The next generation of international directors is known for being daring, for thinking further and further outside the box, and for being able to adopt different perspectives. Yet "uncharted territory" doesn't always have to be destination number one. These rising filmmakers try out new things not only by dismantling conventional genres, but also by recalling cinematic traditions. This year, questioning the concepts of "other" and "belonging" is a common theme among some of the contenders for the CineVision Award. One embeds a piece of colonial history in finely tuned tableaux vivants and illustrates with theatrical pomp a perverse fascination with that which appears different. Another tells in a realistically melancholy way of some people's primal fear that an intruder could put the ownership of their personal belongings in dispute. Family, tradition, a loss of control: these motifs are repeatedly touched upon, be it in the mystical fairy-tale world of a Caribbean village or in the aesthetic of colorlessness. The story of a Peruvian woman unfolds in black-and-white images: a journalist is helping her to search for her child, who's been kidnapped by the corrupt state. The mother's despair is reflected in that of a thirteen-year-old girl who is at once confronted by two mother figures: her birth mother, who appears to her as a ghost, and an undesirable mother figure who is her grandfather's girlfriend. Growing up, becoming full-grown, and finally outgrowing things: becoming the people we are is one of the hardest tasks there is. Again and again, people's humaneness is put to the test in the films by these young cinematic visionaries. How can we maintain our humanity in times of crisis? This is a question that, at present, cannot be asked often enough.