- Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director;
- Algeria, “Until the End of Time,” Yasmine Chouikh, director;
- Argentina, “El Ángel,” Luis Ortega, director;
- Armenia, “Spitak,” Alexander Kott, director;
- Australia, “Jirga,” Benjamin Gilmour, director;
- Austria, “The Waldheim Waltz,” Ruth Beckermann, director;
- Bangladesh, “No Bed of Roses,” Mostofa Sarwar Farooki, director;
- Belarus, “Crystal Swan,” Darya Zhuk, director;
- Belgium, “Girl,” Lukas Dhont, director;
- Boivia, “The Goalkeeper,” Rodrigo “Gory” Patiño, director;
- Bosnia and Herzegovina, “Never Leave Me,” Aida Begić, director;
- Brazil, “The Great Mystical Circus,” Carlos Diegues, director;
- Bulgaria, “Omnipresent,” Ilian Djevelekov, director;
- Cambodia, “Graves without a Name,” Rithy Panh, director;
- Canada, “Family Ties,” Sophie Dupuis, director;
- Chile, “…And Suddenly the Dawn,” Silvio Caiozzi, director;
- China, “Hidden Man,” Jiang Wen, director;
- Colombia, “Birds of Passage,” Cristina Gallego, Ciro Guerra, directors;
- Costa Rica, “Medea,” Alexandra Latishev, director;
- Croatia, “The Eighth Commissioner,” Ivan Salaj, director;
- Czech Republic, “Winter Flies,” Olmo Omerzu, director;
- Denmark, “The Guilty,” Gustav Möller, director;
- Dominican Republic, “Cocote,” Nelson Carlo De Los Santos Arias, director;
- Ecuador, “A Son of Man,” Jamaicanoproblem, director;
- Egypt, “Yomeddine,” A.B. Shawky, director;
- Estonia, “Take It or Leave It,” Liina Trishkina-Vanhatalo, director;
- Finland, “Euthanizer,” Teemu Nikki, director;
- France, “Memoir of War,” Emmanuel Finkiel, director;
- Georgia, “Namme,” Zaza Khalvashi, director;
- Germany, “Never Look Away,” Florian Henckel von Donnersmarck, director;
- Greece, “Polyxeni,” Dora Masklavanou, director;
- Hong Kong, “Operation Red Sea,” Dante Lam, director;
- Hungary, “Sunset,” László Nemes, director;
- Iceland, “Woman at War,” Benedikt Erlingsson, director;
- India, “Village Rockstars,” Rima Das, director;
- Indonesia, “Marlina the Murderer in Four Acts,” Mouly Surya, director;
- Iran, “No Date, No Signature,” Vahid Jalilvand, director;
- Iraq, “The Journey,” Mohamed Jabarah Al-Daradji, director;
- Israel, “The Cakemaker,” Ofir Raul Graizer, director;
- Italy, “Dogman,” Matteo Garrone, director;
- Japan, “Shoplifters,” Hirokazu Kore-eda, director;
- Kazakhstan, “Ayka,” Sergey Dvortsevoy, director;
- Kenya, “Supa Modo,” Likarion Wainaina, director;
- Kosovo, “The Marriage,” Blerta Zeqiri, director;
- Latvia, “To Be Continued,” Ivars Seleckis, director;
- Lebanon, “Capernaum,” Nadine Labaki, director;
- Lithuania, “Wonderful Losers: A Different World,” Arunas Matelis, director;
- Luxembourg, “Gutland,” Govinda Van Maele, director;
- Macedonia, “Secret Ingredient,” Gjorce Stavreski, director;
- Malawi, “The Road to Sunrise,” Shemu Joyah, director;
- Mexico, “Roma,” Alfonso Cuarón, director;
- Montenegro, “Iskra,” Gojko Berkuljan, director;
- Morocco, “Burnout,” Nour-Eddine Lakhmari, director;
- Nepal, “Panchayat,” Shivam Adhikari, director;
- Netherlands, “The Resistance Banker,” Joram Lürsen, director;
- New Zealand, “Yellow Is Forbidden,” Pietra Brettkelly, director;
- Niger, “The Wedding Ring,” Rahmatou Keïta, director;
- Norway, “What Will People Say,” Iram Haq, director;
- Pakistan, “Cake,” Asim Abbasi, director;
