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Anna and Michael reach one of the poorest nations in the world, Nepal at the height of the pandemic. Nepalese people abandoned the city to find refuge in the mountains during the lockdown where more than 8,000 end up building temporary houses to live. Anna and Michael gain new perspectives in this community of people from all across the spectrum including farmers, the homeless and mountain guides.

While trying to purchase a key that promises escape from his dreary outside world and free his mind, an isolated character loses touch with his outer dystopian world bit by bit and diffuses with a TV program.

Pedro and Flavio live a simple and beautiful life together, filled to the brim with love, away from the distractions of the outside world. For the past 30 years, they have poured their heart and soul into their scenic property situated in the rolling hills of Bologna.

In the hotel, two men have a good time with beer, champagne and chemical drugs.

Reveals how the Covid crisis has led to the near extinction of the massive cocaine production sites deep in the rainforest of the Peruvian Andes.

An investigator interrogates the acquaintances of a recently deceased student

Performative cinema experience with live music.

Soup Frog is the soliloquy of a saucy post-human tart. Inspired by ecofeminist conceptions of symbiosis (Haraway, Butler), and particularly by the theories of evolutionary microbiologist Lynn Margulis. Written, performed, and captioned in Damiá - a novel, fully-functioning language with an extensive grammar and a vocabulary of around 10,000 words, created over the course of several decades, which seeks to "explore a queer language and its performative potential."

A young man, somewhere in our world trying hardly every time to be able to cry or to remember how to, by watching some massacres and war crimes videos and maybe cutting some onions.

Disillusioned and in search of a secure foundation of life, the late thirties Tolga visits his hometown and finds himself in the kitchens and living rooms of his shattered family presence.

Mudar is a Syrian actor, flew to Germany by a visa from Beirut, he researches refugee’s journeys who came walking on their feet, for his theatre play and explores the real experiences that immigrants lived throughout their road. After his meeting with a Syrian filmmaker Ammar Obeid, Mudar wants to stand naked outside in the cold of his back yard.

In this short film, the late protagonist Ransom Bradford (1937-2013) talks about the reasons for his decision to undergo shock therapy with the aim of becoming straight. At the same time, the filmmaker takes the filmed interviews, which he had kept in his closet for 17 years, as a starting point to reflect on his friendship with Ransom – as well as on their age difference of 36 years. The film invites the viewer to reflect on the ways social norms and stigmatization relate to emotions and are inscribed into bodies. It addresses love and loss and treasures relationality and gay desire.

The world is not always beautiful, my mother says. My child wakes up. My parents smile at each other and recount – The house in which my mother never wanted to live, my uncle’s mental illness, which my grandparents never wanted to face, the nuclear war that never arrived. They speak of unrealized intentions. To be sterilized, to take one’s own life, to pack up and leave.

In the year 2039 in Moddergat, a small coastal village in the Netherlands. The delegation of the international climate tribunal has little time to prepare the human sacrifice that will avert the dangers of climate change.

Hanieh is a broke forty year old woman on the verge of being thrown out from her apartment. She has tried to make a film based on her own semi-autobiographical script for years, but after accepting that she has no luck to fulfill her dream, she has no other choice than selling the script to one of her best friends. Due to her love for the script and its details, Hanieh is not able to tolerate any indifferent and ignorant reactions during the preproduction, but she decides not to get involved in any conflict with the director, the cast and the crew today. However, during the reading rehearsal, others begin to judge her character as described in the script and name her a bastard and a loser...

'Piña, Why is the Sky Blue?' brings us into multiple futures, where technologies have been re-routed to create a spiritual guide steeped in matrilineal knowledge. Here, we learn that Piña is a digital vessel who lives in the distant future and uploads, stores and shares the familial knowledge, dreams and desires transmitted to them from the past. Messengers from various realms and places around the world use digitally altered pineapple fabric to upload their data for the deity, who lives to receive, care for and disseminate the information for its continued preservation.

A visually arresting interactive exploration of a space that represents the recesses of the mind and soul, lost in the dips of depressive and anxious states. The autobiographical narrative is a composition of fragments of stories and descriptions of inner turmoil, drawing the audience into an elaborate world of sometimes illustrative, sometimes metaphorical animations and ingenious sound design to understand the causes and experience of depression, the struggle to break out of its darkness, and the feelings of futility and heaviness. Open, almost diaristically intimate notes navigate the journey through rooms, floors and different environments that embody the manifestations of inner heaviness.

