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1-44 of 44
- A hearing-impaired woman with dreams of becoming a professional boxer due to the pandemic is threatened closure of her boxing club and the illness of its ageing president, who has been her biggest supporter, push her to the limit.
- The story of Django Reinhardt, famous guitarist and composer, and his flight from German-occupied Paris in 1943.
- In powerful images, alternating between documentary observation and staged sequences, and dense soundscapes, Luiz Bolognesi documents the Indigenous community of the Yanomami and depicts their threatened natural environment in the Amazon rain forest.
- A detective tries to solve a series of murders in Split, Croatia.
- A veil of sadness lies over the oppressively hot summer days. Cleo dives into daydreams with her cousins, the girls share secret signs and rituals. Flowing gently, in impressionistic images, the empty space that the death of Cleo's sister has left in the family is poetically encircled.
- "The closing titles say THE TWO SIGHTS was "collected" on various islands of the Outer Hebrides from 2017-19, but what does the film gather? There are the images, captured on a 16mm camera, which survey all this ravishing landscape contains, taking in its rocky cliffs, beaches and plains, alighting on its flora and fauna and the houses and ships sprinkled over it, picking out currents, reflections and shifts in light. Then there are the sounds, recorded with the mic visible in the first shots, keening birds, the roaring wind, the crashing, gurgling, trickling of the water. In voiceover, a whole anthology of tales can be heard, narrated in both English and Gaelic, stories of dog skeletons, drowned villages, and family members passing away, although songs, silence and the shipping forecast are just as at home there. But like any great collection, it's not about the individual elements, but how they overlap, about how the crow hanging on barbed wire conjures up another story never told, about how the ripples seem to reverberate along with the woman's harmonies, about how each anecdote floats over the rushing air. Sight by eye, sight by ear, two sights that ripple and flow together."
- Fuelled by jealousy, Dean, Ray and Paul kidnap golden boy Christian so Dean can gain the attention of Christian's girlfriend Jess. The prank soon swerves out of control trapping the youths in a recurring nightmare.
- Bombed-out streets, destroyed Russian tanks, evening meals in an Underground repurposed into a shelter. Image by image, the directors push beyond easily reproducible images of war to enter the reality the country has experienced since February 24, 2022.
- A family story of a very special kind. The mother earns a living as a spirit guide for the deceased at their funerals: she was never at home, always out and about with her girlfriends instead. The daughter now goes to great lengths to attempt to understand her mother. A cosmos opens before us, one which manages to be of universal cultural significance and extremely intimate at the same time.
- The people on the dusty streets of Lesotho stare inquisitively at the young woman, who, like Jesus, carries a wooden cross on her back. She looks back into their faces, at mystically beautiful landscapes, a herd of sheep, and a pair of hands that knit unceasingly. What she sees is rendered more visually precise by the black and white, more abstract by the slowed-down images, it is filtered through memories. A raw voice-over - aware that it is not being heard by those being addressed - structures the flow of images into a cinematic lament. In this essay film, Lemohang Jeremiah Mosese succeeds in creating the chronicle of a radicalising sorrow, which steadily increases in scope from a personal farewell to the mother to a politically aware defection from the motherland. The painful process of shifting from an internal view of the small African country to an external one is visualised and commented on in a profoundly personal way - from the perspective of today, in exile, in Berlin. A pretty angel accompanies the passage. In intense, aching fashion, this unusual lament on an African story of migration sheds light on an realm of experience that is taboo and not only in cinema.
- We are East and West, North and South. We are an ensemble that never physically met. This film is the result of a lost meeting.
- On their way back from a wild party, Arineh and Nobahar cause a car accident. A mysterious stranger by the name of Toofan offers to cover the costs. This won't be the last time they'll cross his path over the course of the night. Cars form a popular setting in Iranian cinema. They move through the public sphere, yet their occupants remain among themselves. But what happens if a policeman suddenly gets into your vehicle, finds black market DVDs and forces you to admit, tipsily, that Argo is a film hostile to Iran? This road movie through Tehran by night begins as a hyperactive, drugged-up farce that pokes fun at the authorities, interprets the cultural history of Western toilets, and postulates other daring intercultural theories. Yet gradually the atmosphere changes and tension steadily rises in the car, thanks to Toofan, who keeps appearing again and again out of the blue. He plays a diabolical game with the two friends, one that crosses the boundaries into the metaphysical realm. As fanciful and spooky as the plot may seem, it is clearly anchored in Iran's present.
- A young man decides to join the army because he needs a job and he wants to make his mother happy. He becomes the drummer in the band. His everyday life is now a combination of military training and music. What does the Argentine Army do these days, 40 years after the dictatorship? How is a soldier made in a country without wars?
- They talk about the beautiful game, but for Laurentiu Ginghina, it's not enough. Football must be modified, streamlined, freed from restraints; corners are to be rounded off, players assigned to zones and subteams, norms revised. In retrospect, he first realized that the rules of football were wrong when he was tackled during a game in his youth, in the summer holidays, on another pitch now covered in snow, but in Vaslui, not Bucharest. The tackle hit so hard it fractured his fibula, a year later his tibia broke too, on New Year's Eve 1987, he had to walk home in the snow and no one helped him. Today he's a local bureaucrat with an uninspiring job, it's no wonder he prefers to talk about the game, his own version of it, to Porumboiu, his friend, the director, who's always listening, asking questions, nearly always in frame. Ginghina's monologues are so rich you might think someone wrote them in advance, they proceed from the same old subject, but never stay in one place. All roads lead to football, but all roads lead away from it too, to land ownership issues, to orange farms in Florida, to political utopia and the traces left by life, to version 2.0, 3.1, 4.7, to infinity.
