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.
The film is a touching and heartfelt exploration of a grandfather and grandson's journey to uncover the truth about their past as refugees from Bessarabia.
77 Years Back follows the grandson, Dan, as he films his grandpa, Victor, recounting memories and seeking information about his birth and his relatives in Moldova. On their journey, they have emotional encounters with the people of Moldova and navigate bureaucratic challenges in their search for answers. Along the way, the bond between Dan and his grandpa grows stronger, and the film captures the significance of listening to and caring for our elders.
We follow as the grandfather comes back home to Romania to his daily life, near his loving wife. He takes his time to think more deeply about what he found in Moldova, accepts his past and bonds even more with his big family.
A poetic investigation of one of the largest e-waste recycling sites in the world as a contact zone of complex global economic, social, power-political, and technological processes.
A landscape of electronic equipment leftovers, embedded in biting clouds of smoke, burnt earth, and dirty water.
In Agbogbloshie – one of the world's largest e-waste recycling sites situated in the middle of Accra – electronics are dismantled and burnt in order to return their metals to the industrial recycling cycles.
In between, an observer who, by means of acoustic field research, investigates this place as a contact zone of complex global economic, social, power-political, and technological processes and questions this from a spiritual perspective.
Fanni, a rejected trans, seeks refuge in Laci’s hut. The solitary homeless man becomes a father figure to her and together, they confront her inner demons and the harsh rejection by society.
On the outskirts of Budapest, in the heart of the woods, hides a ramshackle little hut. Inside, two social outcasts have formed the unlikeliest of bonds. Fanni, a 19-year-old transgender teenager, and Laci, a 60-year-old homeless man support each other in a makeshift family as father and daughter through hardship and change. Set on the margins of Hungarian society, life is tough but it is theirs. Let your conventions be challenged in this coming-of-age documentary about home, family and acceptance.
In Burkina Faso, in the gold-digging site of Bantara, 16-year-old Rasmané descends more than 100 meters deep in artisanal mines to extract gold. Anxious about accidents, Rasmané makes his way in this world of fierce adults in the hope of one day becoming emancipated…
Countless chunks of stone are lying around. A red-haired boy assembles them to build many impressive towers. One by one, the towers are made to shine again.
We follow a little man's journey in his sacrificial attempt to keep alive his beloved lighthouses.
Rooted in a love letter in absentia, this short animation poetically reenacts the stages of a broken heart, after the heart finds itself in a void of sudden nothingness.
In this void, the sound of waves and oceanic wind become the first anchors of something remotely familiar. Then the appearance of a sand trail ignites the memories of happy times and the heart starts walking up and down this path, in search of that love and bustling life on the shore, only to discover the memories are broken in this new lonely universe.
In an attempt to salvage what is now broken, the heart starts fixing the lighthouse with the only tool she has – her own pumping power. Step by step and lighthouse by lighthouse, she pours her life into these artefacts of happy memories until she comes to an acceptance – her own form of closure.
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.
Film material from the colonial era in Togo is screened in public at the locations where it was shot. What does it tell, what does it conceal? A painful confrontation with German history.
Shortly before the First World War, the German “Africa explorer” and film director Hans Schomburgk embarked on an unprecedented film expedition to West Africa to shoot adventure and documentary films in the exotic setting in the north of the then-German colony of Togo. To this day, his films remain virtually unknown in Togo.
More than a century later, guided by the report of actress Meg Gehrts, we travel with a mobile cinema to the original locations of Schomburgk's film adventures. Together with Togolese viewers, we want to question the film images regarding their historical background and the effects of colonialism. What do they show? And what do they conceal about Togoland, which at the time was praised as the “model colony” of the German Empire?
DJ Vika is 84 and a star of Warsaw’s nightclubs. She refuses to grow old and sit at home. Instead, she wants to celebrate life, enjoy herself and music.
84-year-old Vika is a star of the Warsaw clubbing scene. A charismatic DJ and a colourful bird she surrounds herself with young people, repeating that age is just a number. But when her health suddenly begins to deteriorate, Vika can no longer deny the passing of time. Will she find meaning in sharing the joy of life with other seniors by encouraging them to live their lives to the fullest?
Vika! is a bittersweet portrait of a woman who intends to celebrate life to the very end, a true inspiration for both the silver generation and our future selves.
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.