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.
The drama around the eviction of an environmentally sensitive forest forms the common thread of a film about the dashed hopes of the younger generation for a better future.
Two thousand cops challenge two hundred tree squatters in an ancient forest in the middle of Germany that is to make way for a nonsensical motorway. The political and legal struggle against the construction of this motorway has been going on for forty years, but now the state, on behalf of the federal government, has decided to wrestle it out – against all resistance. The drama around the eviction of the forest squatters from the environmentally sensitive Dannenröder Forest forms the common thread of a film about the dashed hopes of the younger generation for a better future. It revolves around their growing anger, the ignorance of politicians in the face of the greatest crisis upon mankind ever, and the seemingly indestructible stranglehold of capital interests over supposed intentions to build a sustainable 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.