Wolf Kino Berlin: Conscience of Georgian Cinema

The program “Prisoners of Conscience + A Friend in Prison, Me Next to the Prison” will be shown Saturday the 14th at 13.00, more Georgian films follow, check the website https://wolfberlin.org/de.

From February 14 to 15, in cooperation with the Georgian Film Institute—a non-governmental initiative supporting independent Georgian filmmakers—we (Wolf Kino) will be showing a joint program of selected Georgian films from recent years for the second time.

What is happening cinematically in a country that has experienced a radical regression toward authoritarianism within just a few years? Georgia—a country with a deep-rooted cinema tradition that has produced poetic, rebellious images even under censorship—is currently undergoing a political and cultural upheaval. After years of democratic development and European orientation, the country is once again being subordinated to Russia against the will of its population: ruled and monopolized by an oligarch modeled on Putin. In response to increasing censorship, Georgian filmmakers have taken a united stand against the state. They are boycotting state funding structures so as not to become instruments of propaganda, and refusing to recognize a cinema that compromises with oppression. By 2023, over 450 filmmakers had already signed up to this boycott.

And yet Georgian cinema lives on. Despite a lack of financial structures, films continue to be made – driven by independence, solidarity, and resistance. Conscience of Georgian Cinema, which is also the institute’s motto at the EFM of the Berlinale 2026, brings together current films that reflect Georgia’s political and social processes through cinema. The short film program Prisoners of Conscience combines works by Salomé Jashi, Nutsa Salomé Alexi, Keti Machavariani, Elene Naveriani, and others about politically imprisoned people in Georgia. The films counter the state’s criminalization of pro-European protests with a cinematic counter-public sphere – as an act of witness and truth. On Another Stage by Teo Jorbenadze portrays the Georgian opera singer and world star Paata Burchuladze and his journey from the big stage to protest. The film was shot before his arrest in October 2025. He now faces up to nine years in prison.

Alexandre Koberidze’s epic experimental road movie Dry Leaf  is about a father’s search for his missing daughter. The director’s father plays the lead role, and the score was composed by his brother. The film premiered in the main competition at the 2025 Locarno Film Festival and received a Special Mention.

The series is complemented by two new documentaries: Ketevan Vashagishvili’s 9-Month Contract, a haunting exploration of motherhood and surrogacy under precarious social conditions, and Kote Kaladze’s Nobody in Sight, a sensitive portrait of a young man hoping for a different life as part of addiction therapy.

Current feature films are also represented, including Luka Beradze’s social satire Congratulations Once Again, a fairy-tale-like short film about a New Year’s celebration that gets out of hand. The program is complemented by other works with an original, personal cinematic language, including Anka Gujabidze’s TemoRe, a humorous black-and-white photo adventure, and Dea Cholokava’s What Does the Mud Whisper, a sensitive cinematic portrait of the perceptual world of a six-year-old girl. The series concludes with Tato Kotetishvili’s docu-fiction film Holy Electricity, which won a Golden Leopard at Locarno and accompanies a teenager and his uncle on an odyssey through Tbilisi, addressing themes such as grief and masculinity with wit and profundity.

All screenings will be introduced by Mukhran Makharadze’s short animated film Saturday Cleaning, and after the screenings, the filmmakers in attendance will present their films and engage in conversation with the audience.

Accompanying the film series, 8000 Vintages will be presenting Georgian wines in our bar!

The film series was co-curated by Nana Ekvtimishvili (Georgian Film Institute) and Eva Buchmann (Wolf Kino).

The film program is presented in two parts: Prisoners of Conscience (Georgia 2025, 62 min) is a collection of eleven short films that brings together leading voices in Georgian documentary filmmaking, such as Salomé Jashi, Anna Dziapshipa, Tiku Kobiashvili, and others. Here, individual film portraits capture the political prisoners, the so-called “სინდისის პატიმრები/Sindisis Patimrebi” (English: prisoners of conscience), and their dramatic fate.

A Friend in Prison, Me Next to the Prison by Mari Gulbiani (Georgia 2025, 24 min) tells the story of Dato, whose friend is arrested at a demonstration and sentenced to 10 days in prison, whereupon Dato goes to Zahesi Prison and begins a solo protest. Soon his sister Salomé joins him. Standing side by side in the cold, their silent determination becomes a powerful symbol of friendship, freedom, and courageous commitment to the truth.

