Gabrielė Urbonaitė

A woman tries to tell her teenaged son that she and her friend are romantically involved.

Jacqueline - a woman who is obsessed with control - adopts two children from a foreign country with her husband. To help with translation, the kids are accompanied by Gabriele, a twenty-year-old who is just starting to taste the sweetness of power.

Ivy gets her first period during her first communion.

29-year-old Ilona and her boyfriend have just moved into a new apartment in a block of flats. When the building’s renovation begins soon afterwards and she befriends Oleg, one of the Ukrainian construction workers, her idyllic notions of a fulfilling life as she approaches thirty start to crumble, like the old plaster on the walls.

Legendary film actor Juozas Budraitis turns 85. Over his career, he has appeared in more than 120 films not only in Eastern and Central Europe but also in Switzerland and Italy. Film sets brought him close friendships and moments of joyful creativity. Yet today, many of his colleagues are gone, and the actor is increasingly visited by the regret of unfinished work. The Old Man’s Journey is shaped not by the structure of a traditional biographical film but by the fragmentary nature of memory. The roles he has embodied remain etched in his recollection no less vividly than the key events of his life, and so the film guides the viewer between Budraitis’s youthful memories and his most significant cinematic experiences, weaving them into a single, nostalgic stream of remembrance.

Tillie's lonely life as a roadkill removal worker is destabilized when Wanda, a lively stranger, arrives in town.

In Lithuania, two investigative journalists work segregated from others in an isolated office as if in a cabinet. This cabinet is the only location in the film. It seems that they are in the cabinet, like they are closed, separated from others, even from the other journalists. It’s a slow and minimalistic film. It’s not a film about one specific journalistic research; this film presents a monotonous and nervous atmosphere in this cabinet. The boundaries between truth and falsehood begin to overlap, journalists experience the betrayal of a colleague, the office becomes sweltering and unpleasant.

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.