What if from one day to the next, you’re no longer seen but instead, you're stared at? The leading characters in All You See have ended up in a new world where suddenly nothing seems to align. In their new lives in the Netherlands, they unintentionally provoke reactions on a daily basis. Even after many years, they still hear the same questions over and over again: Where are you from? Do you speak Dutch? Do you tan in the sun?
Anxious in Beirut is a personal diary that documents the events of the last two years in Lebanon – revolution, post-war, explosions, demonstrations. Living with constant anxiety, Zakaria, the film’s young director, narrates his own life while trying, on numerous occasions, to leave his country.
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 sun shines every day in Chagrin Valley, USA. Frozen in a 1950s-inspired artificial decor, this assisted living facility for people who suffer from dementia is home to fragile and ageing residents. Here, everyday life drags on slowly. Florence and her companions dream of an elusive elsewhere during their days punctuated by confusion, fleeting conflicts and overdue family visits. The caregivers – as kind as they are exhausted – run the show in this pastel-coloured, sanitised social theatre. Between two shifts, they confess their desire for a better future; one that is not so different from that of the residents, after all.
A poetic investigation of one of the largest e-waste recycling sites in the world as a contact zone of complex global economic, social, power-political, and technological processes.
A landscape of electronic equipment leftovers, embedded in biting clouds of smoke, burnt earth, and dirty water.
In Agbogbloshie – one of the world's largest e-waste recycling sites situated in the middle of Accra – electronics are dismantled and burnt in order to return their metals to the industrial recycling cycles.
In between, an observer who, by means of acoustic field research, investigates this place as a contact zone of complex global economic, social, power-political, and technological processes and questions this from a spiritual perspective.
Truck driver Abu Husain spends endless hours in Qatar in a self-contained world of standing, waiting, and tenaciously moving trucks on the fringes of society.
Truck driver Abu Husain, like many guest workers in Qatar, spends endless hours in a self-contained world of standing, waiting, and tenaciously moving trucks on the fringes of society.
Esteban, a Swiss entrepreneur, dreams of taking part in the 24 Hours of Le Mans. A dream he turns into reality, which results in him competing alongside professional drivers.
Esteban, a Swiss entrepreneur, dreams of taking part in the 24 Hours of Le Mans. A dream he turns into reality, which results in him competing alongside professional drivers. Laps follow each other endlessly among the exhilaration of these exceptional vehicles. Full Tank humorously immerses itself in this testosterone-driven microcosm, subtly highlighting the excesses of motorsport.
In Burkina Faso, in the gold-digging site of Bantara, 16-year-old Rasmané descends more than 100 meters deep in artisanal mines to extract gold. Anxious about accidents, Rasmané makes his way in this world of fierce adults in the hope of one day becoming emancipated…
In this “telephone” road movie, Floriane Devigne (Ni d’Ève, ni d’Adam, VdR 2018; La Clé de la Chambre à Lessive, VdR 2013) takes us on a journey through so-called “peripheral” France. From remote villages to deserted areas, guided by telephone conversations collected from the last public telephone boxes, she casts an amused, critical and cutting gaze over our ever-changing society.
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.
The cutting down of a cherry tree becomes the starting point of an intimate dialogue about transgenerational trauma between a mother and a daughter. The line between the need for investigation and the desire for healing becomes blurry when a persistent camera depicts the felling of the tree. The short documentary is an attempt to find a shared language for the unspeakable consequences of child sexual abuse within my own family. Content warning: The film contains descriptions of experiences of sexual violence.
After the coup in Uruguay in 1973, thousands of intellectuals and artists fled the country. My father was among them and left for Europe. After his passing three years ago, I came upon some Super 8 movies and audio recordings he had made. Through this archive, I started building a new family story trying to reveal and understand the silent pain of his exile and the fierce will to be a family despite the estrangement.
Invited by a mysterious friend, a film team sets out on a journey into a hidden Yenish Europe that stretches from dusty banlieues in France to the forests of Carinthia. Told by the voices of young and old Travellers, a kaleidoscopic panorama of their lives unfolds: Diverse people relate to each other, bound together by their love of freedom but also by deep wounds from the past. Their otherness is mirrored and reflected not least in the exchange between the filmmakers and the Yenish.
sounds for a wounded landscape – Activities on the Ground
sounds for a wounded landscape – Activities on the Ground
Frauke Berg, Oliver Gather
New German Short Films
Documentary Film
Germany
2023
11 minutes
English
International Premiere open
Trailer
Synopsis
In view of the question of a new way of dealing with our resources, there is also the question of a new way of dealing with landscape. How can humans enter into a relationship with the landscape, beyond a subject-object relationship that degrades everything “non-human” to an available mass of exploitation?
As a self-experiment, the sound artists Frauke Berg and Anja Lautermann play and listen into the large hole of the Garzweiler open-cast mine. The camera observes the conflict at the hole, looks and listens into it. Like a collage, the film links all with all and finds a form for the fact that everything takes place with consequences in and on the same ground.
All attempts to alleviate or stop the wounding of the landscape seem fragile, helpless, and perhaps even futile.
Tricky Disco traces various forms of spatial and cultural appropriation. The film unmasks the attempted appropriation of the techno and house movement as a “German cultural asset”.
Tricky Disco traces various forms of spatial and cultural appropriation, initially following the traces in the author's biography.
The film focuses on (self-)empowerment through participation in the techno subculture of the late nineties. However, the emancipatory and political potential of this subculture is countered by another dimension in the course of the narrative: using photogrammetric images and analogue video footage, the work draws parallels in the urban development of Berlin and Frankfurt. It unmasks the attempted appropriation of the techno and house movement as a “German cultural asset” and depicts how efforts are made to monetise it through hasty musealisation.
How to create a world of your own? Push back the limits of your imagination?
The Wonder Way is an exploration in search of extraordinary territories, terrestrial or celestial paradises, intriguing and uncharted. A journey out of time, seeking encounters with those who imagine other worlds within this world.
From Randlett King Lawrence's phantasmagoria to Charles Ross's astral sculpture Star Axis, through Jugnet+Clairet's enigmatic maps, Noah Purifoy's Desert Museum, Jean Wisniewski's Garden of Eden or Didier Queloz's first exoplanet, The Wonder Way takes us to the most striking universes and draws a new cartography of the world in a great breath of freedom and magic.
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.