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"Like Rain"

“Like Rain” and the three films which precede it chronologically, Couloirs, Our Sylvan Bleating, and The Distance in Sight constitute a project whose overarching impulse is to breach the idea that expansion, as it is traditionally understood, is necessary in a filmic space. I have referred to these films, to myself and to those I have discussed them with, as attempts at working within a "vertical cinema.” Vertical films do not build themselves—their montage, narrative schematics, color, compositions, individual lexicons—out of the pretext that they amalgamate into a larger superstructure, but that their semes—images, textual layers, characters, spaces—operate both within themselves as well as within the whole apparatus of the film.

"Like Rain"

NR 2026
Angela Allen: The Woman Who Saw Everything

What do such classic films as The Third Man, The African Queen, The Misfits and Labyrinth have in common? Present during the filming of all of them was Angela Allen, acting as “continuity” – noting every shot and memorising all the details before her, working closely with the director, crew and actors to achieve a consistent and convincing world in front of the camera. She is one of the last witnesses to a truly golden age of cinema. Angela – who celebrated her 97th birthday in February 2026 – began her career as a 19-year-old on several British films, and then in 1948 was assigned to the second unit in Vienna for Carol Reed’s The Third Man. She subsequently became a regular aide to three great directors in particular, John Huston (with whom she made 14 films), John Frankenheimer and Franco Zeffirelli, as well as working with such diverse filmmakers as Tony Richardson, Ken Russell, Roman Polanski and Sidney Lumet.

Angela Allen: The Woman Who Saw Everything

NR 2026
Purgatory: Zone of Murderers

In the near future of South Korea, where it became lawless due to an economic crisis, a new authoritarian government implements the “Permanent Exile Law” to easily control the country. According to this law, death row inmates are permanently exiled to a detention center, the Purgatory, built in abandoned nuclear power plants. With a degree of self-governance granted by the government, the Purgatory gradually reaches a point where it is beyond external control, leaving the government struggling to find a solution. Yu-seong, a police officer who became a death row inmate due to the revenge for his daughter and wife, is offered a deal by the Director of NIS. Now Yu-seong must eliminate the Purgatory Boss, the king of the center, in exchange for possible pardon.

Purgatory: Zone of Murderers

NR 2026
The Golden Age

Born at the turn of the century in a village's butcher shop, Jeanne Lavaur dreams of becoming a countess. Inspired by the fearless Céleste and guided by her love for Guillaume de Barante, Jeanne’s journey carries her from the vibrant Paris of the Golden Twenties through the turmoil of two world wars. As her life intertwines with the great upheavals of the 20th century, she rises as a fiercely free woman, determined to never let anyone else define who she is meant to be.

The Golden Age

NR 2026
Holy Ghetto

Four souls trapped within Tel Aviv’s red-light district, entangled in sex trafficking and addiction, embark on spiritual journeys to transcend their personal ghettos. Olga, abducted by traffickers at 17; Dave, an American who founded a shelter for homeless women in prostitution; Yana, a recovering addict and struggling mother of five; and Ohad, a former sex-trafficker chasing redemption. Holy Ghetto is a story of hope and transformation, asking: Can they rise above what they became? And in turn, can we?

Holy Ghetto

NR 2026
Behind the Scenes of Dilan ITB 1997

Behind the Scenes of Dilan (Di Balik Layar Dilan) is an approximately 75-minute observational documentary that captures Ariel NOAH’s journey as he is entrusted with the role of the adult Dilan—a decision that immediately sparked public debate. Amidst the commentary, expectations, and the weight of nostalgia attached to the figure of Dilan, the film goes beyond simply observing the acting process; it dissects how a fictional character transforms into a collective memory contested by many. From Bandung as the birthplace of the myth, through intimate reading rooms, to the final day of shooting, the documentary follows Ariel's transformation as a human being, a public figure, and a new vessel for an icon. Ultimately, the film poses one profound question: when a myth changes bodies, who is truly being tested—the actor, the character, or the audience's own memory?

Behind the Scenes of Dilan ITB 1997

NR 2026
Understanding Myself as an Amphibian

This queer ecology documentary explores the sexual diversity of the wildlife around us. Director May Matchim draws connections between these incredible species and her own journey accepting her Transness. The title is a reference to the green frog, an amphibian which is able to change its sex as it matures. This film includes a variety of animal and plant subjects, including same-sex bird parents raising chicks together, and a group of salamanders that's entirely female. It also examines the exclusionary attitudes in biology and conservation throughout time, and how these attitudes have influenced our understanding of animal behaviour.

Understanding Myself as an Amphibian

NR 2026