Raymond Renaud is the second-to-last French survivor of the Buchenwald concentration camp. At 101, he lives alone in Palinges, Burgundy, surrounded by a home and garden shaped by his own hands. Growing up in modest circumstances taught him early on to appreciate the simple things in life and gave him a resilience that has stayed with him ever since. Deported to Buchenwald for distributing anti-fascist leaflets, Raymond looks back on his life with remarkable vitality, humour, and trust in humanity. Despite his concerns about today’s political climate, he remains convinced that “life is both terrible and beautiful.”

The film accompanies Raymond as he prepares to return to Weimar for the 80th anniversary of Buchenwald’s liberation. Despite his age and two leg prostheses, he makes the journey once again with his son. In Weimar, he encounters young people eager to hear his story, fellow survivors and people connected to his past.

Through Raymond, the film explores memory, resilience and the traces history leaves behind. His clarity and humanity raise urgent questions about how we remember the past and what it means to believe in goodness despite everything.

My Body Goes to Work is an intimate, observational documentary that follows Nevaeh, a sex worker by night and a birth worker by day, as she moves through a world where bodies are both judged and celebrated. Through her romantic relationship with another woman, her deep connection to her own sensuality, and her commitment to care work, Nevaeh invites us to rethink our assumptions about sex, labor, and healing.

The film observes Nevaeh’s rituals, her rhythms, and her relationships as she moves through two worlds that hold so much in common yet are perceived vastly differently: one is honourable, the other is shameful. At its core, this documentary explores what it means to live authentically in a world that often punishes and marginalises those who don’t conform. Through sex work, Nevaeh reclaims what was once taken from her: her sexuality, pleasure and agency, and defines it on her own terms, without shame, but as a homecoming. My Body Goes to Work is a commentary on how embracing the parts of ourselves we’re taught to repress can become a powerful act of freedom and transformation.

In the years following the Woman, Life, Freedom movement, political repression, cultural censorship, war, and economic exhaustion have shaped the daily lives of young artists in Iran.

A group of theatre actors make a radical decision: they stop performing written texts, reject compulsory hijab, and commit themselves fully to improvisation. Improvisation is no longer only a theatre technique; it becomes a way to reclaim control over their bodies, voices, and forms of presence, and to create a space in which they can set the rules themselves.

The group leaves the city for two weeks and moves to a remote house, where they live and rehearse together before inviting a small audience to a final performance. Gradually, the boundary between everyday life and performance begins to blur, not only for the actors, but also for us. Are we watching an improvisation, a real situation, or a moment in which the two can no longer be separated?

Okugawa, Nishiaizu, Fukushima. A village that has lived alongside the mountains since prehistoric times is now on the verge of disappearing after decades of depopulation.

The five hundred people who remain are mostly elderly residents born and raised here. Though life deep in the mountains is harsh and inconvenient, for them the village is a cradle of life, where their ancestors have been born and have died since time immemorial.
Through the eyes of a man who returned home after the 2011 nuclear disaster, the spirit of the land and the voices of the ancestors flicker like a revolving lantern.

Here, people are connected to the earth like mushrooms, connected to the dead, and at the end of their lives, they disappear into the familiar landscape.

From a sacred tree inhabited by the mountain god, the man begins to build a new house. It is a hopeful step toward the home to which the human spirit has always longed to return.

Serhii Ruban has been working at a construction site outside Eskilstuna, Sweden, for several months. He hasn’t seen a single penny of his wages yet.

Through a complicated chain of subcontractors, it turns out that he is employed by a fraudulent company that has built its business model on hiring migrant workers without contracts. The company has changed its name several times in recent years and refuses to speak with the union’s negotiators.

Serhii joins the union Solidary Builders and helps organise a union blockade at the construction site when one of the main contractors appears. After a few months of negotiations, the company is terminated by the client, and Serhii is promised part of his unpaid wages.

Robota Sweden is a journey back to the future, where the grim labour conflicts of the last century meet today’s degraded conditions in the industry that literally builds Sweden.