The screening will be followed by a Q&A with directors Keti Machavariani and Salomé Nutsa Alexi.

directors: Keti Machavariani, Anna Dziapshipa, Salomé Jashi, Sandro Katamashvili, Tiku Kobiashvili, Levan Shubashvili, George Varsimashvili, Elene Naveriani, Vajiko Chachkhiani, Kote Chlaidze, Salomé Nutsa Alexi, Mari Gulbiani

CPH:DOX Forum Projects 2026

17 projects to be presented at the Royal Theatre of Denmark March 17-19. Here they are copy-pasted from the website of CPH:DOX:

ARTIFACTS OF WAR

ARTIFACTS OF WAR

Marketed as safe tools of public order, less-lethal weapons circulate globally. ARTIFACTS OF WAR moves between Europe’s arms fairs, archival material, and a forensic algorithm to explore how force is shaped, regulated, and audited.

Jorge Caballero / Anna Giralt Gris & Diego Pino Anguita / Artefacto Films / CangrejoFilms / Spain & Chile

BLACKEST EVER BLACK

BLACKEST EVER BLACK

A film crew sets out to make a film about data centres and Ireland’s tax system when a series of blackouts derails the project.

Roisin Agnew / Alison Millar, Jack O’Brien & Luke McManus / Erica Starling Productions & Sixteen Films / Unbecoming / United Kingdom & Ireland

BROMANSKY

BROMANSKY

At a turning point in history, two world leaders from very different backgrounds strike up a strange friendship and set out to change the world. This is the story of Bill & Boris – told through archival footage and in their own words.

Arthur Franck / Sandra Enkvist, Anders Lindström, Rémi Grellety, Sara Skrodzka, Esther Nissen & Thorvald Nilsen / Polygraf / IndieFilm Bergen, Warboys Films & Final Cut For Real / FinlandFranceDenmark & Norway

CHILDREN OF THE MOON LAND

CHILDREN OF THE MOON LAND

In a devastated Slovak town poisoned by magnesite mining, six Roma children refuse to accept their harsh reality, finding refuge in imagination, friendship, and their dreams that become their only form of resistance.

Roman Ďuriš / Richard Šimeček, Michal Sikora & Albin Bourgeois / Svjetski Films / Lonely Production & Weplus / SlovakiaCzech Republic & France

COSMOFONIA

COSMOFONIA

COSMOFONIA intends to perform a shift in the very conditions of perception. At its core lies a radical cinematic gesture: a film whose soundtrack is composed almost entirely of sounds never heard before by human ears.

Véréna Paravel / Florence Cohen / Anna Lena Films / France

DARK HORSE

DARK HORSE

With the 2026 World Cup on the horizon, a banned betting influencer and a relentless investigative journalist expose how sports manipulation has evolved from scandal to business model, now threatening to destroy the game itself.

Lauren DeFilippo & Sam Soko / Amanda Pollak / Insignia Films / LBx Africa / SwedenKenya & United States

DIRECTOR'S CUT [WT]

DIRECTOR’S CUT [WT]

What started as a promotional commission becomes a moral thriller.

Radu Ciorniciuc / Tereza Šimíková, Oleksandra Kravchenko & Darya Bassel / Ciorniciuc Films / MOON MAN & Wingman Media / RomaniaDenmark & Ukraine

EVERYTHING IS RED AND GREY

EVERYTHING IS RED AND GREY

A group of young Palestinian filmmakers in Gaza overcome the tragic killing of their friend and use their tools of creative resistance to document their own genocide and their communities beyond the colonial lens of rubble and cardboard boxes.

Shourideh C. Molavi & Shrouq Alaila / Shourideh C. Molavi, Henry Plavidal & Laura Poitras / SCM Research / Palestine & Canada

FACE VALUE

FACE VALUE

FACE VALUE examines how advances in cosmetic medicine, digital culture and AI are reshaping global beauty norms and transforming algorithmic aesthetic ideals into increasingly compulsory standards that redefine women’s identity, agency, and self-worth.

Faye Tsakas / Riel Roch-Decter / MEMORY / United States

GOD OF THE IN-BETWEEN

GOD OF THE IN-BETWEEN

A fabled island of ruins has survived for generations thanks to an unlikely saviour – seaweed. Panchavarnam has spent a lifetime collecting this treasure. She now fights to save her sisterhood of seaweed, even as her daughter chooses another life.

Archana Phadke / Shaunak Sen, Aman Mann & James Wilson / Kiterabbit Films & Valentine Films / India & United States

GREEN GOLD

GREEN GOLD

In Mexico’s avocado capital, prosperity and violence grow side by side as communities fight to hold on to their land, their livelihood, and their future.

Ivonne Serna & Selim Benzeghia / Geoffrey Livolsi, Alex Pritz, Will N. Miller & Selim Benzeghia / Koudéta Films / Documist / France & United States

JOUD

JOUD

For Joud, a German-Palestinian-Syrian journalist, turning 40 means choosing love at all cost. Living across Berlin, Beirut, and Damascus, he documents his gender confirmation and political exile, negotiating a life where legal recognition, family history, and romance are divided by borders he must constantly cross.

