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.
22 years after they established the women's organisation Machsom Watch, its founders reveal what really happened at the checkpoints between Israel and the West Bank.
22 years after they established the women's organisation Machsom Watch, its founders reveal what really happened at the checkpoints between Israel and the West Bank between 2002 and 2012. This is the story of a group of courageous women who dedicated their lives to safeguarding human rights and peace.
The film is built on 9 short stories of the women who participate in the film. Each one of them is adding a personal view of the daily routine of the checkpoint that together crate a very powerful and moving document.
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.
The son of Brooklyn's most admired Rabbi reveals the truth about the extreme and isolated cult his father established and the atrocities in it, that continue to this day.
A Hasidic True Crime Story. An astounding 300,000 people attended the funeral of Rabbi Schik – an admired American ultra-Orthodox Rabbi. Unbeknownst to his followers, Rabbi Schik was also the leader of a transatlantic crime organisation which established an extreme and segregated cult spanning between Brooklyn and Israel. While female members were forced into underage marriages and sustained sexual assaults, the money was flowing into the Rabbi's own pockets. This corrupt culture prevailed for decades, with no one ever daring to expose the painful truth – until now.
Over the course of seven years, the story follows the Rabbi's son and two women who ultimately left the cult. Together, they discover and expose the devastating legacy of the Rabbi and his community.
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.
14-year-old Kiki is sentenced to juvenile prison for violence and drug offences. His sister convinces the authorities to give him one last chance: a therapeutic trip to the desert.
After being kicked out of every available youth-at-risk framework, and after facing criminal charges for drug trafficking and violence, Kiki is about to enter a youth prison by court order. Gal, his sister, manages to convince the authorities to give Kiki one last chance. Gal is a caregiver for youth-at-risk in a framework that takes youth on experiential, therapeutic field trips through the desert. Gal and her co-workers take Kiki on a field trip to the desert. She is determined to succeed where everyone else has failed. Will the journey enable Kiki to grow and to take responsibility for his own fate?
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.
Can intimacy exhaustion in a monogamous marriage be avoided? Love is no longer present in my parents' relationship, which echoes my own marriage. Is there a way to keep the spark?
Monogamia takes you on a roller-coaster journey into the world of love and intimacy within committed relationships. Follow the director's personal quest to bring back the love that once flourished between his parents. As you watch, the inevitable question arises: can love indeed endure the test of time? Can the revelation of buried secrets revive the spark of long-lost intimacy? Does monogamy stop being monogamy after tasting the “forbidden fruit”? Amidst this captivating exploration, consider the excitement and price of open relationships.
106 timepieces disappeared from Jerusalem's Museum of Islamic Art in the biggest art heist in Israel's history. 40 years later, the enigmatic thief's widow tells their story.
It all started with a watch, or more precisely, with over 106 rare European timepieces. One piece alone, made especially for the ill-fated French queen Marie Antoinette, was valued at a whopping $30 million. On a quiet Friday evening in 1983, the collection disappeared from Jerusalem's Museum of Islamic Art. It wasn't seen again for a quarter of a century. The biggest art theft in Israel's history left the police scratching their heads. When the timepieces gradually resurfaced a quarter of a century later, the enigmatic thief was dead. His widow, Nili Shamrat from LA, tells director Nili Tal their story for the first time among policemen, lawyers and curators.
In an attempt to understand the stamp of genius and logical madness of her stepfather, Michal goes on a journey with personal videos that explore America's most notorious criminals.
Michal opens a cardboard box, containing a rare private video tape archive of her conversations with some of the most psychopathic criminals in America – Charles Manson, Richard Ramirez, and others. What motivated her to enter this dark world?
We would find out that she is only trying to understand the abuse she herself suffered.
In an unusual and courageous way, Michal tries to get answers to questions she did not dare ask her father, Motke Kedar, a genius and a psychopath in his own right, who was involved in one of the most infamous scandals of the Israeli Mossad.
In 2010, a man was found dead in one of Israel's maximum security prisons. When the story broke, the suicide of this anonymous Mossad agent revealed the agency's failures.
On December 15, 2010, a prisoner was found dead in his cell at one of Israel's maximum security prisons. The prisoner had hung himself despite being under heavy surveillance 24/7. None of the prison's guards knew his real name or his crime. They knew him only as Prisoner X.
Ka.tzetnik lived a life of secrecy, becoming a myth. Rumours suggested that he wrote all night, donning his Auschwitz uniform and that he never left his house despite his books selling millions.
The film explores the writer's personal odyssey in coping with his trauma through the unconventional path of LSD.
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.
Crime boss or fearless dissident? The biggest cyber trial in the history of Israel will determine the fate of a former ultra-orthodox kid who transformed the drug-dealing business.
In March 2019, Amos Dov Silver was arrested at a Kiev hotel, following a global sting operation. Silver, the creator of the drug-dealing mobile app Telegrass, has since been accused by the government of running a crime organisation, but for thousands of Israelis Silver is a fearless folk hero, intent on exposing a corrupt and broken system. Through exclusive footage of Silver, his family and his partners' investigations, as well as secretly filmed footage of Silver in a Ukrainian prison, a polarising portrayal of this man emerges: is he a champion of the people, or a lost soul corrupted by power?
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.
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.