Hoping to reconnect with her distant daughter Miruna (23), during a New Year's Eve celebration, Sorana (47) finds herself at the center of a moral crisis instead. After discovering two destitute children alone in a makeshift shed on her in-laws' property, she convinces her family to shelter them for the night. But the festive mood quickly turns sour when a piece of jewelry goes missing and suspicion falls on the little strangers. As the adults subject the children to a cruel lesson disguised as justice, Miruna openly challenges the elders’ behavior. To protect the vulnerable—and perhaps regain her daughter's respect —Sorana must finally break the silent obedience that has governed her entire life.
Andra Hera studied at ESRA in Paris and returned to Romania after her graduation, working as an AD, casting director and acting trainer. In 2017, her short film Borders premiered at the Gent FF and continued to travel to numerous festivals worldwide, such as Trieste FF, Alcalá de Henares IFF or Durban IFF. The film was also acquired by Canal+ and was nominated for the Romanian national film awards – Gopo. Her most recent film, The Things We Hide in Silence (2021) is a documentary foray into an unconventional voice therapy. The film premiered at Transilvania IFF and was nominated for the Gopo awards in 2022. She is currently in post-production with her short film Fruits, financed by ARTE, the French CNC and the Romanian film fund.
Ana Corbu is an emerging producer working under Romanian companies Redwood Productions and Dash Film. Ana holds an MA in Producing from University of West London and at the moment she focuses on developing Romanian stories with global resonance. After participating on several upcoming films in the position of a production manager – e.g. the short film Fruits by Andra Hera, or the four-part feature in production The Weight of the Water, directed by Vlad Buzăianu – she is now developing two female-lead features as development producer – The Embrace by Andra Hera, and The Night Doesn’t Forget, a book-to-screen adaptation written by Silvia Dumitru and directed by Letiția Roșculeț.
Sorana embodies the silence of women who have spent their lives adapting, avoiding conflict and making themselves smaller to preserve love, marriage and belonging. I am interested in the invisible cost of this compromise, accumulated over decades – until a single moment forces this woman to confront who she has become. The mother-daughter relationship lies at the heart of the film, reflecting two generations of women shaped by different ideas of freedom. While Miruna sees her mother's silence as complicity, Sorana experiences it as survival. Set over 24 hours, the story becomes a moral pressure cooker where cruelty emerges through ordinary people trying to preserve their comfort above all, while struggling to defend values and maintain appearances.
REDWOOD PRODUCTIONS
Penes Curcanul 20, 031515, Bucharest, Romania
Email: [email protected]
Andra Hera | Director, Scriptwriter
Email: [email protected]
Ana Corbu | Producer
Email: [email protected]
Mobile: +40 731 081 999
Filip (14), a chubby mama’s boy, loves Jesus and checking out barely dressed models in magazines. Daily, he fronts his mom’s Thermomix socials – fueling jokes at school. That’s why he’d like someone other than mom to be his confirmation sponsor. He chooses Olek (17), a cool altar boy, who agrees if Filip helps his sister Karolina (16), who has Down syndrome, with speech therapy. Much to Filip’s shock, the exercises become an excuse to fulfill Karolina's secret dream: working on a sex hotline – believing she’s only desirable unseen. Her daring personality draws Filip in. They become friends, growing more and more intimate, until Filip is forced to confront not only his mother, but also unexpected rejection from Karolina. Heartbroken, he turns against the siblings. On confirmation day, Filip walks out of the church, refusing the sacrament.
A film director and photography enthusiast. He graduated in Cultural Studies from the University of Warsaw and in Directing from the Łódź Film School. He is the author of short fiction and documentary films screened in Poland and at numerous international film festivals. He participated in Future Frames, the EFP program for emerging directors with his short film Fruits and Vegetables, which also was shortlisted for the BAFTA Student Film Awards in the fiction category. He is currently participating in MIDPOINT Feature Launch, with his debut feature Confirmation.