Diana El Jeiroudi / Diana El Jeiroudi & Orwa Nyrabia / No Nation Films / Docmakers / GermanyNetherlands

LAST STANDING WOMEN

LAST STANDING WOMEN

Confidential project. Detailed information and materials will be available to forum financiers and during the pitch in March.

Talal Derki / Charlotte Reekers & Talal Derki / Derki Film Production / Germany

LAST WEEKEND IN OCTOBER

LAST WEEKEND IN OCTOBER

In Nigeria’s ferocious fashion scene, three designers fight to escape erasure and reach Lagos Fashion Week’s runway — where visibility means survival. A story about who gets seen, who remains invisible, and the fragile ecosystem that depends on them all.

Nosarieme Garrick / Chioma Onyenwe / Black Gazelle Productions / Raconteur Productions / United States & Nigeria

LETTER TO ALVIN

LETTER TO ALVIN

LETTER TO ALVIN uncovers the life and work of Alvin Baltrop – a largely unrecognized but profoundly important African American artist who chronicled the LGBTQ+ experience at the fringes of New York’s waterfront in the 1970s and 1980s.

Göran Hugo Olsson & Hilton Als / Tobias Janson, Melissa Lindgren, Yona Backer & Joslyn Barnes / Story / Louverture Films & Third Streaming / Sweden & United States

LETTERS OF HOPE

LETTERS OF HOPE

Nobel laureate Oleksandra Matviichuk follows the scars of war across Ukraine’s wounded landscapes, carrying her own trauma into a global fight to recognize ecocide as a war crime. As her resolve meets the fragile promise of justice, she inspires us to find hope — and act.

Lea Glob / Sigrid Dyekjær, Eric Holland & Konstanze Speidel / Real Lava / Flare Film & DIM Filmhouse / DenmarkGermany & Ukraine

LIVING IN OUR HEADS (CONFIDENTIAL)

LIVING IN OUR HEADS (CONFIDENTIAL)

Confidential project. Detailed information and materials will be available to forum financiers.

David Borenstein / Helle Faber / made in copenhagen / Denmark

MATRESCENCE

MATRESCENCE

A genre-defying, cinematic documentary that explores the radical and under-explored transformations that occur in pregnancy and early motherhood, adapted from the groundbreaking book by Lucy Jones.

Kathryn Ferguson / Rosie Crerar & Eleanor Emptage / Tara Films & barry crerar / United Kingdom

MY FATHER THE ICEMAN

MY FATHER THE ICEMAN

Ewa lives in the shadow of her father’s crime — the assassination of an anti-apartheid leader in South Africa. Despite this, she fights for his release. When he returns to Poland after 30 years and joins the far right, she is forced to confront him.

Łukasz Kowalski / Łukasz Kowalski, Anna Mazerant & Signe Byrge Sørensen / 4.30 Studio / Final Cut For Real / Poland & Denmark

QUEENS BALLROOM

QUEENS BALLROOM

In a ballroom in Queens, NY, senior Asian American immigrants are transported through dance, revisiting worlds left behind and creating lives anew.

Hansen Lin & Siyi Chen / Siyi Chen, Hansen Lin, Clara Vuillermoz & Laurence Buelens / Queens Disco Production / SOLENT Production & Rayuela Productions / United StatesFrance & Belgium

SKEPTICS

SKEPTICS

As the US dismantles decades of climate change legislation, an environmental activist strikes up an anonymous, online conversation with a climate skeptic. Shifting between the personal and scientific, can this dialog reveal any common ground?

Ra’anan Alexandrowicz / James Doolittle & Thomas Lennon / All Ages Productions / Once in a Blue Moon Films / United States

STATE OF IMMORTALITY

STATE OF IMMORTALITY

The film explores our passion for defeating death by tracing the Russian Cosmism – a 100-y-o movement influencing today’s biohackers and longevity enthusiasts. It is not only a film about how we can live forever but about what happens if we do.

Piotr Winiewicz / Henrik Underbjerg / Stray Dog Productions / Pressman Film / Denmark & United States

SWEET MYSTERY OF LIFE

SWEET MYSTERY OF LIFE

In a dreamlike 1950s town square built inside a warehouse, we will investigate our memory care crisis, the healing potential of filmmaking and the fragility of reality itself.

Robert Greene / Bennett Elliott, Susan Bedusa & Douglas Tirola / 4th Row Films / Square Peg Films / United States

THE CALLING

THE CALLING

An artist persuades his son to make a film about him — but as their visions collide the project unravels into an exploration on masculinity, the need to be seen, and cinema’s elusive promise of redemption from the ghosts that haunt and bind them both.

