Review: Antigone: In the Language of Kings

Location	17985 Pacific Coast Highway, Pacific Palisades, CA 90272
Theater	Latino Theater Company and Getty Villa Museum Outdoor Classical Theater
Date of Performance	September 11, 2026
Language	English, Spanish, Nahuatl
Photos by	Craig Schwartz

Review By Amanda L. Andrei 

The resinous scent of burning copal drifts through the arena. A grief-filled keen pierces the air. And a specter of death glides through a battlefield, sweeping corpses into black billows. 

No, we’re not in ancient Greece. We’re sitting in the stone tiers of the Getty Villa, only a hundred yards away from the quartz sands of Malibu beaches. As the stars appear in the night sky, the cast of Antigone: In the Language of Kings graces the outdoor stage before us.

Adapted and translated into English, Spanish, and Nahuatl by Evelina Fernández from Sophocles’ tragedy Antigone, the play places the doomed descendants of the House of Thebes within pre-conquest Tenochtitlan. With the wide open-air theater transformed into the ancient capital of the Mexihcahtl people, director Luis Jose Valenzuela fluently combines athletic dance, haunting songs, and spectacular images of death amidst the imperial court’s arguments, pleas, and threats (and surprisingly, even some Spanglish humor).

In the power vacuum remaining from the departure of the tlahtoani (ruler) Oedipo, his sons vie for the throne in a civil war that kills both princes (a movement-based narration beautifully choreographed by Urbanie Lucero). When their uncle Klion (Cástulo Guerra) assumes the throne, he forbids one of the brothers from receiving a proper burial, effectively violating the sacred laws of the ancestors and the divine. Only Antíkona takes a stand against this moral tyranny and state violence. 

As Antíkona conducts funerary rites as a shadowy figure, decries the oppressive Aztec ruler, and addresses the masked Mexihcahtl koro (chorus), Esperanza América is utterly royal as a grief-stricken sister and morally upright citizen. It’s a pleasure to watch her verbally spar with Guerra or admonish her timid and law-abiding sister, Ixmene (Alexis B. Santiago). Antíkona’s intensity is matched by her fiancé, Hemon (an ardent José Eduardo Moreno). Their shared scene marks personal tragedy not only for the couple, but also as a political tragedy for the entire empire, victims of a ruler’s arrogant and destructive power. 

The ancestral Mesoamerican music ensemble Xochi Cuicatl (Flower Songs Music) creates a ceremonial soundscape for the sumptuous visuals (scenic design by François-Pierre Couture and lighting design by “Lee” Xinyuan Li). Catarina Copelli’s costumes burst with feathered plumes, bold lines of traditional makeup, and expressive masks. The effect is reminiscent not only of Western theater’s Mediterranean roots, but also calls upon the unique design elements of pre-conquest America. Similarly, Fernández’s translation choices between English, Spanish, and Nahuatl impart a sense of rich linguistic texture and social registers, especially when the koro sings in Nahuatl to remember and honor deceased family members.

Ultimately, this operatic performance serves as a warning to tyrants and the morally weak and silent. In voices that fill the semi-circles of the theater, their message reverberates against the villa’s darkened hills and the Pacific’s foaming tides: 

A good ruler should be like a great tree that gives shade, that gives cover, that gives shelter.

Nelli in itlahtoh. (Her words are true.)

Dispatch from the Craiova International Shakespeare Festival

Review By Amanda L. Andrei 

Come to Craiova at the start of the summer, and you’ll find this southwestern city in Romania bursting with drama. Since 1994, this cozy Belle Époque city in Romania has hosted the International Shakespeare Festival, filling the stages, streets, and sprawling Romanescu Park with performances and art inspired by the Bard. 

Held from May 21-31, 2026, this fifteenth edition of the festival revolved around the theme “Will Matters,” punning on the playwright’s name and concepts of agency and self-determination. How do you make your will matter in a world filled with tragedy? Or how does your will change once you turn the street corner and find a hidden treasure trove?

Indeed, tragedy graced the evening productions. Titus Andronicus: Reborn, presented by Japanese company Kakushinhan and directed by Kyunosuke Kimura, opened the festival, transforming the gory revenge play into a spiritual Noh performance replete with gorgeous masks and robes (design by Hisato Iwasaki and Maya, respectively). 

