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.
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.
Weightless tells the story of Max' self-realisation in an environment not yet ready for it. What feels like an intimate conversation, reveals a lot about our society.
The essayistic documentary Weightless circles around the topics of identity, mental struggle and self-realisation. It does so through an intimate conversation with the protagonist, Max, about his rather complicated growing up. But Max himself is never shown in the images, which creates a special audio-visual language and unique dynamics of the spoken. The images of significant places charge the spoken with wider meaning and ambivalence.
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.