Mastercard OFF CAMERA 2025 special sections and first headlines of permanent sections

The eighteenth edition of the Mastercard OFF CAMERA International Festival of Independent Cinema invariably offers 8 thematic sections in its extensive program. In addition to the two competition sections, two permanent sections return – “American Indies” and “Best of Fests”. Among the special sections, four new items: “Boys Will be Boys”, “Love Wins”, “Eye for an Eye”, and “Stay Sane”. Book your May vacation in Krakow now!

MASTERCARD OFF CAMERA 2025 SPECIAL SECTIONS

Special sections during each edition of the Mastercard OFF CAMERA International Festival of Independent Cinema correspond to current topics of the global cultural and social discourse. The most important topics expressed in the best possible way, that is through beautiful and moving independent cinema productions. Empathy, emotion, excellent humor and stimulation of deep discussions are only part of the feelings that will be guaranteed by the items from the line-up of special sections of the 18th edition of the Festival. Here they are – the special sections of 2025.

Boys Will be Boys

“Boys will be boys” – this well-known American adage is the fickle inspiration for the new Mastercard OFF CAMERA section, prepared in cooperation with the SEXEDPL Foundation, founded by Anja Rubik. After all, it used to serve to downplay and tacitly condone various types of toxic behavior on the part of boys. Growing out of the patriarchal system, according to which such traits as aggression, lust for power or incessant activity are even organically fused with boyhood.

It doesn’t take anyone in particularly convincing that there have been rapid cultural and social changes over the past decade, and more and more talk and attention is being paid, for example, to so-called “toxic masculinity” and possible ways of dealing with it. The films shown in the section prove not only that the oppressive gender norms that affect guys are still strongly present in the world. But more than that – they enter polemics with them and illustrate their harmfulness. And this is true both for the boys themselves and for the rest of society. Together with the film characters, viewers, on the one hand, travel through alternative models of growing up male. On the other – they can find inspiration for how to break the traditional patterns and models of upbringing that mark the patriarchal order. And perhaps also come to the realization that boys don’t have to behave as “proper” boys at all?

Love Wins

The reality of the past few years has been extremely difficult and complicated. It’s no wonder, that viewers, as well as filmmakers themselves, are looking to cinema more than ever for hope and answers to the moral, existential and life doubts that plague us all. In this year’s special Mastercard OFF CAMERA section, together with the protagonists of the productions presented within it, we will embark on a search for new possibilities of being in the world through one of the most primal and cinematic emotions at the same time: LOVE. However, this is not at all about melodramas or various “love stories” in the conventional sense of the term. But more so about such models of storytelling about love and the on-screen relationships determined by it, which allow us to open to new experiences and orders.

From romantic love, to friendship, parental love, and finally – our own love – we will be looking at intimate emotions and the energies they generate for ten festival days. Having great power to transform people, their views and life itself. And above all, we will look with hope for a better tomorrow. One that both our viewers and the screen characters, often lost in the meanders of everyday life, deserve.

Eye For an Eye

If one were to trace the history of both literature and cinema, one would see that the motif of revenge has been present in them almost forever. Often it has even been a key element of the plot, giving the characters the motivation to keep going and the determination to achieve their goal. This is no coincidence, because revenge, seen as a desire to bring justice in an integral way, is linked to the history of mankind. Whether it had an individual and personal aspect, or was linked to a broader context – political, social, religious.

According to one narrative, the symbolic one, the coronavirus pandemic we experienced a few years ago was nature’s revenge for how man has degraded it over the years. We can read about revenge in Greek mythology, it drives the works of Shakespeare or is the flywheel of Alexander Dumas’ novels. It is also an exceptionally graceful subject for filmmakers. Just to mention Quentin Tarantino and his excellent Kill Bill two film story or the cult The Vengeance Trilogy directed by Park Chan-wook. And although today it is even said to be a separate sub-genre, the concept of revenge significantly bursts it.

This element is eagerly exploited by creators of thrillers, detective stories, but also costume films, melodramas, horror films or even comedies. Revenge recognizes no boundaries, including geographical ones. In a special section of the Mastercard OFF CAMERA festival, we will want to look at the different faces of this phenomenon. We will consider how present it is in today’s troubled times, and whether revenge is or only sometimes sweet and can bring any solace.

