Bringing reality on a stage - interview with Tuki Jencquel, the director of Está todo bien

Saturday, 11/16/2019

A powerful and personal documentary on the Venezuelan public health crisis is participating at this year’s Human Rights Competition of Verzio. Está todo bien’s director Tuki Jencquel gave us some insights on the day of the premier at Verzio.

The Courage To Not Look Away

Monday, 11/11/2019

Interview with Alexander Nanau, director of Colectiv (2019), Verzio16 opening film by Oksana Sarkisova


Ilham Tohti

Thursday, 11/07/2019

Ilham Tohti, an Uyghur economist fighting for the rights of China’s Uyghur minority, is the winner of the European Parliament's Sakharov Prize for Freedom of Thought in 2019.

The winner was chosen by Parliament’s political leaders on 24 October 2019.

Interview with Rosie Gartwaite, producer of The Workers Cup

Thursday, 01/31/2019

Rosie Garthwaite is the producer of the multi award-winning film The Workers Cup that premiered on the opening night of Sundance 2017 and was screened in the 15th Verzio Film Festival. We talked to her about the shooting, and her insights of the immigrant workers’ situation in Qatar.

A different kind of course work

Tuesday, 01/15/2019

Entering CEU last Friday evening was a very different experience from the usual serene atmosphere that one is used to just before the weekend. Loud chitchat, people waiting outside the auditorium, and nervous excitement in the air – it was the End-of-Semester Documentary Film Screening. These screenings have grown into a somewhat friendly tradition at the university where students have the unique opportunity to share their hard work with the CEU and wider community. After months of sweat and tears, sharing your work on a huge screen in front of a big audience can be a very daunting experience, particularly for the majority of students who never expressed themselves visually before. A completely packed auditorium arguably did not ease the worries of these fresh filmmakers either…

A Woman Captured, A Reality Revealed // Verzio X ELTE

Tuesday, 11/13/2018

Marish is a modern day slave in Hungary, owned by a lady, Eta, who is proud to “own” multiple servants in her home. Growing up in the heart of the more developed parts of Asia in Singapore and Hong Kong, where the domestic helper industry is large, I did not find it bizarre to have someone living in the house and doing all the cooking and cleaning.


No obvious signs - The war is not over // Verzio X ELTE

Wednesday, 11/07/2018

No Obvious Signs (Alina Gorlova, 2017) won 5 awards, but what makes this movie really worth to watch is its in-depth content, a honest, natural portrait of a traumatised person. The first salient thing we notice is Alina Gorlova’s line of vision: there is a notable non-large-scale lens shot with a camera, which creates the emotion of claustrophobia, belonging to the protagonist.

Complicit - Who pays the price // Verzio X ELTE

Monday, 11/05/2018

Complicit is not merely documenting injustice, will to survive and a fight for human rights; this heart-breaking, eyes-opening documentary is asking you to take action on that. The movie is a wake-up call to anyone who has been dormant on the situation of occupational diseases and exploitation of labour in China so far.

Srbenka - No end in sight // Verzio X ELTE

Monday, 11/05/2018

In the Croatian coastal city of Rijeka, a theatrical play is about to start. It is called Aleksandra Zecand represents the murder of this 12-year-old Croatian Serb, who was executed along with her parents in Zagreb during the Croatian War of Independence in December 1991. At the entrance of the theater, a small group of ultraconservatives are demonstrating against the organizing of this event. “86 kids from Vukovar” or “When will the Croatian victims have their own theatre play?” are some of the slogans they carry. Croatia is still a very polarized society nowadays, so everything that has something to do with the Serbian community generates controversy. 

The Other Side of Everything - Doors // Verzio X ELTE

Monday, 11/05/2018

The idea of doors and their representation is often an inviting, interesting choice for symbolism. They can be there or not; if they’re not, their absence is still meaningful, as it says something to us about the nature, practicalities, and inhabitants, of a certain space. On the other hand, their presence does the same thing, but conditioned by the position that they’re in; whether they’re open or closed, being opened or being closed, by whom, in what situation, and when. The metaphorical potentials stemming from this seemingly simple everyday item are thus almost endless. However, rarely are they represented in more than a supporting role for some kind of a bigger statement or idea to be made, perhaps because of a single, but very well-hidden quality they possess – the implied control one has over them.