Five works that lie off the beaten path of the mainstream, united by a powerful theme: the exploration of the body as a site of conflict and the rewriting of identity. Whether dealing with memories linked to a transplanted heart, the quest for self-redemption on city streets, or the workings of a perverse media apparatus, the selected titles reflect on the fine line between our own identity and the structures that seek to shape it.
The International Feature Competition section of RIFF 2026 thus brings to Rome a clear and direct selection of auteur-driven films, all presented as Italian premieres.
Opening the selection is “80 BPM” by Grigory Kalinin (2026, 92’50”): a well-known Russian actor who here takes on directing, editing, and the musical score, Kalinin delivers an intimate drama for Studio SLON centered on the body’s biological memory. From the Dominican Republic comes “A Marte” by Francisco Valdez (2026, 102′), distributed by The Open Reel. Drawing on his solid experience as a camera operator for M. Night Shyamalan, Valdez crafts an emotionally charged, chamber-style LGBTQIA+ duel. The United States is represented by “Destroy All Girls” by Erin Vassilopoulos (2026, 87′). Previously an award winner at Tribeca and featured at Locarno, the director returns with a film shot on 16mm and Mini DV that explores the aimless wanderings of a crew of skaters in New York. From Poland comes “Murkiness” (“Mroki*) by Bartosz Szyszko (2026, 88′), fresh from its competition run at the Gdynia Polish Film Festival (FPFF)—a grotesque-toned debut that exposes the perverse machinery of television. Rounding out the selection is Germany’s “Thanks for Nothing” by Stella Marie Markert (2025, 108′), a stark coming-of-age story about the inability of Generation Z to communicate, confirming the filmmaker as one of the most promising voices in European independent cinema.
