Augustė Ona Šimulynaitė

Lina, a Vilnius morgue medic who becomes fascinated by the mysterious disappearance of a sailor named Vilkas. Her obsession leads her to eerie places and disturbing encounters. The clock is ticking as Lina searches for the missing man.

On New Year’s morning, Sharunas wakes up next to the charming guy Martin, while his girlfriend Iveta is in the shower. Sharunas can’t help but wonder if things will ever be the same again. Meantime, Martin wishes him a Happy Next Year.

Four tired women who don't know each other meet by chance at a spa. Here, the film's characters get into strange and somewhat comical situations that help them understand what is wrong in their lives. There is also a fifth weary character here, which is the spa itself, trying to be the perfect place to relax, but failing.

A musician on his way to meet a fellow fiddler, encounters two girls and is taken aback by their talks about afterlife. The musicians walk towards a village observing events, unable to discern phantasy from reality. Later, both men attend a funeral, where archaic rituals intertwine with the practice of marrying a dead girl to an ‘afterlife groom’.

Matas returns to his neighborhood in Vilnius (Lithuania) after fleeing the war in Ukraine. He finds his wife and the friends he left behind when he joined the conflict.

It is highly probable that before their own death, everyone has to organise someone else’s funeral. This is by far not an easy task. In addition to the searing grief, dying also brings a number of tasks that are at once utterly alien and intensely time-critical. The main character of this film, Dovile, who unexpectedly has to bury her father, has to face the bedlam of exactly such a challenge. Overnight, the young girl has to become a skilful organiser of a family event, while also being a specialist on coffins, urns, wreaths and funeral feasts. Dovile’s journey towards organising a perfect funeral is inevitably full of hardship and mishaps, accompanied mainly by black humour and comical situations.

The year is 2000. Aleksandra, a young prosecutor, is handling a human trafficking case. She must conduct two interrogation sessions in one day. First, Aleksandra faces Andrius – a high-school friend turned suspect, who provokes and undermines her strategy, not leaving her any breathing space. During the second interrogation, she talks with Viktorija, the victim who has personal reasons to distrust law enforcement.

With gentle irony, “Cinephilia” unmasks the illusion of film. Characters migrate through the worlds of reality and fantasy, in circumstances that paradoxically have no questions or answers. The two moons of Lars von Trier shine in the night sky, entrancing the main heroes, Roland and Isabel. Roland rents himself a room where he winds up in situations reminiscent of the plots found in Franz Kafka’s “The Trial” or Roman Polański’s “The Tenant”. A guy visits Roland, claiming that they known each other, and offers him a lot of money to film his suicide. There begins a kaleidoscopic sequence of events and random acquaintances. They make the characters wander through the worlds of reality and fantasy, sometimes both at the same time. A dark comedy that tells nine related stories in which the fates of the characters intertwine.

Adela and Benas fall in love over the summer, but their lives pull them apart.