Beniamino Barrese / Harry Vaughn & Beniamino Barrese / Real Lava / Denmark

THE DAY AFTER

THE DAY AFTER

Over 3 years, beginning in 2023, a group of Palestinians and Israelis travel to Northern Ireland to learn how bitter enemies made peace. But as their own divided homeland descends into deeper violence, they struggle to make peace amongst themselves.

Yuval Orr & Aziz Abu Sarah / Margaux Missika & Liel Maghen / No Man’s Land / Upian / FrancePalestine & Israel

THE ELEPHANT IN THE ROOM

THE ELEPHANT IN THE ROOM

An all-archival adventure documentary that explores the creation of the American Museum of Natural History. Through the interconnected histories of its extraordinary artifacts and the people behind them, the museum becomes a mirror for humanity’s longing to freeze time, amass treasures, and reflect on our place in the world.

Marley McDonald / John Cardellino / Unimerical Studios / future perfect / United States

THE NIKI DE SAINT PHALLE DOCUMENTARY PROJECT

THE NIKI DE SAINT PHALLE DOCUMENTARY PROJECT

The definitive story of Niki de Saint Phalle, a pioneering artist who blasted into the art world with a rifle, and became the architect of her own reality with her self-funded visionary masterpiece, the monumental Tarot Garden.

Matt Wolf & Svetlana Zill / Emmanuelle Lepers / Haut et Court Doc / France

THE SILENT NETWORK

THE SILENT NETWORK

THE SILENT NETWORK uncovers an organized movement that builds and spreads political and economic influence through hidden financial networks, revealing a Europe-wide threat to democratic institutions and human rights.

Pernille Rose Grønkjær & Noa Agnete Metz / Vibeke Vogel, Nina Leidersdorff & Malthe Koch / Danish Documentary / Up North Films / DenmarkNorway

UNTITLED UNRWA ARCHIVE DOCUMENTARY

UNTITLED UNRWA ARCHIVE DOCUMENTARY

A group of Palestinians investigate their personal histories in UNRWA’s formerly hidden archives. Interwoven with Israel’s assault on UNRWA, the film shows that preserving memory is an act of resistance, defying erasure.

Benedict Moran & Ramzy Haddad / Benedict Moran, Ramzy Haddad & Sergeo Kirby / Blind River Media / Loaded Pictures / Canada

USA VS EUROPE

USA VS EUROPE

What does the world look like for those standing exactly where history begins to fracture? Do they cling to the past, or reach for the future? The film tells the story of a political meteor strike — the chaos that follows, and the challenges of finding direction in a new and unfamiliar world.

Christoffer Guldbrandsen / Peter Engel / Wingman Media / The Ark / DenmarkGermany & Norway

WE ARE VOLCANOES

WE ARE VOLCANOES

Confidential project. Detailed information and materials will be available to forum financiers, and during the pitch in March.

Sharon Yeung & Natalie Chao / Jillian Schlesinger / Hong Kong & Norway



CPH:DOX Forum: Change

THE SELECTED PROJECTS FOR CHANGE 2026 ARE:

10 THINGS [WT]

10 THINGS [WT]

I’m Niniko, an aspiring comedian dreaming of London. My cousin Kakha, Georgia’s beloved actor, refuses to leave. Political turmoil awakens our shared trauma: my dream becomes escape while he fights in the streets—our relationship caught between love, resentment, and survival.

Niniko Lekishvili / Ana Kvichidze, Irina Gelashvili & Estelle Robin You / Moonbow / Radium Films & Grande Ourse Films / Georgia & France

3 DAUGHTERS

3 DAUGHTERS

When her mother dies, Anghelina loses the voice that defined what it meant to be a good woman. Caught between her mother’s faith and duty and her daughter’s life as an artist, she must decide which values endure and which end with her.

Ana Gherciu / Ana Gherciu / Narrativa Studio / Sud-Est Media NGO / Moldova

LIFE ON MARS

LIFE ON MARS

Everyday, miners dig deep into the Earth’s crust, extracting minerals, destroying nature – while in a parallel reality cosmic dust invades human minds, astronauts appear in Armenia’s desert-like landscapes, and the land itself begins to transform into Mars.

Mery Aghakhanyan / Karina Simonyan / Edgar Baghdasaryan Film Production / Armenia

MY HOME

MY HOME

At 86, Vali prepares for the final journey of his life to see his former home and his family’s graves, even though his family opposes the trip and the border remains closed.

Ulviyya Ahmadova / Nijat Dadashov / Cineart Group / Azerbaijan

MY SCHOOL IS SEIZED

MY SCHOOL IS SEIZED

Pavlo (18) escapes Russian occupation and, with a teacher and imprisoned collaborators, exposes a school system designed to groom children for war. Pavlo’s mission is not over until his brother Ivan (10) is out – before propaganda claims him for good.

