The Tallinn Black Nights Film Festival (PÖFF) in Estonia has just revealed its competition lineup and international jury for the 2025 edition, setting the stage for a festival that promises to deeply resonate with contemporary global issues. But here's where it gets controversial: this year's selection doesn't shy away from confronting the raw and often uncomfortable realities of our world.
For its 29th year, the festival showcases a competitive program featuring 17 feature films, including 16 world premieres and one international premiere — a testament to the event’s growing prestige and influence. The festival director and head curator, Tiina Lokk, highlighted that this year’s entries are a compelling snapshot of today’s collective concerns and human endurance. “There isn’t a single unifying theme, yet the films together hold up a mirror to society,” she explained. “They reflect everything that unsettles us — from the devastations of war and crippling environmental crises to political arrogance, migration challenges, women’s rights, and the fragile nature of family bonds.”
Boasting an impressive submission pool, the festival received 1,900 entries for the main program, 433 for the Just Film category, and an overwhelming 5,600 short films. Films from over 100 countries poured in, culminating in a final selection representing around 80 nations. In total, the festival will premiere 110 films globally for the first time and introduce 30 international premieres, highlighting its role as a key platform for new cinema.
Noteworthy is the strong presence from Asia, Latin America, and Spain — with Spain notably featuring two films in competition. Lokk expressed enthusiasm over the spotlight on emerging regional talents, particularly Catalan female filmmaker Júlia de Paz Solvas with her film The Good Daughter and Galician director Anxos Fazàns’ poignant story The Dashed Lines, which touches on the delicate subject of divorce.
The jury panel includes renowned Macedonian director Teona Strugar Mitevska, known for thought-provoking films like Mother and God Exists, Her Name Is Petrunya. Alongside her are Emmy-nominated costume designer Debra McGuire, Mongolian producer and screenwriter Nomuunzul Turmunkh, acclaimed cinematographer Roberto Schaefer, and German producer Ingo Fliess. This diverse group brings a wide breadth of experience and cultural perspectives to the festival’s award decisions.
Here’s a look at the full lineup for the main competition, showcasing a remarkable range of stories and styles from around the globe:
- 18 Holes to Paradise (Portugal, Italy, Argentina), directed by João Nuno Pinto
- Duality (Iran), directed by Abbas Nezamdoost
- Hungarian Wedding (Hungary), directed by Csaba Káel
- LifeLike (Turkey, Greece, Romania), directed by Ali Vatansever
- Mira (Morocco), directed by Nour Eddine Lakhmari
- No Comment (Norway), directed by Petter Næss
- Sisa (Philippines), directed by Jun Robles Lana
- The Dashed Lines (Spain), directed by Anxos Fazáns
- The Frog and the Water (Germany), directed by Thomas Stuber
- The Good Daughter (Spain), directed by Júlia de Paz Solvas
- The Imaginary Dog and the Lying Cat (Japan), directed by Yukihiro Morigaki
- The Moon is a Father of Mine (Luxembourg, Turkey, Georgia, Germany, Czechia, Bulgaria), directed by George Ovashvili
- The Muralist (Mongolia), directed by Sengedorj Janchivdorj
- The Stories (Austria, France, Belgium, Egypt, Sweden), directed by Abu Bakr Shawky
- Think of England (United Kingdom), directed by Richard Hawkins
- Veins (Canada), directed by Raymond St-Jean
- Versalles (Mexico), directed by Andrés Clariond
So, what do you think? Does this festival truly reflect the state of our world, or is it shaping the narrative in a way that serves specific agendas? And how influential can such a film festival be in driving global conversations on these critical issues? Share your thoughts and let's get the discussion going.
