Flowers of Ukraine (Adelina Borets)

Amid towering high-rises in Kyiv, Natalia has created her own vibrant sanctuary, a haven of unruly charm. Goats wander freely, fruit trees thrive, and chickens provide fresh eggs, offering a lively contrast to the concrete skyline. Neighbors complain about the goats causing trouble, but Natalia remains unfazed, firmly rejecting offers to sell her land. Her independence shines, whether she’s joking with ex-husbands at her birthday party or standing her ground against developers wanting to turn her property into a kindergarten.

As 2022 begins, marked by heavy snowfall, Natalia faces a greater challenge when Russia invades Ukraine. The focus shifts from her fight for her land to the struggle for survival in a war-torn country. While the city plunges into darkness each night, Natalia’s home glows warmly, a quiet symbol of defiance. Only her companion, Vyacheslav «Kitty», shows concern, planning his escape and identifying safe shelters during air raids.

Flowers of Ukraine pays tribute to Natalia’s resilience. The film portrays her vibrant daily life, showing her ability to find purpose and joy even as the crisis deepens. Her defiance, once seen in her stand against a bulldozer, transforms into a sense of collective responsibility. Declaring herself a «young grandmother», she joins the territorial defense forces, using her resourcefulness to help her community endure. Adelina Borets skillfully unveils the impact of war through subtle transitions and Natalia’s unhurried pace.

 

Elementary (Claire Simon)

Claire Simon takes viewers into Makarenko Public Elementary School in Ivry-sur-Seine, a Parisian suburb, offering an intimate look at childhood and education. Using an observational style, Simon captures the joys and challenges of elementary school life, focusing on the dynamics between children and the roles of teachers as educators and caregivers. Filmed at the children’s eye level, the documentary lets their emotions and interactions unfold naturally, from classroom lessons to playground activities. It subtly reflects on the broader implications of public education, highlighting issues like inclusion and diversity within a multicultural community. One memorable scene captures a lively debate about religion among Muslim students, touching on themes of faith and identity.

Simon also examines the socio-political backdrop of Ivry-sur-Seine, a community shaped by immigration, without overtly politicizing the narrative. Instead, she lets the children's experiences speak to broader societal issues. The playground becomes a microcosm of social hierarchies, blending moments of camaraderie with the inevitable conflicts of youth. With no voiceover or commentary, the film’s simplicity and raw emotion draw viewers into the unfolding story of growth and learning. Ultimately, Elementary celebrates the transformative power of education, reminding us of its vital role in shaping young lives in a complex world.

 

Once upon a Time in a Forest (Virpi Suutari)

Virpi Suutari offers a reflective look at Finland’s endangered forests and lakes through the eyes of young Finnish activists Ida and Minka. While addressing the urgent threat to nature, the film takes a measured approach, highlighting the activists' passion and the societal pressures they face. Minka navigates challenges in a male-dominated industry, where her emotional connection to nature risks being dismissed as weakness. Her vulnerability and synchronicity with the environment, seen in scenes like crafting a crown of branches, underscore her dedication. Ida, meanwhile, struggles with familial tensions – her grandfather, a staunch supporter of the logging industry, embodies the generational divide over environmental priorities.

The film also provides insight into the activists' collaborative efforts, showcasing respectful communication methods that contrast sharply with the dismissive attitudes of politicians and business leaders. Archival footage of environmental protests from the 1970s to today connects the current movement to past struggles, raising the poignant question of whether time can renew itself before nature is irreversibly lost. Balancing personal stories with broader political themes, Once Upon a Time in a Forest becomes a thoughtful meditation on activism, legacy, and the fight to preserve the natural world.

 

In Limbo (Alina Maksimenko)

In Limbo masterfully explores the coexistence of the ordinary and the extraordinary during wartime, presenting a deeply human account of life on the edge of chaos. Directed by Alina Maksimenko, the film begins with an almost serene moment: Maksimenko recovering from surgery in a sunlit room, her cat quietly resting nearby. However, the fractured glass of a window and the hurried movements of people outside hint at a reality far removed from peace. The narrative shifts as Maksimenko moves back in with her parents, an elderly couple navigating the uneasy rhythms of daily life amid the backdrop of Russia's war against Ukraine. Their routines – cooking meals, washing dishes, caring for pets left behind by fleeing neighbors – unfold with a deceptive normalcy. But beneath these small acts of domestic life lies the creeping disruption of war, its presence felt in the distant echo of gunfire and the pervasive uncertainty about the future.

What sets In Limbo apart is its refusal to show the violence directly. Instead, Maksimenko focuses on the emotional and psychological toll of living in a constant state of uncertainty. The elderly couple embodies this liminality, caught between the fear of staying in a war zone and the daunting prospect of abandoning their home. As the conflict edges closer, the fractures in their quiet existence deepen. Yet, the film refrains from sensationalism, opting instead to show the slow unraveling of a life once defined by stability. This subtle approach is more haunting than traditional war films, as it exposes the insidious way war seeps into the most intimate corners of human life.

In Limbo is not just a story about a family; it is a meditation on the fragility of normalcy and the resilience of the human spirit in the face of relentless upheaval. By capturing the understated moments of survival and connection amidst turmoil, Maksimenko offers a profoundly moving perspective on the cost of war—a cost measured not only in destruction but in the quiet erosion of everyday life.

 

There Was Nothing Here Before (Yvann Yagchi)

A Swiss-Palestinian filmmaker embarks on a deeply personal journey to reconnect with his childhood best friend, who has moved to an Israeli settlement. What begins as an exploration of their bond beyond political and cultural divides transforms into a profound examination of identity, loyalty, and the unspoken truths shaping their lives. Yvann grew up in Geneva, a city synonymous with safety and neutrality. This secure environment shielded him from the harsh realities of his Palestinian heritage. His mother’s family, exiled from their homeland, bore the scars of displacement and avoided any return to Palestine out of enduring pain. Yvann's childhood was shared with his best friend, a boy from a Jewish family, and their bond was forged in carefree days untouched by politics. Yet, as they grew older, the complexities of their backgrounds began to emerge.

Driven by a desire to explore his Jewish heritage, Yvann's friend made a pivotal choice – to move to Israel and live in a settlement built on occupied Palestinian land. For Yvann, this decision represented more than a relocation; it was a step into the heart of a conflict that had profoundly shaped his family's history. The move underscored the divide between their worlds: one marked by privilege and choice, the other by loss and inherited grief.

Determined to preserve their friendship and seek understanding, Yvann decides to visit his friend in the settlement. This visit becomes a personal milestone – he is the first in his family to return to the land they were forced to leave. With his camera as both a shield and a means of exploration, he traverses a landscape fractured by barbed wire, drones, and military checkpoints. The stark realities of occupation confront him at every turn, reshaping his perspective and redefining the story he set out to tell.

As the two friends reunite, Yvann is faced with uncomfortable questions: Can their friendship survive the weight of their vastly different realities? How can they reconcile their shared bond with the ideological and moral divides now separating them? To honor their relationship, Yvann must confront the painful truths embedded in their histories.

This intimate yet politically charged narrative examines the fragility of human connection under the strain of systemic inequality and historical trauma. It challenges the notion of friendship as an escape, presenting it instead as a space for dialogue, honesty, and potential reconciliation. Yvann’s journey is not just a return to a physical homeland but a confrontation with the complexities of belonging, privilege, and the courage required to bridge deeply entrenched divides.