Rough Cut Service

Geselecteerde projecten

• Hope of Lavrio

  Director: Serif Cicek
  Writer: Fiona tho Pesch
  Editors: Thomas Balkenhol
  Producer: Fiona tho Pesch
  Production Company: N/A
  Countries of Production: Germany, Greece
  Production Status: In Production
  Expected Release Date: November 2025
  (Estimated) Final Length: 90 minutes
  Shooting Language: Kurdish, Turkish, Greek  

  Synopsis:
  Hevîya Lavrio tells the story of a unique self-organized Kurdish refugee camp in Greece, now evicted, through the eyes of Vedat, a journalist who introduces us to its residents. We meet Jihan, a young boy fleeing with his family, Erkan, a former Turkish politician organizing the camp, and Dilan, who has lived there for over 20 years, preserving its history. The documentary captures the eviction’s impact, showing refugees struggling with worsening conditions in state-run facilities. Blending past and present, it highlights themes of resistance, solidarity, and the enduring fight for autonomy.

  Director’s Statement:
  As a politically engaged Kurd in exile, I have a deep connection to the struggles of those on the run, especially in the face of rising anti-migrant sentiment in Europe. Lavrio has long been a symbol of Kurdish solidarity and self-determination, and after witnessing its unique spirit firsthand, I felt compelled to document its story. Following the camp’s eviction in 2023—amid pressure from Turkey—I began researching its history, gathering archival footage, and interviewing those affected. Through intimate storytelling and historical analysis, this documentary aims to highlight the power of self-organization and the urgent need for solidarity with displaced communities. 

  

• KARTLI 

  Director: Tamar Kalandadze, Julien Pebrel
  Writer: Tamar Kalandadze, Julien Pebrel
  Editors: François Sculier
  Producers: Ketevan Kipiani, Jean-Baptiste Bonnet 
  Production Company: Sakdoc Film, Habilis Productions
  Countries of Production: Georgia, France
  Production Status: Post-production
  Expected Release Date: August 205 (Estimated)
  (Estimated) Final Length: 90 minutes
  Shooting Language: Georgian  

  Synopsis: 
  Kartli follows the lives of refugees from the 90s civil wars, living in a crumbling sanatorium split by a fault. Though the building is doomed, the residents—descendants of those expelled from Abkhazia—have created their own “country,” complete with a farm, garden, and a space for memories, as they replay old VHS tapes of their youth. The film weaves the trauma of exile and the strength of community through characters like Tamuna, Irma, and others, capturing both the sadness of a lost paradise and the resilience of togetherness. Amid struggles for rehousing and the devastating loss of a community member, the film explores the deep bonds formed in shared exile and the difficult decision to leave a place that has become home.  

  Directors’ Statement: 
  Two of Us is a collaborative film that blends two perspectives into a shared vision, shaped by extensive discussions and mutual influence. Our roles naturally interchange, with one handling the camera and the other sound, creating a fluid approach that mirrors the intuitive framing of the film. Through the confined spaces of Kartli, captured in the 4/3 format, the film weaves together the community’s past, present, and imagined future, blending layers of memory, humor, and struggle. Archival footage, spontaneous narratives, and intimate moments of daily life reveal the essence of this community, documenting both joy and hardship, culminating in the tragic events that disrupt the fabric of Kartli’s present.  

  

• Oh, Heart Don’t be Afraid

  Director: Ana Kvichidze
  Writer: Ana Kvichidze, Avtandil Khorava
  Editors: Joelle Alexis, Eka Tsotoria (The cut we are sending is edited by Eka Tsotsoria)
  Producer: Avtandil Khorav
  Production Company: Moonbow Productions, 17/07 Productions, Les films D’ici, Parabellum films, MUrman Picture.
  Countries of Production: Georgia, France, Germany
  Production Status: Rough Cut Stage
  Expected Release Date: Early 2026 (Estimated)
  (Estimated) Final Length: 90 minutes
  Shooting Language: Georgian 

  Synopsis:  
  In a small, mountainous Georgian town, Dachi (they/them), a 19-year-old transgender woman, faces rejection from both their family and community under the influence of the deeply religious Archbishop Stephen. Despite the harsh treatment and attempts to “cure” them, Dachi finds solace in their friendship with 84-year-old Vardo, a former healer, and discovers ancient magic tied to the town’s sacred Mother Tree. As Dachi begins performing rituals and challenging the oppressive beliefs of their town, their defiance meets growing hostility. Ultimately, Dachi leaves Lechkhumi in search of a place where they can truly belong, but their legacy lives on as Mariam, once a follower of Stephen, continues to honor the Mother Tree and carry forward their story of quiet rebellion. 

  Director’s Statement: 
  My love for magic, influenced by my grandmother, connects me to Dachi, the heart of my film. Dachi, rejected by their conservative society for their identity and beliefs, finds solace in magic and a deep friendship with Vardo, an 84-year-old spellcaster. Together, they navigate a world of rejection, but even Vardo’s care can’t fill the void of societal denial. In search of belonging, Dachi decides to leave Lechkhumi, marking the film’s emotional conclusion, as it explores survival, resilience, and the quest for acceptance. 

