QUICK’N DIRTY: LIVE FROM TALLINN
There’s something strange about coming out of the other side of film festival coverage, almost as if one has been in another world for a couple of weeks. While the rest of the world packs out cinemas with corporate-friendly blockbusters, we are treated to the stories that dare to go where the mainstream doesn’t. It’s emotional, occasionally exhausting, but judging by this year’s line-up, ultimately rewarding.
The Critics’ Picks selection didn’t disappoint, as this critic was mostly delighted by what she saw. Half of the 10 films on show got top marks from me, while only two were, in my estimation, below the standard set.
The category’s Best Film award was won by China Sea (Jurgis Matulevičius), which followed a cancelled professional fighter in a grim but compelling quest for redemption. While I would have picked another title, it’s a deserving winner and a testament to the strength of the lineup.
You can read Victoria’s full coverage of Critics’ Picks by clicking here.
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The big winners
These were the three big award winners in 2025:
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My dirty favourites
If I I were to give my own award for the best film (a ‘Vicky’, if you will), there would be at least a handful of hopefuls in the nominations. Round 13 (Mohamed Ali Nahdi) tore my heart to shreds with its story of a two parents fighting to save their son. I’m not sure I’ll be over lead Helmi Dridi’s final monologue for some time.
Stories of difficult men struggling for redemption also touched my heart – the frenetic, funny, and occasionally shocking A Summer Tale (Matías Szulanski) channelled the spirit of 2019’s Uncut Gems (Safdie Brothers) and gave it a unique spin, as a Buenos Aires scoundrel tried to make amends by getting into even more trouble. A charming ex-con is the one trying to put the pieces back together in festival opener Mo Papa (Eeva Mägi), an exceptional story of grief and isolation set in the festival’s hometown. Eeva Mägi’s touching tale more than deserved its Special Mention honour from the jury.
The most inventive film I have seen in the category has to be Oh, What Happy Days! (Homayoun Ghanizadeh). Stripping everything down to five actors on a video call, all wearing similar clothes and speaking against the same plain background, is a bold and courageous approach that allows the prestigious cast to seize the spotlight, which every one of them do.
It’s a tough decision, but the ‘Vicky’ goes to… Nino In Paradise (Laurent Micheli). My favourite from a strong selection, few films paint a world as vividly as this drama, looking at a young man in Paris struggling to make ends meet in a system set up to keep him out. I loved everything about it, from Oscar Högström’s vulnerable performance, to the touching portrayals of modern Queer identity, and the hilariously haphazard sequence in Belgium. Chaotic and heartfelt, I was entranced by every second.
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Just beneath the surface
Just outside of the top tier were some intriguing explorations of sexuality and outsider identity. Invisibles (Junna Chif) saw a sex worker fight for the rights of both her and the disabled community; and The Silent Virgin (Xavi Sala) challenged Mexico’s patriarchal views on justice and female liberation. Both were well worth their positive notices, and I hope they find a larger audience through distribution.
It can’t all be gold, however, otherwise a rave review would mean nothing. The two films I just couldn’t get on with both explored the frustration of bureaucracy, as well as the defence of the exploited. That Burning House (Yin-chuan Tsai) had laudable intentions, celebrating the efforts of those who care for the children caught between the cracks of society. However, its shocking dramatisation of sexual assault was difficult for me to get past, and something I thought could have been better explored with visual subtlety. Over in Argentina, Street Wanderers (Juan Martin Hsu) had all the facts but not enough excitement. Sometimes real life doesn’t make for a particularly engaging movie, and the heroism being retold deserved more narrative flair.
As Meat Loaf almost said, however, eight out of ten ain’t bad, and on the whole, I found this year’s Critics’ Choice category to be alive with stories that you just wouldn’t find anywhere else. A festival hit is like discovering a restaurant no-one knows about yet, where you get to encourage fellow enthusiasts to forego their usual fare for something more enticing. Given the depth and complexity of the films I’ve been treated to, I hope this first visit to PÖFF is the first of many!
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You can read Victoria’s full coverage of Critics’ Picks by clicking here.
