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American-educated, comparative literature professor Ali feels that he has shed his familial baggage, and with it, his father’s patriarchal, draconian sensibilities. Ali’s long-simmering resentment, however, resurfaces as he becomes aware that his mother’s untimely death may not have been natural. 
When a mysterious drifter Riza turns up at his rural cabin looking for work, Ali thinks that Riza may be able to solve several problems. As the revenge scheme spins out of control, Ali’s generational trauma threatens to overturn everything he’s worked for. Part David Lynch, part Turkish realism, The Things You Kill explores how the power of the patriarchy is built on an unreal scaffolding, one that crumbles as soon as any pressure is exerted.
Winner, Sundance 2025 World Cinema Award

The 2025 Sundance Grand Jury Prize winner, a love story set in a traditional Maharashtrian village, follows Anand, a city dweller who, during a 10-day mourning period for his father, rekindles a tender bond with his childhood friend. At the beginning of Cactus Pears, protagonist Anand has to leave his urban world to mourn his beloved father in his ancestral home, where he is inundated with memories and his relations question his marital status. Anand finds himself drawn to his childhood friend Balya, as their personal and emotional struggles bring them closer during Anand’s 10-day mourning period. Cactus Pears is a refreshingly intimate film that explores queer life in rural India in a new way. Far from imagining the region as inherently hostile to queerness, the film explores the deep complexities around family obligation, loss, and desire. By casting local actors and filming in his ancestral village, Cactus Pears becomes a semi-autobiographical portrait of love and hope found. even in the most unusual of places.
Winner, Sundance Grand Jury Prize 2025

In conservative Malaysia, the mere existence of a baby hatch—in which one can safely abandon newborns– remains a whispered taboo, condemned by the rising tide of social conservatism that brands it as an enabler of moral decay. Lai Sum, Fatimah, Kam, and Nurul, committed employees of a Kuala Lumpur baby hatch, navigate a maze of societal opposition to empower women from diverse backgrounds grappling with the complex notion of bodily autonomy. As Ramadan ends, a dire situation unfolds when Siew Man, an underage girl, teeters on the brink of a life-altering decision. Lai Sum endeavors to rescue her from the depths of despair. However, her well-intentioned intervention unwittingly entangles them both in the perilous currents of theocratic and patriarchal forces, threatening to dictate their fates.
Nominee, Tokyo International Film Festival best film 2024

In Sokcho, a small seaside village in South Korea, a young woman, Soo-Ha, lives in a bit of a rut, rhythmed by visits to her mother, a fishmonger, and her relationship with her boyfriend, Jun-Ho. When a French man named Yan Kerrand arrives in the boarding house where Soo-Ha works, it awakens within her questions about her own identity, and that of her French father, of whom she knows almost nothing. As winter settles over the town, Soo-Ha and Kerrand will observe and gauge each other, trying to communicate any way they can – through cooking for one and drawing for the other – delicately weaving a fragile bond between them.

In a village in a remote valley on the northern border of Xinjiang, China, a lonely Kazakh boy named Arsin nurses fading memories of his family. He finds solace in the company of plants. The arrival of Meiyu, a Han Chinese girl, is like the discovery of a plant he has never seen before, bringing him comfort and a strange sense of wonder. Together, they grow like two distinct species, rooted in a shared corner of the world, imagining the valley as an endless ocean. But one day, Arsin learns that Meiyu will be moving to Shanghai, which is 4,792 kilometres away – a distance he struggles to comprehend. She is headed to a city where the ocean actually exists. Arsin is left alone to grapple with the quiet shifts in their small, fragile world.
2025 Berlin Grand Prix of the Generation Kplus Winner, Best Film
Two Shows: Friday, Sept 26 at 1:00 PM (Univ. of Pitt, G24) and Wednesday, Sept 24 at 7PM (Mt. Lebanon Library)

Jin Aixia (Chang) has two daughters, but Emma (Karena Lam), who grew up in New York, and Fan Zuer (Eugenie Liu), who grew up in Taipei, never knew about each other until well into adulthood. When Zuer and her partner decide to try and get pregnant via in vitro fertilization, they wind up travelling to the US for treatments. Tragically, the couple die there in an accident, but their embryo remains alive and well — and Aixia is left as its legal guardian. Arriving in New York overwhelmed with grief, she is faced with the choice to donate, terminate, or find a surrogate for the embryo. But after a life spent feeling like she’s fallen short as a mother, who is she to decide what to do with her deceased daughter’s unborn child?
2024 Toronto International Film Festival Platform Award winner, 2024 Golden Horse winner, best original screenplay

While living abroad, a filmmaker returns to Tripoli, Lebanon to confront a hometown that once rejected him as a queer child. With a microphone in hand, he walks around coffee shops, public squares and a park to ask the city’s inhabitants about their cultural and social beliefs and their embrace of new ideas. Gradually, he meets a group of marginalized individuals whose eccentric life choices contradict the general lifestyle in this religiously and socially conservative city. Through intimate conversations with a communist activist, a queer music producer, and other unconventional characters, Tripoli/A Tale of Three Cities explores the complicated relations one forms with a hometown in crisis. This contemplative urban symphony paints a picture of a city trapped in a self-spun web, paralyzed by a deep economic crisis, a faltering revolution, and a looming doomsday.
International Documentary Film Festival Amsterdam
Co-sponsored by The Humanities Center at Carnegie Mellon University and Backyard Docs