  

• A Rhino Tale

  Director: Meital Zvieli
  Writer: Meital Zvieli
  Editors: Meital Zvieli
  Producer: Avigail Sperber
  Production Company: Pardes Productions
  Countries of Production: Israel
  Production Status: Post Production
  Expected Release Date: January 2026
  (Estimated) Final Length: 90 min
  Shooting Language: Hebrew, Arabic, French 

  Synopsis:
  Shalom the Rhinoceros, the beloved “King of the Herbivores” at Jerusalem’s Biblical Zoo, spends his final days in decline before a gnu attack forces a painful debate over euthanasia. Ultimately, the chief veterinarian decides to end his suffering, leaving his caretakers, Rushdi and Gilad, at odds over what was right. Amidst a war with Gaza, Rushdi travels to France to escort a new rhino, Eno, to Jerusalem, questioning the ethics of captivity. When the zoo renames Eno for marketing purposes, it sparks deeper reflections on identity, belonging, and the true meaning of freedom. 

  Director’s Statement:
  Walls and fences have fascinated me since childhood, shaping my understanding of separation and security in Israel. Visiting Jerusalem’s Biblical Zoo while making my last film, I saw a parallel between caged animals and Palestinians confined by security barriers—both illusions of autonomy. Shalom, an elderly rhinoceros, symbolized hope, as he was equally loved by his Palestinian and Israeli caretakers despite their divisions. Through his story, I explore the barriers that divide us and my belief that one day, we can break them down for the sake of true peace—shalom. 

  

• Sarkash, Women’ Sharia Court

  Director: Sophie Schrago
  Writer: Sophie Schrago
  Editors: Isidore Bethel
  Producer: Pauline Tran van Lieu, Heejung Oh
  Production Company: Hutong Productions, Seesaw Pictures
  Countries of Production: France, South Korea
  Production Status: Rough Cut Stage
  Expected Release Date: Early 2026
  (Estimated) Final Length: 70 Minutes
  Shooting Language: Hindi and Urdu 

  Synopsis: 
  In a cramped Mumbai slum, Judge Khatoon runs a women’s Islamic court, where she helps women escape the oppressive control of their in-laws. Through Khatoon’s guidance, women like Neha, Reshma, and Tabassum find the courage to speak up and reclaim their independence, navigating difficult marital conflicts and the threat of divorce. The film showcases the emotional journeys of these women, with Khatoon offering them a rare space to question traditional gender roles and assert their rights. As a passionate feminist, Khatoon’s efforts spark a quiet revolution, challenging societal norms and empowering both the women she helps and herself. 

  Director’s Statement:
  Born to an Indian mother and a Swiss father, I was exposed early on to the complexities of race, ethnicity, gender, caste, and religion. Growing up in a conservative Hindu family, I faced restrictions on what I could and couldn’t do, which led me to study anthropology to critically examine these issues. For the last 12 years, I’ve focused on the intersection of gender, identity, and religion in India, and in 2009, I met Khatoon, a trailblazer in the Indian Muslim Women’s Movement who created the first women’s Sharia court. My film aims to center women, following their struggles with family, societal expectations, and religious authority, while challenging stereotypes of Indian Muslim women as subservient, offering a powerful counter-narrative. 

  

• We The People

  Director: Kelvin Osoo 
  Writer: Danny Skilton 
  Editors: Benjamin Owuor, Michelle Mithigani, Kelvin Osoo & Danny Skilton 
  Producer: Kelvin Osoo & Brandon Wema 
  Production Company: Different Dimension Productions 
  Countries of Production: Kenya 
  Production Status: In Post-Production 
  Expected Release Date: August (Estimated) 
  Final Length: 105 mins 
  Shooting Language: Swahili 

  Synopsis: 
  We the People follows Lichuma, a passionate activist from Nairobi’s Mathare slums, as he joins Gen-Z protesters against a punitive finance bill and mass home demolitions. Initially peaceful, the demonstrations turn violent as law enforcement responds with tear gas, water cannons, and live ammunition. Lichuma witnesses the devastating toll—lives lost, youths abducted, and many missing—yet the protesters remain determined to reclaim their power. Through raw footage and intimate interviews, the documentary captures their resilience, with Lichuma emerging as a symbol of hope in the fight for justice. 

  Director’s Statement: 
  The documentary stemmed from my firsthand experience protesting Kenya’s punitive finance bill and facing unexpected police brutality. This encounter pushed me to assemble a team and document the movement, leading me to Lichuma, whose courage and resilience became the heart of the film. Through grassroots connections, we gained authentic access to activists, ensuring their voices remained central to the narrative. Our deep involvement—attending protests, meetings, and daily struggles—allowed us to capture raw, genuine moments that highlight the fight for justice.