A graduate from the Łódź Film School, she gained experience at Polish company RE Studio, where worked on theatrically distributed feature films with both commercial and festival success, with releases on streaming platforms, and international screenings. Among them was I’m a Killer (dir. Maciej Pieprzyca), awarded Best Director at the Shanghai IFF and Cottbus FF. She also worked with Netflix as an associate producer of Into the Wind, the original Polish feature production. Since co-founding Rozbrat Films in 2017, she has produced short films and series. Her full-length feature debut as lead producer, Glorious Summer (dir. Helena Ganjalyan and Bartosz Szpak), premiered at SXSW in 2025 and continues its international festival run, including screenings at São Paulo IFF (Mostra) and Brooklyn FF.
My favorite stories blend seriousness with humor, where what feels strange and awkward becomes deeply human. That’s how I experience life, and how I see Confirmation. Although it’s a story of Filip’s emancipation – from a toxic mother and a superficial religious system – the core of the narrative lies in the relationship between teenagers, who unexpectedly give each other acceptance and independence. Filip and Karolina take risks as they enter a world marked by shame and taboo. I’m fascinated by how sexuality, often considered difficult or uncomfortable, is expressed through a still-forming sense of self, making it direct and sometimes funny. In this clash between social rules and emotional honesty, I find a bittersweet tone of the film. It’s a space where empathy, humor and discomfort coexist and where our audience may recognize themselves.
Rozbrat Films
rtm. Witolda Pileckiego 132/59, 02-781, Warsaw, Poland
Email: [email protected]
Mobile: +48 534 252 515
Maciej Jankowski | Director, Screentwriter
Email: [email protected]
Mobile: +48 696 474 085
Arkadiusz Antosz | Screenwriter
Email: [email protected]
Mobile: +48 794 718 821
Monika Matuszewska | Producer
Email: [email protected]
Mobile: +48 534 252 515
Lyuba, a lonely TikToker, who would normally hide at the back of her school choir, discovers a magical dress that transports her to 1975 Soviet Lviv — straight into a hippie community, where her grandparents have not yet fallen in love. Living between eras, Lyuba plays an unlikely matchmaker in the past and evolves into a rebel, riding a bike naked past the communist office with her boyfriend, all while clashing with her mom in the 2025. But her joy shatters when she discovers her grandpa, blackmailed by the KGB, betrayed their secret concert. As her grandparents’ romance collapses, Lyuba begins to fade from existence. Desperate, she reveals her identity and bids a heartbreaking farewell to the hippie she loves. Back in 2025, at her prom, Lyuba bravely debuts on stage, singing the song of her grandparents', while her mom cheers her on.
Victoria Zadorska holds a Bachelor’s and a Master’s degree in Theatre and Film Arts. Her directorial work includes the sports documentary, I Want to Be Like Kharlan (2025), produced for Ukraine’s public broadcaster, and the short film Me, Mom, and the Cosmonaut (2026), which was awarded the Grant of the President of Ukraine. As an author, Victoria has written several fantasy books, including Spacedad (finalist for the BBC Children’s Book of the Year 2025), Skeletons from My Grandmother's Closet (longlisted for the BBC Children’s Book of the Year 2024). Her professional development includes participation in Gothenburg Film Residence (2023), Kino Guarimba in Italy (2024), MIDPOINT Intensive Ukraine (2025). In 2026, she won the Sweet.tv feature film pitching competition with My 19-year-old Granny.
Olena Yershova is a member of AMPAS, EFA, APSA, and EPC. Her directorial short Demoniada competed at Locarno IFF. Olena previously acted as the Executive Director of Molodist Kyiv IFF and the head of Antalya Film Forum. She founded TatoFilm (Ukraine/Turkey) and joined Kino Iberica (Georgia). She produced a number of features, documentaries, and shorts, earning over 250 awards. The majority of films are international co-productions. Highlights include Brighton 4th (Tribeca FF — Best Film), Anatolian Leopard (TIFF — FIPRESCI), Motherland (Venice Critics' Week), Frost (Cannes Directors' Fortnight). She is an expert for the Göteborg Film Fund. Upcoming titles include Guria (Cannes Atelier — seven-country co-production), Dream Girl (Berlinale Co-production Market, ArteKino Award), and the series Escape from Harem (ACE Special).
