Within this labyrinth of US highways, 4 million trucks traverse vast landscapes, carrying 10.5 billion tons of freight annually. A substantial proportion of these drivers are immigrants, including both legal and undocumented individuals. Confined to truck cabins for years, they face limited prospects of deeper integration into American society, often remaining within their ethnic bubbles.

When envisioning a trucker burning rubber up and down the US highways, our three protagonists are far from the typical image that might come to mind. Still in the prime of life, an actress, a painter, and an engineer left everything behind to spend their lives behind the wheel of a truck in search of the elusive American dream.


A child left his home but left his heart there.

A place where there was a lot of love, life, history, diversity, dreams, and future.

A place that was connected with destinies and the destinies with the place.

These are now uncertain, some still hover there.

Bica is a beach in Rio de Janeiro with a view of Sugarloaf Mountain, but it’s far from being a paradise. Its sands are littered with objects carried by the waters of Guanabara Bay. Flip-flops, sneakers, jackets. Remnants of people who appear and disappear in the sea’s vastness. In Irajá’s Graveyard, shallow graves host the unidentified. Thousands of unadorned crosses planted side by side.

Leandro, 22, went missing after a soccer game. The paramilitary group controlling his neighbourhood executed twenty people that day. His body was found on Bica Beach and buried as unidentified. Under threat of violence, Sandra, Leandro’s mother, set out to locate her son’s body in order to give him a dignified burial. Her testimony is interwoven with factual elements as we enter public institutions that are directly implicated in cases of forced disappearances. Official statements uncover the full dimension of what, in fact, is a culture of making bodies disappear in territories that are neglected by public authorities, exposing a true crisis of human rights violations. Sandra’s voice is juxtaposed with images of Bica Beach and the graveyard of the unidentified, landscapes laden with meaning about the treatment given to life and death, echoing both Sandra’s subjectivity and a collective reality.

A found footage film full of absurdity and crackerjack, frisky energy about a breakthrough moment in Polish and world history.

Poland, 1981. A country on the verge of an unravelling revolution, with communist authorities willing to do whatever it takes to suppress it. General Wojciech Jaruzelski announces a historic decision on national television: Martial Law is imposed in communist Poland on December 13th. The next day, tanks take to the streets. Soldiers control the cities, enforce a curfew, and the army pacifies the striking workers. State-controlled journalists try to discredit the opposition led by Lech Wałęsa, and Solidarity members are imprisoned. Propaganda is in full swing. Rationing of goods, queueing for toilet paper, and other ridiculous attempts to kill the spirit of freedom and independence begin. Shall Poland cry over its fate or laugh about the farcical theatre in which she’s the main protagonist?

A Year in the Life of a Country, the latest work from acclaimed Polish director Tomasz Wolski, had its World Premiere at the Krakow Film Festival, where it was awarded the Silver Horn for high artistic merit in the International Documentary Competition. The film was praised by the jury for its masterful editing craft, score, and narrative design.

A Year of Endless Days follows two men from a small village in the eastern part of Croatia, Tomislav and Joso. They are in their 50s and we find them living without their wives. We are introduced to the film by the director, who is also the narrator, and a protagonist in the film, Renata.

The story begins with her visiting her home village to visit her father. The film is mostly based on the observation mode from Renata’s perspective, but at times she is participating by asking Tomislav and Joso questions, discussing something with them and also taking part in their activities. She is trying to untangle the complex web of emotions in her disintegrated family and to understand why her parents made the decisions they did. Why do some people stay and some people go and how come it is that she also ran away from the village in which she was born, like most women and young people did?