Romanian director Silviu Purcărete’s King Lear stripped the aging monarch (Claudiu Bleonț) from a decorated regality to gritty madness, only to subvert the titular character’s famous cry at the end (“Never, never, never, never, never!”) with muteness. In this Romanian interpretation of the political tragedy, the aching howl of the doomed king and his family pierced so deeply, it saturates the final atmosphere with silence.

If so many dead bodies and failed choices are too heavy to stomach, the streets and smaller performance venues offer an enchanting break and good humor. Turn the corner and you might run into a street parade with jewel-toned performers on stilts and makeup, or intimate art installations. 

A larger installation in Mihai Viteazu Square showcases youth creations inspired by A Midsummer Night’s Dream: over 1,000 middle and high school students from Dolj County developed a labyrinth of intricate, candy-colored scenes from the fantasy-comedy. A micro black-box theater with a filmed student performance inside adds a lovely private moment for passersby.

Choreographer Elena Zamfirescu directed 9+ Suitcases, One Tempest, an experimental movement and dance piece in the Museum of Art’s Constantin Brâncuși Centre. Young performers shifted and opened vintage suitcases, stacked glasses, and twisted their bodies in the natural light of the Centre. The images of the sculptor added historical depth to their abstract performances. (Brâncuși is from the region of Craiova and famously emphasized simplicity and essence in his artwork.) Estonian Tricktrek theatre staged a wordless puppet performance through an elaborate wooden castle on wheels in the Promenada Mall in Craiova, delighting audiences of all ages with its craftsmanship. 

Film lovers also enjoyed free screenings of classic Shakespeare films and adaptations: Laurence Olivier’s Hamlet, Orson Welles’ Chimes at Midnight, Franco Zeffirelli’s Romeo and Juliet, Jean-Luc Godard’s King Lear, Gus Van Sant’s My Own Private Idaho. Other films screened included Mamoru Hosada’s animated Scarlet, loosely based on Hamlet, and the short Romanian documentary Yuri Butusov and Other Tales about the famed Russian director and his avant-garde methods. The stylish Biergarten Craiova also showcased student short films in their “UNAT-Cinema” evening program, an initiative from the Universitatea Națională de Artă Teatrală și Cinematografică “I.L. Caragiale” in Bucharest. 

Constructed in 2024 for the thirtieth anniversary, the Shakespeare Village was a unique addition to the festival. Small wooden sets with Elizabethan era trades and activities (such as weaving, fencing, and leathermaking) encircled a grassy area for storytelling, dance tutorials, and fencing demonstrations. Gift stalls and food trucks lined the perimeter. A concert stage and shaded lounge area provided beanbags and low wooden tables to enjoy a beer or cocktail in between shows and events. At night, rock concerts and light shows filled the Village as audience members jammed, danced, and made merry. 

From stage to square, Craiova’s international festival shows that Shakespeare is more than a historical playwright, but a reason to gather and party.

It All Starts Here… Well, Kind Of

Notes from My Year as a Sundance Institute Ignite x Adobe Fellow

Review by Leon Ristov

This time last year, I found out I had made it to the final round of interviews for the Sundance Institute Ignite x Adobe Fellowship. The Fellowship is a yearlong program that supports ten emerging filmmakers between the ages of 18–25, offers mentorship and workshops from Sundance alumni, and ends with a showcase at the Sundance Film Festival. Per the official website, the fellowship focuses on “supporting emerging documentary and fiction filmmakers from across the globe.” At the time, it felt like everything I had been working toward was distilled into this opportunity. 

Flash forward to one year later—spring of 2026. I’m about to have my final check-in with Kat and Toby, the kind people who run the fellowship. I’ve spent a year as a Sundance Institute Ignite x Adobe Fellow, and I’m receiving eager messages from this year’s interviewees. They want advice on their applications. I remember being on the other side, hoping this opportunity would work out for me. The fellowship occupied so much space in my mind. Before I even knew the outcome, I had already imagined every version of it—being rejected, being accepted, sharing the news with others, or quietly holding onto disappointment. I played each scenario in my head so many times that by the time I received my acceptance letter, it felt strangely familiar, almost like I had already celebrated it. In retrospect, that might have been the perfect mindset to carry into this experience.