Halyna Lavrinets / Oleksandr Ivanov / Babylon’13 / Ukraine

SOUNDS OF REVOLUTION

SOUNDS OF REVOLUTION

Under the shadow of autocracy, the city whispers and roars. An unexpected act elevates an unknown woman into the face of the protest. SOUNDS OF REVOLUTION is a symphony of resistance, where Georgia’s people rise together — but the triumph of collective demands sacrifice.

Nikoloz Bezhanishvili / Nikoloz Bezhanishvili & Victor Ede / NIKADOCFILM / Cinephage / Georgia & France

TOTAL MESS

TOTAL MESS

Following young Ukrainians pulled into the wartime shadow economy, the film immerses us in their inner worlds as fast money turns into addiction. Bound together in a fragile community, they must face the question: what will their escape truly cost?

Oleksandra Horiienko / Kateryna Yahodka & Alex Shiriaieff / EuroArctic Media Group / 2Brave Productions / Sweden & Ukraine

UXXR: IS THERE SEX AFTER THE USSR?

UXXR: IS THERE SEX AFTER THE USSR?

In a world where women are taught to run or endure, Zara, a fearless human rights defender, launches a rehabilitation program for abusers, where she confronts the source of violence, after years of managing its aftermath.

Lilit Movsisyan / Sona Margaryan / Motif Films / Armenia

Emanuele Vernillo: Thomas Heise and the Courage of Silence

In a few months, two years will have passed since the death of Thomas Heise, a key figure of European documentary and auteur cinema over the last fifty years. Heise was remembered in Bolzano one month ago during two very intense days, when, together with FAS – Film Association South Tyrol, the three films of the Halle-Neustadt Trilogy (STAU – JETZT GEHT’S LOS / NEUSTADT / KINDER. WIE DIE ZEIT VERGEHT) were screened in the cinema, and a masterclass was organised in his memory. The masterclass retraced his artistic path, from the years of the GDR to the reunification of Germany, and highlighted the importance of what Heise called an “archaeology of memory” in his cinema – a way of working in which the past continues to cast its shadows on the present.

During these days, long-time collaborators of Heise joined us, bringing a living and personal memory of the great German filmmaker. Among them were the cinematographer and lifelong friend Peter Badel, and his first producer during the years of the Wende, Katrin Schlösser.

We would like to open this newsletter by once again taking time – and offering it to you – to pay tribute to a great filmmaker, for a very simple reason: Thomas Heise was an artist who was never afraid to face the contradictions of his time. He was never afraid to “get his hands dirty” and to enter places that were uncomfortable or difficult: whether filming inside a police station in Berlin during the GDR (when all his previous films had already been rejected by the regime), or spending time with a group of neo-Nazis in the town of Halle just after the collapse of the GDR, or even meeting his own brother after many years to reflect on the role that one of their closest friends had played within the Stasi.

Heise loved the spoken word in his films, but many of them will be remembered above all for their silences: for the sighs of the people on screen, and for the deep sense of empathy that Heise was able to create with everyone he met. Very few filmmakers have reached such emotional closeness to the people they filmed. It is worth remembering here another great German filmmaker, Helga Reidemeister, who passed away five years ago and was also born in Halle, before the GDR. In films such as LICHTER AUS DEM HINTERGRUNDVON WEGEN “SCHICKSAL” and GOTTESZELL – EINE FRAUGEFÄNGNIS, she touched the living heart of the people she worked with.

Thomas Heise’s cinema was built around key historical moments and nourished by materials that document important passages of the twentieth century. It is a cinema that does not impose a point of view, but instead asks essential questions to a community. It is a cinema that enters the cracks of History and personal stories and asks: what happens to a community when a social and political balance breaks? Within this work, Heise searched for the physical presence of silence – of sighs, pauses and waiting – creating moments of deep intimacy with the people he filmed. Through Heise’s films, we learn to use words not only to give information, but also to feel and touch emptiness and suspension: in History, in a farewell, in a wound, in a relationship.

Heise’s films should be watched again today more than ever, in a time of easy and tragic oppositions, a time in which everything is shouted, and everyone seems to be the protagonist of something somewhere, while in reality we are more and more victims of History. Heise teaches us to get our hands dirty – and this is the best wish we can make for our young filmmakers.

