Mary is a 12-year-old girl living in the 19th century: inquisitive, persistent and fascinated by fossils. An entertaining and warm-hearted biopic about one of the first female palaeontologists.
We are travelling back in time to the early 19th century on the south coast of England. This is where Mary Anning lives, a 12-year-old girl who is inquisitive, persistent and fascinated by fossils. She spends every free minute at the beach to look for the fossilised remains of long extinct animal species in the strata of her hometown’s coastal cliffs. Her father, too, is an enthusiast and earns a little extra for his family by selling fossils. When he disappears after the collapse of a cliff, Mary’s life is shaken. All that her father leaves behind is a mysterious drawing whose meaning Mary only gradually makes out. She is determined to uncover the secret together with unexpected allies. An entertaining and warm-hearted biopic about one of the first female palaeontologists.
As a migrant, Naima must begin her life again from scratch when she moves from Venezuela to Switzerland. The 46-year-old must start from the bottom here. A film about human strength.
There are documentary heroes of such strength and vitality that you fall in love with their charm from the very first moments. As a viewer, you are ready to follow them through fire and water. Naima is exactly such a case – undoubtedly enhanced by the directorial talent and masterful dramatic work of Anna Thommen. Both fire and water will be present. Naima’s story is the story of a migrant in Europe who has to start her life from scratch when she moves from Venezuela to Switzerland. She used to work in marketing for international companies, but now she ekes out a living with various service jobs. Naima does not give up and fights for the chance to be with her children again. Due to her financial difficulties, the two teenagers live with her ex-husband. When she is given the opportunity to undergo the desired training as a nurse and a preparatory internship in a psychiatric ward, Naima faces significant challenges. Her supervisor dislikes her, which practically leads to the internship not being credited. So there is no shortage of fire and water for our heroine. But Anna Thommen’s portrait is a testament to the human spirit’s ability to endure and even overcome conflagration. It is a must-watch for anyone seeking an inspiring and emotionally touching documentary.
Alain Ughetto has erected a warm-hearted monument to his grandparents with this family chronicle, imaginatively directed as a puppet animation and spanning half a century.
Hunger and hardship ruled the Piemontese mountain village of Ughettera at the beginning of the 20th century. The meek peasants complained neither about the parasitic priests nor the tough seasonal winter work in neighbouring France – not even when the Italian state called them to arms and sent them first to Libya, then into the World War. Only when the Fascists arrive did the Ughetto family trade its home for new deprivations and new hopes across the border.
With this imaginatively directed puppet animation, Alain Ughetto has created a warm-hearted memorial to his Italian grandparents Cesira and Luigi. With subtle humour, tenderness and empathy he tells of generations who lived in poverty, but also of happiness and love, fortunes and misfortunes. “You don’t come from a country, you come from your childhood”, Cesira teaches him. The director finds himself in this family chronicle, recognises his predilection for working with his hands. Soon the film becomes a reflection on telling stories with what these hands shaped. They are frequently present in the frame – piling charcoal into a mountain, making forests from broccoli or simply getting handed a cup of damn strong espresso by Cesira.
Avi Mograbi met his grandfather in a dream. The setting: Damascus, 1920. Would the two have spoken Arabic or Hebrew at this impossible encounter? It’s amazing that they were able to communicate at all! For Mograbi barely speaks Arabic, and his grandfather only learned Ivrit later. Another impossible conversation begins in his friend Ali Al-Azhari’s flat: between Avi, the Jew, and Ali, the Palestinian. Their lively, affectionate exchange about ancestors, vocabularies and dreams is supposed to prepare for a film that ends up not being made. But since the footage has already been shot, why not use it to tackle a new Israeli-Palestine reality?
On the west coast of Ireland, under his grandfather’s critical eyes, Cian learns the challenging trade of shepherding. A sensitive coming-of-age observation.
Sixteen-year-old Cian is expected to work at his family’s sheep farm after school. Life there is as rough as the Irish west coast landscape. No time to lie in or play football. Instead, rams must be taken by the horns. In this sensitive coming-of-age study, the camera watches the lanky boy from up close as he learns the challenging craft of shepherding, under his grandfather’s patient and critical eyes.
Daniel Abma
Credits
Director
Matthias Joulaud, Lucien Roux
Cinematographer
Matthias Joulaud, Lucien Roux
Editor
Selin Dettwiler
Producer
Jaber Debzi, Jean-Guillaume Sonnier
Sound
Yatoni Roy Cantu
Score
Yatoni Roy Cantu
Winner of:
Special Mention (International Competition Short Film)
The day begins for father and daughter. They climb beyond their treehouse, glide over and under water, cross blooming landscapes, travel through the air and fly on into space. By ship, bicycle, balloon or on foot. A film about travelling, collecting souvenirs in passing and the question of what’s left at the end of a life.
Cleaning up after a forest fire in the mountains of Portugal: New trees are planted, nature begins to sprout again. But will the fire devour everything one day?
