The sixth edition of the First Crossing section is finally merging completely with our mother festival Tribute to A Vision IFF. This year was marked by many transforming changes, one of which is that the competitive section no longer has a thematic approach, but instead focuses on films that push boundaries with both visual and storytelling impact. Not only that I was faced with the difficult decision of choosing 12 films out of 150 submissions, but this year I had no topic to guide my programming vision. Burdened with this challenge I was torn between two dilemmas. Choosing high-end films, and educating audiences or giving a stage to new unestablished authors and staying faithful to our motto. If choosing the first I would contribute to the growing, but yet undeveloped trend of short film festivals, which is a tough industry in the region and in order for this market to grow, we need good films. Unfortunately, for us (being a small festival) good films sometimes stand for: films that premiered in Locarno, Venice, Sundance or Annecy, because they are a hook for journalists and cinema-goers. On the other hand if I would give spotlight to new, unheard voices who are experimenting with form and language and desperately need a stage for exercising their skill, I would truly integrate the festival manifesto in the program. Then again, sometimes the border between these two points gets muddled, because films are stretching their configuration in such new interesting ways nowadays. Unconventional films aren’t limited to being innovative in terms of form or content only. Sometimes a protagonist gets so incarnated in the film that he becomes an inherent cinematic characteristic. Sometimes the same thing is embodied through the film rhythm, non-linear storytelling or treatment. Oscillating amongst these two fronts, I diplomatically headed towards balance and harmony in order to reach an unbiased, fair, decent playground supportive of the films competing for a jury award. Furthermore we enlarged the programme with several other uncompetitive sections, to support local filmmakers and encourage young talents in their never-ending search of new languages. Pleased with these intricate decision makings, I realized that sometimes we mimic the openness of the films we see, so I conclude with this thought hoping that the selection itself will shine with the generosity of these remarkable films.