Emanuele Vernillo Zelig, Head of the Three-Years Training

Iga Lis: The Queen and the Smokehouse

Miecia is the “Queen of Łeba”, a seaside resort at the Baltic Sea, the Sea, so well known for a Dane, who has tasted lots of smoked fish on the Island of Bornholm. Miecia has had her smokehouse for 40 years and it is quite a popular place near the beach with a neighbouring amusement place that offers carousels and swings. Everybody knows Miecia, who is a nice old lady and a grandma and a warm caring boss towards the young people, who help her in her stall, selling and smoking the fish. A boss who wants people to keep their promises, which is difficult if alcohol is involved. She gives advice on how to live life, wonderful.

As you can interpret from the poster above working with smoke has its consequences. Combined with the cigarettes Miecia lights constantly. She has trouble breathing and good for her she gets a spa trip; it seems she likes it, but still she is on the phone to her employees to check how is everything in the smokehouse. She is welcomed back and she says that now her team will take over and “I will sit on the bench”.

The film is beautifully shot, the editing is focused on bringing out the personality of Miecia, it works, to have her – sometimes pretty direct – humour mixed with the recording of what a traditional smokehouse is and of course you wonder if that can go on, when Miecia and her commitment is no longer there?

The director is from 2000, this is her first feature documentary, more than well done, opening film at Krakow FF last year and in competition at the recent Fipadoc. And pitched at Baltic Sea Docs in 2024.

Poland, 2025, 66 mins.

❤️ ❤️ ❤️ ❤️

CPH:DOX Opening Film: Mariinka

The long-awaited documentary ‘MARIINKA’ directed by acclaimed Belgian filmmaker Pieter-Jan De Pue, has been selected as the opening film of the 23rd edition of CPH:DOX taking place March 11–22, 2026 in Copenhagen. The film will celebrate its world premiere at the CPH:DOX 2026 opening gala in the concert hall of the Royal Danish Academy of Music on March 10 at 19:00, in the presence of the director and the film crew, including two of the main protagonists in the film.

Shot on 16mm and nine years in the making, ‘MARIINKA’ is the second feature documentary by Pieter-Jan de Pue after the highly praised ‘The Land of the Enlightened’ (2016). The film will be screened in the festival’s main competition, DOX:AWARD, honouring films that combine exceptional storytelling, innovative filmmaking, and cultural as well as social relevance.

‘MARIINKA’ begins long before the world watched the full-scale invasion. In eastern Ukraine, the film traces several young Ukrainians whose lives have been forever shaped by more than ten years of war and conflict in the Donbas region.

Amidst the war a promising boxing talent turns military paramedic, a girl is smuggling unexpected goods across the frontline to survive, and as in a Greek tragedy, two brothers now fight on opposite sides of the front line – against each other – while their youngest brother lives in safety far from the war with a foster family in the United States. Through letters, video calls and silent meetings, a story unfolds about belonging, national loyalty and the fault lines where political conflicts can trump even the bonds of blood.

“’MARIINKA’ is a film that insists on our attention at a time when attention itself has become a scarce resource. Pieter-Jan de Pue has spent nearly a decade staying with this story – not chasing the news cycle, but listening to lives shaped by a war that began long before it filled our headlines and continues as the world’s gaze threatens to drift elsewhere. The result is a remarkable cinematic achievement that refuses both distance and simplification, presenting the Russian invasion of Ukraine as lived reality, carried in bodies, relationships and impossible choices. Shaped through European co-production – and years of engagement with CPH:DOX’s industry platforms – the film reminds us why documentary cinema matters: not to offer easy answers, but to confront us with urgency, nuance and the complex human realities behind events often reduced to headlines,” says Niklas Engstrøm, Artistic Director of CPH:DOX.

“I am very happy and honored that the years-long journey of this film has ultimately led to a world premiere as the opening film and competition entry at the renowned CPH:DOX festival, which has always supported us during the development and rough cut phase of the project,” says Pieter-Jan De Pue, director of ‘MARIINKA’.

‘MARIINKA’ is directed by Pieter-Jan De Pue and produced by Bart Van Langendonck and Pieter-Jan De Pue (Savage Film), in co-production with Christian Beetz (Beetz Brothers Film Production), Femke Wolting and Bruno Felix (Submarine), Vincent Metzinger, Emilie Blézat (Dark Riviera), Naoko Films, Shelter Prod, and ZDF in collaboration with ARTE, with the participation of RTBF Documentary Unit, VRT, VPRO, and SVT.

The film is supported by the Flanders Audiovisual Fund (VAF), the Belgian Federal Tax Shelter, the Netherlands Film Fund, the Centre du Cinéma et de l’Audiovisuel de la Fédération Wallonie-Bruxelles, the Creative Europe MEDIA Programme, the King Baudouin Foundation, and Eurimages, in collaboration with the Belgian Embassy in Ukraine.

