Here you can find the complete IDFA 2022 program of films and new media projects. Find a title alphabetically or use the filter to quickly find films that suit your interests. To see the program schedule, click here.
What if you suddenly end up in a world where you’re no longer seen but stared at? This film shows the alienation this evokes for four protagonists who are new to the Netherlands. If no one knows who you used to be, are you still yourself?
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An award-winning documentary taking a humorous look at the entrance exams at the Prague art academy, held under the watchful eye of the receptionist. How do you apply a selection procedure to something as subjective as art?
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A patient family portrait in black-and-white, featuring an elderly father, who lives with his wife in the Chinese countryside, and their alcoholic son, who lives in the city. At his parents’ home, his isolation becomes tangible.
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An intimate report on the gender affirmation of the former actor Rüzgar Erkoçlar, who has to go through his journey of self-realization under media scrutiny in the traditional society of Turkey.
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Why did her mother not reveal that she had cancer? This is just the first of many questions the filmmaker has in this tender feature-length debut where mother and child explore their relationships—with illness, death and each other.
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Sylvana and Mohammed, both from Lebanon, like to go for walks together. She is in a wheelchair, he is blind; as he pushes her, she guides the way. They discuss the obstacles they face on a daily basis, which are physical, but above all societal.
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Celsa looks back on her time as a political prisoner during the brutal regime of Alfredo Stroessner in Paraguay (1954-1989). Traumatic memories are reawakened when what may be the remains of her murdered husband are found.
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The boundaries between the rehearsal process and the performance of a piece are blurred in this colorful and elaborate film about the Kamak theater group, a professional ensemble for actors with intellectual disabilities.
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The life-size nude statue “Kam-lōo-tsuí” survived the war and the White Terror period in a factory warehouse belonging to the family of an art-loving clinician. His sons now reminisce about their lives with the artwork, as at last it is restored.
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Daniela López aims her camera at members of her own family—at her grandmother Martha, who escaped a violent marriage after 39 years, and at the rest of the family, who is struggling not only with that trauma but also with the film project itself.
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