The setting is on a floating platform where a group of evenly and carefully placed men live. Each man is aware that the platform is not stable and in order not to fall to their deaths, they maintain a careful balance of weight to prevent the platform from tipping too far and cause them all to fall.
The film portrays life on the Balduintreppe in Hamburg during the 1980s and early 1990s and thus takes us right into the heart of the time of the Hafenstrasse squat, which in many respects was a turning point. It circles the harbor steps, relives the squatters' battles with the police and visits the residents between utopia and the housing struggle.
A man breaks up with his girlfriend.
A family lives in a house in the woods.
The young girls Kate and Echo live in their own land of make believe. When one of them stumbles across the real world, their friendship faces a serious challenge.
Anna is milking the cows, Jakob smokes pot, Berni works on a telescope and Ulrike celebrates her birthday. So far, everything is fine in Otto's farm. When Ulrike's coffee cup breaks on the kitchen floor, something dark breaks loose. Sometimes the devil has to take the hindmost.
Five young men ride their bicycles through the city, each of them having a piece of a huge movie advertisement attached to his bike.
It’s summer and the streets are almost empty in a small town, once the centre of the metalworking industry in former Yugoslavia. People gather at the public swimming pool. Two friends are saying goodbye.
A journey through the chronology, aftermath and a potential conclusion of a military conflict, as reflected in the topographies that the war, either physically or contextually, shaped and altered.
Géographie imaginaire is a subjective report on a deliberatly non-documentary, i.e. imaginary journey. Pauline M’Barek’s video is based on intimate observations that she made during the preparations and traditional rites for her female cousin’s wedding in Tunisia.
Hanqi and her friends drift through the suburban area of Hangzhou. Strolling through the concrete and neon-lit landscape of the city, they experience the transformations it undergoes daily. As they drift night after night, they become the living interface of a metamorphosis that cannot be perceived or understood if not by becoming part of it. Thus, Hanqi and her friends catch fleeting glimpses of beauty in an environment that most people would only perceive as alienating, hostile or cold. Like an ambient composition by Brian Eno or Philip Glass, the film moves through minimal variations, completely immersed in its nocturnal beat. Space becomes time.
A single mother experiences an intricate interplay between loneliness, deisre, anxiety, boredom, and dream-like states as she waits for her child to return home from a visit with their father. As the days pass, the mother becomes increasingly restless. She tries to distract herself by engaging in mundane domestic task and indulging in fantasies of romantic connection.
The life journey of a Pontic refugee from Crimea, as seen through the eyes of his great-granddaughter, two decades after his death.
14-year-old Margarita is walking through the streets of a small village in Tyrol. A thunderstorm passes by at dusk and no one is on the streets. She lets herself drift, and through the brightly lit windows she observes the lives of others.
A property shark wakes up in an empty hotel on the Baltic coast. He knows this place. He had wanted to buy it. But how did he end up in the attic? And who is the dancing girl in the hotel disco?
Two villages in two nations are contrasted with each other. Two people live here: the maternal grandmother and the paternal grandfather talk a lot, but not with each other.
Set in a distant and unknown land, the film follows the journey of a young woman named Yssabeau and ventures deep into a culture full of unknown rules and rituals. What kind of creatures are these that Yssabeau encounters? Driven on by her curiosity, she tries to adapt and follow the movements of these strange ‘others’. Her deepest impulses, values and beliefs are all thrown into question. How much of herself can be removed from her before she can no longer call herself "myself"?
