Tomáš Bojar

A docu-reality series based on the principles of the successful documentary feature Two Nil. 8 football stadiums, 8 matches, 8 parts. Fans as stars, stars as fans. Five different football fans - each representing a specific human type - are observed from long-distance throughout one recognized football derby as they react to different events of the game. Each of them does that in his own, unique way. This lively, authentic footage is subsequently shown to the football players who were involved in the game. Their task is to pick the \"Fan of the match\" who eventually takes part in the final penalty shootout. Football is thus presented inside out: in our show it is the fans who play the central role, while football players act as spectators. It is an original format with strong comic potential that also includes social commentary.

Stromovka Park (originally the King's Royal Game Preserve) and its close environment may become a downsized model (microcosm) of the world at large in which we see Nature, Man and society generally mirrored. Over the course of one year life of specific inhabitants is caught on camera as well as the process of Nature from birth to extinction within the metaphor of the life cycle. The film isn't meant to offer an objective view but in undisguised fashion use the director's perspective: the unifying gauge and bond between the depicted realities is the director himself whose long-term relationship with the afore-mentioned space has engendered a deep emotional link from childhood right to the present. As methodology he has chosen patient observation. He asserts the feasibility of not interfering in the observed course of events and rejects manipulation with reality. The authors’ attention focuses on the most common expressions of everyday life, albeit, when it comes to it, significant in the human context.

A journey into the forest of memories we never wished to revisit. Only by rediscovering its depths can we find ourselves, and only through finding ourselves can we reach forgiveness, understanding, and the hope that life does not end — it begins.

Rootlessness and dilemma — the key words that define the current generation of young Moldovans. Among them is Kristyan Panchuk, a producer, DJ, and founder of the collective Metanoia Underground, which organizes techno parties in a bunker on the outskirts of Chișinău.The film Metanoia is conceived as a character-driven portrait of a young artist facing challenges on his path toward realizing his dream of “real techno” in Moldova. After the initial success of his raves comes decline, and he is forced to close the Bunker. Frustrated and stuck, he tries to find a new venue, sponsor, or audience, but his motivation gradually fades.
Kristyan’s family background reveals both traumas and the roots of his worldview. After emigrating from Moldova, his parents divorced, each starting a new family in a different country. Emotionally, he is attached to his grandparents, especially to his grandfather, who became a father figure to him. From him he inherits nostalgia for Soviet times, patriotism, and pro-Russian attitudes. Against the backdrop of Kristyan’s search for identity and his radicalization, we witness Moldova’s crucial political transformations. The successful referendum on enshrining pro-European integration in the Moldovan constitution and the decisive victory of the pro-European party in the parliamentary elections signal a Western-oriented trajectory. Yet within the country, there remain active forces longing to reverse this course of history. Kristyan represents this group — although still politically inactive, his grandfather, pro-Russian friends, and Telegram channels slowly ignite in him a resentment toward the “degenerate West.”
In this sense, Moldova’s story mirrors that of other countries with a Soviet past — all undergoing an inner transformation, a metanoia, as they struggle to define their civilizational direction in the midst of the war in Ukraine.