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I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.
I Don't Belong Anywhere: The Cinema of Chantal Akerman (2015 )
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70 kilometers outside of Berlin, built on an old air base, sits an immense metal dome resembling a spaceship that today hosts a striking tropical park. Through the discovery of Tropical Islands and the multiple historical layers in which it is implanted, the film proposes a singular perspective on place and history, a poetic archaeology of our relationship with time, space, and illusion.
Hinterland (2009 )
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Tension has long simmered between Turkish soldiers and Kurdish separatists in southeastern Anatolia and, in 2015, the conflict escalated into a military lockdown. Given the lack of media coverage, locals began filming the empty streets in single-take, one-hour clips which were posted to the internet and then vanished. Coinciding with this event is the falling of the Leonids, a spectacular meteor shower which emblazons the black skies with impermanent light.
Meteors (2017 )
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Gorani people live in Gora, in the south of Kosovo. They are Muslims who speak a Slavic language. Throughout the years they were always used for political games of power between the surrounding nations (Serbs, Macedonians, Bulgarians, Albanians, Bosnians...). This is the first film that deals with the way these people are, not who they are or who they belong to. The film observes their everyday life, diverse culture, rich herds of cows, sheep and shepherd dogs. They work, talk, dance, play music, discuss, preach, pray, walk and sing as the mountains above remind them how ephemeral their existence is.
Gora (2017 )
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A documentary-essay which shows Costică Axinte's stunning collection of pictures depicting a Romanian small town in the thirties and forties. The narration, composed mostly from excerpts taken from the diary of a Jewish doctor from the same era, tells the rising of the antisemitism and eventually a harrowing depiction of the Romanian Holocaust.
The Dead Nation (2017 )
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Depicting the biography of a corrupt banker poses a cinematic dilemma. How can the intentions of an individual systematic contexts and historical eventualities be brought into harmony? Thomas Furhapters nearly one hour film Michael Berger Eine Hysterie turns this problem outward by not covering up the moment of speculation. The subject of the film, Austrian investment banker Michael Berger, who became a dollar millionaire through a risky hedge fund, remains a chimera an absent individual who also cannot be captured through his crime.
Michael Berger: A Hysteria (2010 )
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Something is bad wrong as everyday Americans fight to protect their air, water and blood from pollution.
Toxic Soup (2010 )
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Each love story in the film takes us to a different past, from a different present. The hope for a bright future is an illusion that keeps us expecting, as it unleashes the anguish of waiting for something extraordinary to happen. In this strange time, shaped by memory pieces and by what could have happened but didn’t, is where the characters of the film inhabit, awaiting the arrival of the future. The storyteller in “In the Future” is a ghost. My ghost.
In the Future (2010 )
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A film woven around the idea that between early cinema and avant-garde film exists a connection.
Coming Attractions (2010 )
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A different history of the Cold War: how Estonians under Soviet tyranny began to feel the breeze of freedom when a group of anonymous dreamers successfully used improbable methods to capture the Finnish television signal, a window into Western popular culture, brave but harmless warriors who helped change the fate of an entire nation.
Disco and Atomic War (2009 )
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Director Johan Grimonprez casts Alfred Hitchcock as a paranoid history professor, unwittingly caught up in a double take on the cold war period. Subverting a meticulous array of TV footage and using 'The Birds' as an essential metaphor, DOUBLE TAKE traces catastrophe culture's relentless assault on the home, from moving images' inception to the present day.
Double Take (2009 )
In die Welt (2009 )
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A meditation on freedom and technological approaches to manifest destiny.
O'er the Land (2009 )
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Dalibor K. is an industrial painter, amateur horror maker, the composer of angry songs, painter and a radical neo-Nazi. He is approaching 40, but he is still living with his mother Vera, Aged 63, and is yet to experience the real relationship with a woman. He hates his job, gypsies, Jews, refugees, homosexuals, Merkel, spiders and dentists. He hates his life, but he doesn’t know how to change it.
The White World According to Daliborek (2017 )
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At age 15, Taelor's idyllic childhood abruptly ends after the violent & sudden death of her doting father. Now 26, free-spirited Taelor navigates drug abuse, guns, madness & inherent violence of the rich, white Houstonian ghettos in Trump's America.
Southern Belle (2017 )
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Pole, who are you? This film collage that combines archival and contemporary materials, documentary and staged pictures, press reports, social announcements, sale offers and speech excerpts is an attempt to answer this question. Referring to the Polish tradition of a creative documentary in the style of Wojciech Wiszniewski, the film presents various manifestations of Polishness: patriotic and religious rituals, everyday traditions as well as characteristic landscapes or intimate memories from childhood.
Opera About Poland (2017 )
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Working conditions in the worst-paid jobs in the Czech Republic were examined by journalist Saša Uhlová during six months. She spent several weeks in a hospital laundrette, poultry house, cash register or waste sorting facility. Her experience became the basis of a lived and very personal report of invisible employees working in appalling conditions. Uhlová wrote a series of reports on her project that were published on the Alarm website. Apolena Rychlíková made them into a documentary film consisting of scenes shot at Uhlová's home and video footage taken during her work. Uhlová accompanies the picture with read commentary.