Staying Sane

Mental health issues have increasingly become a topic of discussion in modern times. Some of these issues are genetic, some are acquired and related to our modern lifestyle, and some have certainly been exacerbated by the pandemic. Anxiety, worry and depression are a common part of everyday life for many of us. After all, we live in a time in which we’re bombarded with information at every turn, and there’s no way to process it all; overstimulation inevitably has a significant impact on our psyche. Fortunately, it’s no longer a taboo subject or a reason to be ashamed. Depression, disorders and a variety of neuroses are being discussed more and more openly in the public sphere as diseases of modernity, and when well-known and respected figures come out with their struggles in this arena it helps a lot.

Cinema has long been fond of neurotic, complex characters. Although heightened sensitivity may seem like quite a cross to bear, it’s often portrayed in a positive, compelling way — full of humanity, warmth, and empathy. This year’s Mastercard OFF CAMERA festival section will reflect on the importance of mental health in these difficult times and show that perceived weaknesses can be transformed into genuine strengths.

American Indies and Best of Fests are back!

There could not be a successful edition of the Mastercard OFF CAMERA Festival without two regulars. These two sections have already made a permanent mark in the history of the Mastercard OFF CAMERA International Festival of Independent Cinema and have always guaranteed full houses.

American Indies

A permanent section that no one needs to be introduced to, each year guaranteeing some of the most intriguing storylines and thrilling experiences. Among the films, as always, are gems of American independent cinema, which are difficult to find outside the festivals in publicly available sources. The line-up follows:

Good One

Seventeen-year-old Sam (Lily Collias) embarks on a three-day trip to the extremely scenic Catskill Mountains. She is accompanied by her father and his best friend, whose son resigned at the last moment. Thus, the nature of the expedition changes somewhat. It was intended to be an attempt to deepen relationships and time for fathers to spend with their growing children. Nothing of the sort. To make matters worse, Chris, instead of giving attention to his daughter, is constantly competing and teasing Matt. Visibly disappointed by the display of male ego, the heroine slowly begins to reevaluate her relationship with her father.

Screened in its premiere at the Sundance Film Festival, India Donaldson’s film is one of the most interesting debuts of last year. This intimate coming-of-age drama seeks to capture the moment when the bond between an adolescent child and parent clearly loosens and each slowly begins to go his own way. All this takes place against the backdrop of a spectacular landscape, the power of which is captured in a remarkably delicate way by cinematographer Wilson Cameron. Good One is the essence of American indie. The film was honored at the Pingyao IFF and won the Grand Jury Prize at the Boston IFF.

It was directed by India Donaldson, who also wrote the screenplay. Wilson Cameron is responsible for the cinematography, and the music was composed by Celia Hollander. Among the cast are: Lily Collias, James Le Gros, Danny McCarthy, Sumaya Bouhbal, Valentine Black.

Adult Best Friends

Katie and Delaney have been best friends since childhood. The problem is that they are at a very different point in their lives. While the first woman is ripe for the next big step, and the prelude is the proposal of her boyfriend John, the second has been clearly stuck at the college stage and does not want to grow up at all costs. Katie, however, counts heavily on the opinion of Delaney, who is not too fond of John. The reason is trivial. She is afraid that due to a man their friendship will suffer, and thus they will cease to be inseparable. Katie comes up with the idea that this “difficult” news of the engagement would be best delivered to her friend during a girls’ outing together.

Adult Best Friends is a comedically-maintained ode to friendship, made by… two best friends. What’s more, Delaney Buffett and Katie Corwin play several roles here. Together they wrote the script, play the main characters, the former directed the film, and the latter is its producer. This story, which is a female version of a buddy movie, also shows that maintaining a lifelong friendship is not all that easy. The film’s director is Delaney Buffett, who co-wrote the script with Katie Corwin. The cinematography and music are by Jessica Pantoya and Alexandra Kalinowski, respectively. The director also plays the lead role, and is accompanied by; Hannah Campbell, Carmen Christopher, Katie Corwin and Cazzie David.

Turn Me On

The reality of Michael Tyburski’s film somewhat resembles that of the popular TV series Black Mirror. The two main characters, Joy (Bel Powley) and William (Nick Robinson), live in a gated community. In a place where – it would seem – all problems have disappeared. They do not emanate any negative emotions, because they are simply devoid of emotions. Of any kind. All due to the special pill they take every day, due to which they also lose their memories and autonomy.

One day, however, Joy wants to try something different. She persuades her partner to skip the daily dose of the vitamin, thanks to which they begin to learn about the entire spectrum of emotions. From those generated by love, joy, or sex, to the negative ones associated with jealousy or anger, for example. This is also the moment when the tone of Tyburski’s film changes a bit. From a dystopian story with science fiction elements to a tender and warm romantic comedy. The strength of Turn Me On, besides its very successful performances, is its simplicity, leading us to reflect on our existence in the world of new technologies and how sometimes worse moments allow us to appreciate the good things.

