Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

While searching the archives for his found footage film Babi Yar. Context (2021), Ukrainian director Sergei Loznitsa stumbled upon unique but forgotten film material of a criminal trial in Kiev in January 1946. In this prelude to the Nuremberg trials, 15 Nazis and Nazi sympathizers stood trial for crimes against humanity. As in his previous films, Loznitsa presents the material without commentary, and uses short intertitles to inform the viewer of the necessary facts. These harrowing texts describe the mass slaughter of civilians (including women, children and the elderly) in places such as Melitopol, Kodra and Raska. Also addressed is the bloodbath at Babi Yar, where 33,000 Jewish people were shot dead by the Nazis. The testimonies of witnesses and perpetrators are bone-chilling. One of the Nazis gives his reason for shooting children: “[They] were all running around.” The bloody history of Ukraine remains alarmingly relevant in the present day, and Loznitsa lets that bloody history speak loud and clear in The Kiev Trial. 源自：https://www.idfa.nl/en/film/111ec19c-abae-45c0-bab4-aed7bfefd6eb/the-kiev-trial

Svyryd Petrovych Holokhvosty has his own barbershop in town and a reputation of a dandy. Once, after losing everything he had at cards, he decides to remedy his financial situation by a profitable marriage. A rich but ugly girl named Pronia Sirko falls for the illustrious suitor’s courtship.

上个世纪，亚美尼亚民族遭遇了两场重大灾难。第一次世界大战期间，他们遭受了土耳其人实施的种族灭绝；1988 年，又发生了一场毁灭性的地震。在亚美尼亚最终实现独立后，超过一百万人离开了这个国家。然而，掘墓人加尔尼克、石匠阿鲁特、东正教牧师塔图尔和小男孩瓦鲁日并不打算……

The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Bayaraa, a weather-worn muralist who spent his glory years in Europe, has drifted back to Ulaanbaatar with nothing but a rickety rooftop tent, a box of fading paints, and Dolingor, the stray dog that shadows his every step. Each dawn he rappels down an abandoned Soviet-era factory wall, splashing mythic Mongolian landscapes across crumbling concrete while a sardonic red balloon—equal parts conscience and comic Greek chorus—floats overhead. When city officials announce the site will be bulldozed for a turkey farm, Bayaraa digs in, certain this mural will be his life's masterpiece. His only allies are a curious herder boy who's never owned a crayon, and Kosoy, a Japanese photojournalist whose camera captures the attention of fellow art tourists from Japan. While Bayaraa faces pressure from bureaucrats and developers, the deeper fight lies within: decades-old guilt over the wife and daughter he abandoned for art. Drawing on surreal realism and long, breathing takes that keep us at the artist's elbow, director J. Sengedorj weaves Mongolia's gritty urban present with its shamanic inner world. The Muralist becomes a hymn to imagination's stubborn survival—whether in spray-painted saints, a boy's first charcoal line, or the quiet forgiveness that can still bloom on a ruined wall.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 源自：https://iffr.com/en/iffr/2023/films/cave-painting

佐藤隆太在剧中饰演奥林巴斯的技术开发人员曾根菊男。二战期间，曾根研制出适合海军使用的零战斗机。然而，当他的校友驾驶这架战斗机不幸战死后，曾根陷入了深深的负罪感中，此后生活变得十分颓废。当时粮食匮乏，患胃病的人众多。这时，一位由中村俊介饰演的医生找到曾根，提议他一起研制胃镜。起初，曾根觉得这个想法荒诞不经，但一想到能够拯救生命，他便立刻投身于研究中，重新找到了生存的意义。加藤爱扮演默默支持丈夫曾根的妻子。萩原圣人饰演曾根的同事，也是一名研究者。此外，市川龟治郎、寺岛进等也参与了本片。 该剧已于本月中旬以京都为中心开启拍摄工作。佐藤隆太表示，得知胃镜是由日本人开发出来的，“感到特别骄傲”，仅凭这一点就足以让他满怀热情地投入其中。他称：“希望大家能在剧中体会到日本人无论遭遇何种困难都绝不轻易放弃、重新振作继续前行的毅力以及亲情的温暖。”

敦煌莫高窟的壁画是我国古代艺术最重要的宝藏之一，它建在戈壁边岩的峭壁上，南北长一公里，共有469个洞窟。其中主要部分是一千五百多年前，从公元4世纪到14世纪陆续修建成功的，特别是从北魏到唐末的壁画代表了我国古代艺术的优秀传统。近五十年来，曾被帝国主义分子偷去了数万种之多。这些壁画内容都是以佛教故事为题材，可以看出中国绘画最早的风格。这里介绍的35幅敦煌壁画临摹本，仅仅是敦煌壁画中极少的一部分。

发生在乌克兰的基辅的事情。