During the fellowship, our first kickoff lab took place at MASS MoCA in North Adams, Massachusetts. We were put up at the Porches Inn, a hotel made up of conjoined Victorian-style row houses painted in bright colors, complete with a sauna and pool that quickly became everyone’s favorite spot. I met the nine other fellows, and we clicked immediately, staying up late most nights, laughing and chatting in our swimsuits. The cohort hailed from all over—Canada, Costa Rica, India, Korea, Ireland, the U.S., and my country, North Macedonia. Over the course of a few very hot days, we shared our work and listened to Sundance Institute alumni speak, learning from filmmakers at various stages of their careers.

Gathered in the spacious, industrial rooms of MASS MoCA that somehow felt intimate, we listened to first-time directors who had achieved extraordinary success, and producers with longevity in the independent filmmaking world that one can only dream of. The humility in the room stood out to me the most. Mentors spoke about the effort and setbacks that come with making a first feature, as well as the even greater hurdles of making a second one.

“There was no illusion of a straight path or guaranteed success, just honest conversations about persistence, adaptability, and finding your way through uncertainty.”

It was then that I realized that the fellowship didn’t feel like all I had made it up to be in my head. It felt better than that—real people offering real advice.

In January 2026, I attended my first Sundance Film Festival thanks to the fellowship. I booked an Airbnb with most of the fellows, extending our stay beyond the four days scheduled for fellowship activities. “Guys… it all starts here,” Brittany would say jokingly, pausing for dramatic effect after “guys.” She was undoubtedly the funniest from our group—and probably in any group she’s part of. Still, there was some truth to the pomp. It was a historic edition—the final festival held in Park City, buzzing with excitement and nostalgia ahead of the festival’s move to Colorado in 2027. We had the chance to meet with studios and agents, attend a Janelle Monáe DJ set, and walk along the iconic (albeit freezing) Main Street, occasionally spotting recognizable faces from film and television.

But what stayed with me most weren’t those larger moments. It was the things that felt familiar. My friends Anooya Swamy and Raman Nimmala had their short films,Pankaja and O’Sey Balamma, premiering in the Official Selection. Marija Dimitrova, a seasoned Macedonian producer I was lucky to catch up with over a quick coffee, co-produced Shame and Money, the Grand Jury Prize-winning Kosovar film in the International Feature Program. My favorite film at the festival, Filipiñana—also a Grand Jury Prize-winner—was represented by MAGNIFY, the global sales arm of Magnolia Pictures, where I had previously interned. Attending these screenings became some of the most meaningful parts of the festival for me—moments of reconnecting and celebrating with people whose work I had followed closely, whose success didn’t feel foreign or overnight, but tangible and earned.

When my short film, Nikola, Nikola, screened during the Ignite showcase, projected on a large Sundance screen alongside the work of the other fellows, I found myself less focused on my achievement than on the collective strength of our films.

“There was something special about seeing all our films together—each one distinct, yet complementary to the others.”

I felt grateful for the cohort that Kat and Toby had brought together, a group of filmmakers who genuinely supported and believed in each other’s work. 

After the screening, aspiring filmmakers approached us with questions about applying to the fellowship, reminding me of how I had once imagined this moment from afar. But some of the most meaningful conversations happened among the fellows ourselves. In the minutes after the screening, we found ourselves complimenting each other’s films as if we were discovering them for the first time—sharing words of encouragement we had already said many times before.

“It” definitely did not all start here, despite our (at that point) running joke that it did. The fellowship was far from an overnight whirlwind of success. It was more of a coming together—a chance to be present with others on the same journey, and to find grounding in that shared experience. 

Things were already in motion. We just got to pause and witness it together.

ROMANIAN TIFF AND CZECH KARLOVY VARY HEAT UP THE FESTIVAL SUMMER

It’s Film Festival Season in South East Europe!

The busy festival summer kicks off this weekend with the 24th annual Transilvania International Film Festival in Cluj-Napoca, Romania, followed in July by the 59th festival in Karlovy Vary, Czech Republic, and the 72nd Pula Film Festival in Croatia. 

Next in August are Locarno (the 78th edition) and Sarajevo (the 31st), the largest regional festival in South East Europe. 

And there’s more to explore on the festival circuit! Packed programs with an increasing number of sidebars, industry platforms and special cultural events offer festivalgoers plenty to choose from. 

Whether you’re a film industry insider or a tourist, European festival summer is welcoming to all guests. Enjoy! 

