Chceme ještě žít!

In the aftermath of war-torn Borodyanka, Ukraine, powerful murals by renowned street artists Banksy and C215 appear on the war-damaged buildings, inspiring a group of young Italian restorers to preserve these symbols of hope and resilience, that represent the transformative power of art.

A chronicle of the civil uprising against the regime of Ukrainian president Viktor Yanukovych that took place in Kyiv in the winter of 2013/14. The film follows the progress of the revolution: from peaceful rallies, half a million strong in the Maidan square, to the bloody street battles between protesters and riot police.

Throughout time, Eastern Ukraine (such as Donbas) has been referred to as a 'Russian world', but this is indeed not the case. The history of Donbas was re-written during the Soviet era. Although the Soviet Union edited out and withheld all references to the European background of this region from history books in schools and universities. There were, in fact, numerous French, Belgian, German, British, Polish, Swiss, Dutch, and even American settlements and more than 100 wide-scale enterprises in the region. Therefore, this film reveals the pro-European industrialization of Ukrainian Donbas at the turn of the 19th century. It aims to emphasize the European roots of Ukraine long before the official integration process of Ukraine into the EU in 2022.

The film’s story is based on the fate of the Floriculture Pavilion of the former Exhibition of Achievements of the People’s Economy, and its elderly employee Valentyna Voronina, who maintains this space, investing her own life into it, until suddenly changes come to her. After forty-five years of work, she is asked to retire. But Voronina does not agree with that, because she thinks that all the plants will die without her. Meanwhile, a group of mysterious radioesthesists find a channel of positive energy right in front of the entrance to the pavilion.

Letter Beyond the Walls reconstructs the trajectory of HIV and AIDS with a focus on Brazil, through interviews with doctors, activists, patients and other actors, in addition to extensive archival material. From the initial panic to awareness campaigns, passing through the stigma imposed on people living with HIV, the documentary shows how society faced this epidemic in its deadliest phase over more than two decades. With this historical approach as its base, the film looks at the way HIV is viewed in today's society, revealing a picture of persistent misinformation and prejudice, which especially affects Brazil’s most historically vulnerable populations.

Produced by the activist video collective ACT UP/NY called DIVA TV (Damned Interfering Activist Television), this tape analyzes the collaborative demonstration "Stop the Church" by WHAM! (Women's Health Action and Mobilization) and ACT UP/NY on December 10, 1990, against Cardinal John O'Connor and the Roman Catholic Church's murderous stand on abortion rights, safer sex, and homosexuality.

That Child with AID$ tells the story of Brazilian advocate and artist Lili Nascimento, who was born with HIV in 1990. Lili has worked to expand narratives about living with HIV beyond the limited images and ideologies that permeate the AIDS industry.

Heart Murmurs is a poetic dialogue between the filmmaker and Dean, a young man living in Hong Kong. In reflecting on his experience living with a congenital disability and HIV during the first years of the COVID pandemic, Dean expresses his sense of self in the face of regular medical challenges.

This Bed I Made presents the bed as a place of solace and agency beyond just a site of illness or isolation. Through the shared stories of two Filipino men living with HIV, the video explores modes of care, restoration, and abundance in the midst of pandemic pervasion.

Losing the Light reflects the artist's bitter battle to stay in this world as a long-term survivor of AIDS who has lost his vision to CMV retinitis. An experimental self-portrait, the video evokes the dissolution and fragmentation of the artists body, representing the impact of blindness, long-term HIV infection, and the cumulative effects of decades of antiretroviral medication.

Tanzanian queer singer Tofa Jaxx in conversation with HIV/Trans activist Aunty Ali, exploring issues of sex work, gender and being out.

In the polyphony of voices, a search for home unfolds. What is home? What is its purpose? Is there anything bigger than home? What are the sounds, colours, and smells that let it live in our memory? The collective and the individual is expressed through the voices of those who lost it in the Russian war in Ukraine. Associations, memories, meanings: four letters, four hundred things between them — home.