Instead of Parisian parks, we see hastily constructed metal garages. Army road blocks take the place of the Arc de Triomphe. Abandoned buildings substitute French hotels and a church surrounded by artillery guns replaces the Basilique de Sacre Coeur. The filmmaker succeeds in liberating a 1976 farcical short and turns it into something more complex where all the urgency has a reason: it is now about the war rather than a macho whim – and even more so because the Ukrainian soldier on home leave is herself a woman. This year’s special mention goes to Nadia Parfan’s It’s a Date.