TIFF Romania – https://tiff.ro/en

Karlovy Vary – https://www.kviff.com/en/homepage

Pula – https://pulafilmfestival.hr/?lang=en

Locarno – https://www.locarnofestival.ch/home.html

Sarajevo – https://www.sff.ba/en 

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“Greek Apricots” at Future Frames in Karlovy Vary

Short film by Slovenian director Jan Krevatin, “Greek Apricots” – which L.A. audiences saw at SEEfest in May, is part of European Film Promotion’s program Future Frames at the upcoming Karlovy Vary International Film Festival, July 4 – 12.

The film portrays a couple brought together by their shared Macedonian roots on a quiet summer night, and features renowned N. Macedonian actress Labina Mitevska (“Before the rain,” “I am from Titov Veles”). Congrats to the young filmmaker!

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…and a few books to read on long summer nights…

Maya Ombasic, from Bosnia and Herzegovina and based in Quebec, Canada, whose breakout debut “Mostarghia” established her on the international literary scene, has several books in print albeit mostly in French.

“Lejla” (Dans les murs) features a woman traveling to Trieste, a city she’s fascinated by since childhood, and a city that encapsulates the unique milieu of Central/East and Southeast Europe.

And More:

Andrey Kurkov, Ukrainian author whose novel “The Silver Bone,” translated by Boris Dralyuk, was on the 2024 International Booker Prize longlist.

Georgi Gospodinov: The Bulgarian author, who won the 2023 International Booker Prize with “Time Shelter,” translated by Angela Rodel.

Jenny Erpenbeck, a German author from the former East Germany, won the 2024 International Booker Prize for “Kairos,” translated by Michael Hofmann. This novel is set in the final years of communist East Germany.

“This Way to Paradise – Dancing on the tables,” a book about life in Greece, by lifelong Philhellene (and a supporter of SEEfest since its early days,) Willard Manus. 

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Meet the Team at SEEfest’s 20-Year Milestone

by Cristina Sandu

Each spring, a unique cinematic voice echoes across Los Angeles, far from the glittering lights of Hollywood. That voice belongs to the South East European Film Festival, SEEfest, an annual celebration of storytelling that shines a spotlight on the cinematic culture of Southeast Europe. In its 20th year, SEEfest has become a beloved staple in the city’s cultural calendar, known for its diverse programming, global perspectives, and unwavering commitment to cross-cultural dialogue.

A Dream Realised

“The festival is Vera Mijojlić’s brainchild,” says Elisa Iovine, a long-time SEEfest team member and veteran of the global film industry.

Who Shows Up? Everyone.

A Milestone Year

2025 marks a major milestone: 20 years of SEEfest. And this anniversary brings not only reflection but also celebration.

“Two decades of Southeast European cinema in L.A., that’s no small feat,” says Elisa. “This year, we’re honoring the journey while still pushing forward.”

That push forward includes new programming and broader access.

SEEfest is showcasing six short film programs online, allowing audiences across the U.S. to participate in the festival from anywhere.

As Denise puts it, “Those who aren’t in L.A. or can’t get to a cinema can discover these films and stories anytime during the festival, anywhere in the U.S. It’s a great way to keep the conversation going and bring more people into the SEEfest community.”

Stories That Matter, Especially Now

In a time of cultural division and political polarisation, SEEfest’s mission feels more urgent than ever.

“Festivals like SEEfest are antidotes to isolationism,” Elisa says. “They remind us of our shared humanity through humour, history, and resilience, especially in places like the Balkans, where those stories are so richly layered.”

Denise adds, “I think SEEfest plays an important role right now because it allows us to slow down and connect through stories that don’t usually get much attention.”

SEEfest Review: Where Culture and Cinema Converge

Community at the Core

One theme emerges again and again in our conversation: community.

SEEfest thrives because of its people: the volunteers, the local partners, the audiences, and the filmmakers.

“SEEfest has always been community-driven,” Elisa says. “From the start, SEEfest has relied on the passion and dedication of volunteers, community leaders, and local businesses who believed in the importance of showcasing Southeast European cinema and culture.”

Changing Perceptions

Asked what she’d most like to change about how Americans view European cinema, Elisa doesn’t hesitate. “That it’s not for them. This opinion often stems from misconceptions that European cinema, particularly from Southeast Europe, is either too ‘art house,’ too serious, or somehow disconnected from American viewers’ experiences.”

Denise adds, “More people realize European film isn’t just French or Italian cinema. There’s so much happening in places like Bosnia, Romania, Ukraine, and Serbia, and SEEfest is helping open those doors.”

Looking Ahead: Bigger Platforms, Wider Impact

What’s next for SEEfest?

