A box of film material from Tito-era Yugoslavia becomes a narrative engine. With dry wit and philosophical verve, this essay burrows through family and contemporary history.
The sixties and the seventies of the 20th century in our former country, a country that ceased to be. A young family moves from a rural environment to a small Slovenian town, where factories are being built and the need for a workforce is increasing. The brothers are growing up in that shaky but magical in-between, soaked in the everyday rhythms of the community, infused with the ideology of the time. Then, it happens: the sudden spectrum of film; the mystique of time itself.
As a dancer coming from an immigrant family, Çağdaş often feels more like a performer around them than on the stage. When he decides to contact his estranged father in Turkey, the boundary between real and performed begins to blur as his story is woven into the production of a new piece by internationally renowned Tanztheater Wuppertal Pina Bausch. How much does the absence of his father and the traumatic silence that has filled the void contribute to him feeling like an outsider in the only place he's ever called home? In Four Movements weaves dance and documentary through an intimate journey of self-discovery as Çağdaş faces his past, his performance, and his desire for belonging.
The competition between the two brothers begins at the seaside. As brothers, they know each other best and become each other's most prominent opponents. The younger brother admires his older brother's natural talents. However, the older brother secretly has a “fatal” weakness. In the three rounds of the competition, lasting two minutes each, they express their secrets to each other.
Will the Skateboarding God descend upon a twelve-year-old child? If possible, please let the wind carry its message. Yang has prayed countless times in his heart, but reality doesn't quite match his imagination. “No risk, no reward”. Perhaps a life of skateboarding is destined to be an adventurous journey.
Little Stone, the boy from the mountain, left his grandmother - they depended on each other for life. In his lonely waiting, he counted the days that passed by. Unfortunately, there was no time for them to say goodbye.
Will time really wash everything away? Little Stone believes that time will eventually make them meet again.
Heydi returns to the old hunting grounds with her nephew to retrace the path and inspect the new hunting trails. She leads Ibaw step by step into her hunting world.
This film is about Heydi Mijung, the only female hunter in the Truku tribe, who follows the ancestral tradition of Gaya, practices the traditional hunting skills of the Truku, and maintains the balance of the entire forest with her hunting methods. The Woman Carrying the Prey expresses women's perseverance and strength by extension – “carrying” is not only about the physical weight but also about the continuation of the hunter's traditional hunting culture.
The relationship between human, ecology and animal interdependence is gradually built up through the daily life of a female hunter in the mountains.
DOK Industry is realised with the support of Creative Europe MEDIA Programme of the European Union, the Mitteldeutsche Medienförderung (MDM) and the Federal Government Commissioner for Culture and the Media upon a Decision of the German Bundestag.