Archive

A strident critique of Germany’s relationship with some of today’s social and political realities at home and abroad, awarded the Alice Guy Prize at FIDMarseille.

The 1983 French television interview with actor Maria Schneider has lost little of its relevance in the intervening 40 years. In these reenactments of the interview, everything appears to be the same—but is it?

The latest film by prolific German film author Jan Soldat begs the question of why cinema is so good at portraying spectacular deaths instead of authentic ones.

Rita Barbossa presents a woman in need for real connection and underlines the right to embrace the pleasures of life without shame.

Mulika is a perfect example of Africanfuturism, reconnecting local African heritage to the optimism inherent to Black contemporary sci-fi tales.

This Queer Palm winning short film holds an unattainable allure: unconventionally poetic yet accessible, personal but universal.

In a clever and playful moral, the extensive process of constructing a tree house charts the significance of time.

Douwe Dijkstra’s films are always simultaneously making-ofs, as he lifts the curtain on movie magic that employs green screen.

While Handbook can be ruthless, Pavel Mozhar shows his finely-tuned sense for mutual respect even when the film is showing violently charged truths.

Diana Cam Van Nguyen’s festival hit is a personal story that becomes one of intergenerational and -cultural confrontation.

Gerard Ortín Castellví mixes his anthropological interests with his creative curiosities and turns his camera towards automated greenhouses in Agrilogistics.

Haig Aivazian's most daring leap into the world of film and a cogent attempt to tie together his interests through the form of found footage.

Leonardo Martinelli’s Locarno Golden Leopard winner Neon Phantom is surprisingly as entertaining and watchable as it is urgent and harrowing.

Hotel Royal is a complete work of fiction that draws heavily from the conditions of its creation, namely the COVID-19 pandemic.

With an unhurried pace and poetic imagery, Ana Edwards paints a portrait of an Aymara shepherd who lives on the high plateau at the Chile-Bolivia border.

By taking the disembodied point of view of automatic cameras, Naya — Der Wald hat tausend Augen covers an incredible amount of ground, and not only geographically.

Instead of offering anything as a straight factual counterpoint, the musical performances in One Hundred Steps themselves demand reconsideration.

In her kaleidoscopic experimental film, Yuyan Wang both eulogises and critiques a society which is drowning in an overload of information.

The Killing of Čáhcerávga is not one, but five films. Each a manifesto, these films—like chapters in a book—form a cross-section of questions and statements on indigeneity, otherness, and longing.

Randa Maroufi offers a look through the cracks of a social issue that usually remains underexposed. Her radical formalistic choices might simplify the problem for the greater good, yet never lose sight of the individual tragedies.

Ismaël Joffroy Chandoutis’ Maalbeek—part collage film, part experimental video art—challenges the documentary genre.

In Operation Jane Walk, the Austrian filmmaking duo Leonhard Müllner and Robin Klengel present us with a piece of history in spatial planning, while cleverly marking the virtual as an extension of the historical.

Jorge Jácome presents time in an associative series of hypnotic rêveries—an ode to the past so bittersweet that we have to be repelled from it at one point.

A humorous and quietly sharp observational documentary set aboard a cruise ship.

The female dance group JUCK performs in public spaces. By scratching between their legs, the dancers reveal patterns of male dominance. Unfortunately, this film depicts their feminist activism as solely female.