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The Chronology of Water (dir. Kristen Stewart)

CRITICS’ CHOICE
“Goddamnit, that’s what a movie should do!” – that is how Kristen Stewart described the moment she read Lidia Yuknavitch’s memoir nearly a decade ago and realized that The Chronology of Water had to be her directorial debut.

In this adaptation, Kristen consciously rejects linear storytelling: the film is constructed in fragments, leaping through time and experience much like actual memory – where a single sensation, image, or physical state triggers another, regardless of chronology. Rather than simply “telling a story,” Stewart seeks to convey an internal experience: trauma, silence, healing, and creativity. Here, water becomes a healing force for the protagonist and a narrative code for the viewer. Let yourself be carried away by this film as if by a current.

Franz (dir. Agnieszka Holland)

MASTERS
Franz Kafka’s life is so heavily documented that, as stated in the film, for every (surviving) word he wrote, ten million words have been written by others. A. Holland chooses a different path – titling the film by his first name rather than his surname to create an intimate and imperfectly human portrait of the artist. Here, Kafka is depicted not as a mythical, towering figure, but as a fragile, sickly, and lost young man, constantly struggling to emerge from the shadow of his authoritarian father. This battle against paternal control becomes his primary creative engine. Franz’s life was far from cinematic, and his work brought him no fame during his lifetime. However, the film itself is pure eye candy through its production design, costumes, and performances.

Recommended for those who only know Kafka from his books and know nothing of his Franzisch side.

My Father’s Shadow (dir. Akinola Davies)

COMPETITION
When you are ten years old, your dad is a powerful, steady authority in your eyes – the man you dream of becoming when you grow up. To other adults, he is just another man struggling to make ends meet, like so many in 1990s Nigeria.

On the day of the new presidential election, the often-absent father takes his two sons along to run daily errands in Lagos. Political tension and democratic hope permeate nearly every street corner, while the entire country watches the election like a high-stakes sporting match. This election will decide the fate of Nigeria.

The film serves as an ode to both a father and a country – capturing a critical moment for Nigeria and invaluable time for the boys, one of whom is the film’s director, and the other its screenwriter.

Alpha (dir. Julia Ducournau)

MASTERS, MIDNIGHT SCREAMS
If you enjoyed Julia Ducournau’s Raw or Titane, Alpha is a must-see as well. The director remains consistent within the body horror genre, delving into taboo themes and creating a world one would hardly wish to visit in person.

This time, the story centers on a rapidly spreading fatal disease that claims 13-year-old Alpha. The girl’s mother becomes the emotional core of the narrative, where love, the fear of loss, and increasingly desperate care collide in the face of the epidemic.

In Alpha, brutal themes intertwine with subtle, almost dreamlike poetics, bringing creative maturity and weight to the director’s third feature film.

Father (dir. Tereza Nvotová)

CRITICS’ CHOICE
Although this film is considered a drama, to me, it felt like a horror movie. Father is one of those films that is difficult to watch but impossible to forget. It tells the story of a moment when an accidental mistake instantly shatters a family, and guilt becomes a destructive force. Without a trace of sentimentality, the director examines the aftermath of a single paternal error like a ruthless master of fate. Milan Ondrík’s performance in his role as a father simply pulls the rug out from under the viewer, as does the realization that this can happen to even the most irreproachable parents. Be warned – watching this film can be a physically painful experience, causing a heavy heart and a tightening throat, but I recommend it nonetheless. Especially for young parents.