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An overworked and underpaid production assistant drives around Bucharest to shoot the casting for a workplace safety video commissioned by a multinational company.

Restless teenager Horia takes off on his father's old motorbike in a cross-country journey to reunite with his love. On the road, he is joined by Stela, a sassy 13-year-old, and an unlikely friendship blooms.

In the midst of the Corona outbreak, Doru returns to Romania for a baptism, but in fact he is secretly pursuing his wife's alleged infidelity.

A surreal trip through the crisis of manhood.

The story of Mugur Calinescu, a Romanian teenager who wrote graffiti messages of protest against the regime of dictator Nicolae Ceausescu and was subsequently apprehended, interrogated, and ultimately crushed by the secret police.

This is a documentary essay composed entirely of archive photographs and documents of the first big massacre of the Jews in Romania: in the city of Iasi, on the 29th of June 1941, more than 10.000 Jews were killed - first by bullets, than by asphyxiation in freight trains. The film, which is an attempt to use the montage of archive materials in order to offer a deep and special view of History, has two parts: The first part of the film could be titled "the encyclopaedia of the dead": photographs of the people who were eventually killed by the Romanian army and by civilians are accompanied by voices who recite the documents related to their fate in the massacre: witness accounts, testimonies from the post-war trials, interviews with survivors, private diaries etc. The second part, shorter, represents a montage of the remaining photographs of the actual massacre (taken mostly by the German soldiers who were in town). Why a montage film with photographs and texts related to the Jassy pogrom of 1941? Because, as Georges Didi-Huberman shows, "Montage will precisely be one of the fundamental responses to this problem of the construction of historicity. As it has no simple orientation, montage evades theologies, montage escapes theologies, makes visible the remainders, the anachronisms, the encounters of contradictory temporalities that affect every object, every event, every person, every gesture. Thus, the historian gives up telling "a story", but, by doing so, he succeeds in showing that history cannot go without all the complexities of time, all the layers of archaeology, all the dottings of the destiny."

An Italian female director with epilepsy is trying to make a film about the life of famed Romanian actress Elina Löwensohn, but discovers that her real-life subject bears little resemblance to the star she idolized.

A film about the difficult relationship between a mother and son, and how their choices have dramatic consequences.

In 1905, the sailors on the battleship Potemkin are given political asylum in Romania - an act of defiance against Russia. In 2021, a sculptor (Alexandru Dabija) wants to create an artwork inspired by the event. A comedy about art, history, memory and cinema, which film critic Andrei Gorzo describes as "a cross between a Caragiale sketch and a Mark Rappaport video essay".

Based on an idea by Eisenstein, who dreamt of composing the 101 poses of Robert Macaire - a popular French character epitomizing the unscrupulous swindler - as represented in the 101 lithographs of the series Caricaturana by Honoré Daumier. First, a montage of the gestures as Eisenstein envisaged. Then, original texts are added to the caricatures. And finally, we took the liberty to use them as a commentary to some current news.

Andreea decides to follow her heart and visit Ninel, a guy that she has met online, although she hardly knows anything about him and in fact has never even seen him.

The average life of human beings-from birth to old age-is represented by children's toys. Barbie dolls, plastic dinosaurs, and model cars are assembled to recreate life's inevitabilities, including holidays, traffic jams, and death.

While the director's parents were separating, he was falling in love and starting his own family. The film explores the different shapes that love can take between parents and children and children who become parents.

It's based on the story of a crisis that took place in the summer of 2017 in the life of Mladenovic, a Serbian-born director living in Romania.

A dead monk's gaze is hypnotizing the masses, becomes a very profitable brand and is about to be sanctified by the Romanian church.

House of Dolls is an exploration of a special universe: the annual vacation of a bunch of 70-year-old ladies. Far from men and the madness of daily life, Cica, Nana and their friends isolate themselves voluntarily in a villa in the countryside. Together they blend joie de vivre and memories, melancholia and joyfulness, gossip and jokes. All that to keep up the illusion that time has not passed, that they are still the same beautiful and attractive girls they were 50 years ago.

The story of a young man and his fight to accept his three identities and the shame that goes with it: being an abandoned child, being Roma and gay. We follow Nicu throughout a day: on the streets of Bucharest while he goes to his job.

An old man tries to play backgammon with friends while babysitting his granddaughter, who's terrified of the young suicide in their building.

Film student Catalina teams up with ex-rock star Marchizu' to film his comeback music video, but his resemblance to a childhood nightmare begins to blur reality. The encounter makes her question her memory and identity.

In a seemingly easy theatre exercise, Rebeca, a young Roma woman, student at an elite acting school, is pushed to confront her biggest fear.

Given a portrait, who is responsible for the image we see, the painter or the subject?

Invited by the goEast Film Festival to make a self portrait through a short film, Jude explores thoughts about his relationship with cinema, inspiration and the streets, objects and people around him.