A ghost ride through Finnish TV archives of the 1960s grazes the moon landing, American TV shows, a war in Africa. But how to connect with the world when dancing is forbidden?!
The anonymous narrator is a kind of web-adventurous flâneuse, neurotic and endlessly curious. A disturbance in the proprioception, which is the ability to sense the position, movement and location of the body and its parts, makes her perceive the world in a new way. Seemingly random anecdotes found on the internet and instructions from her cryptic physiotherapist start to come together in surprising ways. The found material forms a mosaic that reflects a world full of gazes, rules and technologies that separate us. Lines from the present and the distant past take our narrator to the 1960s, where medieval dance bans, televised wars, lost bones, space utopias and American TV stars collide. This film reflects how we can be and live in the world within ourselves and with each other. With those who are near and with those who are far. Along with all this, the film recommends dancing to everyone.
In Blind Date 2.0, Paul once again receives the filmmaker at his home – this time in order to shoot a sex date. Far from the spectacularly pornographic, but also from amateur porn, there is room to first of all clarify preferences, and consensus is established. Since both men are rather on the passive side and the double dildo fails to win over the visitor, they agree on a blowjob and find a practicable middle ground in mutual masturbation. Blind Date 2.0 does not aim at producing arousal but constitutes a doubly empathetic approach – that of the filmmaker to his protagonist, and that of the protagonist to his rather monosyllabic visitor. In targeted, unspectacular framing, the film captures the sex-positive in the ordinary, in the non-standardised, and above all in the context of social interaction: comprehensible, moving, and with a memorable cigarette afterwards.
Rodica (40) and her children, Maria (14) and Patrick (18), struggle to find each other's coordinates in order to have a balanced family life. Blue is a film about love, fear, anxiety, and the emotions that emerge at their intersection.
Emile Zuckerkandl talks about his grandmother's salon, Hitler's arrival, and his escape to Algeria. A network of personal memories interwoven with world history.
Emile Zuckerkandl jotted down in his diary, “I write it down, so that I can remember it later.” Eighty years later, his memories are vivid and clear when he talks about his grandmother's salon, Hitler's arrival after the “Anschluss,” and his escape to Algeria. Rainer Frimmel stays very close to his charismatic protagonist in recording a network of personal memories interwoven with world history.
From their lookout towers, female fire wardens scan Portuguese landscapes for wildfires. An allegorically condensed, wordless study of vigilance and vision.
Looking at the tree line, a question creeps into my mind and, simultaneously, I have a desire.
What if nothing existed?
Extended Presences follows several women in their seasonal work as fire watchers in Portugal. The film comes close to their breathing, to the passing of time and to solitude, from within.
Els is in her late forties, divorced and in love again. For her, falling in love was not easy: it meant that she had to accept, that she has a life even if her twenty-year-old daughter wants to die and has already asked for psychiatric euthanasia which her mother can do nothing about. In the storm of her own emotions, mixed with guilt, anger, fear and hope, love is what teaches Els to try stepping forward even if it seems impossible.
Falling is a lyrical, found-footage-based testimony from a mother who faces not only the taboos surrounding motherhood but also the most difficult situation in her life.
This desktop video essay examines how the media illustrate the issue of abortion. Clicking through photo databases and magazines reveals the consequences of suggestive images.
What do abortions look like? What kind of images shape our view on them? And where do these images come from? The desktop video essay getty abortions examines how German and Austrian media illustrate the topic of abortion, browsing through stock photo databases, teen magazines and personal documents of a real abortion experience. It jumps from the early 2000s to the late 19th century, seeks out feminist knowledge and chats with fictional characters. But one question remains: Why does no one look into the camera?
While buying an apartment, a pair of siblings meet a woman who looks exactly like their dead sister. An intriguing true crime story unfolds bit by bit.
A divine premonition leads two sisters to buy an apartment in the small Swedish town of Gullspång. To their surprise, the seller looks identical to their older sister who committed suicide 30 years earlier. What begins as an eerie story of family reunification soon becomes a Pandora's Box as all three women's lives spiral out of control.
Design as a political act? In this animated collage, a contemporary advertising graphic designer explores the uncompromising work of the photomontage pioneer and anti-fascist John Heartfield.
