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In no decade were there even remotely as many social, cultural and technical upheavals as in the 1960s. The 60s are still reflected in everyday life today: in the relationship between the sexes, in education, in fashion, in leisure behavior, in work. Much of what moves people today has its origins in the years from 1960 to 1969.
A grey evening in Düsseldorf. Birds pass over the noisy city. A young man seeks refuge in the “Fortuna news stand” and drinks coffee to keep his exhaustion at bay, but nods off regardless. Flocks of birds follow him into his daydream, in which he tries to escape his isolation and sense of being trapped.
Looking like a rediscovered film reel from the early days of cinema and with its "animal drag" costumes, this Dadaist nature documentary imagines a utopia where any and all life forms are equal.
From September 2001 to April 2002 Nan and Nancy along with other Latin American women worked for the asbestos company “Branch,” cleaning the luxury apartments, offices, and banks of Manhattan in the hermetically sealed zone of “Ground Zero.” The women had neither residence permits nor work permits in the USA, and their dust masks had no filter for asbestos. At the PedWest border crossing in Tijuana refugees perform their stories. They play asbestos workers, American soldiers, Red Cross staff, and firefighters. Migrants from Guatemala and Venezuela and Mexicans who were deported from the USA to Tijuana: they are all stuck at the border due to the “Remain in Mexico” policy. Ahorita Frames moves the stories of the asbestos workers from New York in 2001 across the border to Tijuana in 2019, thus reconfiguring the political cartography of power relations.
The work departs from Ernst Toller’s play “Die Maschinenstürmer” (1922), but relocates its themes along the remnants and ruins of the cotton industry, in post-2011 Egypt and post-industrial Poland. Actualizing a criticism of technology, the film re-reads the Luddites movement for a contemporary body of the worker that is always already informed by the histories of technological progress.
Documentary accompanies the first generation of guest workers from the 60s and 70s in Germany and how they live today.
The weapon carrier Wiesel is a small track vehicle of the Bundeswehr. Visually, it looks like a toy tank, but it's packed with firepower and power. The 20mm machine gun and the anti-tank guided missile TOW are dangerous weapons. The weasel was designed to be extra small and light so that it can be quickly brought into its field of application by helicopter and transport aircraft. It is probably the most diverse armored vehicle in the Bundeswehr.
The tough, long winter is finally over and spring is ringing ... the snow turns into water and the energies spurt out. Everything moves. Stupid things get stuck. It's your choice. Or like the French say: ehhh ... boff. Boff! I love that little word! And you should try, if the Boff gets too tight, to find your way out. There is at least one. (Dagie Brundert)
A girl suffers unbearable mental torment during a portrait photo shooting.
'Al-Nisāʾ' documents a group of women gathered in a workshop space in Berlin. They are together to work on issues around integration, human rights, and homeland. Common for them all are questions and wonderings about issues faced by a woman in a new country. Common for them is the homeland of Syria.
This film is an artistic documentation of the huge wildfires around Athens in the summer of 2021. It examines the destruction of nature caused in particular by extreme summer droughts and man-made fires that reached unprecedented levels globally and locally with lasting consequences on Earth. The video focuses on the deep traces left in the landscape and should stir up a spark of hope.
For one honey season, young beekeeper Daniela Hoffeins from a village on the Schlei River shares with us her dedication to her full-time hobby.
The experimental animated film, El Canto de las Moscas, translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945-2003) and the audiovisual dialogue between 9 Colombian women. In 24 places that are visited during the course of a day, a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analog materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.
Loredana Rossi has been fighting for her whole life. First for her identity, today as a social worker and “mom” of the Neapolitan femminielli. At 60, she has no intention of slowing down. For 21 years she has suffered prostitution on the sidewalks of Naples, a city that for centuries has been home to one of the most numerous transgender communities in the world, yet still strongly discriminated against. Loredana, along with her transgender rights group Associazione Trans Napoli, fights for the femminielli rights and she raises her voice when these are trampled. Loredana doesn’t allow anyone to silence her even when it comes to politics: Italy must obtain a law against homobitransphobia.
Film uses black and white photographs to tell a fragmented story about the loss of people and things and about what remains. The silent images refer to the inner state of the woman portrayed, creating a timelessness and a feeling of unreal distance from the events. The film is set on a Croatian island in summer and was inspired by a short story by Nobel Prize winner Olga Tokarczuk.
