Eimantas Belickas

A journey into the lived reality of international human rights, observed from within long-term relationships and shared time. At its centre stands Ales Bialiatski, Nobel Peace Prize laureate, whose presence emerges through the voices of those who have lived and worked alongside him over decades. The film is carried by two women - his wife Natalia Pinchuk and his closest colleague Sasha Koulaeva. Through memory, routine gestures and years of shared experience, they reveal what it means to remain with someone when history moves in circles rather than forward. Moving across places marked by authoritarian experience, from Belarus to Tunisia and Colombia, the film follows a recurring rhythm of hope, exhaustion and return, linking human rights defenders across borders and generations. A film shaped by endurance, loyalty and the quiet persistence of human dignity over time.

Three photographers: Antanas Sutkus, Algimantas Kunčius and Romualdas Rakauskas talk about art and their work.

In an Armenian village, evicted as a result of the Armenian-Azeri conflict, Abgar stays behind all alone in a gradually shrinking enemy ring. He is waiting for his daughter, who became a witness to her husband's murder by an angry mob and was hospitalized with a mental disorder. An Azeri named Ibrahim offers Abgar to work on the construction of a mosque and promises to find and bring Abgar's daughter instead... A few days later, Ibrahim finds the girl, named Yurga, in one of the psychiatric hospitals of Baku and brings her to Abgar. Abgar wants to leave the village with his daughter, but his skills as a stonemason are still needed for the construction of a new mosque. Abgar realizes that this work in the Azerbaijani village will be endless and realizes that he's been trapped.

“Code of Tumas ” is an effort to show the well-known events and processes of history through the eyes of a direct person with a subjective and emotional look. Letters, publicism, all creations of Juozas Tumas Vaižgantas, also memories of his contemporaries make this reconstruction possible.

The film presents Justinas Vienožinskis, the patriarch of Lithuanian painters and founder of the National Academy of Arts, through a dramatic story about a temperamental and independent man.

The BIX rock bar in Vilnius was designed by Saulius Urbonavičius-Samas, the frontman of the cult rock band BIX, which was formed in Šiauliai in 1987. The film also used archival footage of BIX concerts from the 1990s to illustrate the time period. This new story captures the free and playful essence of BIX’s rebellious spirit, which once led Samas and the band to West Berlin, where they shared a stage with Nirvana. Samas, a painter and karate fan, was followed and 're-educated' by the KGB and helped spark the punk movement that protested against Soviet restrictions. Along with teacher Grikis and friends, they recorded forbidden songs away from the authorities.

A portrait movie of the Godfather of American avantgarde cinema. Through material filmed primarily in the 1990s by both the directors and Jonas Mekas himself, a new insight appears on the filmmaking Lithuanian New Yorker who doesn't consider himself someone who makes films but a filmer.

This film tells a grotesque story of image design. "Diringas" is a mysterious term conceived by the main character, which becomes a product of unlimited possibilites. Everybody is convinced that image is everything - so everybody fights for if. Nobody knows what it is, it is only important that you have it.