In the DOCU/WORLD International Competition 2026, ten urgent stories unfold — each with its own resonance, each boldly and openly engaging with the world’s most pressing questions. The curatorial essay by festival programmer Olga Sydorushkina offers insight into the programme and the films selected.
The Docudays UA Main Competition attracts hundreds of entries from around the world — close to 700 this year. Each film was carefully watched by several selectors, each with their own lens and approach to documentary. Many of these titles have already had their international premieres, where they resonated loudly, and now travel the global festival circuit. For them, Docudays UA is a vital waypoint. For filmmakers, it matters deeply to be seen by Ukrainian audiences, to keep the conversation alive, and to feel the shared vision of values and the importance of cultural dialogue.
The world premiere of The Blessed Ones, directed by Andrii Lysetskiy, takes place in the DOCU/WORLD International Competition. This film offers a tender look at the lives of Ukrainian artists in the midst of full-scale invasion, attentive to the subtle changes and emotions shaping society. Nikita Kadan, Daniil Nemyrovskyi, Mykhailo Alekseienko, and Anton Hurin each begin lost in the cruelty of daily war, yet each finds a renewed sense of purpose — where hope still endures.
The Broken R is a tender autobiographical portrait of navigating otherness and of director's bond with his father, from whom he inherited a difficult diagnosis. This emotional coming‑of‑age story speaks of self‑acceptance and will resonate with anyone who has ever felt vulnerable.
After his studies, Indian director Arjun Talwar remained in Warsaw and turned his camera to the street where he lives. Letters from Wolf Street unfolds a compelling narrative, revealing Polish society to be far more complex and kaleidoscopic than commonly assumed.
With We Have to Survive, director Tomáš Krúpa delivers an almost dark comedy on climate change. The film faces the harsh consequences of ecological upheaval head‑on, but embraces the spirit of being positive in the face of challenges. Journeying through far‑flung and often exotic places, Krupa collects stories of irreversible damage and the inventive ways local people — in panic, in hope, or in denial — attempt to adapt to a transformed world.
With Agatha’s Almanac, Canadian filmmaker Amalie Atkins offers an ideal pause after films about turmoil and disaster. Elegant, intimate, and gentle, it avoids easy entertainment, choosing instead to teach the art of philosophical reflection. At its heart is Agatha, a 90‑year‑old woman who cares for her plants and shares the breathtaking story of her life.
In Do You Love Me, director Lana Daher draws on over 20,000 hours of surprising archival footage to recount the story of Beirut. The film unfolds like a fable, moving between scattered events, fragments of cinema, television, and home recordings. With an experimental and melancholic approach, it evokes images close to Ukrainian audiences — where ordinary pleasures coexist with haunting scenes of destruction.
Among the autobiographical films in the programme is Flana, in which director Zahraa Ghandour embarks on a search for her missing childhood friend, revealing hidden narratives of Iraqi women. Tender and affecting, the film speaks of the worth of women’s lives and stands as a rightful contender for the RIGHTS NOW! award.
Pavel Cuzuioc’s Green Light is one of the most humane films in the programme, told in a restrained, unemotional tone as it explores assisted suicide. Its protagonist, a neuropsychiatrist, evaluates and supports people seeking to end their lives, while his reflections on the moral and ethical dimensions raise unexpected philosophical questions.
In Whistleblower, director Marc Bauder confronts the value of honesty in an era dominated by fake news and manipulation. The film follows three whistleblowers — from Africa, Europe, and the US — who jeopardise their lives, careers, and loved ones to bring hidden truths to light.
Don’t miss Mailín by Latin American director Maríe Silvia Esteve — a film that begins like a fairy tale but gradually turns into horror. Mailín, a young woman who suffered sexual abuse in childhood, only as an adult — after becoming a mother herself — dares to demand justice against her abuser. Her story unfolds into a layered narrative touching on inner barriers, family responsibility, the helplessness of the judicial system, and the courage to confront it all.
The choice to feature films by Ukrainian filmmakers and productions in the competition was made by the selection committee comprising of Darya Averchenko (Head of Communication Department), Roman Bondarchuk (Art Director), Yulia Kovalenko (Programme Director), and Olga Sydorushkina (Programme Curator).
Main photo: a still from the film Do You Love Me
The 23rd Docudays UA is held with the financial support of the European Union, the Embassy of Sweden in Ukraine, and the State Film Agency of Ukraine. The views, conclusions, or recommendations expressed do not necessarily reflect those of the European Union or the governments of these countries. The authors alone are responsible for the content of this publication.
