A historical epic that follows a family feud spanning two-generations that is played out on the buzkashi field and two young lovers who defy their families’ expectations and pay a tragic price.
As the camera moves gently from afar into the very heart of the monolith, the magic of the holiest site of the Aborigines unfolds in shimmering nuances of light. Shot at different times of day, the close-up and panorama shots of this more than 500-million-year-old stone formation combine silence and acoustically altered birdsong to convey a feeling of timelessness into which a sense of loss is also inscribed. The somnambulistic moonrise in the great sky seems almost like an abstract painting and yet it is real. The areas of discolouration in the film material caused by problems in the developing process were deliberately left in the film as a metaphor for the looming threat to this natural environment through bushfires and tourism.
A city, a cinema, and a reluctant farewell. In 2017, in the city of Constance on Lake Constance, Europe’s largest chain of drugstores opened the city’s fifth branch store: more diapers, more toothpaste and more toiletries for the local residents and the consumer tourists from Switzerland. Until the year 2016, the premises were reserved for film culture, this was the location of the former “Scala Film Palace”. When Douglas Wolfsperger returns to the magical site of his cinematic socialization, the public opposition to this pending closure is in full swing. The filmmaker becomes witness to the final rebellion of a dying art house cinema, speaks to passionate film enthusiasts and matter-of-fact city administrators about loss and expansion, the increase in pleasure and trade, intransparent vested interests and advantageous business situations. Inner cities and cultural concepts change – in Constance and everywhere else. But who decides how and for whom?
Documentary about loneliness in the elderly.
Sangai, a teenage girl living with her father in a village of inland Bhutan, is not happy with her father, who makes wooden phalluses, believed to have mysterious power, and playing a festival clown with a red mask at a local festival. She reluctantly delivers the phalluses to neighbors but she is followed by dozens of men with red masks and costumes when walking through the hill. Conflict and tension grows between the father, who has concerns about his successor, and Sangai, who has a clandestine relationship with a married man.
Sequel to the hit film. "We Made a Serious Film"
Its light, its smoky bars, its vacant land: the characters that we meet here treasure different aspects of Berlin. Vincent Dieutre puts faces and voices on some of the many artists who have settled there since the collapse of the Wall. Questioning each one about their arrival and possible departure, he depicts how Berlin has become part of the personal stories that have, in turn, been infused with a city’s history. What each artist recounts with their own words and sensitivity is also what the city has taught them – the vocabulary of the sentiments in German, the strength to live in the cold or in precarious conditions. Like a playful wink to the tourist guide format, the filmmaker travels from district to district.
In the isolated mountainous region of Tusheti in North East Georgia, life has remained largely unchanged since medieval times until last summer, when the Georgian government introduced free wifi access. As a result, the aspirations of young Tushetians are shifting dramatically, caught between nostalgia for the past and yearning for the future - and nowhere is this conflict of desires more pronounced than during Atengenoba, the region’s traditional summer festivities, which also fall within its busiest tourist season.
A girl exploring an abandoned tunnel alone, hears someone…or something else in the dark with her. This film is part of Depict, Watershed’s international short film online competition challenging filmmakers to create 90 second ultra-short masterpieces. The focus is on uncovering emerging international filmmaking talent, which shows originality, imagination and the ability to engage in just a minute and a half.
A fictionalised documentary about the great Japanese poet Bashô (1644–1694), the spiritual father of haiku poetry. A monk, portraying the poet, journeys through Japan, following Bashô's journal and writing many of his haikus. A ruminant, poetic, Zen Buddhist observation of nature – a return to the lost paradise of unspoilt nature.
Tekle with her 9 year old daugther Ema comes back from abroad to visit Dalia, Tekle’s mother. Ema goes outside to walk her grandmother’s dog. Immediately after discovering that Ema went outside alone, Dalia starts searching for her. Grandmother fears that something terrible might have happened to Ema.
In the last 7 years I lived in 5 countries, in 7 cities and in 16 homes. Now I only have three days to pack my things. It‘s my sixteenth home, sixteenth room from which I‘ll move myself out. I am packing things and through my window I see another 215 windows. Through these windows I see immigrants, couples, misfortunes. Some read, some play, some sleep, some learn to walk on the balance beam, they come in, they go out. I am filming so I wouldn‘t forget about them.
We live in the same house, but in different apartments, jobs, situations, convictions, visions, fooling ourselves that this is the only world that exists. This film is about an unfamiliar and frightening side of life, one that we never really grasp but feel it somewhere close.
Ieva and Kasparas, sister and brother, are locked out of their home. Their mother has shut the door from the inside and is out of reach. The older sister Dovilė is their last hope, but even with her being there, there’s nothing they can do, but wait.
Migle’s grandfather has been living in an apartment that is too big for him. Two sibling families decided to move him out. In order to please Migle, Eimantas comes to grandfather’s home to help family move all the furniture. But not everyone in the family is happy about his presence.