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The Festival kicks off with Jim Jarmuch’s new film and its leading actress, Indya Moore

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The opening of the 66th Thessaloniki International Film Festival’s main exhibition, titled “Plot Twist (the science fiction change)”, the opening festivities of the 9th Thessaloniki Biennale of Contemporary Art, titled “Everything Must Change. Radical Intelligence. Saloniki 9,” and the special screening of the 1960s gem "Grand Prix" held with the support of OPAP, member of Allwyn. 

TIFF66: Friday 31/10 highlights

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The opening of the 66th Thessaloniki International Film Festival’s main exhibition, titled “Plot Twist (the science fiction change)”, the opening festivities of the 9th Thessaloniki Biennale of Contemporary Art, titled “Everything Must Change. Radical Intelligence. Saloniki 9,” and the special screening of the 1960s gem "Grand Prix" held with the support of OPAP, member of Allwyn. 

Alfonso Cuarón’s ''Y Tu Mama Tambien'' still feels urgent more than two decades later © by film critic Lalit Rao (FIPRESCI)

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Alfonso Cuarón’s sun-drenched odyssey of youth, desire, and disillusionment still feels urgent more than two decades later © by film critic Lalit Rao (FIPRESCI)
 
Freedom, flesh, and the road: The enduring power of the Mexican film ‘‘Y Tu Mamá También’’ (2001) directed by Alfonso Cuarón.
 
“Freedom, if pursued without awareness, can become just another illusion.”
 
A film that redefined coming-of-age
 
 
Few films from the early 2000s have captured the restless pulse of youth quite like Y Tu Mamá También (2001). Directed by Alfonso Cuarón and shot with lyrical intimacy by Emmanuel Lubezki, this Mexican road movie fuses erotic exploration with a deeper existential unease. On the surface, it’s the story of two teenage friends, Tenoch and Julio, and a married woman, Luisa, embarking on a spontaneous road trip. But beneath its sun-kissed sensuality lies a meditation on class, mortality, and the fragility of human connection. Cuarón’s film is deliberately less emotional in sentiment and more impulsive in behavior. It’s a portrait of lives driven by desire and irresponsibility, of choices made before one fully understands consequence.
 
Mexico City as the playground of privilege
 
The first half of ‘‘Y Tu Mamá También’’ unfolds amid the affluence of Mexico City. Tenoch Iturbide (Diego Luna), the son of a wealthy politician, spends his days drifting through parties and casual affairs. His friend Julio Zapata (Gael García Bernal), from a more modest background, shares his indulgence and naivety.
 
Their lives epitomize the contradictions of the Mexican upper class—comfortable yet hollow, connected yet detached from the country beyond their gates. Cuarón presents their friendship with both affection and irony. Beneath their macho jokes and wild laughter lies jealousy, class resentment, and emotional immaturity. “Their moral compass is undeveloped, and they live with the illusion of invincibility that often defines late adolescence.” Through this portrait of privilege, the film mirrors a larger social truth: a generation growing up blind to inequality, cocooned in pleasure and oblivion.
 
The road as liberation and mirror
 
Once Luisa (Maribel Verdú) joins their impulsive trip to a mythical beach named Boca del Cielo—“Heaven’s Mouth”—the narrative shifts gears. What begins as escapism turns into revelation. As their car moves through Mexico’s vast countryside, Cuarón transforms the road into a metaphor for self-discovery. The changing landscapes—verdant hills, dusty villages, sunlit coasts—become emotional terrain, charting the trio’s shifting dynamics.
 
 
Lubezki’s handheld cinematography lends a near-documentary realism. The camera lingers on unguarded gestures, on glances and silences that speak more than dialogue. At the same time, Cuarón’s omniscient narrator cuts through the surface, revealing stories the characters ignore: a farmer who will die in an accident, a family losing land to a resort, a soldier stationed on an empty road. These

TV Beats Presents 31 Drama Series Projects in Various Stages

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TV Beats, the drama series-focused strand of Industry@Tallinn & Baltic Event, will showcase a record 31 drama series projects in various stages of development during its 2025 edition alongside insightful panel discussions. 

This year’s programme brings together several key initiatives: the TV Beats Co-Financing Market, MIDPOINT Series Launch, two new sections Series Bridges Baltics and Coming Soon, as well as the Screening Day offering an extensive overview of the most exciting new projects in the region and  Europe. 

Petri Kemppinen and Roosa Toivonen, the co-heads of TV Beats Forum, comment that TV Beats isn’t just about surviving the changes in the industry—it’s about thriving through them together as a collective and ecosystem. “In the heart of medieval Tallinn, we have wanted to create a collaborative and inspiring refuge where producers and creators from across the Baltics, CEE, Nordics and beyond can build and sustain relationships, share strategies, spot opportunities, and learn from each other about new trends and innovations that will help drive and pivot business decisions - to keep telling stories to audiences whose consuming habits are constantly evolving,” they add.

