Naomi Pacifique’s new short film dwells in melancholy and unlocks a form of intimacy that is unlike anything else we’ve seen bodies share on screen.
Photos from a family album reveal a city that perhaps used to exist. Sara Rajaei anchors these images not fully in reality but instead extracts the poetry from them.
In an attempt to tell a universal story, Nienke Deutz’s The Miracle arrives only at vagueness.
Douwe Dijkstra’s films are always simultaneously making-ofs, as he lifts the curtain on movie magic that employs green screen.
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.
