Nikola is a son, husband and grandson who teams up with his wife Corina to make a film about this. At its centre is his mother Dida who, due to a learning disability, has always been dependent on Nikola’s grandmother and lives with her in a small two-room flat. So far, so good. But Granny is getting old and Dida longs for independence. So it’s up to Nikola, who suddenly finds himself in charge. A charming look at a family in transition.

It’s a constant back and forth, as the couple live in Switzerland while mother Dida and Granny Dobrila live in Belgrade. No sooner have Corina and Nikola stepped out of the bus in one place when they find themselves on the return journey. Or is it the outward journey? Grandmother and daughter are a functional-dysfunctional team – one of them the brain, the other the executing body. The fact that Dida is much more than a shadow of her carer becomes apparent when Dobrila increasingly withdraws into an observer’s position. How can the grandson take over his grandmother’s duties without trading his own independence for that of his mother? The two directors succeed in making a touching film about the inescapable changes in their family without slipping into heaviness, working with lots of humour and a camera that seems to be present under any circumstances.

Animals have no “LGBTQIA*”, they simply are and do, practicing gender, sexuality and family constellations according to desire and necessity. There is still a lot to discover here, as Marcel Barelli reports. He went stalking, observing and listening closely. Briskly animated and wittily narrated, he tells of fantastic zoological caprices and miraculous relationships.

Avi Mograbi met his grandfather in a dream. The setting: Damascus, 1920. Would the two have spoken Arabic or Hebrew at this impossible encounter? It’s amazing that they were able to communicate at all! For Mograbi barely speaks Arabic, and his grandfather only learned Ivrit later. Another impossible conversation begins in his friend Ali Al-Azhari’s flat: between Avi, the Jew, and Ali, the Palestinian. Their lively, affectionate exchange about ancestors, vocabularies and dreams is supposed to prepare for a film that ends up not being made. But since the footage has already been shot, why not use it to tackle a new Israeli-Palestine reality?