Filmer, c’est exister is a Geneva-based film festival dedicated to Palestinian cinema, using film as a space of expression, resistance and visibility. Showcasing documentaries and fiction by Palestinian filmmakers and allies, the festival highlights lived realities, personal narratives and political contexts that are often absent from mainstream screens, affirming cinema as a vital act of existence and testimony.
The Black Movie International Independent Film Festival returns for its 27th edition, opening the cultural year with around a hundred bold and independent films from Asia, Africa, Latin America and Europe. Featuring both feature-length and short films for adults and children alike, the festival showcases contemporary cinema beyond the mainstream, offering a vibrant journey through today’s most daring international creations.
Presented by the Grave’Side Family association, De Thônex à Madagascar chronicles a year of local mobilisation and a solidarity trip to Ambohimanatrika. In September 2025 fifteen young people from Thônex travelled to Madagascar to help build a village water network. The film follows their collective effort with documentary immediacy, intimate portraits and a focus on youth-driven commitment. It explores themes of solidarity, responsibility and cross-cultural exchange, rendered in a warm, humanist register that highlights labour, landscape and the emotional bonds formed along the journey.
Daniel Monzón’s Celda 211 (2009) plunges viewers into a viscerally tense prison world. During a sudden mutiny, a young guard is forced to pose as an inmate to survive; the film unfolds through tight, claustrophobic framing and relentless stakes. Anchored by powerhouse performances from Luis Tosar and Alberto Ammann, it probes authority, identity and moral compromise under pressure. Sparse, urgent in tone, the picture balances gritty realism with human complexity, earning its place as a landmark of contemporary Spanish cinema.
In Spanish original version with English subtitles.
The Return of the Projectionist unfolds in a small Azerbaijani village where a forgotten cinema hides in the hills. Poetic and gently observant, the film follows two people who set about repairing the space, their imagination and care restoring both the auditorium and communal memory. Through textured frames, quiet long takes and warm, tactile light, it becomes a meditation on passion, the love of cinema and how fragile cultural places bind a community. Perceptive and tender in tone.
In original version with French & English subtitles.
Miro Remo’s Better Go Mad in the Wild follows Franta and Ondra, inseparable sixty-something twins eking out a life on the margins of Central Europe’s forests. Shot with a tender, observational eye and playful eccentricity, Remo balances intimate character study and whimsical naturalism. The film explores aging, companionship and freedom through small rituals and textured, wood-smoke visuals. Anchored by two unforgettable performances, it unfolds as a humane, slightly mischievous portrait of resilience and the quiet joys of belonging.
Jean‑Paul Salomé directs this tense period drama about Jan Bojarski, a Polish engineer who finds refuge in wartime France. Using his technical skill he forges identity papers under the occupation; after the war, lack of civil status bars him from patenting inventions and forces humiliating work. When a gangster recruits him to print counterfeit banknotes, Bojarski slips into a double life that draws the relentless scrutiny of Inspector Mattei. The film traces themes of identity, moral compromise and invisibility with shadowed frames and a quietly urgent rhythm.
In presence of the director Jean-Paul Salomé and the actor Reda Kateb.
In French.
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