The insouciance of youth, set against the backdrop of a decaying communist Poland, provides a romantic backdrop for Jadwiga Kowalska to tell a lightly fictionalized version of her own family story in the Annecy jury-winner, The Car that Came Back From the Sea. Possessing a punkish energy and a strong soundtrack, the film is a triumph of tone, as the endearing antics of a group of young men, with their pure and simple desire to drive a piece of junk to the ocean, intersect with larger historical currents of political collapse and liberation.

It’s a vast canvas to explore, and perhaps counterintuitively, Kowalska approaches the film in a minimalist b&w line-drawing style. Animated minimalism can be a tricky proposition; it’s something we “admire” more frequently than we “love,” but Kowalska’s film is a fun approach— it’s actually 3D, and something about the lack of detail, the reliance on the main thrust of something, is fitting for the writing, which was created by combing through hours of interviews of her relatives, relating half-remembered stories and impressions.

When I asked my mother as a child why she left Poland, she always gave a very short answer: “There was simply nothing in Poland.”

Kowalska is Swiss, as is the film, and that proved challenging initially as the filmmaker relates in a Cartoon Brew interview, noting that, “…local funding institutions were not interested in a Polish film about migration,” while, conversely, Polish producers didn’t see what a Swiss 1st gen kid could say about the topic that was original or fresh. Kowalska concluded that in some ways, “it was a Polish film for the Swiss and a Swiss film for the Poles,” though I’d argue my affection for the film, and its success at festivals, which included an Oscar-qualifying win at Palm Springs in addition to its Annecy triumph, means that it is truly a film for everyone. While the details of 1981 Poland are fresh to me, youthful adventures, love, and revolution are universal.

Muscogee artist Dana Tiger shares her life story – the ups and downs, her career, her family and their iconic apparel company – with exceptional honesty and inspiring resilience. In Tiger, director Loren Waters paints an incredibly compelling portrait of this remarkable artist, poignantly immersing us in Dana’s perspective of the world around her, and revealing how art has served as a healing practice in her family.

“The biggest inspiration behind Tiger was Dana Tiger herself”, Waters candidly confessed. While that is true for most artist portrait documentaries, Waters explained that the film was “really rooted in speaking to her character and really trying to create a painterly image with her, but also a portrait”. Dana’s voice feels present throughout all the directorial choices in the film. From her unwavering positivity to the artistic legacy of her family, the film feels incredibly personal and invites the audience into her world with a rare sense of intimacy.

“This film is a tribute to Dana’s life and her family’s incredible journey”

Waters gives Dana a voice, allowing her to share her own story in her own words. Her resilience and energy is infused in the visuals and pacing of the film, with DP Robert L. Hunter framing her in a way that makes Tiger feel like a homage to her and her work. This approach also creates a space for Dana to share her challenges and successes with agency, making the film all the more empowering. Eva Dubovoy’s editing and Amanda Moy’s sound design further enhance the empowering feeling of the film, adding to a rhythm that creates an effective emotional journey. 

“This film is a tribute to Dana’s life and her family’s incredible journey. It seeks to honor not only their legacy of artistic innovation but also their resilience in the face of adversity”, Waters shared. Despite the grief and adversity captured, Tiger also show the hope radiating from Dana in every second of the short. Her presence is not only inspiring but drives the film in a deeply engaging and captivating way. Waters crafts a work that feels celebratory while carrying an undeniable emotional depth that takes the audience by surprise and makes the watching experience so powerful.

After its World Premiere at the 2025 edition of Sundance, Tiger made its way around the festival circuit with notable stops at SXSW, deadCenter, Seattle, Aspen and the Palm Springs ShortFest. It also picked up multiple awards along the way, and was eligible for consideration at the 2026 Oscars. Waters is currently working on a short narrative film called A Map to the Next World.