The wedding party couldn't get any merrier. The alcohol flows freely, the tables heave under the weight of all the food, and no-one can shout above the music. But this posh bash leaves Betti cold. She's seventeen, hearing-impaired and pregnant, and the father of her child has just married someone else. Her stepfather tries to gain control of the increasingly exasperating situation, but if he succeeds then Betti's mother won't be allowed to get drunk in the lobby, egged on by all the children... Potted Palm Trees is a film about sorrow dusted with glitter and about the duplicity a tuxedo can hide. Sometimes, however, the veneer of celebration is so thin that the acrimony it conceals shines right through.

A scorching summer's day down by the lake. The hordes flock to the water's edge and people start to get tetchy. The woman selling tickets is sweltering and bad-tempered because she hasn't got enough change. Yet no-one has time for her because their main goal is finding the best place to put down their towels. The lifeguard is well able to keep the crowds under control - so long as he has a nice cold beer to hand. Although seemingly like any other, this particular afternoon by the lake is disturbed by a panic-stricken woman searching for her two children. Yet nobody takes her seriously; children are always getting lost and everything's bound to be OK... Anatomy of a Czech Afternoon examines the limits of selfishness and our inability to look further than the confines of our own comfort zone.

Although Øyvind, a professional dancer, has reached the age of twenty-six, he hardly has any memories of his father. But now he's setting off to visit him. His dad wants to reestablish contact, and the young man is excited about spending the weekend together after all this time. When he arrives at the cosy, secluded little farmhouse, he is surprised to see that his father isn't alone; he lives there with his girlfriend Karin. The time they have given themselves to renew their relationship passes slowly, during which the kind-hearted Karin appears more interested in Øyvind than his own father. The older man doesn't seem able to bring himself to tell his son the reason for contacting him after so many years. A film about fragile moments filled with emotions that are sometimes hard to describe in words.

Twelve-year-old Mo sets off on vacation with his parents to a campsite in the small town of Lychen. Yet again. Mo has had enough of this holiday resort microcosm; this year, however, things are a bit different. It's 1992 and, although the same people meet up at the camp every year, their relationships are changing. Those who come from the former East Germany don't have any money - like Mo's parents. They're able to buy him a rubber dinghy for his birthday but can't afford the paddles to go with it. His friend Enrico's parents relocated to the West, so they have money. Yet, as Mo discovers, wealth isn't a recipe for happiness. A look back at a time of radical social change through the relentless gaze of a child who decides to take his life into his own hands. At last.

Elli, Natasha and Jo are friends from secondary school, but all good things come to an end at some point. Natasha and Jo are leaving to study abroad, and the girls have one last weekend together. The mood in the garden summerhouse keeps changing - sometimes it's joyful but often it's nostalgic or perhaps a little tense. The saddest things are hidden in the most ordinary of words and gestures, and saying goodbye is simply hard to do. Particularly when the girls are not only forced to part with each other, but they also have to leave their childhood behind. Sad Girl Weekend is the second part of a trilogy created by directing duo Dimitris Tsakaleas and Lida Vartzioti.

For a six-year-old boy, his father's farm represents one big unknown - as does his dad. Their relationship has suffered since the divorce and neither of them knows how to find his way to the other. The father tries to introduce the boy to his world and involves him in work around the farm, but there's a tough lesson in store: They have to put down a horse that can't be treated. In his graduate film Dalía Icelandic director Brúsi Ólason draws on his own childhood memories, recasting them into a gentle reflection on the nature of masculinity, which might seem abrasive, but only until it encounters the fragile world of children.

Julia has a job as a maid in a run-down motel somewhere in the Polish countryside. When she's not cleaning rooms she spends time listening to death metal and playing the slot machines at the local bar. Desperately lonely, the person closest to her is her colleague Renata. Julia is different from other people and they never let her forget this fact. Yet this doesn't stop her hoping that she'll meet someone who will love her and accept her for who she is. That someone might be the likeable truck driver who seems to turn up at her motel more and more frequently. Polish director Tadeusz Łysiak's new film The Dress ostensibly tells a tale of otherness; the fact is that we should all be loved, regardless of the way we look.

After stumbling across financial irregularities at the ministry where she works, Kristína notifies the police - and her life will never be the same. Her actions are certainly commendable, yet all she feels is loneliness, remorse and a sense of misgiving as she asks herself whether it's really necessary to pay such a high price for justice. Out of Pure Conscience is the story of a generation who could, if they chose, bring change to Slovakia, a country still shaking off the taint of totalitarianism thirty years after the Velvet Revolution. The film, however, is also a universal reflection on individuals who decide to step away from the crowd and bear the consequences of what they have done, no matter how painful.

A challenging yet spellbinding exploration of the seductive landscape of pornography. Examining images that are meant to excite. A glimpse of a body free of all imperfections, a body which becomes the perfect tool to achieve perfect satisfaction. A diversion into the world of alternative pornography, which conceives sexuality as a natural part of life in all its complexity. DIYSEX encompasses it all, featuring a protagonist who decides to make a porn film tailored to reflect her personal desires and fantasies. A collage of images and opinions which, through resourceful editing, are combined within often witty contexts that are always apt and innovative.

Ingrid and August's relationship isn't what it once was; it's time to admit that they've reached a crisis point and that they're not going to resolve things on their own. So they plan a trip to a therapy camp. August wants to discover his true self, but Ingrid just wants to be with August. It doesn't take them long to realise that it won't be easy achieving either of their set goals, particularly since Ingrid doesn't really fit into the community. In this graduate film by Swedish director Amanda Adele Björk, relationships and interactions are captured with spontaneity and insight, which, of course, doesn't mean there isn't scope for humour and a healthy dose of irony.