A bicycle accident causes a crack in the protective shell Alice has grown to be able to bear the oppressive confinement of her daily life. Can she finally dance her way out?
Alice is 27 years old today. Even though she is suffocating a bit, she still lives with her parents and tends to dwell on her dreams to escape her dreary everyday life. After a psychedelic party on a factory roof, she has a serious drunken bike accident. Will this give her the courage to become an adult?
Clowning around with a red nose? No way! Clown*esses challenge the patriarchal society with anarchy and subversion and cultivate the fun of creative resistance.
The clown*esses Gözde and Lokke emancipate themselves from patriarchal structures and representations in search of their very own homeland. Between the stage and everyday life, they find their constant in transformation and enter into a dialogue with themselves and the world. An underestimated theatrical art becomes a niche of feminism. A documentary between reality and magic.
A relationship on the rocks, naked under the scorching sun and disoriented on a vast holiday sea. In search of funny dolphins, Aurora and Jeremy are paddling for their lives.
This desktop video essay examines how the media illustrate the issue of abortion. Clicking through photo databases and magazines reveals the consequences of suggestive images.
What do abortions look like? What kind of images shape our view on them? And where do these images come from? The desktop video essay getty abortions examines how German and Austrian media illustrate the topic of abortion, browsing through stock photo databases, teen magazines and personal documents of a real abortion experience. It jumps from the early 2000s to the late 19th century, seeks out feminist knowledge and chats with fictional characters. But one question remains: Why does no one look into the camera?
A summer Sunday at a motorway service area. The trucks stand still. The drivers doze, cook, stare into space. A phone call with the family provides inner and outer movement.
Can you imagine that the cows look different in Germany? A summer day at a rest area of the German Autobahn. The trucks line up. Everything stands still. Nothing moves. Behind the windshield. Under the tarpaulin. Between the trucks. A temporary home. They are waiting. Next to it nature.
Three filmmakers research the history of a chemical factory in Cologne-Kalk. Off- and online archives teach them the art of weeding out and throwing away, the art of daring the gap.
In their documentary film, the three filmmakers Lea Sprenger, Franca Pape and Amelie Vierbuchen set out to find material about the Kalk chemical factory in Cologne. During their research at the Archive “Rheinisch-Westfälisches Wirtschaftsarchiv zu Köln”, they meet archivist Dr. Christian Hillen, who has a lot to say. While the archivist struggles with the 16mm film, the filmmakers dig through the chaos of sources and capitulate to the resistance of the material. Who decides which stories are saved or thrown away? A fast paced film about searching, throwing away, about gaps and mistakes and about one's own inability, which is repeatedly met with self-irony.
Two best friends are drifting through the city of Montreal. They come from a small Inuit settlement in northern Canada and share the same heritage, language and longings.
Kathy and Teresa are best friends. Far from their home village, a small Inuit settlement in northern Canada, the two young women share a tender relationship in the city of Montreal.
The breasts are in place, the feathers are smoothed, off to the date! Her daughter does not comprehend the ritual of desire yet … Erotically crude, with pointed beaks in the conflicts.
From 1974 to 1977, a huge trade fair centre was built in Lagos. Today nature and humans are reclaiming the ruins. Plants proliferate, small crafts flourish – a trans-historical site visit.
It was meant to be a place of trade, exchange and sharing. Now, there are flooded rooms, flowers and weeds and snails and birds, cut fruit and cut wood, cooks and carpenters, an artificial lake and football fields, Ema's memory of what once was here and Kendo's view of what one can see.
“The world in one garden” – with this claim of omnipotence, the construction of the Botanical Garden in Dahlem began. The deeper one enters, the clearer the traces of imperialist thinking emerge.
The film Showhouse portrays the botanical garden as a magical place, the charm of which lies in the interweaving of time spaces and world areas, and at the same time explores the abysmal nature of the botanical project. Plants have been shipped to European cities since the beginning of colonialism, gathered there and put on display. The exhibition of plants from around the world was intended to provide the metropolitan public with an image of the colonised territories. In addition, plants were cultivated and gardeners and colonial officials were trained to guarantee their economic productivity on the plantations in the colonies. Thus, botanical gardens were a part of European colonialism and its legitimisation.
A look back at the history of the botanical garden is combined with a look at present ideas of the future: while colonial plant collections of the late 19th century tell of the categorisation and domination of the “other”, in times of climate catastrophe, notions of gardens expanding into space, soothe fears about the limits of late capitalist civilisations and impending catastrophe.
The big bang, tardigrades, humanity as a dying breed: A child researcher on a farm by the Baltic Sea has some astonishing thoughts about these things – and his curiosity about the present is infectious.
Rovin lives on a farm on the countryside at the Baltic Sea. In his very own rhythm he is occupied exploring his environment. Moss, fire and his great curiosity: discovering new planets, stars, unknown beings – the universe. Maria is taking care of the stones at the beach very close to her house, while Christopher is busy moving stones up on a little hill. All of them in search for something.
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.