A journey back in time to 1915 Dresden, where Karlchen lives, who dreams of seeing the famous elephants of the Sarrasani Circus one day. To earn the ticket, he delivers potatoes. But his few coins are not enough for the visit. When Karlchen’s dream at last comes within reach, everything turns out different than expected.

Witali and Łukasz have graduated from the Orthodox seminary. To take up priesthood, they must either start a family or become monks. But the two friends prefer to live for the moment, to muse, philosophize and sing. The camera looks on, full of empathy, giving the two men space and time to face their situation. A documentary observation turns into a thriller: Can their tender friendship withstand religious obligations and family expectations?

The curtain is up, the stage is clear, the microphone on: Let the show begin. The little singer steps forward and everyone is waiting with bated breath what singing talents are about to be heard. She clears her throat one more time and then it starts. But what is this? She’s not really going to lick the microphone like a popsicle, is she? Surely an idea we’ve all had at one time or another!

Two men by themselves: Zdravko, a war veteran with a hearing impairment who lives as a fisherman in the wilderness, and Stefan, a director with Bosnian roots who has forgotten his mother tongue. The unlikely friendship develops against a both sparse and mysterious background. For while Stefan superimposes his thoughts in text form on the shots, Zdravko sends sounds into the depth with a wooden stick. They are meant to attract catfish that make their rounds in a lake. In the process, the two men summon each other, so to speak, bring to light what was buried, fraternize, overcome inner barriers.

Almost every inhabitant of Fondo Negro has relatives abroad. Since the 1980s, job migration, meaning wages shared with the residents from afar, has been one of the most important sources of income in this region in the southwest of the Dominican Republic. Young women in particular go to Europe or the U.S. to support their families by unskilled labour. In her enchantingly beautiful film, director Anna-Sophia Richard shows how this affects the ones who stay behind.

When she set out on the journey to Europe, she didn’t know what to expect, says one of the seven people portrayed. It was as if she was going on a holiday: a holiday that’s now lasted more than thirty years. Others haven’t seen their families in over fifteen years, their only contact being by phone or video chat. The mayor of Fondo Negro, herself the first job migrant from the region, tries to keep the women in the village. But the pull of jobs elsewhere is powerful. What’s left are separated families, children who grow up without parents and couples who become estranged. Almost in passing, the director shows in colourful, dreamy images how provisional solutions manifest themselves and permanently shape the reality of people’s lives. Happiness is only an eight-hour flight away – and still unattainable.

Louis, eight years old, has autism and is starting at a new school. He steps in front of the class to introduce himself and his peculiarities, which can occasionally lead to misunderstandings. And anyway, sometimes things are really complicated in Louis’ mind. But it seems that his new class doesn’t have a problem with this at all.

After a long time, a young woman once again holds letters in her hand that her father wrote her fifteen years ago when he was in prison. His words are full of love and affection: Never again were they to be that close, the daughter sums up today. What happened? This is what she tries to answer in a letter to him, writing down what couldn’t be said until now. The complex relationship between father and daughter in the form of a fragmentary animation.