Thessaloniki Film Festival has revealed its International Competition section, which showcases 12 films by up-and-coming directors from around the world. The selection includes “Julie Keeps Quiet,” which is Belgium’s entry in the Oscars, and “Under the Volcano,” which is Poland’s entry.
Also selected are “Arcadia,” which won best director at Sarajevo for Yorgos Zois; “Happy Holidays,” which won best screenplay in Venice Horizons for Scandar Copti; “On Falling,” which won best director at San Sebastian for Laura Carreira; and “Pierce,” which won best director at Karlovy Vary for Nelicia Low.
The jury is composed of filmmaker and producer Sara Driver, filmmaker Denis Côté and producer Konstantinos Kontovrakis.
The top prize is the Golden Alexander for best feature film, accompanied by a 10,000 euro cash prize. There is also the Silver Alexander for best direction, accompanied by a 5,000 euro cash prize; the best actor and actress awards; and the best screenplay and best artistic achievement award. In addition, the jury can opt to bestow up to two special mentions.
Here are the films competing:
“Arcadia,” dir: Yorgos Zois, Greece-Bulgaria
Neurologist Katerina has to confront her worst suspicions as she accompanies Yannis, a former well-respected doctor, to identify the victim of a car accident at an off-season seaside resort. Together, but also on her own nightly excursions to a mysterious rustic beach bar, they unravel a haunting tale of love, loss, acceptance and letting go.
“Meat,” dir: Dimitris Nakos, Greece
In a village in the Greek countryside, Takis prepares the opening of his new butcher shop. The day before, his son Pavlos kills the neighbor who claims part of their land. The only witness is Christos, a young man from Albania, who has worked for Takis since his childhood. Takis has to decide who will take the responsibility.
“She Loved Blossoms More,” dir: Υannis Veslemes, Greece-France
Three brothers build an unusual time-machine in order to bring their long-dead mother back to life. When their delusional father comes into the picture, the experiments go awry, and they descend into a psychedelic hellscape where the past and present fuse in this comedic yet deeply disturbing exploration of grief.
“Edge of Night,” dir: Türker Süer, Germany-Turkey
Sinan, a lieutenant in the Turkish army, is tasked with escorting his brother, who is also an officer, to face military court. This mission feels like the ultimate test of obedience for Sinan, especially since the disgraceful discharge and tragic end of their father still cast a shadow over his otherwise spotless career prospects. However, things take a dangerous turn when, during the transfer, Turkey plunges into a night of deep political unrest and turmoil. With the failed coup attempt of July 15, 2016, as its backdrop, debut director Türker Süer crafts a mature thriller that draws comparisons to Michael Mann’s cinema. In the world of “Edge of Night,” even the bright daylight can’t dispel the darkness of uncertainty, where every decision could turn into a catastrophic mistake. A film deeply rooted in the aesthetics of the 80s, complete with an evocative and haunting soundtrack.
“Happy Holidays,” dir: Scandar Copti, Palestine-Germany-France-Italy-Qatar
Four interconnected characters share their unique realities, highlighting the complexities between genders, generations and cultures. Rami, a Palestinian from Haifa, is dealing with his Jewish girlfriend’s sudden change of heart about her planned abortion. His mother, Hanan, is facing a financial crisis and becomes entangled in complications while seeking compensation for her daughter Fifi’s accident. Miri is forced to confront her daughter’s depression while also working to undermine her sister’s pregnancy with Rami. Fifi grapples with the guilt of hiding a secret that risks her family’s reputation and her burgeoning relationship with Dr. Walid.
“Julie Keeps Quiet,” dir: Leonardo Van Dijl, Belgium-Sweden
Julie’s life, as the most promising talent at a prestigious tennis academy, revolves entirely around the sport she’s been devoted to since childhood. But everything changes when the shocking news of a young athlete’s suicide disrupts the routine at the club. Soon after, Julie’s coach becomes the focus of a police investigation and is immediately suspended from the academy. The incident pushes the other athletes to come forward and share their stories, but Julie chooses to remain silent. Leonardo Van Dijl’s debut film, one of the standout entries at this year’s Cannes, captures the overwhelming struggle of breaking the silence as a victim of abuse.
