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- When her sibling Zara suffers a nervous breakdown, the introvert Eva is forced to take on Zara's job as a Foley artist. Then, a horsetail starts growing out of her body.
- A radical utopia far from the rigid gender rules in competitive sports.
- Summer in Brandenburg. Markus is torn between the love for his grandmothers in need of care and the longing for a different life in Berlin. A crowd of shimmering demons keeps appearing in his daydreams. An allusion to the queer chosen family that awaits him in the city and saves him from his loneliness? Markus' boxes to move to the big city are packed. So when he falls in love with Duc things get even more complicated.
- While Demétria waits for her daughter to come back home from school, a violent police raid breaks out in her neighborhood.
- Monolithic power plants; billowing columns of smoke; the backdrop of a red sun. Sirens is an experimental short documentary that captures Germany's coal-fired power plants in their final years of generating energy. Shot entirely from helicopters, the film takes us on a journey through industrial wastelands, thus recalling the passage of Ulysses' boat through the Sirens' strait. An odyssey through the dystopian industrial world that has left a permanent mark on earth's ecosphere.
- What was it like to grow up in East Germany in the nineties and noughties? The two-part documentary tells a chapter that has so far been missing from the collective memory of the post-reunification period. And this despite the fact that the sometimes traumatic experiences of the young people in the East continue to shape their lives to this day.
- Through the stories of three prominent Ukrainian politicians, from 2013 to the present day, we witness the country's struggle for democracy, autonomy and geopolitical stability. We follow our protagonists as they evolve from activists to politicians in a fragile democratic system, to defenders of their country against the Russian invasion.
- OILFIELDS MINES HURRICANES is a road-movie, in which the classical concept of that genre - the quest for and the fixation of the own identity - is lead ad absurdum: Salpa, the traveler, experiences a corrosion of his all-along-multiple identity. This is already founded within the production: 18 authors have taken turns writing the screenplay. The amount and sequence of the scenes correlate with John Cage's organ piece As Slow As Possible. The performance venue of that piece, Halberstadt, is the apparent destination of Salpa's journey. But, arrived, no redemption is waiting; Salpa again finds himself thrown back onto himself and alone. For Salpa's journey each author depicts another fragmented world for Salpa to dive in, and each of them poses him, always confused & disorientated but determined, with the question of his own identity. The further he gets away from the beginning, the more the destination seems to fade away. Estranged Salpa meanders through different possibility-worlds, which don't provide the right answer for his questions, who he is, what is left of him and what he has lost within himself along with the loss of the other. Is Salpa like a migratory bird in a flock, or someone reflecting the relations to his father? Which gender does Salpa claim? What is ascribed to him? What does define him without the other? We experience Salpa's tale through non-stringent and non-causal narrations which unfold web-like over the whole movie: Salpa is constantly looking for contact with his surrounding, fails and enmeshes himself deeper and deeper in his identity which is more and more under deconstruction. Salpa's «companion» is a salp, a primitive fish, which Salpa is carrying as a prosthesis on his lower face. The origin of his prosthesis he finds in Iceland, where to he followed a mysterious tale of a flock of birds which froze to death in the air and dropped on the glacier. During the movie Salpa is testing the possibility of a symbiosis with the prosthesis whilst entrapping himself in more than one discourse around his seemingly lost place in the world. The salp takes on different roles and functions: It serves as an idealistic dialogue-partner, as a connection-tool to the outside, as an alter-ego and as a clumsy chauffeur on the trip which the two have embarked on together. The destination is unknown, but something pushes them forward, maybe the dark pitches, which are omnipresent below the surface, or Salpa's voice from the car-radio? And who gets homesick while watching a maritime documentary, Salpa or the fish? Salpa, the seeker, is a metaphor for the loss of a world, for a destination gone missing without the end of the quest for it.
- Drifting across the outer edges of a concrete landscape, a twilight meeting engenders a precious moment of connection for a melancholy performer, amid the coldly apathetic city limits.
- Strange things are happening in this remote mountain village: A thistle blossoms on a field of snow in the dead of winter, the cows produce poisonous milk, their eardrums burst, and the farmer's daughter falls seriously ill. What mysterious calamities are befalling this hamlet and its inhabitants? Institutionalized authorities, like the priest and the veterinarian, try to interpret the goings-on as a looming catastrophe.
- In the beginning there are human beings. Human beings lived together in harmony with few quarrels. When they did argue it didn't result in an abyss that ended up separating everyone into groups with different ethnicity. But the war declares human beings as enemies, those who have previously always regarded each other as neighbors and friends. After the filmmaker Kristof Gerega's Grandmother dies, more questions come up. Questions that won't let go of him. Gerega discovers an alarming and contemporary (hi)story which comes from his own roots but not based on any underlying truth.