Numerous films deal with the American Civil War, which raged between the northern Union States and the southern Confederate States from 1861 to 1865. One general who rose to become a war icon and the 18th president of the United States was Ulysses S. Grant. Director Jim Finn uses board games to reconstruct the battles and documents a divided nation full of rebellious factions.

“Bloody Pond” or “The Flaming Forest” are the names given to places below the Mason-Dixon Line where many cruel and confusing clashes took place within a few years. Today only cemeteries, memorial plaques, wax museums and obelisks bear witness to episodes of the war that was to be of such vital importance for the shape of the USA today. Jim Finn’s 16mm shots are a detailed inspection of various stations to which he adds macabre anecdotes and trenchant descriptions. Statesmen, ideologists and warlords haunt the forests, ruins and riverbanks here – like the incidences of light which make the footage light up time and again. There is beauty in these images, in the trickling synthesizer melodies, too, or in the stop motion animations of complicated board games. This beauty has little in common with the dark underpinning of this conflict: deep-seated racism and an adamant belief in the right to own slaves.

A poet’s life ends and a film begins to carry on her legacy, prosaically at first. When Juana Bignozzi dies in 2015, the intellectual property rights to her work pass to the young author Mercedes Halfon – as the aged lady had decreed. But Mercedes also inherits a refrigerator and a lot of junk that must be cleared out of the orphaned apartment in Buenos Aires. Together with young filmmakers, she transforms the duty into a poetically fulfilling project.

The result is not only an unusual but actually a non-portrait of a poet – and perhaps not even a result. Rather, it is a continuously growing equation of superimposed faces, texts and images that refuses to simply work out. They look at each other as if in rear-view mirrors: Juana Bignozzi, who speaks to the young from her writings full of humble reverence, and her young female admirers who, reading, filming and browsing through Bignozzi’s legacy, feel almost embarrassed by these declarations of love. What confidence the deceased had in them! What tremendous expectations she had of those whose mother or grandmother she could have been! Their own poetic achievements seem too half-hearted to Mercedes and Laura to ever live up to such advance praise. But even as they doubt, they are already deep into it.

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.

Forty kilometres outside the small town of Truth or Consequences in New Mexico, in the middle of the desert, lies “Spaceport America”, the first private space mission launch centre. People there have been dreaming of tourism in space for the past decade. Hannah Jayanti observes the people of the town who live in the shadow of such great ideas. She tells of tiger bites and scrap collectors, of sparkling stones, of trailer life and how painfully the past still affects the present.

What starts out as a tale about humanity’s great plans gradually turns into one of the dreams and stumbling blocks of human beings. Step by step, the film approaches its characters and unfurls into a reflection of what remains of a life. In addition to documentary and historical footage, the director also uses virtual reality techniques. When the camera travels through 3D simulations of empty streets and houses you feel that something long gone is made tangible again – like an expedition to a ghost town, at a time when the population will have long since left the planet in spaceships. But the created images remain patchy, the objects are captured only in spots, almost as if this was a map of the stars.