My 19-year-old Granny was born out of the reality of war. Through the lens of the time-travel genre, I want to explore the price of freedom and trace the cause-and-effect links of Ukrainian collective trauma — centuries-old fight against Russian tyranny. By uncovering the wounds of her grandparents, Lyuba finally comprehends her mother's pain — and ultimately her own — finding the strength to build a new future. At its core, the film is warm and poignant, blending a coming-of-age journey with a rebellious rock-and-roll heartbeat and a tender story of impossible love: its joy, and its price. As Lyuba plunges into the raw past, the electric energy of youth forces her to feel and fight like never before. Connecting three generations of women across two timelines, this story reveals what it truly costs to finally become yourself.
TatoFilm
European Union Avenue 88, apt.101, 03 141, Kyiv, Ukraine
Email: [email protected]
Victoria Zadorska | Director, Scriptwriter
Email: [email protected]
Mobile: +380678407066
Olena Yershova | Producer
Email: [email protected]
Mobile: +905373008702
Christos, 40, is still afraid of coming out to his mother. His controlling partner Emir leaves him, arguing this fear is holding them back. When Christos finds his mother lost in town as her dementia worsens, he realizes time is running out. Convinced coming out will win Emir back, he joins his family on holiday at a resort. But his siblings urge him to stay silent, and when his mother mocks a gay couple, Christos shuts down. Emir appears, reviving hope of reconciliation, but as intimacy becomes another test, Christos realizes nothing will ever be enough for Emir. A violent fight between Christos and his brother ends with their confused mother slapping Christos across the face. But the family eats dinner together as if nothing happened. The next morning, Christos finds his mother alone in the hotel garden, hugs her goodbye, and leaves.
Marios Mettis is a Cypriot director and actor with over 20 years of experience in theatre, now expanding into film directing. He directed his first short film, Muttertändelei, in 2019. His second short, Tsikitigklon the Fairy and the Man, received several awards, including Best National Short Film at ISFFC and Best International Film at the Roosevelt Island FF. He is currently developing his first feature film, Natura, through MIDPOINT Feature Launch. In 2023, his direction of Lysistrata for the National Theatre of Cyprus became the highest-selling production in the theatre’s history. He trained as an actor at the National Theatre of Greece Drama School and as a director at Mountview Academy of Theatre Arts in London.
Louis Patsias began his career in 1995, pioneering video editing, graphics, and 3D animation in Cyprus before establishing his own production company. He helped advance the local industry by adopting new technologies and practices early on, later expanding into large-scale TV commercials and earning a reputation for high-quality content. As a director and producer, he has created commercials and corporate videos for major brands such as Eurobank, Lidl, Vodafone, and state organisations, as well as documentaries and films including The Visit. With decades of experience and a skilled team, his productions have received recognition at local and international festivals, including ICFD and DISFF. His vision remains the continued advancement of Cyprus’ media landscape.
Natura is about self-acceptance: the freedom of no longer asking others to authorize who you are. It follows the painful process of separating from the people whose love has shaped and limited us. Christos has spent his life adjusting who he is to remain loved, mainly by his mother. At forty, delay has already shaped his life and relationships. Instead of asking “Who could I become?” he asks “If I don’t change now, is this who I will remain?” Natura is a story exploring the moment a parent stops being godlike to a child and becomes human. Blending naturalism with magical realism, Natura lets surreal elements emerge when Christos can no longer process reality. They are emotional ruptures that make visible what Christos cannot yet understand or say. The film bends realism as a way of staying closer to Christos’s emotional truth.