Albert Serra: AFTERNOONS OF SOLITUDE

It’s looking at you, the bull. From the big screen in the cinema Grand in Copenhagen. Together with an almost full hall on a Wednesday afternoon, the first day of CPH:DOX 2025, I booked a ticket for Catalan Albert Serra’s first non-fiction film. Admired for his fiction films, considered a true auteur, he had a masterclass last year at DocsBarcelona, that I missed but I understood that he and editor Artur Tort told that they had spent 9 months of editing the two hour long bullfighting documentary! And that Serra said that it would have been impossible to find an actor for the role of torero. That’s why he decided to leave fiction for this film. He found Andrés Roca Rey, see photo.

You also hear the breathing of the bull. It’s ready for the fight that in most cases ends with its death. And in some cases with blood on the torero, again see photo of Roca, as they call him, in a hotel room undressing after a fight assisted by what you could call his butler. The same man is the one who – in a precious scene – dresses Roca starting with feminine underwear and pink socks before the heavy colorful outfit is settled on the body of the young man. 

A fight yes, but also a show, that Serra has his focus on. No spectators are seen, but they are heard, we see Roca in the arena alone with the bull with his red cloth, moving, inviting the bull to attack, the sound is strong, Roca communicates with the bull, he gets advice from his team and praise, all is hearable and even more so when they are back in the car, the sole other location, “you’ve got balls”, “you are the best”, simple dialogues in this world of men.

It’s all about the image. I don’t remember having seen so poignant closeups of a bull suffering; with blood all over it keeps the attack until Roca delivers the death blow with his sword after the bull has received lances in its body. Serra comes back with detail after detail of Roca, bull after bull, taking dancing steps with inviting sounds toward the animal and a face that changes expression depending on how close we are to the final sword thrust. In some sequences Roca performs as a kind of Shakespearean character supported by strong music, classical.

I would never enter a bullfighting arena, it’s disgusting animal cruelty what is going on there to entertain us – Serra is not telling us what to think about this cultural phenomenon – up yo you, but I was caught by the drama as it was magnificently conveyed on the screen by a filmmaker, who knows his métier. One man in the arena. 

Spain, France, Portugal, 2024, 125 mins.

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CINEMA FROM KALAALLIT NUNAAT

 Dear Tue Steen Müller ,At a moment when Greenland is increasingly framed through the language of geopolitics, resources and strategic interests, the European Film Academy dedicates its newest _UNDERSCORE edition to Greenlandic cinema. We have several Greenlandic members and it is important for us to offer a different entry point: one grounded in stories, memories and lived experiences by Greenlandic filmmakers.The selection, now available on the Academy VOD platform, brings together landmark works spanning more than two decades of filmmaking, from the country’s first feature to recent, internationally acclaimed shorts and documentaries.
WATCH NOW: The Greenland edition of _UNDERSCORE is more than a curated programme. It is a gesture of trust, solidarity and recognition at a moment when Greenland’s voice risks being overshadowed by louder geopolitical narratives. By foregrounding cinema as a space of self-definition and narrative sovereignty, the European Film Academy offers audiences not a commentary on Greenland, but an invitation to listen.You will find the collection of nine Greenlandic films on the Academy VOD Platform until 22 February.

Mark Cousins at DocsBarcelona 2026

The Barcelona International Documentary Film Festival – DocsBarcelona 2026 will award scottish-irish filmmaker Mark Cousins the Docs of Honor Award and dedicate a retrospective to his work during the next edition, which will take place from May 7 to 17. During his visit to Barcelona, Cousins will also present the spanish premiere of the first episode of his new series, The Story of Documentary Film, after its world and European premieres at the Sundance and Berlin festivals respectively. Cousins will also offer a masterclass and will headline the opening conference of the DocsBarcelona Pro professional market. This tribute is possible thanks to the valued collaboration with the Filmoteca de Catalunya. 

With the new series The Story of Documentary Film, Cousins expands the universe of The Story of Film: An Odyssey, a monumental 15-hour project with which he has redefined the dissemination of film history, reaffirming his status as one of the great audiovisual storytellers of world cinema. In addition to being among the most prominent contemporary film theorists for his academic and essayistic approaches to the seventh art, Cousins also possesses a remarkable artistic, personal, and auteur-driven side, focused on emotions and perspective, materialized in films such as I am Belfast (2015) and Stockholm, My Love (2016). 

DocsBarcelona wanted to recognize Cousins for his unquestionable contribution to cinema, culture and audiovisual education, as well as for a career that champions art and cinema as a tool for cultural transformation and critical thinking, open to the world and its complexities, and for his continued work in the dissemination, preservation and renewal of cinematic language, exploring and expanding its limits.

Photo: Mark Cousins.