The TV Beats Co-Financing Market section will present eight European series projects. Out of the eight projects, which will be pitched in Tallinn on 17 November 2025, seven are eligible for the Council of Europe Series Co-Production Development Award, worth €50,000. After the pitches, the jury will select the most promising project to receive the award. Check the projects here 

For the first time, TV Beats introduces Coming Soon, a showcase dedicated to upcoming series from Estonia, Latvia, and Lithuania. The projects,seeking funding, distribution, and sales partnerships, will be announced in the beginning of November.  

Launched this year, Series Bridges Baltics will present six projects led by writer–producer duos from Estonia, Latvia, and Lithuania. The participants will take part in a five-day programme including group sessions and one-on-one mentoring with international experts. All projects will also be pitched during the TV Beats Forum. A jury selects a winner that will get a spot at Seriesmania Forum in Lille next March. 

Returning for the sixth year, MIDPOINT Series Launch will bring nine carefully selected original drama series projects to the TV Beats Market, offering a glimpse into some of the most promising new works from emerging European creators.

For the second year in a row, TV Beats Screenings will introduce five newly completed drama series to sales agents, distributors, and professionals from the local and international TV and film industry. The 2025 line-up features productions from the Nordic countries, Eastern Europe, and Spain, including titles developed in collaboration with Canal+ and HBO Max Spain. The screenings of the first episodes will be followed by the Q&As. 

Strategies for sustainable series production

TV Beats has also been a valued place to share experiences and discuss the most burning issues in the industry. In 2025, TV Beats Forum will host two insightful panel discussions “Meeting of Minds” that explore the transfo

Industry (at) Tallinn & Baltic Event Works in Progress Presents 18 New Film Projects

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Works in Progress, showcasing films currently in production or post-production and seeking sales agents or festival premieres, introduces 18 promising projects across three categories: Baltic Event Works in Progress, International Works in Progress, and Just Film Works in Progress. The lineup features both debut filmmakers and acclaimed directors presenting their latest works.

All projects will be screened during Industry@Tallinn & Baltic Event on 20–21 November in the cinemas of Apollo Plaza.

This year’s International Works in Progress selection features eight film projects, including two from the festival’s Focus: Catalonia.

According to Triin Tramberg, the Project Manager of International Works in Progress, altogether there were 80 submissions for International Works in Progress, which showed a really strong level of interest. “We’re thrilled with the diversity of the selected projects. It was important for us to include films from Ukraine, both to showcase their incredible resilience and to support filmmakers creating under extremely challenging circumstances,” she adds “We’re also excited to highlight new Catalan titles, particularly with Alba Sotorra returning — the producer of Upon Entry, which began in the festival's debut competition and had great success — now presenting her new project Salen Las Lobas,” says Tramberg.

Salen Las Lobas, the first feature by Claudia Estrada Tarascó – a Spain-Belgium co-production that follows a misunderstood teenager confined to a juvenile detention center, plotting her escape. The second Catalonian title, The Convulsions, is the third feature by David Gutiérrez Camps (Spain–France), a psychological drama exploring inner turmoil and identity.

From Turkey, Bulgaria, and Greece comes Rahma, written and directed by award-winning Turkish poet and filmmaker Faysal Soysal. Germany is represented by Superbuhei, a visually stunning dark comedy and the directorial debut of Josef Brandl, whose previous work as a production designer includes The Grand Budapest Hotel (2015), Bridge of Spies (2016), and The Alienist (2021).

Two Ukrainian films join the lineup: Kira’s Dream, a musical drama debut by Denys Kolesnikov, introduces a bold new voice from Eastern Europe; and Crickets Sing in the Rye, written and directed by Yevhen Khvorostianko, recounts one of the darkest chapters of Soviet history – the 1932–33 Holodomor genocide.

Montenegrin filmmaker Andrija Mugoša presents Happiness Is Just a Blue Couch Away, a family drama about a mother and son escaping an abusive husband. Rounding out the selection is Prince, a Uruguay–Argentina dramedy by Federico Borgia, in which a dog inherits a house, forcing his late owner’s former lover to defend him from greedy human heirs.

This year’s Baltic Event Works in Progress presents six captivating feature films from the region.

Helen Räim, the Project Manager of Baltic Event Works in Progress says, it is really exciting to welcome Rahma and Lex Julia, that were attending Co-Production Market project in 2023 and in 2021 accordingly.  “It makes it really worthwhile to support the project in development and then see the outcome in Works in Progress. We’re glad to also welcome new voices in the region and will showcase two first features this year: Something Real by director Evar Anvelt and Kingpings by director Kristians Riekstins,” she adds. 

