Anna, a twelve-year-old Ukrainian gymnast, has fled her war-torn country and recently settled in Montreal with her mother, younger brother, and grandmother. Confronted by the past, the challenges of exile, and a deep need for belonging, she seeks to rebuild her identity and regain her balance. Through her child’s perspective, the documentary explores the reality of life after war, questioning what endures and what is missing, even when one has found refuge.

English

Balance (Voltige)

After fleeing war-torn Ukraine for Montreal, twelve-year-old gymnast Anna struggles to find her footing between memory and exile, as she rebuilds her identity and searches for belonging in a new world that offers safety, but not everything she has lost.

CHILDREN NO MORE: WERE AND ARE GONE is an observational documentary short about a vigil that began in March 2025,when a handful of women stood silently in a public square in Tel Aviv, each holding a photograph of a child killed in Gaza. On every image: the child’s name, age, date of death, and the words “was and is no more.” Their stillness is heavy, pressing against the rhythm of ordinary life. Some passersby look away; others respond with denial, sorrow, or rage. Yet week after week, new names are added, new photographs are printed and lifted high. And each week, more people step forward to join this quiet act of protest.

Children No More: Were and Are Gone

In Tel Aviv, activists gather weekly to demonstrate their opposition to the war in Gaza with a silent vigil for the children killed in Israeli attacks.

Set against the backdrop of a forest, an artist navigates the chaos of his inner world and the war-torn reality of Sudan. He expresses his heartache and the profound impacts of war on all Sudanese people, regardless of their ethnicities and affiliations.&nbsp;

Is it War?

Set against the backdrop of a forest, an artist navigates the chaos of his inner world and the war-torn reality of Sudan. He expresses his heartache and the profound impacts of war on all Sudanese people, regardless of their ethnicities and affiliations.

In 1975, soon after the end of the Vietnam War, Hoa Thị Lê and Huệ Nguyên Chếfled the country on a small boat. After nine days at sea, they docked in the Philippines, where they were held in a refugee camp. During this time, they were unwittingly cast as background extras during the filming of Apocalypse Now.

We Were the Scenery

Based on the real-life experiences of two Vietnam War refugees who, while stateless in a Philippine refugee camp in 1976, were unwittingly cast as background extras during the filming of Apocalypse Now.

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Connecting at the intersection of film, community, and social justice, ACT Human Rights Film Festival screens exemplary documentaries from around the world. 

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