Tibetan director Kangdrun’s Orlo with Karma brings us something quite different from the Tibetan New Wave films pioneered by directors like Pema Tseden.

The film’s titular character, young girl Orlo meets the young man Karma at her Mandarin class, and gradually develops feelings for him. Embedding a coming-of-age romance narrative within the context of urban Lhasa remains rare in contemporary Tibetan cinema—and it is precisely what makes the film stand out.

I especially loved how the Tibetan rap music Orlo listens to through her Beats headphones cleverly becomes the film’s soundtrack itself, perhaps hinting at how she’s constructing her identity between traditional Tibetan and urban middle class tastes.

As the trust between Orlo and Karma dissolves, the film shifts into a deeper narrative about the collapse and reconstruction of faith. Director Kangdrun doesn’t offer easy answers. Instead, she subtly captures the quiet changes happening in contemporary Tibet, young people navigating the uncertainties of emotional and spiritual growth, and modernity, leaving us with plenty to reflect upon.

– Page ZHANG

Director Arvin FAN Wenyi’s, Retraction, sparked multiple rounds of contentious discussion in the selection meetings —  What exactly caused this sense of discomfort in this sub 30mins film? Among all the short films submitted this year, this is arguably the most controversial in terms of content. Using a mockumentary approach, the director constructs a subjectively driven narrative with a raw, cinéma vérité quality, portraying a young man in his early twenties as he navigates desire, competition, and interactions with women — appearing repressed and at a loss.

Thanks to the director’s keen observation of everyday life, the switching between black-and-white handheld shots gradually reveals the protagonist’s deep longing for genuine connection. Set against a soundtrack laced with comedic tones and moments of ambient silence filled by city traffic, he finally takes a step forward — through with a Huabei credit payment. His awkward lines with the woman in the room tightens the uneaseness, hovering on the edge of undelivered victory.

Despite the low-budget production, the film does not compromise on performance or pacing. Through shaky close-up shots, the director circles back to the film’s title at the end, posing the question once more to the audience: Retraction, and then what?

– LIU Yuetong