The heart of the festival, hosting up to 10 films including Baltic and international premieres, as well as the finest selection from well-known festivals (Sundance, Cannes, Berlin, Venice etc) and important genre hubs (SXSW, Neuchâtel, Sitges, Austin Fantastic Fest etc) across the globe.

To continue the tradition of Estonian Film Competition we started two years ago, we will continue presenting Estonian genre films. Best Estonian Film will be chosen by a jury consisting of Haapsalu’s young film enthusiasts.

A feel-good guarantee of up to 8 films including Estonian classics, Soviet oddities and forgotten B-films from all over the world.

Rare or otherwise noteworthy films that we believe deserve their moment in the spotlight.

Kim Ki-Duk (1960-2020) was one of South Korea's most decorated film directors who sadly passed away from complications of Covid-19. It is no exaggeration to mention that Ki-Duk's philosophical approach to the world gave many film fans their first glimpse of Asia's metaphorical cinematic language. Ki-Duk won trophies such as the Golden and Silver Lions at the Venice Film Festival, the Silver Bear at the Berlinale and the Prix Un Certain Regard at Cannes. At the Tallinn Film Festival Black Nights, he is the only director whose films have won the Audience Award two years in a row ("3-Iron" in 2004 and "The Bow" in 2005). Audiences all over the world love him and his films, especially his most admired work “Spring, Summer, Fall, Winter…and Spring” (2003) which has been considered the best film in the world multiple times. BBC critics chose the film among the 100 best films from the 2000s and The Guardian called the film “The Brightest Pearl” of Korean cinema. Kim Ki-Duk spent his last months in Estonia and Latvia. His last work, “Call of God” was filmed in Kazakhstan and screened at the Critics Picks competition programme at PÖFF 2022. This year, HÕFF is going to present a 3-piece retrospective of Kim Ki-Duk's early works from his pre-breakthrough era: “Crocodile” (1996), “Birdcage Inn” (1998) and “The Isle” (2000). One of the common characteristics of all three films is a certain vibe of discomfort that the viewer receives: the director aims for the viewer’s accordance with the poorest lower-class society that has always been sort of invisible in the modern world. All three pieces are stunning and vulgar at the same time, but according to Ki-Duk, that kind of controversy creates a powerful energy that keeps our souls alive. He himself never lost his inner flame and was extremely hardworking until the end of his life. The numbers are impressive: he created more than 30 films and in most of them, he did the work of director, screenwriter, producer and editor.

Two films, two visions, one puppet. Rasmus Merivoo and Shozin Fukui created two different and utterly offbeat versions of Carlo Collodi’s long-nosed Pinocchio. The two perceptions are connected with an invisible thread tagged with extraordinaire and limitless joy. One can be described with Japanese cyberpunk aesthetics, the other with trash-film dressing. In that sense, the two films represent the essence of punk!

HÕFFi filmiklubi on Haapsalu õudus- ja fantaasiafilmide festival aasta ringi. Iga kuu kutsume külla mõne tuntud Eesti filmitegija, kes võtab endaga kaasa ühe oma lemmikteose, mida ta publikule esitleb. Vaatame ja arutleme – õpime, kuidas minna pildi sisse ja avastada sealt varjatud maailmu. Aga meie tegevus ei piirdu ainult filmide vaatamisega – kavas on ka muid silmaringi avardavaid ettevõtmisi.

Thrilling and curious short films from all over the world, which are gathered into unique programmes for watching at HÕFF.