The Coffee Films
24 Gregoriou Xenopoulou str, 1061, Nicosia, Cyprus
Email: [email protected]
Marios Mettis | Director, Scriptwriter
Email: [email protected]
Mobile: +357 97655666
Louis Patsias | Producer
Email: [email protected]
Mobile: +357 99427492
A radical artist, Lesya (29), gains recognition during the anti-regime protests in Belarus with her raw political performances. When the riot police attack her show and arrest her devoted friend, a terrified Lesya flees to Helsinki. Supported by a documentarist, who soon becomes her lover, Lesya gets a show at an elite gallery. Yet the art world's praise traps her in the label of a political exile. When the Helsinki Biennial Curator rejects her attempt to break free from that image, Lesya is forced to choose between authenticity and success. Her concession backfires and ruins her career. Salvaging what's left of her life, Lesya takes a modest job in Lapland. Physical labor and the sole company of her employer, supportive yet tough, push Lesya to face the question her life was built to avoid: who is she when no one is watching?
Mara Tamkovich is a Polish-Belarusian screenwriter and director. She studied journalism at Warsaw University and for ten years worked as a journalist for independent Belarusian media. After graduating film directing at Warsaw Film School and Wajda School, Mara kept on focusing on socially relevant topics deeply connected to reality. Her debut feature Under the Grey Sky premiered at Tribeca Festival, won Best Debut Award at Polish Film Festival in Gdynia, was nominated for European Film Awards in the “European Discovery” category and is now available on HBO Max. Her films were also presented and awarded at Chicago IFF (Silver Hugo Award), Torino IFF (Scuola Holden Special Mention), Camerimage IFF and others. Mara is a member of European Film Academy, Polish Directors Guild and a board member of Belarusian Independent Film Academy.
Merja Ritola is a Finnish producer and CEO of Greenlit Productions with over 25 years of experience in international film and television. Since 2000, she has worked on more than 45 productions, including Iron Sky, Jade Warrior and Man’s Job, producing over 24 fiction and documentary films. Her credits include the Jussi Award-winning The Seamstress, Warsaw IFF winner Putting Lipstick on a Pig, European Film Awards shortlisted The Other Side of the River (winner of the German Film Award LOLA and Grimme Award), and The Voice of Sokurov. A member of the European Film Academy since 2024, she recently completed Lex Julia, is in post-production with The Seal Mother, and is developing the international co-production Northern Lights.
Northern Lights is an intense journey into the mind of a young, talented and deeply traumatized woman, who craves fame. Lesya is driven by the need to be praised and acknowledged, to matter, but that drive comes from a hidden feeling of being worthless. Success in Belarus gives her the sense of belonging, but in exile she feels as if she is simply entertaining the audience with her pain. Despite her growing resentment, Lesya can’t resist the pressure to keep performing her trauma. She wants to succeed at all costs, but what she needs is to reconcile with herself and regain her own voice. Through Lesya's story we explore the issue of displacement and the painful collision between ambition and authenticity. We observe how labels can cripple and become a tool of oppression but discover a healing power that lies within vulnerability.
Greenlit Productions Oy
Niuhalanraitti 11, FI-03400, Vihti, Finland
Email: [email protected]
Mara Tamkovich | Director
Email: [email protected]
Mobile: +48 884 990 221
Yulia Pogrebnyak | Scriptwriter
Email: [email protected]
Mobile: +358 41 318 7173
Merja Ritola | Producer
Email: [email protected]
Mobile: +358 50 593 7714
Convinced her sleepwalking episodes could lead to accidental suicide, quirky and neurotic Milica (27) is afraid to fall asleep. She discusses this fear with her unconventional psychotherapist Bojan (47), whom she started seeing after losing her father. With her mother having a new partner, her brother in prison, and her best friend getting married, Milica feels Bojan is the only one left. Unaware that she is repressing grief, Milica tries to seduce him. Though he tries to respond professionally, the bond between them grows intense, ultimately triggering Milica to kiss him. After the kiss, Bojan panics. Worried he might lose his license, he suggests she should stop seeing him. Desperate, Milica turns to wandering the streets, finding unexpected ways to heal within a destructive world, all the while hoping that Bojan will reach out to her.
