Geneviève Dulude-De Celles's second feature, Nina Roza, has garnered positive reviews at the 2026 Berlin Film Festival for its exploration of immigrant identity. The film follows a Bulgarian-born art expert returning to his homeland to assess a child prodigy's work, prompting a personal reckoning. Critics praise its subtle narrative and strong performances.
At the 2026 Berlin Film Festival, Nina Roza emerged as a quiet standout in the competition lineup. Directed by Québécois filmmaker Geneviève Dulude-De Celles, the film marks her assured follow-up to her 2019 debut A Colony, which won the Crystal Bear in the Generation Kplus sidebar. This second feature, running 103 minutes, delves into the complexities of immigration through the story of Mihail, a Bulgarian-born art consultant based in Montreal.
Nearly 30 years after leaving Bulgaria following his wife's death and relocating with his young daughter Roza, Mihail, played by Galin Stoev in his film acting debut, is tasked by client Christophe (Christian Bégin) to evaluate Nina, an eight-year-old painter (portrayed by twins Sofia and Ekaterina Stanina). Her naïvely abstract canvases, made with natural pigments from the region, have gone viral after discovery by Italian scout Giulia (Chiara Caselli). Reluctant to return home, Mihail is encouraged by his daughter Roza (Michelle Tzontchev), now anglicized as Rose and a single parent concerned about her son's disconnection from their roots.
Upon arrival in rural Bulgaria, Mihail grapples with ambiguities: Nina claims she no longer wishes to paint, and locals mock his accent, treating him as an outsider. A tense reunion with his estranged sister Svetlana (Svetlana Yancheva) highlights lingering resentments, as she spits, “Who told you I wanted to see you?” The film uses doubling—Nina mirroring Roza's age at relocation—and elegant cinematography by Alexandre Nour Desjardins to convey the 'disembodying nature of immigration,' as one review describes it.
Produced by Colonnelle Films in co-production with partners from Italy, Bulgaria, and Belgium, Nina Roza features Bulgarian and French dialogue. Critics note its pensive sophistication may appeal more to festival audiences than broader crowds seeking overt emotions, positioning Dulude-De Celles as a rising arthouse talent. The film screened in competition, with world sales handled by Best Friend Forever in Brussels.
