The New Holland Island International Debut Film Festival, taking place October 6-13, announces this year’s programme. The main venues hosting the festival screenings are the new Assembly Hall in Dom 12 in the New Holland, the Rodina Cinema Center, and the Dom Kino cinema hall.
This year’s NHIDFF programme consists of seven parts. The Feature Film Competition and Short Film Competition will be judged by an international jury. Five other programmes will be shown out of competition.
The non-competition programmes include documentaries (How Do We Live Together), films by Russian directors (Made in Russia), slow burner horror films (Films from the Uncanny Valley), Jury Selection, and the Spotlight special programme that is made up of premieres and festival hits.
The Festival will open with the Russian premiere of Futura, directed by Pietro Marcello, Francesco Munzi, and Alice Rohrwacher.
As part of the competition and special programmes, there will be Russian and St. Petersburg premieres of the works by laureates and participants of such film festivals as Cannes, Berlinale, Venice, Sundance, and others, including the following films: Bloodsuckers (directed by Julian Radlmaier; Encounters programme participant at Berlinale 2021, special jury prize at MIFF 2021), City Hall (directed by Frederick Wiseman; Fair Play Cinema Award – Special Mention at the Venice Film Festival 2020), Cryptozoo (directed by Dash Shaw; Special Mention of the Generation 14 plus International Jury at Berlinale 2021; NEXT Innovator Award at Sundance 2021), The Girl and the Spider (directed by Ramon and Silvan Zürcher; Encounters Award – Best Director, FIPRESCI Prize at Berlinale 2021), What do we see when we look at the sky? (directed by Alexandre Koberidze; FIPRESCI Prizeu Berlinale 2021), and others. The audience will also see some of the most notable films by emerging Russian directors coming straight from the Venice Film Festival (Mom, I'm at Home by Vladimir Bitokov, Bypass Routes by Ekaterina Selenkina), as well as from Sheffield / Doc and Fid Marseille, some of the most important European festivals of experimental and documentary films (Summer, directed by Vadim Kostrov and Ilyazd, directed by Stanislav Doroshenkov, respectively).
This year's Short Film Competition programme counts 22 films. The audience can expect to see student works side by side with the films of experienced directors.
Case in point, Laurinas Bareisa, the author of Dummy, received the Horizons programme main award at the Venice Film Festival for his feature debut film Pilgrims while preparing for the festival this year. The programme will also showcase works by the winners of short film contests at the Berlinale (My Uncle Tudor, directed by Olga Lucovnicova), Rotterdam (Maat Means Land, directed by Fox Maxy) and participants of Cannes, Venice, Oberhausen, and other film festivals.
Like last year, the NHIDFF is putting a special emphasis on contemporary Russian cinema, where the filmmakers are exploring new methods in art. These works can be seen within both competition and non-competition programmes. Among them: The Farewell, directed by Genrikh Ignatov, Letters about the End of the World by Dina Karaman, and 27a by Daria Likhoi. NHIDFF will also screen a retrospective of works of video artists Anna Tsirlina and Sid Yandovka.
Another big part of the Festival is a whole separate section devoted to documentary films that dissect the key problems of the global world. This year the section is built around the "How do we live together” question. The programme will present the following films: Bottled Songs 1-4, directed by Chloe Galibert-Laine and Kevin B. Lee; The Great Void, directed by Sebastian Mez, All Light, Everywhere, directed by Theo Anthony, City Hall by Frederick Wiseman, Who We Were directed by Marc Bauder, The Filmmaker's House by Marc Isaacs, and Oeconomia directed by Carmen Losmann.
A great deal of attention builds around horror, the most relevant genre of our time. Film critics Maxim Seleznev and Marat Shabaev put together the Films from the Uncanny Valley special programme to introduce the viewers to the horror films of recent years. Among them: Tin Can, directed by Seth A. Smith, The Scary of Sixty-First, directed by Dasha Nekrasova, We’re all Going to the World’s Fair, directed by Jane Schoenbrun, Sleep has her House, directed by Scott Barley; and Murder Death Koreatown by an unknown director.