“See you next year!” a Portuguese fire warden says as he dismantles his control equipment at the end of the season. Humans and nature in southern Europe may be used to forest fires, but that does not change the facts: The ever more massive conflagrations are caused by climate change. We have long been living in the age of fire.
In the Portuguese interior, a forest fire has just devastated a large area. Wounded nature is silent, not a single bird is heard, only the wind that makes the charred tree trunks rustle. But the vegetation recovers astonishingly fast. Where all life seemed to be gone, greenery soon sprouts from the ruined trees. The residents of the affected region are engaged in the reconstruction with great respect for their natural environment. Because plants, too, are sentient creatures. In quiet, almost melancholic, but also hopeful images, the film pays tribute to the strength of the trees and illustrates how essential it would be for humanity to learn to live in harmony with nature again.
Annina Wettstein
Credits
Director
Juliette Menthonnex
Cinematographer
Ilona Szekeres, Sergio da Costa
Editor
Antoine Flahaut, Juliette Menthonnex
Producer
Véronique Vergari, Victor Candeias, Agnès Boutruche
Apulia, 1959: ecstatic dancing in a chapel. These women are said to have been bitten by a spider. Today, “tarantism” has been tamed as folklore and become a tourist attraction.
Apulia, 1959: Women in white dresses dance ecstatically in a small chapel. They jump around, roll on the ground, some even climb the altar. They are said to have been bitten by a spider. Their dancing mania requires a ritual exorcism with music. Pictures like these inspired Italian anthropologists to travel to southern Italy. Equipped with tape recorders, film and photo cameras, they tracked down the phenomenon of tarantism. This essayistic documentary follows the wealth of multi-media archive material produced on this research trip. It brings out the voices of the affected women, who turn out to be experts of their own performances. A special relationship developed between the scientist Annabella Rossi and the “tarantata” Michela Margiotta, with their correspondence at the centre of the film. Even today, these images of female frenzy are disturbing, revealing the loss of control of husbands, families, science and the church. In today’s Apulia, the film discovers living forms of tarantism, tamed as folklore, a tourist attraction. There are new poisons that have infested the system. They, too, must be danced out.
Jan Künemund
Credits
Director
Anja Dreschke, Michaela Schäuble
Script
Anja Dreschke, Michaela Schäuble
Cinematographer
Anja Dreschke
Editor
Anja Dreschke
Producer
Anja Dreschke, Michaela Schäuble
Sound
Birgit Minichmayr
Sound Design
Carlo Peters
Score
Carlo Peters
Nominated for:
DEFA Sponsoring Prize,
VER.DI Prize for Solidarity, Humanity and Fairness
Poland, 1981. There is hardly any food, no fuel, only limited freedom. Six friends squeeze into an old car and set out for the Baltic Coast – and perhaps beyond.
Poland, 1981. Six friends squeeze into an old car that is far too small and set out for the Polish Baltic coast, fuelled by their longing for freedom. The further they come, the clearer the decrepit state of their country emerges. The pension where they spend the night has nothing that could be served for breakfast. Food and fuel are also in short supply elsewhere. There is a shortage of everything. The only thing one can buy anytime and anywhere is booze, which is plentiful. Just like the country, the car also falls apart piece by piece. But the trip continues, past demonstrating crowds, tanks, barricades and armed policemen. Singing, laughing and carefree, Leszek and his companions finally make it to the sea. Is this the end of their journey? Or should they join the hundreds of thousands who have already left Poland? The borders of the frame, at least, are open. The sparse, fragmented graphic elements on the empty white background hardly seem an incentive to stay. There is no obstacle that could keep the friends from setting off for new shores.
Franka Sachse
Credits
Director
Jadwiga Kowalska
Editor
Fee Liechti Seigner
Producer
Jadwiga Kowalska
Sound
Thomas Gassmann
Score
Christian Aregger, Roland Bucher
Animation
Jadwiga Kowalska, Marco Ellensohn, Jérémie Dupraz, Laure Clemansaud
On the Bosnian-Croatian border, many mines from the war have not been cleared yet, traumas are still virulent. This is where the paths of migrants and locals cross.
Somewhere on the Bosnian-Croatian border. Green hills, forests, fields, a few houses and sheds scattered along the roads. If the territory of the European Union did not end here, it would be a rather unspectacular, interchangeable region. But the seemingly untouched landscape is deceptive – many mines from the Bosnian war have not been cleared yet; war traumas are far from over. Today the paths of migrants and locals cross here, refugees from Afghanistan, Syria and Iraq trudge through the area, braving rain and snow in search of protection and a better life. At night you hear their cries from the forests when they are brutally chased across the border. The villagers on the Bosnian side open the old school building to allow their exhausted bodies a moment of rest. But everyday life continues. Wood is chopped, corn harvested, school kids recite poems. The imam calls to prayer. Everything normal, everything as usual. As a reporter, Nicole Vögele spent several years researching this border region, reporting on the illegal pushbacks of the Croatian police for the “Der Spiegel” news magazine and others. In her film essay, she now takes the time to observe. She does not ask direct questions, giving as much space to the seasons, the weather and the forest as she does to the people.