A dream collaboration with a major festival like Sundance or TIFF is high on the wishlist.

“Sundance would be a perfect fit,” Elisa says. “I believe the Sundance Film Festival would be an ideal partner for several strategic reasons. Sundance’s commitment to independent voices and emerging filmmakers aligns perfectly with SEEfest’s mission of discovering and elevating new talent from Southeast Europe.”

As Denise notes, the goal isn’t just recognition. “It’s about people coming together, watching something powerful, and then sticking around to talk about it. That shared experience helps build connections with fellow cinephiles and expands the festival’s reach into diverse neighbourhoods.”

Final Cut: SEEfest Is More Than a Festival

In the end, SEEfest is about so much more than films. It’s about community. It’s about cross-cultural curiosity. And most of all, it’s about the belief that stories told with heart, humour, and honesty can bring us closer in a world that often feels too far apart.

As SEEfest enters its third decade, its team continues to shine a light on the voices of Southeast Europe, one film at a time, while proving that when it comes to cinema.

About the Author

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The Frontier Café – Conversation with Dr. Ali İğmen

The history and future of Balkan Cinema

Please subscribe to our new podcast. Available on Anchor, Spotify, Amazon Music, Google Podcast, Castbox, Pocket Cast, Radio Public, YouTube

About the Guest

Dr. Ali İğmen s a Professor of Central Asian History and the Director of the Oral History Program at California State University, Long Beach (CSULB). His book, Speaking Soviet with an Accent: Culture and Power in Kyrgyzstan, was published by the “Central Asia in Context Series” of the University of Pittsburgh Press in July 2012 and was a finalist for the best book award of the Central Eurasian Studies Society. 

His most recent article, “Intimate Publics, Looking Back and Looking Abroad,” will appear in the collected volume Tulips in Bloom, An Anthology of Central Asian Literature, co-edited by Gabriel McGuire, Naomi Caffee, Emily Laskin, Samuel Hodgkin, and Christopher Fort. 

He received his doctorate from the University of Washington in Seattle in 2004 and, as a post-doctorate visiting scholar, taught at the University of Wisconsin in Madison. He also taught classes at Kyrgyz National University in Bishkek, Osh State University in Osh, Kyrgyzstan, and Boğaziçi University in Istanbul, Turkey. 

Many awards helped İğmen support his research on Kyrgyzstan, such as Fulbright Hays, SSRC, and Mellon Slavic Studies Initiative Grant.

Source.

Making Culture in (Post) Socialist Central Asia, co-edited with Ananda Breed and Eva-Marie Dubuisson, London: Palgrave Pivot, Palgrave McMillan Book Series, 2020.

Connect with Dr. Ali İğmen on Social

Instagram | Twitter

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The Frontier Café – Conversation with Daylyn Paul

Working in a Post-Covid Film Industry

Please subscribe to our new podcast. Available on Anchor, Spotify, Amazon Music, Google Podcast, Castbox, Pocket Cast, Radio Public, YouTube

About The Guest

Daylyn Paul is a director and writer based out of Los Angeles. A graduate of California State University Long Beach and a recipient of the HFPA directing and writing grant, Daylyn has over eight years of experience in the entertainment industry. She currently works at CBS and ABC as a production assistant. Her previous works include the short film Nothing There Sings (2019) and the TV movie Suggestion Box (2019). Additionally, Daylyn was a casting assistant for the 2019 short film Flawless. She also works as a writer for an Amazon podcast set to release later in 2022.

Connect with Daylyn Paul on Social

Instagram | Twitter

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The Frontier Café – Conversation with Elma Tataragić

The History of Bosnian Cinema and the Role of Memory in Cinema

Please subscribe to our new podcast. Available on Anchor, Spotify, Amazon Music, Google Podcast, Castbox, Pocket Cast, Radio Public, YouTube

About The Guest

Elma Tataragić (1976) is a scriptwriter, professor and festival programmer. She graduated Dramaturgy (Screenwriting and History of Cinema) at Sarajevo Academy of Performing Arts and obtained her Master of Science degree and PhD in Film and Literature. She has been with Sarajevo Film Festival since it was founded in 1995, where she now works as selector for Competition Programs and CineLink Industry Days.