Lielais Kristaps – Latvian National Film Awards 2025

With my interest in Latvian documentary films, that goes back to around 1990, where I was lucky to be one of a group that organised the Balticum Film & TV Festival on the island of Bornholm in Denmark, I wanted to know the nominees for the yearly Award ceremony of Lielais Kristaps (that means Big Christopher and there is a legend (AI Overview): that tells of a giant ferryman who carried Baby Jesus across the Daugava River, found gold, and helped build the city, i.e. Riga)

Thanks to long time dear friend Lelda Ozola, who was also on Bornholm and now serves as the EU Media representative (MEDIA DESK) at the Film Centre of Latvia, I got a translation of the huge number of nominations for the awards – the ceremony will take place on March 1. In the following I put the focus on the documentary section, where five titles are listed:

Aizsniegt dzelmi” (Bored of Borders), dir. Kārlis Bardelis, Artūrs Valdmanis, prod. Līga Skrode This one I have not seen.

“Death of Death” (Frankenstein 2.0), dir. Dāvis Sīmanis, studio “Ego Media” (Latvia), prod. Guntis Trekteris, co-prod. Radim Prochazka, Kuli Film (Czech Republic) Dāvis Simanis is a filmmaker, whose career I have followed for decades. From early works like “Valkyrie Limited” and “Escaping Riga” to my favorite about the library in Riga “Chronicles of the Last Temple” and “D is for Division”. His appearences on this site are numerous and his talent is obvious. That also goes for this essay, where he has traveled the world to meet people, some wise, some seem more charlatans, who have researched how to fight, one says “kill” death. A research-wise impressive film that is too informative and clever for me… sorry Dāvis and Guntis Trekteris, saw it in Ji.hlava and today on my MacBook, it did not catch me.

“Art Born in Agony,” dir. Elizabete Gricmane, Ramunė Rakauskaitė, prod. Uldis Cekulis, VFS Films, co-prod. Arūnas Matelis, Studio Nominum (Lithuania). Juris Kulakovs, national legend, composer and musician is followed closely by the young director Elizabete Gricmane in playful sequences. Charismatic he is Kulakovs, who passed away in 2024.

“All Birds Sing Beautifully”, dir. Krista Burāne, prod. Ilze Celmiņa, Paula Jansone, “VFS Films”. I saw it today and I will use the same word, playful, entertaining and thoughtful as this quote says (Letterboxd): “In the beginning there was the forest. Then came the live performance, and then the film. The yellow wagtail, Eurasian skylark, white-backed woodpecker, corncrake and hazel grouse have not only gotten their voices back, but have taken on human form — clad in elegant tailcoats and bearing names — to recount ancient tales…” Beautiful singing, great cinematography of all the birds.

“The Last Will (Testament)”, (PHOTO) dir. Jānis Ābele, prod. Guntis Trekteris, “Ego Media”, co-prod. Jānis Ābele, Dita Birkenšteina, “Chaland films”. Looking for the ashes of legendary poet Anatols Imermanis, who never went to Paris to meet “professionals”… Two stories are hilarious and deserves to be mentioned: The female journalist, who interviewed him – that was his condition – naked, she said yes and was shocked, when he lifted the blanket… it was like the Tour Eiffel, she says! And his friend who brought in “half corona” cigars from the West through customs showing an official document claiming, that cigars was medicine for the poet to help his low blood pressure!!! Lovely, wonderful, entertaining.

BUT BUT BUT where is the masterpiece of Laila Pakalnina, “Scarecrow”, produced by Uldis Cekulis. A film that takes place at the Riga airport, where men and women are employed to take care of the wildlife that is active on the runaway. An homage to the people with that job, chasing rabbits and birds to protect them from the airplanes. When traveling to and from Riga, I now book a window seat to look out at the animals and people. Laila Pakalnina is a master, her films have a personal style, she has been to festivals all over and right now she is in Paris for a Baltic retro in la Cinématheque Francaise.

All right, she is on the list of nominees in the section of “Best Director” and her cinematographer Māris Maskalāns is nominated for best cinematography. And “Scarecrow” is also nominated for Best Composer and Best Sound. But for me “Scarecrow” would have been an obvious candiate for Best Film.

An important PS concerning the category Best Minority Co-Production, where I find two fine films that I have seen, both praised on this site:

“Redlight to Limelight”, dir. Bipuljit Basu, prod. Nilotpal Majumdar, “Bindubot Communication” (India), co-prod. Uldis Cekulis, “VFS Films” (Latvia), co-prod. John Webster, “JW Documentaries” (Finland)

“On Sacred and Profane”, dir. Giedre Beinorjūte, prod. Jurga Gluskiniene, Monoklis (Lithuania), co-prod. Elīna Gediņa-Ducena, Gints Grūbe, Mistrus Media (Latvia)

It pleases my “Baltic Heart” that there are so many coproductions between the three countries.