The DOKMA section will present top documentaries from Cannes, Berlinale, CPH:DOX and Novos Cinemas

Eastern Anthems (CA/US/EC, 2024)
Directed by Matthew Wolkow, Jean-Jacques Martinod
An unfinished film travels from one friend to another. The dialogue between them is a journey traversed by a swarm of America’s Great Eastern Generation X periodic cicadas that prophetically appear every 17 years, prompting reflection on the post-pandemic present and our shared future. A film composed of a chorus of voices (both human and non-human), the warnings of history, the power of nature and rebirth.

Put Your Soul on Your Hand and Walk (FR/PS, 2025)
Directed/Director | Screenplay | Cinematography by Sepideh Farsi
“Putting my soul on my hand is my response – as a filmmaker – to the ongoing massacre of Palestinian women and men. My encounter with Fatem Hasson was a miracle. She became my eyes in Gaza, where she resisted and documented the war, and I became the fireplace between her and the world from her “prison in Gaza,” as she called it. We maintained this connection for almost a year. The snippets of sounds and pixels we exchanged became the film you watch.”

Bajo las banderas (PY/AR/US/FR/DE, 2025)
Directed by Juanjo Pereira
Through rare and long-forgotten footage, this documentary reveals the hidden mechanics of Alfredo Stroessner’s dictatorship in Paraguay – one of the longest-lasting regimes in history. From propaganda to international broadcasts, the film reveals how the media shaped power, controlled memory
and built a legacy that endures to this day.

The Flats (FR/BE/IE/UK, 2024)
Directed by Alessandra Celesia
In his flat in a New Lodge apartment block, Joe relives his childhood memories in the midst of “The Troubles”. In this Catholic part of Belfast, the death toll was tragically high. Joe is joined by neighbours Jolene, Sean, Angie and others who volunteer to take part in the process of reliving the collective memories that have shaped their lives and the neighbourhood in which they live.

The Sense of Violence (KR, 2025)
Directed by Kim Mooyoung
The film traces the trajectory of cinema by revealing specific connections in the historical context of “anti-communist art” during Park Chung-hee’s regime (1970s). The censorship of anti-communist film images by the Korean Central Intelligence Agency symbolically reveals the presence of power and ideology in the space between image and reality during Park’s regime. The images reproduced by power through ideology depict reality, but paradoxically interfere with it. For example, scenes of massacres, which appear almost as clichés in anti-communist films, affect the reality experienced by the families of the victims of massacres, but are often forgotten. The film also reflects on those who create these images. What role do the filmmakers play between power and ideology? Creators can work with power to create images that serve the ideology demanded by those in power. At other times, they may passively document the images they observe, seemingly outside the sphere of power. However, even these seemingly disinterested images are shaped by the pervasive influence of power within a larger hierarchical structure.