“On Falling,” dir: Laura Carreira, U.K.-Portugal
Portuguese immigrant Aurora works as a warehouse picker in a vast fulfilment center in Scotland. Trapped between the confines of her workplace and her flatshare, Aurora seeks to resist the loneliness, alienation and ensuing small talk which begin to threaten her sense of self. Set against a landscape dominated by an algorithm-driven gig economy designed to keep us apart, “On Falling” explores the struggle to find meaning and connection.
“Pierce,” dir: Nelicia Low, Singapore-Taiwan-Poland
Zijie is a young fencer longing to reconnect with his estranged older brother Zihan, who mysteriously returns after seven years in juvenile prison for killing an opponent during a fencing match. Zijie believes Zihan’s insistence that he is innocent and secretly decides to help him, defying their mother’s efforts to erase Zihan from their lives. In return, Zihan starts to train Zijie in fencing and Zijie improves immensely, getting selected to compete at the upcoming National Championships. As the brothers grow closer, their mother finds out that they have reunited and is furious at Zijie, yet Zijie stubbornly sticks by his brother. But Zihan’s hostile past is triggered after an argument, leaving Zijie to finally question whether his beloved brother might be a violent sociopath after all.
“September Says,” dir: Ariane Labed, Ireland-U.K.-Germany
Ariane Labed’s first feature film is an adaptation of the gothic novel “Sisters” by Daisy Johnson, who was the youngest author ever nominated for the Man Booker Prize. With a haunting, mysterious atmosphere, the film tells the story of two inseparable sisters who have created their own fascinating yet dark universe. “September Says” explores the complexities of adolescence through the intense relationship between July and September, two sisters with very different personalities. Despite their bond, the growing tension between the siblings, and with their single mother, escalates when they take refuge in an old country house in Ireland. Here, July starts to feel a shift in her relationship with September, a change she struggles to understand or control. As surreal encounters push the boundaries of family, the film delves deep into the dynamics of identity, independence and sibling love.
“To a Land Unknown,” dir: Mahdi Fleifel, U.K.-Palestine-France-Greece-Netherlands-Germany-Qatar-Saudi Arabia
Chatila and Reda are saving to pay for fake passports to get out of Athens. But when Reda loses their hard-earned cash to his dangerous drug addiction, Chatila hatches an extreme plan, which involves them posing as smugglers and taking hostages in an effort to get him and his best friend out of their hopeless environment before it is too late.
“Under the Volcano,” dir: Damian Kocur, Poland
A Ukrainian family is enjoying their vacation in Spain when they suddenly receive the news of Russia’s invasion of their homeland. Unable to return to Kyiv, they go from tourists to refugees overnight, struggling to accept their new reality. This subtle social drama, almost Antonioni-like in its depiction of emotional paralysis, explores the traumatic effects of a tragic event on the relationships and bonds of people who feel as though the ground has vanished beneath their feet. With a melancholic directorial tone that beautifully visualizes the characters’ fractured psyches, an elegiac atmosphere, and a deep sensitivity, “Under the Volcano” addresses themes of grief and emotional alienation. It presents an unexpected perspective on the war in Ukraine: instead of battlefields, corpses, and ruined buildings, it delves into the devastated inner world of those who have nowhere left to return to.
“Went Up the Hill,” dir: Samuel Van Grinsven, New Zealand-Australia
Abandoned as a child, Jack travels to remote New Zealand to attend the funeral of his estranged mother Elizabeth. There he meets her widow, Jill, who has questions of her own. Over the nights that follow, Elizabeth returns and possesses Jack and Jill, using each of their bodies to speak to the other. Jill faces Elizabeth’s suicide, while Jack confronts his abandonment. As they learn she is trapped in limbo, Jack begins to doubt Elizabeth’s reason for returning. Caught in a life-threatening nocturnal dance, Jack and Jill must find a way to let go of Elizabeth’s hold before she pushes them to the edge.
The film is a psychological drama inspired by writer/director Samuel Van Grinsven’s memories of his childhood in New Zealand’s South Island. It is an intimate, modern ghost story that explores the extremities of grief in our pursuit of letting go.