The hero of the film, violinist Helmut Stern born in Berlin in 1928. “I lived under five dictatorships. The first was German, Hitler’s, the second was Japanese in China, the third was Soviet in China, the fourth was Chinese communist, because there was already a civil war and we had communists, and the fifth... guess... These are the conductors", he says. The story of Helmut Stern, his forced trip around the world, his odyssey of a Jewish refugee recalls the story of Voltaire's Candide, who was expelled from his home. Life made him a cosmopolitan and democrat.

During an art auction, at which Gerhard Richter's “Abstraktes Bild (H.M.)” is being offered for sale, a photo of a dead man appears on the livestream. A paranormal phenomenon?

A german bottle of beer, washed up on the shore of an almost inaccessible Lofoten island in the Arctic Ocean. Where did it come from? Did it really travel all the way up from Germany? Back in his hometown, Dresden, filmmaker Steffen Krones can’t get this incidence out of his mind. Is Dresden, by any chance, connected to the Arctic circle via its waterways?

Digitalization changes our life and will change it even more radically. There is the promise of eternal life, but also the prediction that we have to emigrate from the planet. The film shows aspects of digitalization in medicine, art, architecture, biology, astrophysics.

Four villagers meet in the conference room of the local soccer club to form a new party. As the meeting progresses, the room becomes warmer and warmer. But instead of taking the necessary measures to remedy the situation, the "heat" issue is turned into an internal political issue with absurd arguments that ultimately leads to disaster. Similarities with actual events and real occurrences are fully intended.

On a cold Berlin night, Maya decides to reveal her love to Stella. Despite her interest, Stella is forced to refuse because of her amazing secret.

The boy Jihad lives in his father’s cage, who is lieutenant colonel at the olive military. Jihad must also go to a military academy, but his dream is to become a footballer. The Uprising, which is taking place on the Olive Planet, arrives in the city Taubez, where they live. Jihad decided to stand by the uprising against the government and the army, but of course secretly. As he is working as a grave digger, the Yasmin agents pick him and his boss up to take advantage of their serves in the Yasmin department, where Jihad discovers a horrible thing, that could cost him his life.

A group of people, a flashlight, a strip of x-ray film is buried in the gravel of uranium mining sites in Saxony and Thuringia for USSR's atomic weapons program. The ground exposes the film, leaving behind a trace of its invisible rays.

In Simnett’s stop motion animation film and intricate sculptures depicting hybrid human-animal creatures, she wields the aesthetic of vintage children’s television programming, soft play areas, and modernist asylums to explore the emotional and material entanglements of love and cruelty. To create the characters in her film, Simnett not only literally reanimates roadkill but reclaims – and thereby empowers – the image of the animal to plumb the depths of some of the darkest, most fundamental aspects of being human.

A lone vampire wanders through nighttime Mainz to find something that makes him feel alive again.

People explore a mysterious island.

"The Conscience of Clothing" is a documentary film project that aims to raise awareness about sustainability and fair fashion. Cambodian garment workers often face precarious working conditions each day - from the dangers of getting to and from work, unfair wages and the balance of supporting their families and themselves. But what does «making fashion» mean to the people of Cambodia, whose work is mainly focused on exports to the global North?

A woman at the hotel bar observes a man who is molesting other women. She knows what he's thinking. She knows his fantasies. An incident in the elevator abruptly shifts his perception of masculinity.

Elektra, My Love (89 min, 2021) is a kammerspiel-film set in the moody, cavernous ruin of the Piccadilly Theater, Beirut’s extravagant art palace destroyed after the Lebanese Civil War, the film recounts three days in the life of five actresses. The women seek to revive the ghostly theater with an experimental production of Sophocles’ Elektra. In writing and directing the film, I wanted to show the austere fall of the people of Beirut after decades of war, within my own dream of the passage of the soul.

Hardly anyone knows the artist, but almost everyone knows her paintings: Tamara de Lempicka, icon of the 1920s. Her art deco paintings of women in cars or in evening dress adorn book covers and break auction records. But who was she? The ARTE documentary by Grimme Prize-winning author Sylvie Kürsten ventures a self-portrait of Lempicka, narrated and played by Nicole Heesters.

A man is stuck in an endless nightmare. Battling his own paranoia, he travels through his subconscious, searching for a way out—but is there one?