Aleksandra Niemczyk

A girl with a disability, or rather a super power that makes her dangerous to herself and others, is left by her biological mother and soon adopted by the vicious queen of a society that exploits females and violates their reproductive rights.

An impressionistic emotional struggle between a girl with a prefabricated heart and a mysterious puppet-master. Inspired by the chapter "The Girl with the Pre-Fabricated Heart" from the surrealist film "Dreams That Money Can Buy" (1947) by avant-gardist and dada artist Hans Richter.

Limits of hospitality and friendship tested by a guest.

Memories of the life and visions of the Balkan prophet Baba Vanga, who was predicted the future of human kind and the world up to its end in the year 5079. Baba Vanga, as an older woman, tells how she lost her sight but "began to see". Following an accident, ghosts of dead people came to her to reveal what would happen to the world. Some of her predictions actually happened, some didn't, and for many predictions time will show.

Partly paralysed by polio, Vlado is stuck in his flat and unable to take care of himself. His younger wife, Alma, helps Vlado with love and tenderness in all his daily life activities, never giving up hope that he will get better. But Vlado feels weak and humiliated, losing the motivation to exercise or take medicine. In spite of the love and intimacy between the couple, Vlado’s self-loathing causes him to reject Alma. Haunted by visions of a half-man/half-horse, Alma considers alternative ways to solve their situation. The Centaur appears in a dream and gets closer and closer to their reality, pushing events towards an extreme conclusion. Vlado decides to end his misery, to bury the dead part of his body and wait for a miracle. Alma’s love is challenged but she executes the simple ceremony with dedication. By dawn, the magic happens.

The experiment presents a cinematic poem to filmmaking and film itself. Directed by eleven filmmakers, all under the vision of Bela Tarr's 'film.factory', delving into what keeps us making films.