Laima Akstinaitė

Vilnius 2022. High-flying executive Marija chooses the worst possible moment for an honest conversation with her husband Vytas about divorcing - just one day before Russia’s invasion of Ukraine goes into full scale. Now they must navigate the process of separation as it collides with a refugee and mid-life crisis.

Malvina, a once celebrated ballerina now in her mid-eighties, now languishes in a monotonous routine. After she unexpectedly meets Kipras, a talented painter of her age, he becomes the catalyst for change. Together, they defy society's expectations about seniors, transcending age and challenging taboos. As they escape from relatives and institutions, they discover that freedom isn't merely physical; it's about breaking free from invisible chains. Their journey unfolds as a pas de deux – a dance of resilience, rebellion and redemption.

Dancer Elena and sign language interpreter Dovydas meet and form a beautiful bond. As they dive into a new relationship, they must navigate how to build their own kind of intimacy.

A moving world of spirits and ghosts, condemned to brush against one another without really meeting since they have all emerged from a single perpetual dream: that of a young man who no longer wants to wake up, immersed as he is in this world of fascinating spectres.

It is highly probable that before their own death, everyone has to organise someone else’s funeral. This is by far not an easy task. In addition to the searing grief, dying also brings a number of tasks that are at once utterly alien and intensely time-critical. The main character of this film, Dovile, who unexpectedly has to bury her father, has to face the bedlam of exactly such a challenge. Overnight, the young girl has to become a skilful organiser of a family event, while also being a specialist on coffins, urns, wreaths and funeral feasts. Dovile’s journey towards organising a perfect funeral is inevitably full of hardship and mishaps, accompanied mainly by black humour and comical situations.

During the interwar period, a Lithuanian geography professor tries to convince the government to establish a backup state overseas, in order to save their country from ruin. However, the idea is mostly mocked and opposed. Still, there is hope in the secret support from the elderly prime minister, who has become disillusioned with politics.

When Marija learns that her unstable boyfriend has disappeared, she takes to the streets in an attempt to find him.

A musician on his way to meet a fellow fiddler, encounters two girls and is taken aback by their talks about afterlife. The musicians walk towards a village observing events, unable to discern phantasy from reality. Later, both men attend a funeral, where archaic rituals intertwine with the practice of marrying a dead girl to an ‘afterlife groom’.

Aldona is the single mother of a daughter, Miglė, who is soon to become a mother herself. ​When Miglė comes to visit for the weekend during the last days of her pregnancy, Aldona tries to show how much she cares, but instead starts to control her daughter. Step by step, Aldona pushes the boundaries between the two, until she crosses the line.

The year is 2000. Aleksandra, a young prosecutor, is handling a human trafficking case. She must conduct two interrogation sessions in one day. First, Aleksandra faces Andrius – a high-school friend turned suspect, who provokes and undermines her strategy, not leaving her any breathing space. During the second interrogation, she talks with Viktorija, the victim who has personal reasons to distrust law enforcement.

Gytė is trying to savour the last days of the summer. Her parents are very tense and their behaviour raises many questions, the answers to which she starts seeking on her own.

Screenwriter Martyna the first-time mother, in her 30s, stops her career for maternity leave, but when a producer takes an interest in her idea, she tries to manage both: the first-time motherhood and her profession dream to become a director. With her hands 24/7 full with a baby she is trying to work at night, also hoping for help from her own mother. The screenwriter feels desperate because she can not rely on her mother for help as she is struggling with her own diagnosis.