A ghost ride through Finnish TV archives of the 1960s grazes the moon landing, American TV shows, a war in Africa. But how to connect with the world when dancing is forbidden?!
The anonymous narrator is a kind of web-adventurous flâneuse, neurotic and endlessly curious. A disturbance in the proprioception, which is the ability to sense the position, movement and location of the body and its parts, makes her perceive the world in a new way. Seemingly random anecdotes found on the internet and instructions from her cryptic physiotherapist start to come together in surprising ways. The found material forms a mosaic that reflects a world full of gazes, rules and technologies that separate us. Lines from the present and the distant past take our narrator to the 1960s, where medieval dance bans, televised wars, lost bones, space utopias and American TV stars collide. This film reflects how we can be and live in the world within ourselves and with each other. With those who are near and with those who are far. Along with all this, the film recommends dancing to everyone.
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.
A box of film material from Tito-era Yugoslavia becomes a narrative engine. With dry wit and philosophical verve, this essay burrows through family and contemporary history.
The sixties and the seventies of the 20th century in our former country, a country that ceased to be. A young family moves from a rural environment to a small Slovenian town, where factories are being built and the need for a workforce is increasing. The brothers are growing up in that shaky but magical in-between, soaked in the everyday rhythms of the community, infused with the ideology of the time. Then, it happens: the sudden spectrum of film; the mystique of time itself.
A man on an e-scooter on the outskirts of the city. Only the rifle over his shoulder irritates. The mood of high alert is deceptive. The disaster has already happened.
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.
Emile Zuckerkandl talks about his grandmother's salon, Hitler's arrival, and his escape to Algeria. A network of personal memories interwoven with world history.
Emile Zuckerkandl jotted down in his diary, “I write it down, so that I can remember it later.” Eighty years later, his memories are vivid and clear when he talks about his grandmother's salon, Hitler's arrival after the “Anschluss,” and his escape to Algeria. Rainer Frimmel stays very close to his charismatic protagonist in recording a network of personal memories interwoven with world history.
Els is in her late forties, divorced and in love again. For her, falling in love was not easy: it meant that she had to accept, that she has a life even if her twenty-year-old daughter wants to die and has already asked for psychiatric euthanasia which her mother can do nothing about. In the storm of her own emotions, mixed with guilt, anger, fear and hope, love is what teaches Els to try stepping forward even if it seems impossible.
Falling is a lyrical, found-footage-based testimony from a mother who faces not only the taboos surrounding motherhood but also the most difficult situation in her life.
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.
Design as a political act? In this animated collage, a contemporary advertising graphic designer explores the uncompromising work of the photomontage pioneer and anti-fascist John Heartfield.
The graphic designer Stefanie is in a creative crisis. Boring advertising assignments and a boss who does not value her work. On a visit to a museum, she is magically attracted by the satirical photomontages of the world-famous colleague and Nazi opponent John Heartfield. Then the miracle happens. She ends up in his studio, where she finally picks up scissors and paper again. An adventurous journey through Heartfield's extraordinary life 100 years ago begins.
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.
Rosl’s Suitcase is the story of my Jewish grandmother, who left Vienna for New York with my father in 1939 and of my own fact-finding quest about truth and what I had been told.
Rosl’s Suitcase is the story of my Viennese and Jewish grandmother, who emigrated to New York with my teenage father in 1939. The contents of the suitcase reveal discrepancies in what I had been told. With this discovery, I begin my quest to find out what really happened and what had been hidden.
Rosl’s Suitcase interweaves current-day Vienna with home movies and recordings by three generations of women: great aunt Ada's 1947 movies after her arrival in the U.S.; Aunt Helen's audio descriptions of her youth in Vienna and immigration to New York; my own 1960's Northern California coming-of-age 8mm films and light show movies.
French-American singer of Viennese origin, Adah Dylan Jungk, reads/performs Rosl's letters against backdrops and front projections of the Vienna High Court, the University courtyard and wartime films of the city. We follow Adah to “locations of memory”, crosscutting between places today and the same places shown in historical film archives. The city's landmarks are recharged through the prism of the pre-and post-war Vienna of my grandmother, father and my own lens.
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.
The film follows three young Russian women after the attack on Ukraine. Stay or leave? A haunting look at a generation in today’s Russia and their lives on the go.
Silent Sun of Russia portrays a generation of young Russians between 2018 and 2022. The film follows three young women – Alika, Alyona, and Katya. They are rebels and anarchists and part of a global youth who dream of living a modern life in freedom. A pervasive sense of anxiety and restlessness about the future haunts the lives of the young women. After Russia's invasion of Ukraine, they find themselves in a new reality that requires difficult choices. In their quest for love, friendship, and the dream of escaping Putin's Russia, they live in uncertainty, where longing is replaced by difficult emotions and attempts to repress reality. The film provides an intimate and poetic view of the current living conditions and the urgent decisions faced today by young Russians who cannot see a future in their native country.
Pippa and Victoria are avid skaters. But there are “NO SKATING” signs at every corner. A street contest is needed to find allies and take back the streets.
Skater-girl Pippa is determined to claim her place in a city that offers little space to skateboarders. Together with her friend Victoria, she goes into town in search of cool spots for street skating, only to find new “No Skating” signs. Back home, Pippa and Victoria come up with a plan to reclaim the streets. They let their imaginations run wild: what if they organise a street contest themselves? And skater-girls rule. On that day, the streets will belong to the skaters. They decide to put this daring plan together themselves, and immediately spring into action.
Lockdown, easing, lockdown: Vienna in the Covid-19 pandemic from March 2020 to December 2021. Generous tableaus document paralysis, fear, learning, anger – and incipient repression.
The Standstill shows Vienna and its surroundings along with encounters with people during and after the Covid-19 crisis. The film tells of the immediate and the long-term effects, which can only be evaluated and classified in the future.
Vienna Calling delves into Vienna's music culture, far from mainstream. It's a unique blend of documentary and theatre, offering an eccentric panopticon.
In Vienna, Europe's faded music capital, an underground scene thrives, marked by the city's wryness and sombre romanticism. The camera explores Vienna's streets, bars, and dark corners, unearthing the music and charm of local artists hidden beneath the city's polished exterior. The film weaves musical performances into an eccentric mosaic, far from the mainstream. It transforms into a docu-musical showing the diverse face of the new Vienna. A poetic glimpse into a historic metropolis infusing tradition with a new spirit.
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.