在莫斯科，地铁通道里汇集着万千人事。一位打扮成圣诞老人的手风琴演奏者与一位困惑的乘客谈论陀思妥耶夫斯基、宇宙与俄罗斯灵魂；聚会的人们在新年兴致勃勃地唱歌；一个小贩徒劳地试图售出他的巨型气球。
伴随着尖锐刺耳的列车噪音，我们窥见这里发生的一切——从对一个闪烁的灯泡或一个熟睡的孩子等细微的观察，到街头艺人伴奏下的一段即兴舞蹈或是激烈的政治讨论。
莫斯科的地铁通道就像一个没有日光的社会，一片无人之地。在那里，任何人的去向似乎都不重要。车站的大理石墙壁和金色的灯具，为不断展开的悲喜剧构建了完美的戏剧背景，形形色色、来来往往的乘客也成为这出戏里的客串演员。
本片获IDFA最佳长片奖提名。

What does freedom mean? And in some cases, could it be better to be locked up, with a roof over your head and food to eat, even if you have to work for it? Dejan Petrović poses these questions indirectly in his distinctively framed impressions of an overcrowded dog shelter in Serbia, where the dogs are kept behind wire mesh in dismal pens.
The observational footage is consistently shot from the same height; we never see the face of the man who cares for and trains dogs like the clever, shaggy-furred Vanja. Only at the end of this short film does it become clear why. Meanwhile, Vanja has already won your heart—and that of the initially somewhat grumpy trainer—with her keen-eyed look and affectionate ways.
Adjusting, a film entirely without commentary, and wordless except for the instructions, corrections, and praise directed at Vanja, encourages us to think about what people and animals can learn from each other, and what approach works best.

In post-war Kosovo, driven by the ambition of keeping their beloved sport alive, two local players wander from one obscure location to another carrying with them the only possession of the club: their tables.

一个年轻的中国电影人回到家乡寻找自己，他与母亲的一次久违的谈话使他们两个人陷入了对接受和爱的追求。

Ara has always believed she will vanish when she turns 28 years old. As her birthday approaches, she submerges in the most fundamental sensations of existence. A masterful debut film from director-writer Ágata de Pinho, whose performance leads her character from trauma to catharsis in the most beautiful way.

Inspired by real events, "Bestia" enters the life of a secret police agent in the military dictatorship in Chile. The relationship with her dog, her body, her fears and frustrations, reveal a macabre fracture in her mind and a country.

They party the nights away, craving excess and letting themselves go. When Marina once again goes too far, she knows her brother Sasha will save her. He spends his days training with the Olympic squad and is trying to steal his teammate’s girlfriend. The film captures the lives of young adults in Russia caught between drill and ecstasy, police checks and the desire to be there for each other.

Misty field, crowded locker room. Margo belongs to neither. Maybe if she loses her virginity, she will finally find her place.

黑暗中的語音對話，隨女子聲音下沉至焦慮發作，瞬即墜入記憶迷宮。寂寞迴旋，潛進童年與家庭的潛意識空間，幻化為無窮想像，以深沉而濃烈的色彩與音樂，碰撞出疏離、孤獨與恐懼的迷亂景象。家，真的有家的感覺嗎？

被腦內怪聲纏繞，她丈夫深信是在覊留營內因拒絕招供，喝下被施了黑魔法的水，令他忘記那天發生的事。一日，他突然失蹤，她根據他手機裏的不明照片，駕電單車來到海邊，找到他曾被拘留的小屋，發現了不為人知的秘密。
Disturbed by a sound in his head, a detention camp detainee believes he has lost his memory, after drinking the water cursed by black magic. Searching for her husband, a woman comes to the village where he was captured, and discovers a dark secret.

「詠晴」（Good Day）描述一段在極具台灣特色的氣候型態「颱風」之中發生的故事，張誌騰在作品說明中談到創作理念，颱風不僅帶來破壞，也為台灣注入充沛雨量，每個在這片土地上的人都擁有各自對颱風的獨特記憶，就如同颱風在這部作品中所代表的人生經歷「離婚」，在不同視角、不同環境下，都可能有不同解讀。

《狼隱之家》（42 屆）導演假借世上首部定格動畫出土，在仿似重新修復的十六米厘破落影像裏，隱見原住民少女施行驅魔儀式，骷髏顛簸舞動，軀體凌亂錯置，傳召憲法兩大始作俑者魂魄，為智利過去的黑暗政治破詛解咒。

Los huesos is a fictitious account of the world’s first stop-motion animated film. Dated 1901 and excavated in 2021 as Chile drafts a new Constitution, the footage documents a ritual performed by a girl who appears to use human corpses. Emerging in the ritual are Diego Portales and Jaime Guzmán, central figures in the construction of authoritarian and oligarchic Chile.
DIRECTORS’ STATEMENT
We understand our works as rituals, incantations or spells. We imagine Los huesos as a myth of origin of animation, and at the same time as a ritual that channels and interprets the energy of the historical moment happening in Chile today.

A man named Emílio and his only ram embark on a road movie that turns the district of Guarda into a stony Texas. A sweet fable against the inevitability of things, against forgetfulness and giving up, which also ends up being a documentary on the desertification of the country's interior and the ageing of rural populations.

Anna secretly sneaks out of school with her boyfriend to carry out her decision for an abortion. Bluntly factual and yet with tender sympathy, the camera accompanies Anna's path, approaches and contrasts with images of a nature in which some things seem simpler and some things unfathomable.

Machines are checking and sorting nature in an industrial greenhouse. Cameras enable the robots to do their work. Human hands only intervene to straighten anything that is crooked, plant delicate items or clean the mechanics to ensure things continue to run smoothly. Products must be up to standard so that they are market-ready for the consumer. Only at night, when everything is asleep, does unexpected life move in and take control.

Clara travels to Buenos Aires to meet an old friend, but when she arrives in the city, there are no traces of her: just a letter, two friends with a pirate radio and a mystery around the sidereal space.

The boys are rehearsing a dance for their traditional initiation ceremony into adulthood; their teacher instructs them. A girl observes the scene but is not allowed to join in. When one of the boys chases after a strange bird, she follows him without knowing why. One day, the boy will no longer be able to see the bird either.

Amitis is a teenage girl who always has an orthodontics headgear and is under the pressure of orthodontic treatment. She suddenly does a strange thing to her friend, Sarah.
The director Mohammadreza Mayghani was born in 1995 in Arak, Iran. He studied a bachelor of dramatic literature at Soore Art University. CLEANER is his first short film, after his personal experiences at the university period. His latest work is the short film ORTHODONTICS, selected at Cannes IFF.

A short film about ties and gaps between a child and a parent. The author rediscovers letters her dad used to write her from prison. That love seems to be gone now. She decides to write back in hope to find the connection again. She puts in writing what could not be said: blaming him for family's break-up but also trying to understand.

女巫Sycorax。她既是主人翁Prospero的僕人Caliban的母親，也曾經施術將精靈Ariel困在樹中，這個據傳在Prospero放逐來此前便已死去的人物，在劇本中被提起過但不曾現身，《Sycorax》由這點出發，開始假設並遙想起這原本被當作背景的人物的真實面貌，將缺席的女性，視為島上其神秘的陰性力量的來源。