Discover the Films Competing in PÖFF29 Baltic Competition

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The Tallinn Black Nights Film Festival (PÖFF) has announced the lineup for the Baltic Competition, featuring eleven titles that reveal a fresh and distinctive voice from the region’s filmmakers. 

 

“With this year’s selection, we’re highlighting the growing importance of our region,” says Edvinas Pukšta, curator of the Baltic Competition. “For the first time, PÖFF features two separate Baltic competitions — one for fiction and one for documentaries — and nearly 40 feature-length Baltic films across the entire festival, which is more than ever before. One of our goals is to showcase award-winning films from the region, such as The Visitor (Svečias, dir. Vytautas Katkus), which just won the RIGA IFF Feature Film Competition, and to celebrate their international success with our audiences.”

 

The Baltic Competition programme will open with Two Prosecutors (screening out of competition), the latest documentary by acclaimed Ukrainian filmmaker Sergei Loznitsa. A co-production between France, Germany, the Netherlands, Latvia, Romania, Lithuania, and Ukraine. The film follows two prosecutors as they investigate war crimes committed during the ongoing conflict, offering a deeply human and meticulously observed portrait of justice in action. A powerful reflection on truth, responsibility, and the role of law in times of war, Two Prosecutors continues Loznitsa’s commitment to documenting the moral and historical dimensions of contemporary Europe.
 

Films Competing in the Baltic Competition Programme   WORLD PREMIERES

Borderline, dir: Ignas Jonynas (Lithuania)

Flesh, Blood, Even a Heart, dir: Alise Zariņa (Latvia)

Therapy, dir: Paavo Westerberg (Finland, Estonia)
 

INTERNATIONAL PREMIERES

Red Code Blue, dir: Oskars Rupenheits (Latvia)

The Activist, dir: Romas Zabarauskas (Lithuania) 

New Money, dir: Rain Rannu (Estonia)
 

BALTIC PREMIERES

Becoming, dir: Zhannat Alshanova (France, Kazakhstan, Netherlands, Lithuania)

Hunger Strike Breakfast, dir: Karolis Kaupinis (Lithuania)

Renovation, dir: Gabrielė Urbonaitė (Lithuania)
 

OTHERS

Fränk, dir: Tõnis Pill (Estonia)

The Visitor, dir: Vytautas Katkus (Lithuania, Norway, France)
 

Baltic Competition Jury

The winners will be selected by an international jury of accomplished filmmakers:

Alexandre Koberidze – filmmaker and screenwriter, whose What Do We See When We Look at the Sky? (2021) premiered in competition at the Berlinale, winning the FIPRESCI Prize. His latest film, Dry Leaf (2025), premiered in the main competition at Locarno and will also screen at PÖFF.

Gözde Kural&nbs

Boyz N The Hood depicts the violent education of a forgotten generation of black youth by © film critic Lalit Rao (FIPRESCI)

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American film “Boyz N The Hood’’ (1991) depicts the violent education of a forgotten generation of black youth’’ by © film critic Lalit Rao (FIPRESCI) 
 
 
When Boyz N the Hood was released in 1991, it announced the arrival of a new and authentic voice in American cinema. John Singleton, then only 23 years old, became the youngest person and the first African-American ever nominated for the Academy Award for Best Director. His debut film was not merely a narrative about Black life in Los Angeles—it was a sociological document disguised as drama, a cinematic mirror that reflected the struggles, dreams, and disillusionments of an entire generation raised under the shadow of systemic neglect.
 
A film rooted in reality
 
Set in 1984 but released in 1991, Boyz N the Hood reconstructs life in South Central Los Angeles with documentary-like authenticity. Singleton was writing about what he knew—the geography, the rhythm of speech, the invisible boundaries that divided blocks and fates. This autobiographical impulse gives the film its rare combination of intimacy and urgency. The streets of Crenshaw are not backdrops; they are living, breathing ecosystems that dictate who lives, who dies, and who escapes.
 
The film’s structure revolves around Tre Styles (Cuba Gooding Jr.), a bright young man sent by his mother to live with his father, Furious Styles (Laurence Fishburne). Furious’s household offers discipline, education, and moral grounding—a stark contrast to the chaos that consumes the surrounding neighborhood. Through Tre’s eyes, Singleton observes a community balancing between familial tenderness and the omnipresent threat of violence.
 
Interrogating internalized violence
 
One of the film’s most disturbing and profound questions is why Black men end up turning their weapons on one another. Singleton never simplifies this inquiry. Instead, he maps the forces that shape such behavior: economic inequality, police brutality, the easy availability of firearms, and the absence of meaningful opportunities. His narrative doesn’t externalize all the blame—it looks inward too. The characters are aware of their entrapment but are often unable to break free.
 
