The mother of ten-year-old Martina turns up late, just when the little girl is about to give up on spending the afternoon with her. Her dad is annoyed but they persuade him to let them go off together. They start by going to visit granny but the atmosphere when they get there becomes a bit strange, and Martina soon discovers why. Her mum had planned the visit only so she could get some money for drugs. As has happened so many times before, the little girl decides to close her eyes from the painful reality and pretend to her mum and to herself that her addiction isn't impacting their relationship. Along the way, Alejandra is torn apart by the opposite forces of her monsters and by the love for her daughter. The graduate film by director Irene Albanell Mellado is a sincere wish for love beyond difficulties and stigmas.

Peti lives with his brother Zoli. Peti is a severe diabetic and keen breeder of phoenixes. When a meteorite lands in his room one day, a sweet meteorite, no less, he can't wait to tell Zoli about it, but his brother is fed up with his eccentricities. So Peti finds himself another kindred spirit: Irma, a girl dressed in her dad's old diving suit, who makes the meteorites and throws them through people's windows. The meteorites are full of love since, in Irma's opinion, there should be as much love on this earth as there is water... Infused with an irresistibly unsettling playfulness, the film briefly addresses then abandons the problems of the modern world, from an absence of love to pervasive microplastics.

Teresa is suffering from postnatal depression after the birth of her son. In an effort to find comfort elsewhere she temporarily moves back with her husband to her parents' house. However, this decision doesn't seem to have much effect on Teresa's state of mind. What's worse, the family home conjures up memories which perhaps should have remained hidden in a shoebox together with her other keepsakes. She now has to make a choice: either she tries to heal the cracks in her marriage, or she sets out to rekindle a love from her youth, leaving her sorrowful existence behind her. In The Cracks Polish director Magdalena Gajewska perceptively explores the reverse side of motherhood and its painful wounds that even a child's tender smile can't soothe, and which we are still afraid to speak of out loud.

Erki's birthday celebration doesn't go at all the way he planned. A ring on the doorbell doesn't signal the arrival of more guests, but the appearance of a repossession agent set on evicting the young man and his mother from their home. Erki is suddenly faced with a difficult task: find work, earn some money, pay back the debt and get the apartment back. It doesn't take long for a job to come along. Transporting bodies from their place of demise to the morgue is something of a challenge for faint-hearted Erki, yet his new colleague perhaps presents an even greater challenge, whose daily encounters with the dead have left him icily serene... A tale about death with a whiff of the comic, a take on life with a mournful smile - that's My Dear Corpses by director German Golub.

Jacqueline works as a relationship coach and she's used to having everything under control. Including her course participants, her son, who assists her in the business, and herself. One day, however, her carefully constructed world starts to collapse when her son tells her he wants to be independent. She suddenly seems to lose her grip on everything; clients question her singular methods, and her son becomes more remote with every passing minute. How far can things escalate during a group therapy session? Jacqueline is forced to confront her own personal integrity and decide whether it stems from the loyalty of others or from a healthy self-confidence... A pithy psychological sketch by director Glen Bay Grant.

Somewhere in the near future, withdrawn Noé is out in the forest one day and finds a motionless figure lying on the ground. She realises this isn't a human being at all but a perfectly formed female android. Noé takes the robotic body home with her, she repairs it, charges its battery, and ELA comes to life. The coexistence of two different entities presents certain problems even though the machine tries its best to solve them. For one thing, it starts to imitate Noé's behaviour... A film that raises all sorts of questions which, in today's world, might seem infinitely remote, yet also uncomfortably relevant. Can artificial intelligence replace human empathy? Can we understand others without being able to relate to them? Isn't "now" that moment which separates the familiar present from the unexplored, perhaps terrifying future?

Libuše and her husband Jaromír have been together a long time, perhaps too long. It seems their lives have become mired in a vicious circle of enervation, which neither of them wants to admit. Libuše is fastidious about the housework, she swaps her wigs around and she tries to find out what the various stains are on her laundry, which maybe only she notices. For his part, Jaromír is more attentive to his garden gnomes than to his own wife. It would be difficult to say who lost interest in the other first. The couple might have spent the rest of their days like this were it not for the arrival of a motivational package from an agency called The Sun promising better things. A study of life's declining years as a period in which simple whims become immutable laws, whose infringement is almost physically impossible.

Sanaa has a job as a station cleaner. She seems contented enough with the work she does, or at least she is resigned to it, but what she can't deal with is the contempt her girlfriend's family shows her. In order to ease her sorrow and frustration Sanaa decides to return to the neighbourhood where she grew up. The housing estate is a place where she is accepted unconditionally among her old friends, yet here she might also have the chance to reconnect with her younger sister. Whether or not the sibling ties can be re-established depends on the level of responsibility Sanaa is prepared to admit into her life. A distinctive poetic sensibility, precisely observed surroundings, and a perceptive approach to the characters - all are defining qualities of the film Versailles.

A solitary farm set amid the breathtaking Icelandic landscape, is home to an equally solitary man named Gunnar. The silence, occasionally disturbed only by the barking of his canine companion, is an integral part of his existence. He doesn't feel the need to speak or to share his feelings with anyone else. This attitude doesn't impress his granddaughter Anna, however, who turns up one day to find out how her grampa is doing. But he can't tell her... A tender story of unspoken fears, of powerful gestures that disguise weakness, and of mortality, a subject we all have to address at some point in our lives.

Andi shares a deserted building in Vienna with a group of fellow-squatters he considers his family. One day his sister turns up unexpectedly with her small son Levi, seeking refuge from her abusive boyfriend; she has nowhere else to turn. So Andi suddenly finds himself in the role of uncle, the inhospitable squat is transformed into a kindergarten, and its inhabitants become Levi's friends, whose company the little boy much prefers to his companions at the real nursery. The apparent calm gives the adult siblings time to touch upon wounds from the past and perhaps the opportunity to try to heal them... A film whose main roles are played not only by actors, but also by the building itself, whose walls have much to impart.