This excerpt from a poem by Russian-American Nobel Prize winner Joseph Brodsky is a description of the Soviet Empire of the 1980s, a metaphorical reckoning with a technocratic regime, and a nightmarish illustration of war.
The pandemic in a nutshell.
The construction of the Wall on August 13, 1961 - a stroke of luck for the Stasi, because the Wall was its lifeblood. Until 1989, thousands of Stasi men under the leadership of the notorious Erich Mielke had only one goal: to make the Wall insurmountable.
For most Raindrops, there’s no greater purpose than jumping from clouds.
A clear and minimalistic extraction of the modern inter-human relationship and movements under the lenses of the pandemic.
It's a hot day at the municipality's lido. A place where the whole village meets to satisfy their daily need for fries with sausages and to cool off in the lukewarm water of the lake and the pool.
As a young woman discovers signals from distant stars, she travels to the planet the signals seem to come from.
Lesbian, gay bisexual trans and intersex (LGBTI) people are currently criminally prosecuted in over seventy states worldwide on the basis of their identity. In 2019, over 85% of individuals applying for asylum in Germany came from states with anti-LGBTI criminal laws. In this film, five women who have survived persecution and violence based on their sexuality or gender identity share their stories: about their life before fleeing, their journey to Germany, their day-to-day experiences in Northrhine-Westphalia – and their hopes for the future.
A felicitous and at the same time almost unbearable cinematic experimental set-up that uses documentary means to show what the Belarusian reality behind the news items looks like. Based on eyewitness accounts, Pavel Mozhar re-stages Lukashenko’s perfidious and oppression-based power system. Violence in the shape of detailed reconstructions may seem abstract at first glance but drills itself into our consciousness all the more persistently in the course of the film.
Three extraordinary people tell their unusual life stories and tell why animal welfare starts at home, the inner life counts and nothing should be thrown away. A nature-loving film that couldn't be more multifaceted.
In April 2018, former Tengelmann boss Karl-Erivan Haub disappeared on a ski tour and is said to have died in an accident. The documentary examines, among other things, the question of whether his business dealings in Russia were the supermarket entrepreneur's undoing.
Based on the musical piece "Reise" with narration. A couple have an argument and a reconciliation, through ballet. The visual style imitates an impressionist painting.
High above the clouds a big airship-city is flying. However, one of the balloons, which hold the city, is loosing air. That is why the airship is sinking. All the inhabitants there know about that, but they try to ignore it and carry on with their daily routines. It's a modern fairy tale about a girl who wants change and a story about love which is put into an appealing comical visual style.
A film wants to be science fiction. By searching the unfathomable universe, the film twists our understanding of the terrestrial world completely. Parallel worlds open up in grotesque ways, and doppelgangers try to hold the world(s) together.
Human Holes gives an insight into the daily life of the homeless residents of Ulan Bators. Their goal: survive at -40 °C.
The raven dreams of nature, he dreams of a world of plants and insects. He travels, flies into nature. He is nature itself. Nature itself dreams into trance.
For their 100th episode, the hosts of the Bavarian film podcast Viva la Movielución produced a feature film about themselves. Instead of covering a movie, game or series as usual, they made their own show the subject, filmed live before an audience with guests and a Q&A.
HANSA BOY ETWAS DAS KOMMT NIE WIEDER VOR addresses the Bürgermeister-Smidt-Brücke's namesake Mayor Johann Smidt directly. The film seeks to reveal the fate embedded within the unspeakable history inherent in the structure’s name.
How would a world work that's all about being fit and muscle-packed? Simple everyday situations become real challenges for the Pumper: If it does not seem appropriate or even impossible to train in a situation, the Pumpers still find a way to satisfy their training needs in a comical manner.
Kandinsky, Marc and their companions revolutionized art from Munich, freeing form and color from objects in the landscape of the Alps.
A poetic journey along the Bzhuzhi River guides us through six villages in the Georgian region of Guria. The film shows us the relationship the inhabitants have with the Bzhuzhi River and how everyday life revolves around it.
A blind woman breaks into the house of her newly deceased mother in order to confront the shadows of her past.
"Traffic III" means about 150 Adox Scala slides and 8.5m of FPP Cine8 BW40 Regular-8 film, hand-developed in "Chromaflex" process inspired by Richard Tuohy and Kathryn Ramey. Main feature of this film is the interaction of positive and negative images, superimposed by an increasing physical and chemical distortion. The film shows the Göttingen townhall ("Neues Rathaus"), a horrible concrete block of the 70s and the motorway A7 nearby Göttingen.