A public swimming pool complex in the middle of a forest which is soon to be renovated: between water slides, French fries, TikTok and sun cream, six teenagers spend the long summer days in the “Badi”, as outdoor pools are called in Swiss German. It is a place to discuss, laugh, try things out and simply hang out together. Whether on the grass, in the water or between the different pools, their conversations revolve around everything that currently moves them. This sun-kissed film accompanies these adolescents at a moment of transition. They talk about the past, think about the future and try to find out who they are and how they will find their place in a changing world. The film stays close to their glances, conversations and encounters, taking an unvarnished look into the inner world of these adolescents – their curiosities, their humour, their contradictions and their insecurities. For one summer long, the Badi becomes a place where childhood and future can exist alongside each other. And while the orange slide is dismantled, the question of what will remain of this summer bubbles up through the water.

Lina Dinkla

What is left when everything fades away? An old photographer tries to reconstruct people and events by means of old photographs, but they keep slipping away from him, vanishing in the dark, washed away by the waves. In his 2D animated film, rendered in black and white, Anton Dyakov not only shows how memories are lost, but also how they sometimes haunt and overwhelm us – for example in the shape of a disturbing archive fragment of blurred war photos. “Black Box” deals with loss and grief from a personal, yet universal perspective, while referencing the culture of remembrance in the digital age which is increasingly managing – or seeking to manage – without the haptic assurance of a printed photo.

Marie Ketzscher

Created using still and moving images sourced from NASA’s STEREO satellite solar observation mission, “Black Rain” turns unprocessed scientific data into a raw and glitched-out perspective on nearby interplanetary space. Embracing the artefacts, the film gives us an unmanicured and almost voyeuristic view of space, distant from the glamour of sci-fi or the carefully colourised images normally released by NASA to the press, as we track solar winds, coronal mass ejections and passing comets, sometimes recognisable only as blurs of lines and pixels, across a monochrome background of stars and the milky way.

Ben Sassen