Curated by
Teresa Vieira

double bill #17

Our fascination with life on Mars and with exploring the vast unknown has less to do with escape and more with our perspective of the here and now. In both Mars, Oman and The End of Suffering (A Proposal), the cosmos becomes a mirror, reflecting our anxieties, hopes, and need for meaning.

Curated by
Emilia Mazik

double bill #16

Eating as ritual and spectacle; our meals are never just about food. Community, class, and cultural values are always present at the dinner table. Luc de Heusch’s Les Gestes du repas and NEOZOON’s Love Goes Through the Stomach show how communities define themselves and how cultures transform through the act of eating.

Curated by
Oana Ghera

double bill #15

Across continents and centuries, Diego Quinderé de Carvalho and Andrés Jurado search for what remains after extraction—of land, of memory, of spirit. Their films show how landscapes remember what history tries to bury—offering visions of resistance that cross both space and era.

Curated by
Nastaran Tajeri-Foumani

double bill #14

There is no map for the space between the real and the imagined. For Olivier De Vos and Pol Merchan, desire becomes their North Star. Queerness dreams its own geographies—atopic, unruly, defiantly fluid—spaces where reinvention becomes a way of living.

Curated by
Daniel Šuljić

double bill #13

When the structures meant to hold us together begin to warp, we slip into spaces where logic falters. Our lives are forever changing, and these filmmakers reveal how our inner landscapes twist under pressure, guiding us toward an unexpected form of tenderness.

Curated by
Borjana Gaković

double bill #12

Where does hope come from? In both This Day Won’t Last and Scum Mutation, we learn that it emerges from persistence. Where one film whispers, the other screams, yet both insist on the presence of queer lives. 

Curated by
Anne Gaschütz

double bill #11

In places where desire is policed, a woman’s body becomes a battleground—between tradition, survival, and the hope for freedom. Bülent Öztürk’s Houses With Small Windows and Hoda Taheri’s Mother Prays All Day Long show the cost of wanting more than the world allows.

Curated by
Aurélien Marsais

double bill #10

Adolescence in stasis—youth caught between nihilism and yearning, their imagination becoming survival. Both films reveal how youth invents itself when the world offers nowhere to go but in-between spaces.

Curated by
Diego Armando Aparicio

double bill #9

What festers beneath the skin, boils over, and leaves scars in its wake. Yet with the help of those brave enough to bring it to light, it persists—and resists. These filmmakers reveal how trans survival relies on remembrance and reinvention—on refusing to let the world decide who is allowed to exist.

Curated by
Sanghoon Lee

double bill #8

What makes a self? Is it memory, environment, or connection? Juanita Onzaga’s The Jungle Knows You Better Than You Do and Lee Kyeong-won’s Nowhere Else explore this question, seeking the line between who we were and who we become.

Curated by
Émilie Poirier

double bill #7

For many in their youth, waiting becomes a way of living. In Waithood, Louisiana Mees-Fongang captures a generation wandering across Athens’s rooftops, caught between exhaustion and desire. In Copa-Loca, Christos Massalas drifts through another kind of ghost town: an abandoned summer resort.

Curated by
Valentina Giraldo

double bill #6

This double bill immerses us in that delicate border between body and world. In Água e Sal, Luisa Mello captures a floating body drifting between continents and consciousness. Juan Francisco Rodríguez, in Borde de nieve, listens to the slow exhale of vanishing snow in the tropics.

Curated by
Ren Scateni

double bill #5

In All We Ever Wanted Was Everything and I Am Good at Karate, adolescence drifts between boredom and adulthood. Both films remind us that youth is also about inhabiting the moment—drifting, waiting, and daring to dream of what might come next.

Curated by
Ana David

double bill #4

The invisible—whether a body denied asylum or a journey that must remain unseen—is at the core  of these films. Within enclosed spaces, the camera is a tool for defiance: to remember, to imagine, and to hold space for those still fighting to be seen.

Curated by
Aleksandra Ławska

double bill #3

Where Ibro Hasanović films those who bid farewell, Stefan Kruse Jørgensen reveals how their images return: circulating endlessly, stripped of intimacy. Together, these works trace the migration of bodies and their representations. One mourns the loss of presence; the other interrogates its excess.

Curated by
Nina Rodríguez

double bill #2

Carefree tans and fleeting romances: we hold great expectations of a cinematic summer. Nevertheless, seasonal gloom blooms in The Summer Movie and Under the Sun. Diving headfirst into the aftermath of divorce, both films meditate on sunlit grief—on the road to Marseille, and down in Mexico.

Curated by
Leong Puiyee

double bill #1

Transforming settings into metaphors, the film screen becomes a reflection of inner and collective concerns, lingering on the fragile boundaries between escape and entrapment. Meltse Van Coillie’s elephantfish and Taiki Sakpisit’s The Age of Anxiety explore this liminal space, caught between dream and decay.