Having proudly reached its 56th edition (4-13 April), Visions du Réel confirms its position as the second most important festival in Switzerland when it comes to launching new films. This year, the programme will indeed be marked by the strong presence of debut films – 58, 28 of which are features. The Nyon festival also aims to be an unmissable international festival for non-fiction cinema, a prestigious showcase for directors known to the festival, but also for new faces. Its artistic director Emilie Bujès is “pleased to note that Visions du Réel confirms at once its role as a trailblazer and catalyst for talent”, before adding that “we are very happy that our selection testifies once again of our openness to the world.” The films of the 2025 edition once again play with conventions of what we call the real by investigating the world with a plurality of styles and registers. As its opening film, the festival has chosen Blame by Christian Frei, which will be presented as a world premiere.

This year, the festival will welcome three prestigious guests: Haitian filmmaker Raoul Peck (guest of honour), an invitation shared with the Cinémathèque suisse and the ECAL, Romanian filmmaker Corneliu Porumboiu, and Portuguese director Cláudia Varejāo who will give two highly anticipated masterclasses. Amongst the other guests of this edition are British director and producer Asif Kapadia who, during the VdR Industry days (read the news), will give a masterclass open to accredited visitors.

Amongst the 14 films selected in the International Feature Competition, 11 are European productions and co-productions. Amongst those, we find Obscure Night – "Ain’t I a Child?" [+lee también:
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ficha de la película] by Sylvain George, the last chapter of a powerful trilogy on migration policies (following Obscure Night - Wild Leaves (The Burning Ones, the Obstinate) [+lee también:
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ficha de la película] and Obscure Night - Goodbye Here, Anywhere [+lee también:
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entrevista: Sylvain George
ficha de la película]); the new film by Jem Cohen (Museum Hours [+lee también:
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ficha de la película]) Little, Big and Far, which follows the existential quest of an Austrian astronomer; the Macedonian film The Mountain Won’t Move [+lee también:
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ficha de la película] by Petra Seliškar, about a brotherhood living on a mountain; German feature Soldiers of Light [+lee también:
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ficha de la película] by Julian Vogel and Johannes Büttner; Belgian-French production La Montagne d’or by Roland Edzard; Anamocot (France/Cameroon) by Marie Voignier (Tinselwood [+lee también:
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ficha de la película]); The Prince of Nanawa [+lee también:
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ficha de la película] (Argentina/Paraguay/Colombia/Germany) by Argentinian filmmaker Clarisa Navas (One in a Thousand [+lee también:
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ficha de la película]) which follows the life of a boy over 10 years in a no-man’s-land between Argentina and Paraguay; Aurora [+lee también:
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ficha de la película] (Brazil/Portugal/France) by João Vieira Torres, a powerful reflection on the violence done to women through the story of her grand-mother, a midwife; Niñxs [+lee también:
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ficha de la película] (Mexico/Germany) by Kani Lapuerta which talks about a trans teenager in a rural milieu; The Attachment (Senegal/Belgium/South Africa) by Mamadou Khouma Gueye and Where Two Oceans Meet (France/Belgium/South Africa) by Lulu Scott. Iron Winter (Australia/Mongolia) by Kasimir Burgess, To Use a Mountain (USA) by Casey Carter and Shifting Baselines (Canada) by Julien Elie complete the section.

The audacious Burning Lights competition will welcome 15 titles this year, all world premieres, with 12 European productions or co-productions. Amongst those, we find The Big Chief (Poland/Netherlands/France) by Tomasz Wolski (In Ukraine [+lee también:
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entrevista: Piotr Pawlus, Tomasz Wolski
ficha de la película]), about a former Red Army officer and hero of the resistance against Nazism, a character at once fascinating and enigmatic; the very personal and powerful Je n’embrasse pas les images (France) by Pascal Hamant; La Muraille [+lee también:
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ficha de la película] (Switzerland/France) by Calisto Mc Nulty, about the troubling history of the Fontilles sanatorium in south-east Spain; Les Recommencements (Belgium/France) by Vivianne Perelmuter and Isabelle Ingold which follows the journey of a character to face a haunting past; the Belgian production National Pride: From Jericho to Gaza by Sven Augustijnen; the poetic and mysterious Yrupe (Spain) by Candela Sotos; the French production Chasing the Sun by Ruosong Huang, about a young man who, after studying in London, returns to his family in China; Croma [+lee también:
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ficha de la película] (Argentina/Germany/Austria) by Argentinian filmmaker Manuel Abramovich (Pornomelancolía [+lee también:
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entrevista: Manuel Abramovich
ficha de la película]) which allows us to dream of a deconstructed world freed from all normativity; The Vanishing Point [+lee también:
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ficha de la película] (Iran/USA/France) by Bani Khoshnoudi which intertwines his personal history and that of his country of Iran; The World Upside Down (Switzerland/Argentina) by Agostina Di Luciano and Leon Schwitter; And the Fish Fly Above our Heads (Lebanon/France/Saudi Arabia) by Dima El-Horr; and Al oeste, en Zapata (Cuba/Spain) by David Bim. J’ai perdu de vue le paysage (Canada) by Sophie Bédard Marcotte, Say Goodbye (Mexico) by Paloma López Carrillo and A Brief History of Chasing Storms (USA) by Curtis Miller complete the selection.

Other sections, such as the National Competition, the International Mid-Length Competition as well as Opening Scenes, Grand Angle, Highlights and Special Screenings complete the rich programme of this edition.