The killing of young Black men by other Black men is presented not as a pathology but as a consequence of structural despair. In a chilling early scene, a group of children gather around a dead body lying on the street, staring with the same casual curiosity as if it were a broken toy. Singleton uses this moment to reveal how death becomes normalized in a world where violence replaces dialogue. The tragedy of Boyz N the Hood is not that it depicts death—it’s that it depicts desensitization.
 
No place for black men in the US army
 
Running throughout the film is an understated yet significant critique of the American military. Furious Styles, an ex-soldier himself, warns Tre about the illusion of equality that institutions like the U.S. Army promise. He argues that young Black men are systematically targeted for recruitment, not to uplift them, but to channel their aggression into imperial wars that have nothing to do with their liberation. “There ain’t no place for a Black man in that white man’s army,” Furious tells his son, his voice carrying both the authority of experience and the bitterness of disillusionment.
This argument resonates beyond the narrative. In 1991, as the Gulf War unfolded, many African-Ame

Jim Sheridan will receive the prestigious Giraldillo of Honor award at the Seville Film Festival

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Jim Sheridan will receive the prestigious Giraldillo of Honor award at the Seville Film Festival in recognition of his remarkable career in contemporary European cinema

 

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RE-CREATION | Jim Sheridan & David Merriman | Court Drama, True Crime | 95 min. | Ireland, Luxembourg | English

In a trial, twelve members of a jury must decide whether British journalist Ian Bailey is guilty of the murder of French filmmaker Sophie Toscan Du Plantier in 1996. Based on real events, the film reconstructs, through the discussions between these twelve people, a case that ultimately invites the viewer to draw their own conclusions.

 

What to Watch: 6 Indigenous-Led Contemporary Stories Supported by the Documentary Film Program

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Indigenous storytelling has been at the heart of the work of the Sundance Institute since its inception. Through our labs and fellowships, we’re dedicated to

The post What to Watch: 6 Indigenous-Led Contemporary Stories Supported by the Documentary Film Program first appeared on sundance.org.

From October 28 to November 2, the best of science fiction cinema returns to Trieste

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Guests attending include Ben Wheatley, Gabriele Mainetti and Ted Chiang

From October 28 to November 2, the best of science fiction cinema returns to Trieste. Celebrating its 25th Anniversary, the Trieste Science+Fiction Festival will showcase the finest in fantastic film from around the world - with over 50 premieres, an impressive lineup of international guestsand a packed programme of special events.

 

Organized by La Cappella Underground, this milestone edition will light up the Politeama Rossetti with world, international, and Italian premieres, alongside three competitions featuring directors, actors, and authors from across the globe.

Beyond the big screen, the festival also celebrates the many worlds of imagination - from video games and literature to comics, music, and visual arts - offering audiences a galaxy of experiences that explore “the wonders of the possible”.

 

Festival Director, Alan Jones, enthused “For its 25th Anniversary edition, the Trieste Science+Fiction Festival has assembled a multi-faceted diverse programme that will once more innovate, challenge, thrill, amaze and, of course, ultimately entertain.  As is its unique mission, the festival draws from the keen imaginations of a global community of new, independent and established filmmakers, artists and writers, who are always eager to discuss their work passionately both on the stage and off. And, as ever, no matter where those vivid imaginations take us, the contemporary world is never far from view, as the continually dynamic sci-fi genre continues to comment on the stark present from an incredible future”.

 

Highlights


The opening film will be L’Homme qui rétrécit (The Shrinking Man, France/Belgium, 2025) by Jan Kounen, adapted from Richard Matheson’s classic novel. Starring Jean Dujardin, the film follows a man who begins to shrink after a mysterious contamination, battling for survival in an ever-expanding world. The Italian premiere will take place on Tuesday, October 28 at 8:00 PM at the Politeama Rossetti, with the director in attendance.

 

The evening continues with The Ugly Stepsister (Sweden/Denmark, 2025) by Emilie Blichfeldt - a bold, body-horror re-imagining of Cinderella - screening at 10:30 PM in collaboration with I Wonder Pictures.

 

Other standout screenings include:

  • October 30, 8:00 PM: Egghead Republic (Sweden, 2025) by Pella Kågerman and Hugo Lilja, a dystopian tale imagining a world where the Cold War never ended.
  • October 31, 8:00 PM: Bulk (UK, 2025) by Ben Wheatley (Sightseers, Kill List, High Rise), a high-octane sci-fi horror filled with car chases, gunfights, and romance - introduced by the director himself.
  • November 1, 5:00 PM: Arco (France, 2025) by Ugo Bienvenu, fresh from Cannes, tells the story of Iris, a young girl who helps a mysterious “rainbow boy” find his way home.
  • November 1, 8:00 PM: 
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