In an era when documentary storytelling often gravitates toward clear arcs of downfall and redemption, Glen Fulthorpe’s No Two Ways deliberately chooses a more patient and reflective path. The film follows Biggy, a British-Iraqi man attempting to rebuild his life while confronting the lingering effects of racial profiling, past mistakes, and the responsibilities of faith and fatherhood. Rather than constructing a dramatic narrative of transformation, the film lingers in the

In the noisy basements and small venues of Portland’s underground music scene, a band called Ogre has built a reputation for turning every show into something closer to a communal ritual than a concert. When the band performs, audiences aren’t just spectators—they become part of the experience. Filmmaker Justin Boswick wanted to capture that energy on film. His short documentary The Ogre follows the three-member band—Ace, Grace, and Nils—as they prepare for their biggest s

The first edition of the Amsterdam International Short Film Festival  concluded last night, February 19 , with a sold-out screening at Lab111 , marking a powerful and confident debut for a festival entirely dedicated to the art, urgency, and expertise of short filmmaking. Held in the heart of Amsterdam , the night was met with an engaged and enthusiastic audience, thoughtful post-screening discussions, and a palpable sense that something essential had begun. The full house co

The first edition of the New York Monsters Film Festival  erupted onto the New York underground film scene on February 14th  at Film Noir Cinema , delivering a brutally memorable Valentine’s night dedicated to disturbing, transgressive, and fearless cinema. Hosted in the heart of Greenpoint , the inaugural edition was an overwhelming success , featuring a razor-sharp international lineup, an engaged and enthusiastic audience, electric post-screening reactions, and striking ph

In Beproeven , Belgian filmmaker Karlijn Reynaerts invites us into a world where something as ordinary as food becomes an overwhelming confrontation. Rather than explaining Avoidant/Restrictive Food Intake Disorder (ARFID) through diagnosis or narrative exposition, the film chooses a far more daring path: it immerses the viewer in the sensory and emotional reality of the condition. Fragmented imagery, distorted close-ups, rhythmic editing, and an acutely controlled soundsca

Brussels, 9 February 2026 - The curtains have closed on yet another edition of the Brussels Independent Film Festival. Spanning seven days, the festival showcased a total of 68 feature and short films hailing from 23 countries, nestled in the heart of Brussels at Cinema Aventure.   Kris De Meester, the festival director: “Reflecting on this year’s edition of the Brussels Independent Film Festival, I feel above all a deep sense of gratitude. First and foremost, I want to thank

I watched Inferior Shadows during the Doc.Berlin Documentary Film Festival. When the credits stopped rolling, no one moved. No applause, no murmurs—just a room full of people looking at each other, quietly aware that we had witnessed something rare. The film is beautifully shot, but brutally so; tender in its attention, devastating in what it reveals. Long after the screening, its images stayed with me. It felt necessary to speak with the filmmaker Ramin Khalighi —not to de

Over the past few days, the Doc.Berlin once again hosted its annual event at the historic Babylon cinema in Berlin. The festival was happy to welcome a number of artists: Nazanin Hafez, Zora Arose Ritz, Evgenia Chetvertkova, Kayu Yeung, Matias Dumas, Westley Hennigh-Palermo, Piotr Goldstein and many more. Kris De Meester, festival director, looks back: “As the festival director of Doc.Berlin , I tend to experience each edition in a very inward way. Documentaries, for me, are