Gabi, eight years old, isn’t interested in “girl stuff”, but in Lego and football. Many months later, little has changed about this. Nevertheless, Gabi, now in cap and shorts, stands out more. The onset of puberty stirs up fears, raises new questions. Once again Gabi sits at the hairdresser’s and her hair gets a little shorter. The “hairstyle” problem comes up regularly, for her mother would like her daughter to look a little more feminine from time to time. No such luck. Gabi is convinced that there is no difference between boys and girls, apart from a few hormones. Sensitively, Engeli Broberg observes this young person over a period of five years as they try to stay true to themselves.

The motif of movement in film is a core element of Peter Mettler’s award-winning body of work: His journey here takes us from Canada via the USA to Switzerland and as far as India, the filmed moments associatively unfolding a tableau about different people. They are all, each in their own way, looking for transcendence and ecstasy. In this hypnotic trip about time and transience, the director is always ready to engage with the unexpected. His attitude is marked by curiosity and impartiality. Well over a hundred hours of footage feed into a brilliant montage in which transition and rapture also find visual and acoustic correspondences.

Life without a car has become unthinkable in the country. This also goes for the sleepy village of Claviers in Provence, where Claire Simon went to school and her daughter experienced her first love with the baker’s son. Pensioners and tourists dominate the place today, and the bakery has long since given up. But the heart of the village continues to beat: in the garage. This is where the day-to-day dramas take place, where the weal and woe of its citizens are decided.

Christophe Scalia’s empire is one of men who accept women only as bystanders. Nevertheless, the mechanic and his apprentice, Romaric Rousselle, are quite willing to allow Claire Simon to watch their every move as they handle shock absorbers, spark plugs and brake pads, to listen to their every bantering conversation. They are completely absorbed in their role, turning into superheroes responsible not just for the proper functioning of all the two- and four-wheel vehicles that are so important in the country, but also of the entire village. This is where local politics and family planning, generational conflicts and the economy are discussed, occasionally accompanied by music from Coppola’s “The Godfather” which Christophe has set as his mobile phone ringtone. To make everyday life look more exciting than any fiction through patient observation, that is the miracle of Claire Simon’s documentary work.

Sable Island, a good 43 kilometres long, less than two kilometres wide, a crescent-shaped sand bank in the Atlantic, about 160 kilometres off the coast of the Canadian province of Nova Scotia. This inhospitable looking place, permanently changed and moved by the weather, has been the home of Zoe Lucas for more than forty years. She once came for a brief visit as an art student, fascinated by the semi-wild horses on the island. She stayed, became an environmental activist, self-taught scientist and esteemed expert on biodiversity. Jacquelyn Mills’ enchanting 16mm images not only convey the enormous richness of the lonely landscapes. They also depict nature conservation as a fulfilling life’s work.

What images do we associate with abortion and why? Where do these images and the emotional scripts in our head come from? How do they influence women who (want to) have an abortion, how do they shape the general discussion? Franzis Kabisch’s personal desktop documentary investigates these questions with great precision, clarity and humour (yes, humour, too!).

In the process, she moves from early 2000s girls’ magazines to the late 19th century, sifts through troves of feminist knowledge and checks alleged cultural-historical facts (such as the discovery of hysteria in women) that haunt conventional wisdom to this day. At the end of the film, we have not only seen an exemplary examination of image politics and how they contributed to pushing the issue of abortion to the social sidelines and linking it with shame and guilt. Franzis Kabisch manages, almost “in the same breath,” to break up the false hubris of the documentary and demonstrate that the evidential value of filmic and photographic “testimonies” must always and implicitly be scrutinised. Ultimately, “cui bono?” – the question who profits, must be considered in every media-critical reflection – not just in the age of stock photos, editing software and AI but, strictly speaking, at the start of every documentary image production.

This insight into an international subculture shows that the ballroom scene is more than just extravagant competitions. Five ballroom dancers describe a reality in which white-dominated, heteronormative patterns have no place. They talk about ideas of cultural appropriation, about safe spaces, community and mutual support, about identity and self-expression.