The film was directed by Michael Tyburski, and the script is the work of Angela Bourassa. Music for the film was composed by Nate Heller, and the role of cinematographer was entrusted to Matt Mitchell. Among the actors are; Luke Kirby, Griffin Newman, Bel Powley, Nick Robinson and Ava Eisenson. The film at the San Sebastián International Film Festival

Best of Fests

Best of Fests is a section without which the Mastercard OFF CAMERA International Festival of Independent Cinema cannot be imagined. Best of Fests is a comprehensive overview of the most intriguing titles from various global film festivals.

Meanwhile on Earth

Elsa and her older brother Franck have always shared a close bond. When news reaches the twenty-three-year-old that a man has disappeared during a space mission, her world is completely reevaluated. Elsa’s plans to study at an art school in Paris will have to wait, as she decides to start working as a caregiver in a retirement home. Although life goes on, the statue of the astronaut erected on a nearby traffic circle reminds her every day of the painful loss of the person with whom she shared so much.

Or at least until the day when the heroine is contacted by an unidentified life form, convincing her that there is a possibility of bringing her brother back to earth. Meanwhile on Earth is the feature debut of French director Jérémy Clapin, who conquered the film world a few years ago with his Oscar-nominated excellent animation I Lost My Body (2019). His new production combines several genres. From science fiction and fairy tale components through action cinema, to an existential drama dealing with the theme of mourning. Clapin’s film is one of the most interesting French debuts of the past year. He also wrote the script, and invited Don Levi and Robert Heyvaert to collaborate on music and cinematography. The film stars; Megan Northam, Catherine Salée, Sam Louwyck, Roman Williams and Sofia Lesaffre.

Memoir of a Snail

Oscar-winning Australian Adam Elliot is back with a new film that proved a real hit of the festival season, triumphing in Annecy, London and Sitges. Loosely based on the director’s own story, this stop-motion animation is set in the 1970s in Canberra, Australia. The main character is Grace Pudel, whose life is filled with loneliness, melancholy, and defeatism. The girl’s anxieties deepen when her family breaks up and she is separated from her twin brother Gilbert. She feels safe only when she reads books or indulges in the peculiar hobby of collecting snails. A ray of hope becomes Grace’s acquaintance and then friendship with an eccentric older woman named Pinky, who, unlike the heroine, is full of life, energy and enthusiasm. This meeting gives the girl courage and step by step allows her to come out of her shell.

Elliot’s film is an extremely poignant, sincere, and full of black humor story about an outsider who slowly begins to discover the splendors of life. The characters are voiced by such stars as Sarah Snook, Eric Bana, and Nick Cave. The music for this Australian animation was composed by Elena Kats-Chernin. The film received numerous nominations and awards including; Oscars – Best Feature Animation (nomination); Annecy IFF – Best Film; Sitges IFF – Best Feature Animation; London IFF – Best Film.

Souleymane’s Story

The film by French director Boris Lojkine depicts two days in the life of Guinean-born Souleymane. The man is an illegal immigrant who has come to Paris in search of a better life. He is running a real race against time, because just in two days his interview to apply for asylum will take place. The protagonist, who earns his living by distributing food through the congested streets of Paris, has little time to get the money for the necessary documents. But also, to learn the fictional story of his escape from Africa to Europe. It is supposed to be believable and poignant enough to convince an official, and thus get the documents for legal residence in the French capital.

In his film, Lojkine gives voice to those who are usually deprived of it. He depicts what difficulties migrants must face every day in their struggle to survive. This story, sensitive to social inequalities and full of humanism, is reminiscent of the cinema of the Dardenne brothers in terms of style. The undisputed star of the film is, playing the title role, debutant Abou Sangare (himself a migrant), who won the acting award at the Cannes Film Festival and the European Film Award for this performance. The film’s director, Boris Lojkine, also co-wrote the screenplay. Among the cast one can see such French-speaking actors as; Abou Sangare, Nina Meurisse, Ghislain Mahan, Yaya Diallo and Mamadou Barry. The film has not been idle during the festival season in terms of awards and nominations. Among the honors are; European Film Award – Best Actor (Abou Sangare), Best Sound; Cannes IFF – Jury Prize, Best Actor (Abou Sangare) – Un Certain Regard; Jerusalem IFF – Best International Film; Pingayo IFF – Best Director.