We Dare to Dream

Director: Waad al-Kateab

Year: 2024

In the early hours of 6 February 2023, a Mw 7.8 earthquake hit a large area of Turkey and Syria. It’s destructiveness was exacerbated by the instability that had torn the region apart. Waad Al-Kateab’s film is powerful record of the disaster, drawing images from TV news reports, social media, CCTV and drone footage, alongside archive material of the region. The shock of the earthquake soon gives way to a damning record of human failure, with Al-Kateab focusing on two Syrian families over the course of ten days, sensitively recording their desperate efforts to find their loved ones. Highlighting official incompetence and a paltry level of humanitarian aid, Death Without Mercy is, above all else, a moving testament to human dignity. (Sheffield DocFest 2024 Programme) Official Selection Sheffield DocFest 2024

Director: Alex Darby, George Leith, Sophie Mei Birkin

Year: 2026

Adlais (Echo) weaves Welsh language folklore and histories through their shared subjects of poetry and drowning – and asks whether we’re listening to the past as it surfaces today.

Director: Luca Anzalone

Year: 2026

Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.