The rising sun reveals a gruesome crime. In the orange-red dawn, between the dunes and the rippling sea, a young woman is strangled to death. The victim’s neck is marked by the deep imprints of her murderer’s hands. The mother’s moving dirge – based on a poem by Percy Shelley – accompanies us as her daughter Ginevra is laid out and resurrects.

Art is in the eye of the beholder, they say. Shelly Silver’s beholders range in age from seven to nineteen years. They focus their attention on artworks in the Leipzig Museum of Fine Arts. Their spontaneous interpretations of the works allow for resonances: both, the paintings as well as their young reviewers, reveal different things about themselves, depending on the point of view.

“Shit that I’m not a boy”, a teenager exclaims as she stands in front of the painting of a rich young man who lived centuries before her, perhaps in the Netherlands. Because boys are allowed much more, she says. Playing basketball outside, for example. Shelly Silver’s hypothesis is as simple as it is fruitful: The outside perspective will always lead back to one’s own perspective. The director’s questions and suggestions are not revealed. But she picks out details of the paintings to substantiate and illustrate statements – or put them up for discussion again. Silver’s finesse lies in the montage. Meanwhile, the timeline of the exploration runs from the past to the present, from the pierced feet of Jesus Christ via a reclining naked nymph by Lucas Cranach the Elder to the more recent photography of the Swedish artist Arvida Byström.

Who decides what is art and what is not? What does the picture on the wall tells about the society in which it was created? Shelly Silver looks at the collection of the Museum der bildenden Künste Leipzig through the eyes of some young girls and makes visible how role models have changed over time - and what art has to do with it.

Husna and Charlotte live in a high-rise estate on the outskirts of Antwerp. They live in the same house, play in the same soccer team and spend every free minute together. Where they grow up, it’s not natural to make big plans. But that doesn’t stop these two girls from pursuing their dream to become professional soccer players.

The film follows Vilma on her last weekend in her hometown of Tornio, a small place in Lapland. She celebrates her graduation, has a great time with her family and friends in the lightheartedness of summer and says goodbye to her old life. Very soon she will be far away. Her new home is the big city of Helsinki, a ten-hour drive from Tornio.

In this animation-documentary hybrid, four older women reflect on their memories of the old times when they were young and relations between the sexes were completely different. Their many voices merge into one: Grandmother Vera speaks. She tells her story in precise detail, gives insight into the turbulence of her youth and shares memories of her intimate life. She speaks as a representative of Slovenian women in the first half of the 20th century and illustrates their status in the gender and social hierarchies of that era.

Osario and Benedito, two brothers, lead a quiet and isolated life. Gravity doesn’t seem to exist in their cosmos. Objects float around – no up, no down, no points of orientation. The two have never known anything else than this floating in space. We float along and are irritated: is all this lightness just an illusion?

A visual artist all her life, Luchita Hurtado only reluctantly experienced her breakthrough at the age of 97. “Green Turns Brown” is a minimalist eulogy to the publicity-shy painter. Shot on Super 8 film stock during the last months of her life, this film, which revels in autumn colours, paints the portrait of a woman in tune with nature who sees death not as the end but as the crossing of a border. “Life goes on.”

The motorway roars in the background, darkness lies over the service area. One truck driver smokes; another turns on the light in his sleeper cab. A summer Sunday is dawning, everything is standing still. Precisely designed detail shots induce in us a state of waiting. This is what life on the road can also look like. Cooking, dozing, staring into space. Hair is shorn short, words are exchanged. Polish pop songs resound from one of the cabs.

Life seems to have been tuned out. And yet it is happening. One of the men roams the forest, calls home. Suddenly a family is present in the images: The man remembers a swimming trip when the children were small. A strangely beautiful sight. He holds his mobile up in the air so the person on the other end of the line can hear the woodpecker.