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1-44 of 44
- The story of Django Reinhardt, famous guitarist and composer, and his flight from German-occupied Paris in 1943.
- 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.
- 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 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.
- A detective tries to solve a series of murders in Split, Croatia.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Teenage girls consigned to the Iranian "Correctional and Rehabilitation Centre" discuss their troubled lives and reveal what brought them there.
- 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.
- 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.
- 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.
- 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.
- The paradigm of Berlin-based curator Asta Andersen's upcoming exhibition turns out to be her personal self-fulfilling prophecy: art + cinema = politics = trouble.
- "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."
- 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?
- Explores the role of big corporations in helping pogroms by the Argentine junta against dissidents.
- 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.
- 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.
- The vastness of man is a place suspended in time, bordered by sky, land, river and sea. The memory of the rio Doce (Sweet River), one of Brazil's most important rivers, before it was devastated by the toxic mud on 5th of November, 2015.
- Snowflakes drift through the forest. An old man, as old as the hills, lives alone in a remote hut. The winter is so cold that he can barely move his limbs. When a robin flies against his window and falls to the ground the old man first has to pause for thought. Then he pushes open the heavy front door and stomps outside to help the bird. Out in the deep snow his strength begins to fail him. But no sooner does he take the tender creature in his hands than a change comes over him. Life radiates in luminous colours and returns to the old man's hut. As it used to. Or is this just one last memory? An inventively animated rumination on love, on bidding farewell and the cycle of life.
- After a young apprentice turns away from his father out of disappointment, he seeks paternal closeness with his instructor. He crosses a boundary and gets to know himself a bit better.