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 group of friends leave Moscow after the Russian attack on Ukraine. They find a temporary exile on a Turkish island. Intelligent reflections on home and belonging.
After the beginning of the war in Ukraine, a group of friends decide to leave Russia and settle on an island in the Marmara sea near Istanbul. The film, starting at this point as a kind of travelogue, gradually evolves into a meditation on home and exile.
This impressionist hybrid documentary traces the oyster through its many life cycles in New York, once the world's oyster capital. Now their spectre haunts the city through queer characters embodying ancient myth, discovering the overlooked history and biology of the bivalve that built the city. As environmentalists restore them to the harbour, Holding Back the Tide looks to the oyster as a queer icon, entangled with nature, with much to teach about our continued survival.
The term “Horror Vacui”, or the fear of empty space, is used as a metaphor of the fear of the uncertain future that causes feelings of anxiety and loneliness.
The term “Horror Vacui”, or the fear of empty space, is used as a metaphor for the fear of the uncertain future that causes feelings of anxiety and loneliness. With its one-take sequences and free-associative editing style this meditative film sends out a warning of the growing hyper-militarisation of the world we live in, and what it causes to the human psyche. Due to the space and time of the events taking place in the film being blurred, it can all happen everywhere at any time in this globalised world.
Hoping to become closer with his father, whom he hardly knows, Samir decides to accompany him on a hunting expedition in the mountains. The hunt thus provides the pretext for their difficult reunion, where time spent waiting, stalking and shooting reveals the tensions and misunderstandings between the protagonists. Despite the cultural and generational barriers that separate them, their encounter is punctuated by the occasional humorous and tender moment, set against the picturesque backdrop of the Valais region. A third man, Charlot, intervenes in the father-son dynamic, offering a different, more congenial vision of hunting and companionship. The expedition becomes an opportunity for director Juliette Riccaboni to subtly examine the complexity of modern family life, as evidenced in this father-son relationship marked by dissent.
In a melancholy dialogue with her boyfriend and people she met by chance, the director tries to fathom the secret of love. A wistful and poetical journey to the Caspian Sea.
A filmmaker is searching for a place where she and her boyfriend first went on a date. On this little trip, she meets random people and asks them about love, memories, and the meaning of life. Meanwhile, the pollution of the Caspian Sea pulls her search for answers towards her inner questions about memories, feelings, and happiness.
As a dancer coming from an immigrant family, Çağdaş often feels more like a performer around them than on the stage. When he decides to contact his estranged father in Turkey, the boundary between real and performed begins to blur as his story is woven into the production of a new piece by internationally renowned Tanztheater Wuppertal Pina Bausch. How much does the absence of his father and the traumatic silence that has filled the void contribute to him feeling like an outsider in the only place he's ever called home? In Four Movements weaves dance and documentary through an intimate journey of self-discovery as Çağdaş faces his past, his performance, and his desire for belonging.
Animals coming from Eastern Europe for the Italian meat industry used to be transported to the towns in Northeast Italy, and only one animal managed to come in and out alive.
Animals coming from Eastern Europe for the Italian food/meat industry used to be transported to the towns along the state border in Northeast Italy. In those conveyor-belt spaces of death, only one animal managed to come in and out alive.
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.
A sensitive examination of an abuse scandal in an evangelical children’s home in Baden-Württemberg. Victims’ testimonies are confronted with the shameful relativisations of the church.
The pastor is encouraging forgiveness, many people in the parish feel that it's time to put the matter to rest – and the former child victims are fighting for recognition and dignity…
Korntal, a little town in the south of Germany, is the scene of the greatest abuse scandal ever to rock the Protestant Church in Germany. An estimated 150 former children from homes run by the Pietist Brotherhood have broken their silence: they are revealing the physical and mental horrors to which they were exposed. Many of them were victims of sexualised violence there at an early age. The 9,000-person town and its parish have responded to the accusations with disbelief and denial. They cannot imagine that this could have happened in their God-fearing town. However, pressure is mounting on the Protestant Brotherhood – which still runs children's homes – and an inquiry is initiated. There is much contention about compensation and how to proceed with the inquiry. Many victims are being re-traumatised by their testimonies being called into question and are describing the inquiry as further abuse. The film gives 6 protagonists the chance to tell their stories and to put right what they feel the inquiry report fails to disclose. A sensitive, profound treatment of a highly topical subject.
In a desert landscape, some children play hide-and-seek. The remains of dry stone walls and a few abandoned objects seem to bear witness to a long-evaporated civilisation.
In a desert landscape, among the ruins, children play hide-and-seek. The remains of walls and a few abandoned objects seem to bear witness to a civilisation that has long since evaporated. Francesca, the youngest of the group, is marked by the discovery of a dead fish which becomes the object of the other children's games. The next day, back at the site, the little girl discovers that other people have been attracted to the remains that the disappearance of this huge artificial lake has revealed.
Leonie helps where she can on her parents’ farm. She wants to be a pig-farmer when she grows up. When they are forced to give up the farm, Leonie says goodbye to her dream.
Leonie's biggest dream is to become a pig farmer. On her parents' farm, she is happily wandering around with her best friend, Skeet, the cat. She is always helping out in any way possible: fertilising the sows, tending to the pigs and helping load the fully grown hogs onto the truck that will bring them to the slaughterhouse. The family farm is helping Leonie learn about the circle of life. However, new laws surrounding nitrogen emissions set by the government are threatening Leonie's parents' life work – their company – into bankruptcy. Together with her cat Skeet, Leonie sees the last pigs disappear from the farm and realises that her dream of living as a pig farmer might not come true.
I grew up in Yangon. In February 2021, my dreams came to an end. My mother said: “Son, wake up. The military has taken over the country”. The days got darker. The window in my narrow room and the piece of sky I watched seemed to be the only freedom I had left. I wanted to say something about this new undercurrent in my life. I wrote things down, recorded my voice, and searched for images that might reflect my feelings and those of other young people. And now there is a film which conveys what it's like to lose the ground beneath your feet.
An intimate conversation between father and daughter about a fermenting family secret amidst experimental image and sound recordings of work on a winery in southwest France.
Within a dialogue through different stages, a woman evokes with her father, a historian and a stranger, events that she didn't live through and that somehow, she seems to have gone through.
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.
In search of memories of her childhood, Asmae El Moudir recreates her Casablanca neighbourhood as an elaborate miniature and in the process comes across a trauma of Moroccan history.
Moroccan filmmaker Asmae El Moudir wants to know why she only has one photograph from her childhood, and why the girl in the picture isn't even her. When her family refuses to answer her questions about the past, she hits on another solution: on a handmade replica recreating the Casablanca neighbourhood where she grew up, El Moudir begins to interrogate the tales her mother, father and grandmother tell about their home and their country. Slowly, she starts to unravel the layers of deception and intentional forgetting that have shaped her life. The truth is hard to face, but in this sometimes surreal nonfiction film, El Moudir begins to draw what's real to the surface.
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.