Pedro Harres is a director, animator, screenwriter, and multimedia artist born in Porto Alegre and based in Berlin. He holds a BA in Cinema from UNISINOS (Universidade do Vale do Rio dos Sinos) and a BA in Philosophy from UFRGS (Universidade Federal do Rio Grande do Sul), both in Brazil; and an MA in Animation Direction from Babelsberg Film Universität, Germany. Among his previous works are the short film “A Smaller Animal (Um Animal Menor)”, which received several awards in Brazil; The video installation “Ego Machine (EgoMáquina)”, and the short film “Castillo y el Armado”, Oscar-qualified in 2015 and premiered in the Orizzonti competition at Venice Film Festival. “From The Main Square” is his Master’s thesis in Directing Animation at Babelsberg Film University, his debut in interactive VR, and won the Immersive Grand Jury Prize at the 79th Venice International Film Festival 2022.

Peter Nestler (b.1937) is one of the most singular and important filmmakers to emerge in postwar Germany. In the early 1960s Nestler made a series of poetic films about the changing realities in rural and industrial areas and about the working class communities, mostly in Germany, but also in the UK, where he filmed A Working Men's Club in Sheffield (1965). In the same year he directed From Greece (1965), on the rise of and struggle against fascism followed by the unsparing and exigent In the Ruhr Area (1967). Opposition to his political views and film aesthetics led Nestler to Sweden, where he worked mostly for television. Since the 1970s, Nestler has directed an extraordinary body of work further expanding the form and themes of his first films, including history, the working class, anti-fascism, the history of labour and production, and immigration. In the past 20 years, Nestler's films have continued to focus on change, remembrance and preservation, as exemplified by The North Calotte (1991), a remarkable travelogue tracing the harmful effects of industrialisation on the Sami communities and the landscape of Northern Europe.

(Source: https://dafilms.com/)

Raphaël Grisey lives and works in Berlin. Grisey uses video, editorial, and photographic works to assemble narratives about politics of memory, migration, and architecture. The book Where is Rosa L. (2001–2006), and the film National Motives (2011), study the ghosts of various political regimes in the public spaces of Berlin and Budapest. Through diverse documentary, fictional, or essayist forms, Grisey’s films and installations deal with neocolonial spatial politics, and decolonial storytelling and practices in agriculture and urban space (Trappes, Ville Nouvelle, 2003; Cooperative, 2008; and Sowing Somankidi Coura, a Generative Archive 2015– in collaboration with Bouba Touré). He collaborated with Florence Lazar on the films Prvi Deo and Red Star (2006), which deal with post-war former Yugoslavia’s justice. Other film projects were made in France, amid students’ strikes (The Indians, 2011); in China, amid Míngōng peasant-workers (The Exchange of Perspectives, 2011); in the social housing complex of Pedregulho in Brazil (Minhocão, 2011), in the Brazilian Positivist Church in Rio de Janeiro (Amor e Progresso, 2014), and around maroon quilombola communities in Minas Gerais (Remanescentes; A Mina dos Vagalumes, 2015). Since 2019, various forms of his research and collaboration with Bouba Touré, Sowing Somankidi Coura, a Generative Archive, have been presented in several countries.

Hsu Pan Naing was born in Yangon, in 1997. The daughter of a writer, she grew up surrounded by the books of her mother and many other writers, and soon fell in love with storytelling. Shortly after receiving her journalism degree from the National Management Degree College, she was hired by The Myanmar Times as a video journalist. Keen to further explore the moving image, she gave up her job to attend the Yangon Film School in 2020, and has since worked in various roles, including as sound recordist on The Singing Bookman (Dir. Nan Cho Lae Yee Thein). Her first brush with animation was Reborn, a short film she co-created with other students during a YFS Animation & Mixed Media course in 2021. Developed at a time when the pandemic and the military coup made independent filmmaking in Myanmar more challenging than ever, Dear Daughter marks her first film as a director in her own right. She is currently working as an intern in a developmental organization whilst developing her first short drama, Lost Girl, with support from the Myanmar Script Fund.