- Two friends, Björn and Hampus, decide to move in together. If one ignores the fact that the two men are completely different, theirs is a close relationship. Being in love with your best friend and, in spite of this, or because of it, arguing to the point where it becomes unbearable.
- Teenage girls consigned to the Iranian "Correctional and Rehabilitation Centre" discuss their troubled lives and reveal what brought them there.
- Bruno is making his way through the city searching for its soul. Driven by his curiosity, a challenging imagination and his wild reflection on reality he is lifting the old dusty curtain on the city's crusted perception.
- Summer, 2016. In Poland, the right-wing conservative party PIS has been in power for about a year. Matriarch Danuta is devising a programme for her golden wedding anniversary and has enlisted the aid of her entire family. Danuta's grandchildren are used to going along with their grandmother's caprices and have decided to accept their fate. This year, Danuta has a fashion show planned during which the girls are to model their grandmother's favourite dresses down the decades. The grande dame plans to share personal stories and anecdotes about things she experienced whilst wearing each fashionable creation. A few days before the great event, her German niece Alexandra arrives in Warsaw to help with the preparations. But no sooner does Alexandra join them round the table than politics begin to dominate their every conversation - not just with Danuta but with all the other clan members, too. Alexandra soon realises that she is the only liberal in their midst and that the women in her family are not at all interested in such goals as emancipation, women's rights or open borders. She makes it her quest to find out how the ideological rift between her and her family could have grown so wide.
- Every weekday, inmates are released from Huntsville State Penitentiary, taking in their first moments of freedom with phone calls, cigarettes, and quiet reflection at the Greyhound station up the block.
- Explores the role of big corporations in helping pogroms by the Argentine junta against dissidents.
- High-heeled shoes in cowhide and frightened animal bodies thundering across a Västgoth landscape. Madden is 13 years old and torn between duty on the farm and longing for the world outside.
- A group of actors and actresses travels through Italy and is expected in Rome. Caroline Redl loses her way in a forest while reciting the lines, "If I dress as a soldier, they will think of me as a soldier." Spoken in the twilit forest, the text attains a tremendous self-evident truth, and Shaw's 'Joan of Arc' becomes a young woman of today, stripped of all historical projections. The only question of importance is: Where am I? This 'where' soon becomes irrelevant for the others too, as they also lose their bearings. Rome belongs to the outside world that is gradually forgotten. But even before the actors arrive, Clemens Klopfenstein has drawn us into the landscapes in which times flows, vast spaces open up, landscapes in which driving itself becomes a state. It feels as if you could keep moving even if time were stopped. The actors - in pairs, a trio and a quartet - are stranded here in the cold and the snow. They wait, rehearse, improvise. It wouldn't be possible to explain Who AfraidWolf entirely even if you wanted to. That is its strength, presenting an open-ended event in an open space in a disjointed moment in time. The theatre texts attain a unique, imminent presence. Lies, freedom and the man in the machine; the alcoholic in 'A Night's Shelter' sees clearly, but is still imprisoned, 'Who's Afraid of Virginia Woolf?' reflects self-destruction, 'Prometheus' reminds us of the dawn of Man and is still utopian. In a liberating landscape, language tears time apart.
- In the harsh conditions of a remote fishing village, where is no one fishing, in Argentina's waterlogged Entre Rios region, the 10-year-old Gonzalo has to come to terms with an older generation's failed lives and aspirations. With his escaped mother dying from cancer, Gonzalo is left in charge of his 8-month-old sister. Adrift, he is searching for a new home. In his pilgrimage, he meets a traveler, a broken couple, and the formal owner of a cabaret.
- Lisa, Steffi, Laura and Fabienne are 14 - and pregnant. Naturally they also are teenagers, schoolgirls and the children of their parents. The film accompanies them on their emotional rollercoaster ride through pregnancy, childbirth and right into a new life.
- It begins with a meditative, vibrating drone in the dark auditorium and ends with a word scratched onto the film strip: REFLECT - an invitation to viewers to think about what they have seen, but also the description of one of the many techniques used by David Larcher in his two-and-a-half-hour experimental film epic. Such dual and multiple meanings are a recurring motif in the film, as is the desire to decipher the foundational structures of cinematic perception. There is a fascination for the psychedelic expansion of consciousness and for the complex web of relationships between experience and memory - the film can be read as both a hippie-esque, elliptical diary film as well as an encyclopaedia of experimental image systems. "Mare's tail" is the term used in England for elongated, fraying clouds resembling a horse's tail that herald a coming rain. And just as one must learn to first see this symbol and then interpret it, David Larcher teaches us cinematic seeing in a kind of creation story of visual representation, which is at the same time a section of the director's own history, bathed in the period colours of late 1960s.