These are the people who will shape the future of documentary cinema! The First Appearance Competition at the 23rd edition of Millennium Docs Against Gravity is an opportunity to see 10 bold, moving, and at times humorous stories from around the world. Emerging directors – both women and men – tell us about the world we live in as they begin their careers. The rising talents at MDAG are supported by the First Appearance award sponsor, Visa, one of the global leaders in digital payments. As always, the winning film will be selected by an intergenerational jury, bringing together both teenagers and people aged 55+. This year’s Jury includes: Oliwia Maciejewska, Antoni Banach, Stanisław Biele, Elżbieta Zawadzka, Witosława Giedrojć, and Halina Rudzka.
The 23rd MDAG will take place from May 8 to 17, 2026, in cinemas across seven cities (Warsaw, Wrocław, Gdynia, Poznań, Katowice, Łódź, and Bydgoszcz), and online from May 19 to June 1 at mdag.pl!
Films participating in the First Appearance Competition:
"North South Man Woman", dir. Morten Traavik, Sun Kim
[A pair of elegantly dressed people stand very close to each other, resting their foreheads together and looking into each other’s eyes in a romantic atmosphere.]
Charismatic businesswoman and North Korean defector Yujin Han runs a matchmaking agency in Seoul called Lovestorya, which connects North Korean refugee women with South Korean men. The film combines observation, interviews, and archival footage, offering a reflection on the reality of modern South Korea.
"La belle année", dir. Angelica Ruffier
[A young woman with a smoldering cigarette in her mouth leans over a plant.]
After her father’s death, Angelica Ruffier returns to her family home to clear it out. She remembers her first, intense love from youth – her history teacher, Miss S. The film follows her emotional journey.
"The Hidden Face Of The Earth", dir. Alain Arnaud
[A person with a backpack stands on a rocky coastline, looking out at the sunlit, rough sea.]
Dimitri, gradually losing his sight, continues to photograph the world and the people around him. Hidden behind his camera, he captures light, bodies, and emotions as he wanders through the streets of Paris, New York, and meets friends, lovers, and strangers.
"Joybubbles", dir. Rachael J. Morrison
[Black-and-white photo; a man sits on a couch holding telephone receivers to his ears.]
A portrait of Joe Engressia, a blind boy who discovered he could control the global telephone system by whistling a magical tone. His passion paved the way for the “phone phreak” subculture and showcases independence, imagination, and the joy of life.
"Kikuyu Land", dir. Andrew H. Brown, Bea Wangondu
[A panorama of a tea highland; three people walk along a path, with trees in the background.]
On the tea highlands of Kenya, Mungai fights to reclaim the land taken from his family. Bea’s investigation uncovers hidden histories and family truths, while the film explores the colonial legacy and the community’s determination in the struggle for justice.
"White Lies", dir. Alba Zari
[An older woman in a beige sheepskin coat holds someone’s hand and presses it to her face, looking worried.]
Born in Thailand in the Children of God sect, Alba Zari does not remember her childhood. To discover her father and understand her past, she talks with her mother and grandmother while confronting the painful consequences of indoctrination.
"Confessions of a Mole", dir. Mo Tan
[Three people, wrapped in blue wires resembling a bush, sit at a round table. On the white wall behind them hangs a framed picture with Chinese characters.]
After years in Poland, filmmaker Mo Tan returns to China. A fortune teller’s warning about a mole sparks a family feud. Amidst a cancer diagnosis and a fracturing family, this raw tragicomedy asks: can we outrun fate, or is it etched on our skin?
"Enough Is Enough", dir. Elisé Sawasawa
[A group of young boys stand and kneel on a street, looking toward the camera. They hold improvised “weapons” made from sticks and everyday objects.]
The film depicts the drama of war in eastern Democratic Republic of Congo, focusing on Goma after the M23 rebel attack. It documents the lives of residents, their survival, creativity, and resilience in the face of chaos, violence, and political helplessness.
"Replica", dir. Chouwa Liang
[A phone screen held in hands; on the screen there is a woman’s face and a 3D figure beside her. Blurred silhouettes of people are visible in the background.]
Three young Chinese women turn to AI partners to fill emotional voids and seek independence. The film shows how AI reshapes love, intimacy, and the boundaries of emotional freedom in contemporary China.
"Hex", dir. Maja Holand
[A figure standing in a mountain clearing; they wear a white dress, a crown, and heavy makeup. The fabric of the dress trails across the clearing like a veil, with mountain hills in the background.]
A hybrid essay film combining documentary cinema, performance, and a feminist manifesto. The figure of the witch becomes the point of departure for a story about control over the female body, shame, anger, and the reclaiming of agency through ritual and performance.
The 23rd edition of MDAG will take place from May 8 to 17, 2026, in cinemas in Warsaw, Wrocław, Gdynia, Poznań, Katowice, Bydgoszcz, and Łódź, and online from May 19 to June 1 at mdag.pl! The event’s title patron is Bank Millennium (https://www.bankmillennium.pl/).