Isidora Veselinović is a director and casting director, with a MA in Film and TV Directing. She is known for her short films Until Road Do Us Part (2015) and The One Who Brings the Rain (2020) which was her graduation film and premiered at the Kustendorf FF. Her work as a casting director on the high-end series Operation Sabre was recognized at Canneseries in 2024 with the award for Best Ensemble. At the moment, she is completing her short film Blueberries. Not All Houses Have a Yard is her feature debut.
Marija Stojanovic is a co-owner of Sense Production, a production company based in Belgrade. She produced the feature Oasis (2020) by Ivan Ikic, which premiered at Giornate degli Autori in Venice, winning the Europa Cinemas Label award. Her more recent titles Forever Hold Your Peace (2023), a six country co-production by Montenegrin director Ivan Marinović premiered at Tallinn Black Nights IFF and Vladimir Tagić’s Yugo Florida (2024) at Sarajevo FF winning the Heart of Sarajevo for Best Actor. She is an EAVE alumna and member of EFA.
When it feels like everyone around me is moving on with their lives while I'm standing still, panic starts to creep in. I find myself longing for home—the comfort that everything will be okay. Milica never had that kind of home, and the one she did, no longer exists. Through her fractured view of reality, she restlessly wanders through her own existence, yearning for a sanctuary in a world full of rejection. When I read the novel by Katarina Mitorvić Not All Houses Have a Yard, I recognized a moment from my own life—wondering whether the relationship with my therapist had become too personal, or if it was all in my head. This disconnect, much like it did to Milica, distanced me from therapy, but also made me question the unexpected ways our soul finds healing—sometimes in dark, hidden places, and other times closer to home.
Sense Production
Knjeginje Ljubice 8, 11000, Belgrade, Serbia
Email: [email protected]
Isidora Veselinović | Director
Email: [email protected]
Mobile: +381 637701002
Katarina Mitrović | Scriptwriter
Email: [email protected]
Mobile: +381 640016287
Marija Stojanović | Producer
Email: [email protected]
Mobile: +381 69645614
Three years after her brother Yan (28) vanished in the war, Sasha (25) – haunted by a vision of a ball lightning – reluctantly returns from Kyiv to her hometown. There she finds Yan’s photos staged like a shrine and their mother speaking to his uniform. Unable to talk about it, Sasha wanders around town and reconnects with Slava (28), Yan’s childhood friend and a veteran with quiet PTSD. Their renewed bond unlocks memories she has long suppressed. When Sasha learns of mother’s plan to sell Yan’s preserved apartment – a place she dares not to enter – she fights to stop it, only deepening their rift. Slava’s attempted kiss shatters their connection, leaving Sasha isolated. As everything falls apart, Sasha tries to leave town but is drawn by ball lightning into Yan’s apartment. She confronts her loss and opens a fragile path toward reclaiming her life.
Anastasia Tykha is an emerging filmmaker with a background in documentary film. Her work examines major social and political events, especially the impact of war. Her training includes a 2018 Gaude Polonia scholarship from Poland’s Ministry of Culture and participation in the Doc.Pro course at the Wajda School in Warsaw; in 2019 she received the Presidential Scholarship for Young Writers and Artists of Ukraine. She co-directed the documentary Summertime in Ukraine, one of the highest-grossing Ukrainian theatrical documentaries in 2025. Anastasia is co-founder and program director of KINOKO, Ukraine’s first film festival dedicated to the art of cinematography (founded 2018). Reminiscence is her feature debut, currently in development through the Midpoint Feature Launch and selected for the Göteborg Film Festival residency 2026.
