“… a raw and direct, courageous production. …” – El Pais

„A heady debut… shifting its tones and emotions, sometimes within the
same moment, all within a life fraught with energy.“ – Film Comment

“…extraordinary surprising and original, close to the fantastic… it
manages to create a progressive worry based on details, small changes in
perception, very simple effects…” – Libération France

“…transforms from passive to aggressive in the blink of an eye. … some
of the most dense sequences seen in Venice so far …” – Quinlan

“Both darkly funny and genuinely unsettling, it marks Wyss as a descendant of fearless European auteurs like Chantal Akerman and Catherine Breillat.” – Ex Berliner

“…brainily playful… daring to gleefully reinvent all the rules of
the game … Venice 2017’s great revelation, the film that all alone
could make the trip worthwhile was Sarah Plays a Werewolf. … a film
that is all about constantly shifting emotional states and uncertain
realities. … feverish and willing to take risks, for all its formal
clarity and control…” – Film Comment

“…Both heart-breaking and utterly annoying, Sarah manages to be over the
top and strangely realistic. Anyone who has ever been a 17-year-old will
surely attest to the latter. … a film mostly sketched with delicate
outlines, … reveals a filmmaker who doesn’t aim to please… somewhere
along the way, it also manages to grasp what it feels like for a girl.
Yes – just like in that Madonna song.“ – Cineuropa

„…Sarah has a problem that goes beyond mere teenage age, an external
danger from which she can not take shelter, something that repels but at
the same time she can not do without. Something like the moon for
werewolves. … And here the film enters on tiptoe in the genre, returning
moments to certain horror beats, and Sarah, even if very different from
her, reminds us for a moment of Carrie of Brian De Palma. Alone and lost
among the wicked. Sarah has only one refuge: a cave with walls engraved
with writings of young lovers. The cave is in a wood, a favorite place
for werewolves, far from all where to turn into peace.” – Sentieriselvaggi


LAS PLANTAS by Roberto Doveris

“Daring, atmospheric debut” – i-D

“Power dynamics are refreshingly flipped in this gorgeously lensed teen salute to the female gaze, effortlessly drifting from corporeality and fantasy to dreamland.” – i-D

“a sexually souped-up teen psycho-thriller and coming-of-age tale”

““Plants” melds sexual fantasy, genre – the camera gravitating up to foliage, thunder rumbles, noises of slushing plants, seemingly closing in on Florencia – pop culture — punk music, vidgames, comics, a Santiago de Chile Comic-Con – and a take on life barely above the breadline in a Chilean post-industrial sprawl as it chronicles adolescent angst: Confusion, solitude, heightened perception, fantasies, a sense that very strange things are going down with one’s body and that other people seem to be from an alien planet.” – Variety

“An original coming-of-age tale laced with pop culture” – Variety

“…high-risk sequences, the continuous, underlying throb of sexual tension and a canny way with visually evoking states of mind suggest that Doveris is one to watch.” – The Hollywood Reporter


PARABELLUM by Lukas V. Rinner

„Sharp-edged calling-card with killer payoff.“ – The Hollywood Reporter

„one of the more noteworthy contenders for the Tiger Awards at Rotterdam“ – The Hollywood Reporter

“Fitfully amusing and pleasingly unpredictable” – Variety

“…it may well be the most fragile and beautiful film of the entire 12 days (BFI London).The delicate narrative is veraciously protected by a framework of meticulously crafted cinematography that will prove hypnotic to anyone with even the merest hint of OCD.
Be prepared to do some heavy mental lifting as Parabellum drifts along like a cinematic ice-berg and you will be rewarded with one of the most incredible final shots in the history of Science Fiction cinema.” –


A BLAST by Syllas Tzoumerkas

“When Thelma and Louise ran away, they were fleeing their boring lives, but at least they had cash in the bank. When the heroine of A Blast, Maria, runs away, she’s fleeing the suffering imposed on her by a global economic crisis that that has hit the world hard, and Maria’s country, Greece, perhaps hardest.

It’s a crisis which has forced people everywhere to reevaluate downwards their expectations of the world, but Maria’s having none of that. She wants out: and A Blast, Syllas Tzoumerkas‘s second film, is the frantic, unsettling and intriguing record of her journey, a journey more emotional than literal. The watching viewer is strapped in beside her, along for the ride, hair blown back.” – The Hollywood Reporter



“Rarely has fetishism been portrayed with such intense, empathetic attention to detail, yet Haeb never seeks to draw viewers into his heroine’s point of view; instead, he minutely observes her strange behavior, with a remarkable lack of prurience or judgment, as the odd young woman explores the private minutiae of other people’s lives.

…Haeb finds a felicitous tone that grants a peculiar integrity to people’s sexual oddities. Somewhere between the ironic distance of “Secretary” and the emotional immersion of “Blue Is the Warmest Color,” but lacking the former’s nihilism and the latter’s intensity, “The Chambermaid Lynn” seemingly drifts more toward German fable than toward contemporary mores.” – Variety

„An intimate character piece that’s all about the details…

Up-and-coming Luxembourg actress Vicky Krieps is the terrific lead of this German chamber drama based on the novel by Markus Orths and directed by Ingo Haeb…

…this small-scale and intimate film about a young woman’s awakening could be marketed as Germany’s answer to Fifty Shades of Grey.“ –
The Hollywood Reporter

„The most intelligent film adaptation for a long time“ – Die Welt


STEADINESS by Lisa Weber

“Micro-budget Austrian documentary amuses and illuminates in beguilingly unassuming ways.” –  The Hollywood Reporter



“…the skilfully executed 270-degree panning at the end of the film, which poetically brings violence away from itself and into nature, is one of the most beautiful shots seen at this film festival.” – Film International (Berlinale Review)

“It takes a while for Yorgos Servetas’ sophomore feature, Standing Aside, Watching, to get under your skin, but once there, this neo-western tale of a girl returning to her birthplace to find a corrupt and crippled town that badly needs a new sheriff will follow you out of the door once the credits have finished and the lights are back on.” – cineuropa

“A model of urgent, contemporary storytelling by Greek director Yorgos Servetas, with a sometimes spare, sometimes epic visual take on modern Greece and a story that synthesizes past and present, while creating its own drama.” – indiewire


LOVE ME by Maryna Er Gorbach & Mehmet Bahadir Er

“The set-up of Maryna Er Gorbach and Mehmet Bahadir Er’s sophomore feature Love Me promises a cross-cultural romantic comedy of the traditional and predictable kind, but ends up by delivering something rather more interesting. Starting out in the vein of an English social comedy, it appears to head for Pretty Woman territory before pitching itself squarely as a serious-minded piece of social drama.”   – The Hollywood Reporter

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