The queen of the foxes is sad. To cheer her up, the other foxes look for discarded human love letters. But there’s nothing about beautiful red fur in them …
The foxes of the pack roam through the city every night to cheer up their sad queen. They search the people’s rubbish for unsent love letters. But those ignoramuses write nothing rapturous about furry ears and bushy red coats! The queen stays sad and the foxes must think of something else.
The Smortlybacks are peaceful, fantastic-looking creatures, riding through the desert with the leader of their pack: no water, no shrub, no tree in sight! They are all desperate because their water supplies are running out. After a while they reach the shore of a vast sea. A mysterious creature and their magic fish help them cross the ocean.
Director Lina Soualem’s gentle investigation is an approach to the biographical and emotional condition of her grandparents, who emigrated from Algeria to France.
After 62 years of marriage Aïcha Soualem is on her own again. Mabrouk, whom she has left, is nevertheless supplied by her daily with food and sugar cubes. Director Lina Soualem is interested in the relationship between her grandparents, who, as the last remaining Algerians in Thiers, France, look back on an eventful past. An empathic investigation all the way back to their native village of Laaouamer which leaves room for ambiguous emotions.
“Soualem” is the password which not only enables Lina Soualem to unlock the tiny, snow-covered village full of cousins in Algeria, which her grandparents left a long time ago. In a sense, “Soualem” is also the title of this gentle investigation of a granddaughter. And Laaouamer, that little place in Algeria, is only the final destination of a long journey which may be narrated via geographical coordinates but interweaves them closely with biographical and emotional ones. Aïcha and Mabrouk rarely talk about themselves. Instead, self-affixed wall badges speak: “The world’s best mom lives here” or “Welcome to the world’s best grandma’s”. To learn more about the couple, whose lives were shaped by French colonialism, Lina Soualem uses private photos and videos. Her investigation is full of love: persistent, but never prying.
Carolin Weidner
Credits
Director
Lina Soualem
Editor
Gladys Joujou
Producer
Marie Balducchi
Co-Producer
Karima Chouikh, Palmyre Badinier
Score
Julie Tribout, Rémi Durel
World Sales
Anna Berthollet
Nominated for:
Prize of the Interreligious Jury,
FIPRESCI Prize
Yvann is the descendant of Palestinian migrants. His Jewish childhood friend moves away to a settlement in the West Bank. Thus begins the story of a failed reunion.
Director Yvann Yagchi, the son of Palestinian migrants, and his Jewish best friend spend a carefree childhood far away from politics on the neutral ground of Switzerland. As adults, both long for religious and ethnic affiliation. Yvann wants to visit Palestine at last and break generations of silence about the fate of his family. His friend moves to a Jewish settlement in the West Bank. Thus begins the story of a failed reunion. With frankness and patience, Yvann’s film, addressed directly at his former closest confidant, documents his own emotional development: Initial optimism and diplomatic reserve soon give way to an underlying unease. When a Palestinian refugee challenges him to give up the platitudes about striving for truth and formulate his opinion clearly, we realise that there can be only one standpoint for Yvann. There is a rift between the friends, vividly illustrated by animated doodles. Reflections on a lost friendship turn into a search for identity, made immeasurably harder by the ongoing destruction of Palestinian existence.
Two friendly cells explore the organism they live in. They grow up together, meet other creatures, until they are separated by an accident. From now on, they will each go their own way.
Two cells observed under the microscope. They grow up together and meet many different creatures on their outings. One day they are separated by an accident and it takes a long time before they find each other again. After the first outburst of joy, they realise that they have changed and no longer fit together. A colourful and profound animation.
Rwanda, 30 years after the genocide. Using an app, viewers vote what happens next, democratically electing the following scene. Every voice matters, both in the cinema and on the screen.
Peeling away layers of pain, layers of perspectives, passing by both trauma and hope, this film dives into Rwanda thirty years after the genocide. Covering such a topic has always presented itself as a challenge to documentarians. While Claude Lanzmann’s “Shoa” (1985) is over nine hours long, “Traces of Responsibility” unfolds its eight potential hours as innumerable 85 to 110-minute screenings. In allowing different viewing experiences, this film does not commit to a single version of Rwanda, but rather accentuates its multifaceted, and, yes, complex history. The audience may vote to visit genocide memorials and hear survivor testimonies or to follow a theatre troupe educating children about tolerance. They might choose to visit a market or an art museum, to go to a karaoke bar or to just go home. “You could a write a 1,000-page book just from our [two] stories,” says Semana Jumapili, a survivor we might encounter. When one considers this, even this film of many paths seems limited. There are countless stories to be told. The genocide in Rwanda was horrifying, and yet there is so much solace in the people we encounter throughout the film. They inspire us to fight injustice and heal wounds which seem too big to overcome.
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