Through exploring faces and expressions, Dutch filmmaker Manu Janssen focuses on the consequences and not the reasons of witchcraft accusations. In Barlebas, women are singing to the rhythm of resistance.
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.
