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by Kirill Serebrennikov
Inspired by the early years of two Russian rock stars from the 1980s, Kirill Serebrennikov’s film pays tribute to the Leningrad underground scene just before the dawn of perestroika.
“Leto, by the dissident Russian film-maker Kirill Serebrennikov, is a languorous, ravishing, dying fall of a film, spotlighting the fortunes of a new wave garage band in early-80s Leningrad” – Guardian
by Ali Abbasi
Customs officer Tina is known for her extraordinary sense of smell. It’s almost as if she can sniff out the guilt on anyone hiding something. But when Vore, a suspicious-looking man, walks past her, her abilities are challenged for the first time ever. Tina can sense Vore is hiding something she can’t identify. Even worse, she feels a strange attraction to him. As Tina develops a special bond with Vore and discovers his true identity, she also realizes the truth about herself. Tina, like Vore, does not belong to this world. Her entire existence has been one big lie and now she has to choose: keep living the lie or embrace Vore’s terrifying revelations.
“An exciting, intelligent mix of romance, Nordic noir, social realism, and supernatural horror that defies and subverts genre conventions.” – Variety
by Jaime Rosales
The identity of Petra’s father has been hidden from her all her life. When her mother dies, Petra embarks on a quest which leads to Jaume, a celebrated artist and a powerful, ruthless man. As she searches for the truth, Petra meets Marisa, Jaume’s wife, and their son Lucas. Gradually the stories of these characters intertwine in a spiral of malice, family secrets and violence, which will drive them all to the edge. But fate’s cruel logic is derailed by a twist that opens a path to hope and redemption.
“Long-established art-house director Jaime Rosales set out to make his most accessible feature with “Petra,” a film about lies and self-discovery that indeed could well be his most popular work to date. It looks gorgeous, boasting sterling performances and an initially intriguing storyline that Rosales shuffles in an occasionally non-linear manner, not so far removed from such previous experimentations as “The Dream and the Silence.” – Variety