In 2024, I reviewed the Doc@PÖFF section from my home in Dublin, and have been tasked to do the same for the Doc@PÖFF International Competition Films in 2025. The genre is an interesting one, given that it allows real people the chance to breath out their tales: unpretentious, real poetry. It is a style of cinema that requires neither budget nor narrative to arrive at a point of conclusion; it merely thrives on honesty.
The diverse nature of the selection is impressive, showcasing a wide variety of perspectives. In the case of the 2024 selection, the collection asked questions of its viewers, such as the virtues of conflict, to the necessity of family in the domain of a steel ship. What was apparent in each of the pieces in last year’s collation of movies was the fact that the participants were keen for their fables to be put to the big screen. If that is the measurement to go by, then this year should be a treat.
As for the films in question? Miss Jobson (Amanda Sans Pantling) anticipates an age of struggle, told through the eyes of Bob Marley’s aged lawyer; It’s Winter (Sajad Imani) provides a naturalistic story about Iran, set during the mountainous cold; and Days of Wonder (Karin Pennanen) shows a cross-generational tale of two filmmakers aching to complete one artistic work through guesses, rhythms and memories.
As it is an Estonian festival, it’s only right that the country should have an entry; Edge of the Night (Vladimir Loginov) delivers a synopsis about seediness and subcultures far from the eyes of a prying tourist. One Day I wish to See You Happy (Maryna Nikolcheva) brings an outline of a couple embracing online video calls during a time of literal Ukrainian conflict. The Lunch: A Letter to America (Gianluca Vassallo) showcases the ideologues of a minority immigrant parked in Donald Trump’s changing United States of America.
What is Electing Ms Santa (Raisa Răzmeriță) about? It’s set around the everyday going’s on of a 42-year old who dresses up in festive gear, boasting an ambition of her own. Goodbye Sisters (Alexander Murphy) takes viewers out of Europe and headfirst into the Himalayan mountains, where family forms the currency of conversation. Far Away (M. Tayfur Aydın) examines the fragile nature of society, when a director returns to a Kurdish town in order to re-acquaint himself with teenagers who dreamt of becoming actors and writers. Finally, The Feast of The Wolf (Jadran Boban) counters an emerging conspiracy – that the European Union flies beasts into the Dalmatian hills to endanger the locals.
Documentary tends to seep into people’s works. This year’s Cannes entry I Only Rest in the Storm (Pedro Pinho) utilised real-life footage that blended into the frame of an Odyssean narrative, while Ken Loach’s oeuvre is dotted with them (1981’s A Question of Leadership dealt with steel trade unions). Only time will tell if the selection on offer here lives up to the standard set by past documentarians, but judging by the blurbs, images and diversity, they will be impressive on one level or another. Let’s hear it for the 2025 PÖFF festival!
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