- Palestine, “Ghost Hunting,” Raed Andoni, director;
- Panama, “Ruben Blades Is Not My Name,” Abner Benaim, director;
- Paraguay, “The Heiresses,” Marcelo Martinessi, director;
- Peru, “Eternity,” Oscar Catacora, director;
- Philippines, “Signal Rock,” Chito S. Roño, director;
- Poland, “Cold War,” Pawel Pawlikowski, director;
- Portugal, “Pilgrimage,” João Botelho, director;
- Romania, “I Do Not Care If We Go Down in History as Barbarians,” Radu Jude, director;
- Russia, “Sobibor,” Konstantin Khabensky, director;
- Serbia, “Offenders,” Dejan Zecevic, director;
- Singapore, “Buffalo Boys,” Mike Wiluan, director;
- Slovakia, “The Interpreter,” Martin Šulík, director;
- Slovenia, “Ivan,” Janez Burger, director;
- South Africa, “Sew the Winter to My Skin,” Jahmil X.T. Qubeka, director;
- South Korea, “Burning,” Lee Chang-dong, director;
- Spain, “Champions,” Javier Fesser, director;
- Sweden, “Border,” Ali Abbasi, director;
- Switzerland, “Eldorado,” Markus Imhoof, director;
- Taiwan, “The Great Buddha+,” Hsin-Yao Huang, director;
- Thailand, “Malila The Farewell Flower,” Anucha Boonyawatana, director;
- Tunisia, “Beauty and the Dogs,” Kaouther Ben Hania, director;
- Turkey, “The Wild Pear Tree,” Nuri Bilge Ceylan, director;
- Ukraine, “Donbass,” Sergei Loznitsa, director;
- United Kingdom, “I Am Not a Witch,” Rungano Nyoni, director;
- Uruguay, “Twelve-Year Night,” Álvaro Brechner, director;
- Venezuela, “The Family,” Gustavo Rondón Córdova, director;
- Vietnam, “The Tailor,” Buu Loc Tran, Kay Nguyen, directors;
- Yemen, “10 Days before the Wedding,” Amr Gamal, director.
Liz Charky Directs a Playful and Reflective Video For Henry Hall’s “Tiny Door”
Directed by Liz Charky, the music video for Henry Hall’s ‘Tiny Door’ is a playful and profound exploration of the song’s intriguing perspective on love. Silly moments and serious heartbreak are skillfully weaved together in a series of cheeky, dreamy, profound, and sometimes psychedelic scenes. “I am a huge fan of love songs that have an unusual, hyper-specific perspective on love,” says Hall. “That’s what I wanted to do with ‘Tiny Door.’ It’s about loving someone unconditionally while recognizing that love is something that isn’t always straightforward — I think that’s something we all attempt to come to terms with in our lives. I thought it was a unique yet universal detail about love and therefore an intriguing subject matter for a song. Even though the song is a ballad at its core, it still has a lighthearted sense of humor to it — that’s really portrayed well by Liz, and Ellin Aldana, our cinematographer.” Charky explains, “When I first listened to the song, I felt it was a love song full of longing with a kind of wishful melancholy. As I spoke with Henry about his intention behind the lyrics and sound, I was assured that I'd need to explore heartbreak in a nuanced way – with a degree of levity and playfulness. For me, falling in and out of love runs the full course of human expression. Love and heartbreak can be so emotionally intense and sometimes lonely, other times quite goofy or liberating. In developing the concept, I focused on both the literal and figurative ways that falling in and out of love might look like. So, you see Henry and co-star Franny Arnautou falling, flying, dancing, raging, winking, smiling, and... Read More