Basquiat, Dalí, Rivera, Picasso–the art world loves a child prodigy, and art curators love discovering a new name. Calling dibs on a new artist speaks to a curator’s sensibility but also to their ability to make others trust their judgement, and find them a place in the art market. It’s what drives Mihail back to his native country of Bulgaria after 28 years living in Canada telling himself he had no reason to look back. He is swayed by an art collector to come and meet a young painter, and determine whether she’s the real deal or a hoax. Coming back confronts him with ghosts from his past, and questions the foundations of his artistic practice.

In her second film, Geneviève Dulude-De Celles takes on the hard task of focusing on a questionable character and, through exploring his past and his traumas, pushing him on a journey of self-discovery and opening up to the nuances of the world around him. Hazy, like the memories that haunt him, and emotionally connected to its characters’ plights, Nina Roza starts as a film about the art market and the calculations people make in it as a business, before diving into the core of what makes art a quintessential human affair – the way it’s highly dependent on the social lives of the people who make it.