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.