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.
What are the costs of the half-truths that politicians tell? In 2012, the Georgian president wanted to make the nation smile. In the race for reelection, the incumbent's party was promising subsidised dental care to the country's least well-off. Across the land, state medical practitioners began removing rotten teeth with the promise of replacements in the months that followed – then the president lost. Through interviews with those worst affected by that campaign, Smiling Georgia tells a story about the whims of political power and the defiance of those who usually hold the least of it – a film short on teeth, yes, but far from toothless.
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.