No technology has caused as much of a stir in recent years as artificial intelligence. However, understanding what AI is depends on the perspective of the observer. A short film attempts to describe a realistic perspective on this phenomenon. Therefore, the film's presentation refers to the actual form of AI: individual lines of code.
What happens when humanity fails to learn from its mistakes? Fairytale images, symbols, and transformations speak to show the past as a living resonance chamber. "Once upon a time" becomes a touchstone for the present. Fairy tales with motifs of loss, transformation, and rescue form a cultural echo that extends beyond childhood. At the center is a dialogue with photographer Gerty Deutsch. Based on her images, Catrine Val developed a new, cinematic-poetic language in which singing becomes the ultimate form of expression—where words no longer suffice.
The War in Kassel and Chongqing - Explorations from the protagonist's perspective. She travels through the last words and remnants of the war to Chongqing and Kassel, two cities 7,900 kilometers apart. Although she lived there for a long time, she never experienced the war herself. As someone who grew up in a world heavily influenced by electronic media, images nevertheless give her an idea of the pain and depth. Images make the extent of the war visible and allow the horrors to be felt even beyond actual experience.
"What kind of times are these, when talking about trees is almost a crime? Because it implies silence about so many misdeeds!" Bertolt Brecht from the poem "To Those Born After," written in exile in Denmark between 1934 and 1938. A poetry film.
In her essayistic documentary film, Katrin Esser stages the story of her mother, who suffers from Alzheimer's disease. The course of the illness is told from two perspectives: that of the Polish caregiver Violetta and that of the daughter. They take turns recounting their experiences, the limits of care, excessive demands, working conditions, exploitation within the system, and death. The only filming location is the apartment, which alternates between living space, museum, and crime scene. Esser's staging reveals layers of memory and shows that remembering and forgetting are very individual processes.
In a mosaic of games, films, and media, the protagonist's perspective, a fragmented state of mind, merges, and the boundaries between reality and dreams dissolve. 1g of quetiapine, both a remedy and a means of forgetting, dampens the heart and shatters identity. The film collage reflects on the medicalization of mental suffering and the loneliness that lies in synthetic calm. Through chaotic layers of media, it shows how the self is not healed, but rather rendered illegible and suspended in a borderline state between sedation and despair.
Through symbolic imagery — like the cocoon and the fragile exhalation — the journey of suffering and purification unfolds: a metamorphic process of death, release, and rebirth. The film reveals how the body’s inner messengers link pain, transformation, and hope, shaping both our perception and our very being.
One day, a child sits quietly and attentively in a dilapidated apartment building. A fan gently stirs the air as the child plays with a Rubik's cube, its colorful faces sparkling in the fading light. With delicate movements, the child crosses streets and alleys, discovering hidden possibilities. Despite the threat of decay, small moments full of play, wonder, and hope arise, nourishing creativity. A delicate contrast to the faceless world of adults and the impending collapse that threatens to engulf everything.
In a dream, the artist transforms into an animal and crosses unnoticed through the forest at the border fence between Poland and Belarus. There she encounters her grandmother—silent and close. The poetic video work combines personal memory with political reflection and shows how transformation can express longing, fear, and resistance at the same time.
Rushing electronic sound accompanied by flickering, flickering black-and-white lines; abstract configurations that move to the rhythm of the sound, faster and faster, then slower again. Hypnotic and intoxicating, they create an ecstatic cinematic event in the style of Fruhauf.
While the eyes seek protection and comfort, agents of homogenization are silencing those who speak out. In this climate of radical silence and ignorance, the narrator describes the various muscles that people use to turn away from what they encounter. Meanwhile, the images intertwine. They resemble bodies whose muscles are capable of stretching beyond the edges of the image, resisting and challenging the authority of the seemingly factual and neutral narrative.
Dozens of men, women, and children toil on a large, dusty construction site to produce thousands of bricks—all by hand. A centuries-old process of shaping, cutting, and firing clay—from wet to dry and from brown to red—is revealed in stunning beauty in this short film. Wagons full of bricks are transported day and night, in blazing sun and refreshing rain.
The film explores the relationship between consent and intimacy in the context of the acting profession. A chamber play starring Lola Fuchs and Mervan Ürkmez in the leading roles, the production is based on PR interviews. The verbal exchange between the two actors is interrupted by physical altercations, with exercises from intimacy coordination becoming choreographies.
Students at the Auguste-Viktoria-Schule in Flensburg spent several weeks studying poetry and writing their own poems. They also created (written) images and made a film. They ask questions about life in the realm of possibility. "Who am I? Am I me, or am I not?"
While her grandmother Elsa climbs down into a mysterious hole every day, her granddaughter Maditha can only walk over it. As the hole gets bigger and bigger, she has to find out what is down there.
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