Amid political turmoil in Europe and a push to overhaul Karlovy Vary’s identity for tourists, Russia plays a lesser festival role.

A young woman becomes obsessed with a man accused of being a brutal serial killer in Pascal Plante’s slickly constructed and brilliantly unsettling thriller, Red Rooms.

An apparently well-put-together couple begin to come loose at the seams after a hypnotherapy session in Ernst De Geer’s awkward and offbeat satire, The Hypnosis.

A forensic anthropologist works to return names to the unidentified dead that EU states have forsaken in this sensitive yet urgent and persuasive observational documentary.

Naqqash Khalid delivers a blistering feature debut with this fragmentary portrait of an actor that delves into questions of performance and identity, In Camera.

Alexandru Solomon leads an offbeat, high-stakes pilgrimage that connects dark history past and present, interrogating the idolisation of Romanian mystic Arsenie Boca through re-enactment and activist exploits.

A fresh, humanistic period drama that satirises the modernist project of a Czechoslovak factory town, and its sinister demands of conformity on the eve of World War Two.

The reverie of an adult-free summer quickly becomes a monstrous nightmare in Michèle Jacob’s disconcerting portrait of childhood trauma, The Lost Children.

The festival’s Midnight Screenings confirm its commitment to versatile global genre cinema.

A 13-year-old girl on a Chilean island reckons with colonial brutality in an ominous, supernatural tale of historical oppression and indigenous resistance.

The deliciously wry, gently unfurling tale of a middle-aged Georgian woman who rejects small-town conformity and experiments with love after a near-death experience.