Darya Bassel is an experienced film producer with a long-standing career in the film industry, having contributed to numerous award-winning productions. She graduated from Ex Oriente, Eurodoc and EAVE and has mentored for Eurodoc and Baltic Sea Docs. Among her notable titles are Butterfly Vision (Un Certain Regard at Cannes 2022), The Editorial Office (Berlinale 2024; Best Script at the Ukrainian Film Academy Award), Songs of Slow Burning Earth (Venice FF 2024, Best Documentary nomination at the European Film Awards 2026). She co-produced Intercepted (Berlinale 2024; the Gotham Award and Lux Audience Award nominee) and the Oscar-nominated A House Made of Splinters (Sundance 2022).
Reminiscence grew from my reflection on childhood, memory, and coming home. Since the full-scale war in Ukraine, these questions have taken on a new scale, leading me to explore the psychological consequences of war, particularly the concept of ambiguous loss. At the heart of the film's visual universe is ball lightning, both beautiful and unsettling for the main character. It embodies unresolved grief and the invisible tension carried within her body, connecting Sasha to a childhood memory shared with Yan. As Sasha wanders through familiar spaces, subtle changes in framing, sound, and rhythm reveal how memory reshapes her experience of the present. Small sensory details, like tulle on a window, become triggers that blur the boundary between reality and inner experience. Through these shifts, the audience enters Sasha’s subjective world.
Moon Man
Kyiv, Ukraine
Email: [email protected]
Anastasia Tykha | Director, Scriptwriter
Email: [email protected]
Mobile: +380 95 725 14 85
Darya Bassel | Producer
Email: [email protected]
Mobile: +380 93 906 13 42
In 1921, young miner Petr lives with his wife Anna at her parents’ house, painfully aware they see him as unworthy of their daughter. He hopes to receive a company house and escape their pressure. After a collapse in an unexplored shaft, a psychedelic experience changes him. At his daughter’s christening, Petr shocks everyone by denouncing the Church, but his subversive words fascinate Johanna, a charismatic spiritualist. Convinced Petr is mad and brings misfortune, the mining company fires him and Anna’s parents secretly baptize their child. Thrown out by Anna’s father, Petr follows Johanna to her villa, where he is welcomed as a mystic. Anna joins him to keep the family together, but as Johanna’s circle grows into a cult, Petr’s grip on reality starts to collapse. When Anna tries to save him, he returns to the mine, where it all began.
Marek Partyš is a Czech director and graduate of Film Studies and Journalism at Palacký University. He works primarily in commercial directing, for which he has received several major Czech awards, including ADC Czech Awards in the Film Craft category and Zlatý ohníček for Personality of Czech Creativity, as well as international recognition at Cannes Lions, D&AD, Clio, Epica Awards and Ciclope Festival. In commercial directing, he is represented in the Czech Republic, the USA, the UK, Germany and France. He has also maintained a long-term collaboration with the non-profit organisation Post Bellum, for which he directs annual narrative campaigns. Smearhead marks his transition from award-winning commercial work into ambitious auteur cinema.
Matěj Paclík is a Czech film producer, director and founder of Breathless Films, a Prague-based company focused on emerging filmmakers, bold genre work and international co-productions. He produced Adam Martinec’s debut feature Our Lovely Pig Slaughter, which premiered in the Crystal Globe Competition at Karlovy Vary IFF and received a Special Mention. His credits also include Anatomy of a Czech Afternoon, winner of the national film award Czech Lion and Czech Film Critics’ Award for Best Short Film, the short film Sugar and Salt, premiered at San Sebastián IFF, and the documentary feature Bedwetter, awarded Best Camera at Ji.hlava IDFF. His ongoing psychotherapeutic training deepens his work on Smearhead, developed within MIDPOINT Feature Launch, especially its exploration of altered states of consciousness.
