In a time dominated by polarization, political confusion and a cacophony of right vs. wrong dichotomies, where wars are raging, societal disparities deepen and right wing narratives gain momentum - what do we cling onto for hope? 

In a world where the intrinsic values of human nature are increasingly abstracted and reduced to monetary worth, what is left to hold onto?

Hate speech and the dehumanization of others must be the red line we never cross. Yet, we must also remember that moral superiority and the imposition of views are not the answer. Instead, listening to the root causes of division and striving to communicate across chasms might be the path forward.

We choose not to succumb to despair or defeatism. Instead, we strive to break free from the comfort of our bubbles. For the 18th edition of OWR, we remain steadfast in our young, idealistic stubbornness that refuses to give in - to keep questioning, revolting, listening, and maybe understanding. 

Our main section DIALOGUES aims to bridge divides (even among antagonistic views) through cinema - not as a form of escapism, but rather a place to confront our fears, stereotypes and come into contact with unseen and unheard perspectives, that challenge and broaden our critical empathy.

Mitch McCabe’s 23 MILE offers a rare glimpse in today’s fractured America: a genuine dialogue with political opponents on the eve of an election. The film transcends self-righteousness and moves beyond the simplistic "us versus them" dichotomy, revealing a more complex interplay of seemingly insurmountable ideologies and narratives, yet also, surprisingly, common grounds of dissatisfaction. The film’s plurality of voices forces us to question what truly divides us.

Further amplifying marginalized voices, TRANS MEMORIA and THE STIMMING POOL bring into focus the vital need and quest for self-expression, as told through the lived experiences of transgender and respectively, neurodivergent persons. The struggles, hesitations and triumphs of being seen and heard in a world that often marginalizes or misunderstands difference are depicted in radical cinematic forms.

Language and dialogue take center-stage in TAMAN-TAMAN (PARK) and WE ARE INSIDE, films that share the tender, expressive intimacy of poetry in both form and content. Directed by SO Yo-hen, TAMAN-TAMAN’s protagonists utilize their privilege as foreign students to lend voice to the voiceless, in a sensitive examination of their compatriots who battle the harsh realities of exploitative migrant labor. Set in a Lebanon plagued by socio-economic unrest, Farah Kassem's WE ARE INSIDE similarly utilizes poetry as a communal refuge, this time from the trauma of the past and chaos of the present but also a connecting bridge between opposite views of a daughter and a father.

Inter-generational dialogue takes a multidisciplinary shape in Myrid Carten’s A WANT IN HER. Navigating through the weight of transgenerational trauma where a mother's addiction clashes with the unconditional love of her daughter and family, the film raises questions about how we balance love and support with the need to protect our own sanity and safety.