She co-wrote short film First Death Experience (2001) and wrote and produced short North Went Mad (2003), both directed by Aida Begić. She has produced and co-written the feature film Snow (2008) also directed by A. Begić, shown in the Semaine de la critique at Cannes Film Festival 2008, where the film won the Grand Prix. The film has been shown at over 80 festivals and won over 30 international awards. She is the General Secretary and a member of Filmmakers Association of Bosnia and Herzegovina. She has been teaching screenwriting at Sarajevo Academy of Performing Arts since 2002, now as a professor.

She is member of European Film Academy and has published a book on screenwriting and is also works as a script consultant. In 2016 she has completed her short fiction film I Remember, which is successfully touring the world film festivals. The feature film When The Day Had No Name (2017) directed by Teona Mitevska which she has co-written premiered in Panorama Special at Berlinale 2017. She is currently in preproduction of two feature films she has written: Stitches to be directed by Serbia director Miroslav Terzić and God Exists And Her Name Is Petrunija by Macedonian director Teona Mitevska. She’s also developing a new feature and short experimental films.

Source.

Connect with Elma on Social

Instagram | Twitter

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Ukraine in the 17th edition of SEEfest

The 2022 South East European Film Festival announces the inclusion of Ukraine in the 17th edition

The 2022 South East European Film Festival announced the inclusion of Ukraine in the program, with two outstanding films, the 2022 Sundance directing award winner Klondike by Maryna Er Gorbach and the US premiere of Blindfold by Taras Dron. Both films focus on ordinary people trying to live their lives under the constant threat of new conflict and war traumas that just won’t go away. 

“SEEfest is proud to bring to L.A. audiences these remarkable films with strong female characters at the center of the story,” says Vera Mijojlic, founder and director of the festival. “We have previously worked with Maryna Er Gorbach who co-directed, with Mehmet Bahadir Er, 2020 festival entry Omar and Us. We look forward to continuing this collaboration and supporting our colleagues in Ukraine.”

Info about Blindfold is here. Klondike info is here.

Two short animation films from Ukraine are also in the program. The 17th annual edition of the Los Angeles-based film festival is slated to unfold as a hybrid, with in-person as well as virtual screenings on the Eventive platform. 

SEEfest is proudly co-presented by ELMA, the L.A.-based foundation for European Languages and Movies in America. 

SUPPORT SEEFEST

Not a member yet? Become an art patron with other SEEfest arthouse aficionados in support of great events and programs and our mission to keep you informed about initiatives from our wide network of fellow cultural organizations.

We Welcome YOU!

In Solidarity

Less than a quarter-century since the last deadly fighting was over in Eastern Europe the winds of war have again engulfed the region. Under attack, hundreds of thousands of civilians are fleeing Ukraine and pouring into neighboring countries. Non-Ukrainian residents and Ukrainians alike are seeking shelter in Romania and Poland, and farther afield. The danger of a widening conflict is ominously present.

Please check these two internationally recognized relief organizations working with refugees worldwide:

International Rescue Committee, the IRC, is already working on the ground in Poland; and the UN Refugee Agency, UNHCR, helping displaced families.

Romania has already accepted a large number of refugees, and the Embassy of Romania, together with the Romanian United Fund, has established Ukrainian Peace Fund to support health facilities with necessary supplies such as medicine, as well as food and hygiene items.

Art, especially visceral cinema such as recent movies by Ukrainian directors, brings us up close to what people on the ground experience. Art by itself may not stop tanks, but it gives the fuel to the human spirit to fight them.

Memorable films from the SEEfest archives

Some of the memorable films from the SEEfest archives about either the societies at war or in the post-conflict state include No Man’s Land, The Cordon, Before the Rain, Borderline Lovers, Kukumi, The Paper Will Be Blue, California Dreamin’, The War is Over, Medal of Honor, Valley of Peace, A Day on the River Drina, Fuse, Sarajevo, My Beautiful Country, Half Shaved, Babai, A Good Wife, Refugee 532, That Trip We Took With Dad, Politiki Kouzina, Omar and Us, Ethnophobia, The Grey War, Men Don’t Cry, The Other Side of Everything, The Diary of Diana B., Zana, So, What’s Freedom?, and Quo Vadis, Aida?

They are mementos of the past that should not be forgotten.

Cover image is a still from Quo Vadis, Aida?

SUPPORT SEEFEST

Not a member yet? Become an art patron with other SEEfest arthouse aficionados in support of great events and programs, as well as our mission to keep you informed about initiatives from our wide network of fellow cultural organizations.

We Welcome YOU!