Smearhead explores our need to create meaning from chaos. At its centre is a triangle between Petr, Anna and Johanna. Petr experiences something in the mine that may be revelation, madness or both. Johanna gives his visions language, structure and followers. Anna tries to save the man she loves from a myth that is slowly replacing him. I am drawn to this conflict because it shows how spiritual longing, psychological fragility and social frustration can merge into something seductive and violent. The film is set in 1921, in a world still wounded by war, poverty and collapsing certainties, where people are eager to believe in a new kind of truth. Conceived as a mysterious period thriller, Smearhead moves between family drama and spiritual horror, asking when belief stops giving meaning and starts demanding sacrifice.
Breathless Films
Rybná 683/17, Praha 1, Staré Město, Czech Republic
Email: [email protected]
Marek Partyš | Director, Scriptwriter
Email: [email protected]
Mobile: +420 731 463 112
Vojtěch Mašek | Scriptwriter
Email: [email protected]
Mobile: +420 775 053 793
Matěj Paclík | Producer
Email: [email protected]
Mobile: +420 607 930 300
After her grandfather dies, restless Rosa (21) returns to her grandparents’ remote lakeside village. When she discovers she is pregnant, she chooses to remain there after the funeral, retreating from an uncertain future in the city and the strained relationship with her mother, Viktorija. Meanwhile, left alone after her husband’s death, Rosa’s grandmother Jana begins fighting investors determined to build a luxury resort on the lakeshore, threatening the village’s way of life. While Rosa loses sleep over the unwanted pregnancy, she is gradually drawn into Jana’s battle, and long-buried tensions between three generations of women begin to resurface. When Rosa’s secret pregnancy is exposed, the family fractures completely, forcing all three women to confront one another and fight for the home that still binds them together.
Angela Dimeska is a Macedonian screenwriter and director whose work spans over fiction, documentary, and commercials. With a background in psychology and anthropology, she explores women, identity, and the emotional fractures within social structures. Her short films Wigs (2021) and Boxes (2023) were screened internationally at festivals including FEST, New Directors/New Films, In the Palace, and Alexandria ISFF. She is currently in preproduction of her third short film, The Day the Music Died, produced by Kontrast Film and supported by the North Macedonian Film Agency. Angela is developing her debut feature They Bloom at Dawn, a MIDPOINT Feature Launch title supported by CE MEDIA. She also co-organises Komshilook, an art festival in Skopje, and was a part of the HER Frame Mentorship Programme at the Manaki Brothers ICFF and Novi Sad FF.
Ognen Antov is a Macedonian film producer with nearly two decades of experience making feature films, television shows, and documentaries. He founded Dream Factory Macedonia in 2007 and is also a partner at Kontrast Film. His recent credits include Vera Dreams of the Sea, which premiered at the Venice Film Festival, and Our Father, which was selected for the Toronto International Film Festival. Over the years he has produced and co-produced numerous internationally recognized projects, including award-winning documentaries and notable regional co-productions across the Balkans. Antov is the founder and President of the Macedonian Film Producers Association, which is actively working to strengthen the country's film infrastructure and international co-production ties.
They Bloom at Dawn is a film about women, shared silence, and learning how to love your roots. Inspired by my own experience of going back home, it explores the possibility of returning not as failure, but as a chance to reconnect. It examines how patriarchal values are passed between generations of women, shaping relationships through guilt. It is interested in the ways women become each other’s harshest critics while still carrying the emotional weight of family. At its core, it is about breaking this cycle through empathy and mutual support. Set against a disappearing lakeside landscape, the film is an intimate drama rooted in realism, where moments of humour and tenderness exist within difficult circumstances. In this world, the lake itself becomes a character, reflecting both the beauty and fragility of the community around it.
Dream Factory Macedonia
ul. Viktor Igo 39/7, 1000, Skopje, North Macedonia
Email: [email protected]
Angela Dimeska | Director, Scriptwriter
Email: [email protected]
Mobile: +38972314426
Ognen Antov | Producer
Email: [email protected]
Mobile: +38970255888
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