As the Critics’ Picks competition celebrates its fifth anniversary at the Tallinn Black Nights Film Festival, curator Niki Nikitin discusses the evolution of the section, the themes and filmmakers shaping its 2026 selection (see the news), and his ambitions to strengthen its international visibility and support for independent cinema.

Cineuropa: Critics’ Picks celebrates its fifth anniversary this year. How has the section evolved within the Tallinn Black Nights Film Festival, particularly in discovering and promoting filmmakers?
Niki Nikitin: Over these five editions, Critics’ Picks has developed a recognisable curatorial identity within PÖFF. Our original idea was to create a home for outstanding films that might otherwise get lost in the international festival landscape, regardless of the filmmaker’s generation or the film’s genre.

From the outset, we wanted to challenge the distinction between arthouse and audience-friendly cinema. Why should an artistically ambitious film necessarily be slow, depressing or difficult? Our selection of world premieres has embraced everything from black comedies and psychological thrillers to dramas and animated documentaries.

Several films illustrate the section’s impact. Dechen Roder’s I, the Song, which premiered in 2024 and won our Best Director Award, subsequently travelled internationally and became Bhutan’s official submission for the Academy Awards. László Csáki’s animated documentary Pelikan Blue, premiered in 2023, went on to screen at DOK Leipzig and Annecy was included in the European Film Awards documentary selection. Masaki Tsujino’s Japanese black comedy The Brothers Kitaura won our Best Film Award in 2024. Our ambition is to become a place where audiences and industry professionals discover filmmakers who will shape cinema in the coming years.

What are the main characteristics of this year’s selection? Are there recurring themes or emerging trends that reflect the current state of international independent cinema?
This year’s selection brings together films from Mexico, Cyprus, Greece, the UK, Turkey, Bulgaria, Japan, China, India, Morocco, Spain, Uruguay and Estonia. What interests me is how filmmakers from different cultural backgrounds approach similar questions about contemporary society.

One recurring theme is the family, often portrayed as a place of conflict rather than security. In The Great Family, Mexican director Matías Meyer addresses violence and exploitation against children through a story based on real events. The Indian independent action film Kidney explores how a minor family conflict can escalate into a cycle of violence.

Other filmmakers approach childhood and vulnerability differently. Faysal Soysal’s Rahma adopts a dramatic perspective, while the Chinese film IOU explores the experiences of children left behind through warmth and humour. In Until Dawn, our first Critics’ Picks entry from Morocco, Mohamed Zineddaine portrays a troubled teenager through atmospheric visual storytelling.

Another characteristic of this edition is the return of comedy. Last year, we couldn't find a single comedy that fully convinced us. This year, we have three. Maya Vitkova-Kosev’s One Month is a comedic drama centred on a female protagonist. Masaya Tsutsumi’s Jimoto Loop follows a hungover young woman trapped in a time loop in her hometown and When I Existed, from Uruguay and Spain, uses absurd black comedy to explore the inhumanity of bureaucracy.

We are also welcoming back Estonian filmmaker Eeva Mägi with Mo Amor. After presenting Mo Mamma at our first edition and Mo Papa last year, we can now follow her evolution towards a more experimental cinematic language. Supporting filmmakers should also mean accompanying their artistic development.

Our opening film, Apart, by Steliana Kliris, a Cyprus-UK-Greece co-production, demonstrates how historical cinema can address important subjects through personal stories.

The selection also features strong female protagonists and distinctive female filmmaking voices. Across the programme, we find historical drama, experimental filmmaking, action, social realism and comedy, sometimes combined within the same film.

Despite recurring subjects such as violence, injustice, family trauma and social exclusion, there is considerable humour and imagination in this selection. This is central to our philosophy: we don't select films based on which themes are in fashion or on preconceived ideas of festival cinema. We look for distinctive voices and filmmakers willing to take risks.

Looking ahead, how would you like Critics’ Picks to develop over the next five years?
I would like Critics’ Picks to become more internationally recognised as a quality label, a competition where filmmakers know their work will receive attention, industry professionals discover new voices and audiences trust the selection enough to take a chance on unfamiliar films. We are also looking for partners to expand the number of awards.

One priority is the life of films after their world premieres. International distribution has become increasingly difficult, particularly for independent productions from smaller countries. A festival premiere does not necessarily lead to further screenings, sales or theatrical distribution.

We therefore want to strengthen our relationships with international festival programmers, sales agents, distributors and professional critics, taking advantage of PÖFF’s industry platform, Industry@Tallinn & Baltic Event.

Another objective is to maintain longer-term relationships with filmmakers. Dechen Roder returned to Tallinn as a jury member, and Jurgis Matulevičius, whose China Sea won Critics’ Picks last year, is also joining the jury.

Finally, I would like to develop stronger connections with young critics and emerging curators. Festivals should not simply screen films but encourage critical dialogue and exchanges between different cinematic cultures. Ultimately, I want Critics’ Picks to become one of the most trusted places to discover independent cinema, while helping selected films reach audiences beyond Tallinn.