United Kingdom!!

Thrilled to announce that two shorts by Mailuki Films have been selected to compete at Bradford International Film Festival, UK:

Anyone lived in a pretty how town, by Daniel Kreizberg/ Lithuania, Monaco, USA
Octopus, by George Dogaru/ Romania

The festival will take place at Bradford Arts Centre, from the 23rd – 25th of October 2026.

Anyone Lived in a Pretty Little Town and Octopus are two of the year’s most successful productions on the international film festival circuit.
They have competed at some of the world’s most prestigious film festivals, including those that qualify for the Hollywood Oscars and the EFA European Film Awards.

George Dogaru about OCTOPUS:

Octopus is a story born from a personal reflection on childhood fears and the silent ways in which children cope with trauma. I wanted to explore the inner life of a boy who, at first glance, seems perfectly ordinary – but whose imagination becomes both his refuge and his weapon.

For me, Albert reflects something universal: the feeling of powerlessness in the face of adult cruelty, the confusion of a world that appears unfair and threatening, and the desperate need to reclaim even a fragment of control. Through his drawings – and the strange gift that allows them to come alive – Albert reclaims that control in the only way he knows: by transforming his own fear into a weapon, forcing those around him to feel the very terror that has shaped his existence.

In this story, there is no line between fantasy and reality – because there is no fantasy. Everything Albert imagines is real, solid, inescapable. The extraordinary seeps gently into the ordinary without spectacle or warning. It is not magic; it is the quiet logic of a mind cornered by loneliness and fear.

Visually, the world of Octopus is bright, deceptively full of color – because depression often wears cheerful clothes. This contrast was essential to me: to build a world where suffering hides behind light, where dread dresses itself in playful tones, and fear grows silently beneath the surface of the everyday. I wanted the audience to sense this dissonance – the uneasy weight hidden under apparent normalcy.

In the end, Octopus is not a story of triumph or survival. It is a story of escape – but of the final, irreversible kind. Albert’s last gesture is not victory, but surrender: stepping fully into the world he created, leaving behind the one that has broken him. Octopus is, above all, a quiet tale of invisible tragedy – the kind that unfolds unnoticed, when no one is truly looking.

A farewell whispered by a child who was never truly seen.

Daniel Kreizberg, about Anyone lived in a pretty how town

In the American poet E.E. Cummings’ widely beloved poem anyone lived in a pretty how town, the primary characters anyone and no one transcend their cynical community to develop a profound love relationship. Spanning many years and life cycles, this meditation on ordinary lives and overlooked connections has had great meaning to me since I first encountered it a decade ago. Initially published amidst global upheaval in 1940, its post-modern critiques of social conformity and industrialization feel even more relevant today, when both our public discourse and our private lives are facing remarkable challenges.

In recent years, I discovered that Cummings’ lyrical elegy has deep resonances with a piece of music that is very personal to me: my late father’s final recording. Yakov Kreizberg was a renowned maestro and died of a long illness at age 51 when I was only a teenager. His last recorded work, the much-performed Ralph Vaughan Williams tone poem The Lark Ascending, was called “perhaps the finest on record” (ClassicFM) after he performed it with the Monte Carlo Philharmonic Orchestra, roughly 100 days before passing away, in what is now the Yakov Kreizberg Hall. While the music’s romantic sensibilities are as apparent as its nature themes, the work originated during the First World War, and heard alongside the Cummings poem, expresses both the ecstasy of the spirit as well as life’s storms and challenges. Incredibly, and almost mystically, each musical line seems to support each line of the poem, in a symbiosis that is beyond words.

After discovering E.E. Cummings’ own paintings, which are dreamy, almost fragile oil and watercolors and which are an often overlooked part of his artistic legacy, I became convinced that the transporting world of his perhaps most widely anthologized poem had to be brought to life in the poignant style of his visual art. Together with the STUDIO and Meinart Animation Studio, we spent eighteen months meticulously crafting animation in which every frame contains the feel of an artist’s hand. Furthermore, my father’s music evokes vivid colors that lend themselves perfectly to the impressionistic paint colors Cummings favored. And, inspired by the nature themes inherent in both the poem and the music, Cummings’ words are given gripping resonance through a reading by legendary ethologist and conservationist Dr. Jane Goodall, DBE, whose tender voice lends gravity to Cummings’ work and suggests that new human and social values are needed for our own well-being and a sustainable planet.

Collaborating with my father on this film, across the seeming boundary of life and death, is the realization of an impossible dream, perhaps best articulated by Cummings’ own words in the poem: “wish by spirit and if by yes.” Ultimately, our film is about that which is everlasting: the lives we touch, the impact we have on the world, the legacies we leave behind. Our protagonist embodies the fundamental humanity found within any one of us, while The Lark Ascending celebrates the eternal spirit we all carry, one which yearns to soar and be free if only we will let it.

May anyone lead the way.