The graphic designer Stefanie is in a creative crisis. Boring advertising assignments and a boss who does not value her work. On a visit to a museum, she is magically attracted by the satirical photomontages of the world-famous colleague and Nazi opponent John Heartfield. Then the miracle happens. She ends up in his studio, where she finally picks up scissors and paper again. An adventurous journey through Heartfield's extraordinary life 100 years ago begins.
A storm of queer norm-busting archive images. The creative arrangement is as sensual as the material, including purple colour explosions and a jazz music leitmotif.
Between birth and death, is the power to love and live. Political rules, religious orders, social norms and cultural taboos control who we love and how we love. The right to love is controlled and regulated by how we live. But the erotic has the power to emancipate. With spoken word and archive sources, love is unboxed from categories in queer expression and a celebration of eros as the power to change our attitudes to life and to allow others to live their lives without judgment or prejudice.
Diabetes: Matthew Lancit lives in constant fear of the complications of his disease, so he simply anticipates the body horror himself. The result is equally funny and disturbing.
What started as a nostalgic film diary about his diabetes has been gradually contaminated by Matthew's anticipation of possible futures. Introducing monstrous elements into his family home movies, he re-appropriates tropes from the body horror films of his youth to create an image of the invisible disease.
News anchor Randi Isaksen struggles to help her sister navigate a broken mental health system in Recovery Channel. Told through the duelling prism of documentary and narrative storytelling, filmmaker Ellen Ugelstad exposes an oppressive system designed to control instead of heal the human condition. Informed by her own family experiences, Ugelstad creates a fictional TV channel to explore the injustices faced by those with mental health challenges and exposes the use of coercion in contemporary therapy.
Through a humanistic lens, she explores the negative impact of an oppressive system, while advocating for the recognition of mental health as a human right rather than an illness.
Rosl’s Suitcase is the story of my Jewish grandmother, who left Vienna for New York with my father in 1939 and of my own fact-finding quest about truth and what I had been told.
Rosl’s Suitcase is the story of my Viennese and Jewish grandmother, who emigrated to New York with my teenage father in 1939. The contents of the suitcase reveal discrepancies in what I had been told. With this discovery, I begin my quest to find out what really happened and what had been hidden.
Rosl’s Suitcase interweaves current-day Vienna with home movies and recordings by three generations of women: great aunt Ada's 1947 movies after her arrival in the U.S.; Aunt Helen's audio descriptions of her youth in Vienna and immigration to New York; my own 1960's Northern California coming-of-age 8mm films and light show movies.
French-American singer of Viennese origin, Adah Dylan Jungk, reads/performs Rosl's letters against backdrops and front projections of the Vienna High Court, the University courtyard and wartime films of the city. We follow Adah to “locations of memory”, crosscutting between places today and the same places shown in historical film archives. The city's landmarks are recharged through the prism of the pre-and post-war Vienna of my grandmother, father and my own lens.
There is Portugal, there is the Portuguese language and there is a Ukrainian filmmaker who learns the language and approaches the role of the potential migrant. There is also a play of words: zangar and o zangāo. How is it possible to express such an empowering emotion like anger in the fragile attempts of a beginner? The video essay is woven from the filmmaker's narration, language classes, personal videos and archival images from Kyiv – revealing the split reality of anyone who is finding a safe place abroad while longing for home, which is under the constant danger of war.
Lockdown, easing, lockdown: Vienna in the Covid-19 pandemic from March 2020 to December 2021. Generous tableaus document paralysis, fear, learning, anger – and incipient repression.
The Standstill shows Vienna and its surroundings along with encounters with people during and after the Covid-19 crisis. The film tells of the immediate and the long-term effects, which can only be evaluated and classified in the future.
Cleaning up after a forest fire in the mountains of Portugal: New trees are planted, nature begins to sprout again. But will the fire devour everything one day?
In Portugal, in the mountainous region of Serra da Estrela, guards posted in small towers keep watch over the forest. The cyclical danger of fire hangs over the pine and granite landscape like a ghost. Some inhabitants rely on legends to explain the devastating events, while others show their resilience by rebuilding the recently burnt land with their bare hands. In the heart of this post-apocalyptic landscape, the relationship between man and nature is gradually revealed, oscillating between magic, exploitation and cohabitation.
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.