are and what they can do with their life, all while being on an on going adventure on the streets of Bucharest where they cross paths with all kinds of clients who end up having an impact on their lives, for better and also for worse.

The factory that once employed the entire town and surrounding villages has been closed down due to a questionable privatization process, coinciding with a tragic incident where a group of its workers perished in a deliberately set fire. The remaining workers, devastated by the loss of their loved ones and the subsequent corrupt sale of the factory, initiate protests, but their efforts seem futile, yielding no concrete results. Feeling abandoned not only by the authorities but also by their cherished church, they find themselves seeking solace and answers in the supernatural.

When Sandro’s father decides to devote his life to God and leaves for a monastery, the teenage introvert finds himself deprived of the fundamental certainties of life. Abandoned by his father and his mother, who is working abroad, the young man embarks on a journey of self-discovery, opening up both to a new friendship with the radical Lasha, who has ties with an ultra-right organisation, and also to the chance to explore his own sexuality. George Sikharulidze’s perceptive feature debut considers how fine the line is between the observer and the observed, and asks where contemporary post-Soviet Georgian society is heading as it hovers on the border between religious conservatism and nationalisation on the one hand, and the desire for independence and modernisation on the other. Natalia Kozáková (kviff.com)

Thirteen-year-old Marek shoots videos on social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother's new acquaintance. In the most sensitive phase of his life, Tereza enters his path.

Ilie, a small-town police chief, wants to build a modest comfortable life for himself, but ends up making the wrong choices. Middle-aged and alienated, he feels the need to be a part of something - to build an orchard, even a home. Although dubious things happen in the village, Ilie only sees what suits him. The moment he gets involved in the village marks the beginning of his collapse. In a vacuum of solutions, he tries to be what he has never been before: the justice seeker who arrests everyone guilty.

At a theatre workshop for young people, a teenager embarks on a sexual relationship with a slightly older girl. But isn’t this all a bit of a mistake? The people around them react in various ways, yet no-one is indifferent to what’s going on.

Arriving on an island, a young woman embarks on a journey to discover her identity and place in the world. Her experiences on the island unravel a tapestry of past events, bringing hidden truths to light. As the situation grows increasingly complex, she is driven towards a profound reconciliation and acceptance, starting with herself and gradually encompassing those around her.

A bartender-combiner urgently needs to pay off a debt. He persuades his brother, a fiery bouncer, to arrange a bachelor party together, without the knowledge of the owners of the club where he works.

A time capsule of New York City between August 13-15, 1965, framed by the Beatles’ arrival in the city and their first concert at Shea Stadium. The film consists exclusively of archive material from the period (ABC, CBS, NBC), 8mm home movies and images of the concert, which was recorded with fourteen 35mm cameras. Four teenagers are sent on a trip through time and inserted in the archive material by means of animation.

Laura (45) suffers from severe amnesia following an accident, so she can’t remember who the people around her are. She is reluctantly persuaded by her family to go on a boat trip to Turkey, but the closer she gets to her destination, the more unclear the purpose of the trip becomes. They are caught up in a series of situations in which they change their minds depending on the context, their own principles seem to be relativized, their choices become irrational.