The Limits of Work (2017 )
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This haunted reverie drops us inside an Istanbul retirement home, where the battle-scarred residents revel in the camera’s attention. A creaky-voiced woman shares her personal account of the Armenian genocide, a sweetly deluded pianist performs a composition before confessing his love and a blind photographer fiddles with his flash as he points his own camera back at us. All the while, however, the ominous transformation of the land is taking place at the hands of construction machinery.
Distant Constellation (2017 )
Batalives (2018 )
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Konrad (18) lives in a small mining town in southern Poland. He looks up to his favorite action movie heroes, spends hours on the gym and signs up for a body building competition. However, his life changes after he revisits his childhood passion for acting. Will he find his own way?
Call Me Tony (2017 )
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Jowan Safadi, born as Palestinian in the State of Israel, is a famous musician and a true free spirit. With his band Fish Samak he delivers songs ranging from the political and social to the emotional and philosophical and gathered a huge fan-community in the Arabic world. Jowan is unafraid to speak his mind or tackle taboo subjects, and his lyrics, at once penetrating and witty, have also courted controversy on several occasions: Previously investigated by Israeli police for "inciting terrorism", his last tour to Jordan ended with his arrest and an overnight stay in a Jordanian prison cell. But this is just the beginning: standing for co-resistance instead of co-existence and criticizing the stare society he lives in, Jowan struggles for his ideals - at any price.
Namrud: Troublemaker (2017 )
I used to sleep on rooftops. (2017 )
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Two ageing siblings sit next to each other in a pub, waiting for instructions from the filmmaker which never come. They watch the time go passing by.
Sisters (2017 )
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A research center in Sukhumi, the capital of today’s Abkhazia. Legend has it that it was built at the end of the 1920s to create a hybrid between man and monkey. The hypothetical creature never saw the light of day, but people and primates, like sad relics of the past, live together in the derelict wings of the medical institute to this very day. [KVIFF]
Tarzan's testicles (2017 )
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Once a week in Paris a group of individuals from all corners of the world meet in a small room at Centre Pompidou to participate in free French lessons. Asylum seekers, businessmen, doctors, lawyers, and students sit side-by-side and immerse themselves in polite, if stilted, conversation. However, tensions and misunderstandings occur as the nuances which each participant attempts to express become lost as they struggle to access the language. But despite their differences - and linguistic limitations - the disparate group of strangers in a foreign land find, in the small gestures and subtle looks between the words, a way towards understanding.
Atelier de conversation (2017 )
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Two women spend a weekend in the North Sea. One of them will soon return to her family in Argentina, whereas the other one will try to come a step closer to the ocean. She will cross the Atlantic Ocean on a sailing vessel. Time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. When the other one reappears, the wind is still in her hair while the ground beneath her feet is solid. She returns and the other one could ask: “Have you changed?”
Drift (2017 )
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On a sailboat in the middle of the Ocean, five teenagers in rehabilitation are travelling with adults of different ages and backgrounds. Off unknown coastlines, the boat’s space becomes a huis-clos in which everyone faces their own difficulties, the challenge of living together and also the manoeuvres of sailing, the Ocean and its turmoil—until the arrival on land.
Rara Avis (2020 )
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After twenty years away in western Europe, Voin goes back to Bulgaria, his home country. While rediscovering places where he grew up, a mental journey is taking shape through time.
Voin (2020 )
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Veteran actors from the 3 Baltic countries - Estonia, Latvia and Lithuania - gather at a castle in Latvia to receive awards for their roles as Nazi villains in propagandist Soviet war films. They reminisce about the films that made them famous throughout the USSR, but also stigmatized the Baltic countries as Nazi sympathizers in the eyes of many Russians - a misconception that is nowadays exploited by the Russian media, desperate to label the Baltic countries as a fascist haven.
Nazis and Blondes (2008 )
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A realist dramedy about dedicated social workers who devote their long shifts to helping pregnant women.
God's Offices (2008 )
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The film looks again at recent events from a female point of view, through the first-hand accounts provided by the diaries of three women. Rather than focusing on the alleged objectivity of facts, the film gives space to a chorus of voices that narrate those events in first person, visually supported by archival footage of the period, drawn from the most varied sources - institutional, public, militant and private. Anita, Teresa and Valentina come from different Italian regions and different social backgrounds, but share the same feelings: they no longer feel as part of a society based on the patriarchal family, on the power of "husbands" and on the supremacy of males, which requires them to be efficient mothers, obedient wives and virtuous daughters.
We Want Roses Too (2008 )
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In the spring of 2008, car wash workers throughout Los Angeles formed the Carwash Workers Organizing Committee of the United Steelworkers (USW), a precursor to eventual plans to unionize the informal workers of a multi-million dollar industry rampant with exploitation. Most of these workers are undocumented migrants from Central America whose aspirations have led them to washing cars in the city of angels. This experimental documentary, shot on Super 8 film, journeys into a city defined by as much by cars as it is immigrant labor to offer a quiet commentary on the relationship between class, place, and work.
Car Wash (2008 )