Kristina Konrad

The Aromanians (Rrãmãnji) are an ethnic group found mainly in today’s Albania, Greece, Bulgaria and Romania. For filmmaker Alexandra Gulea, this question of heritage is connected to the name she shares with her grandmother, who was born into a traditional Aromanian life, and is fluent only in an Aromanian language. The older Alexandra's father suffered a violent death in an uprising for his people's rights, which forced the family out of Greece and into a politically treacherous Balkan landscape deep in the throes of nationalist upheavals, until finally, they found a home in Romania.

En un viaje a la preservación botánica y cinematográfica, “Herbaria” explora, en sus procesos casi invisibles, las derivaciones artísticas y políticas que conectan los dos mundos. A partir de una narrativa donde el tiempo y el espacio parecen fundirse, las imágenes nos invitan al fascinante universo de preservar la belleza y la memoria de un mundo que insiste en desaparecer.

Every year since 2011, a unique beauty contest has been taking place in Haifa. The contestants are female survivors of the Holocaust. In the midst of this flashy spectacle, their personal traumas remain as deep as ever. There are many things about this contest that are controversial: it is organized by the right Zionist organization, the International Christian Embassy Jerusalem, and the dubious contest itself rises the public indignation of various speakers, including other survivors.

En el año 2002, Silvana deja su país y a su hija, Florencia, para instalarse en Miami. Allí vive como si fuera la estrella de un reality show, pero ¿realmente esa es ella? 16 años más tarde, Florencia viaja a visitarla y, con el documental como excusa, trata de conectar con su madre por primera vez.

Sangai, a teenage girl living with her father in a village of inland Bhutan, is not happy with her father, who makes wooden phalluses, believed to have mysterious power, and playing a festival clown with a red mask at a local festival. She reluctantly delivers the phalluses to neighbors but she is followed by dozens of men with red masks and costumes when walking through the hill. Conflict and tension grows between the father, who has concerns about his successor, and Sangai, who has a clandestine relationship with a married man.

A new production center, maybe set in an undetermined future. What is being produced here? We shall find out by following the given traces. Two pairs of hands trying to untangle themselves. A human sheep virtually cut into pieces. A warm welcome to the authors and actors of their lives. Stories being told, their narrators dissected. When the gates open, those leaving Labour Power Plant have been made fit for the demands of the labour market. The next production cycle begins… People with their own wills, interests, and desires are being equipped with the different physiological, cognitive, psychological, and social core competencies to transform them into human resources. Meanwhile, the management is introducing new methods to enrich the products with the innovative features of ‘self-evaluation’, ‘self-optimisation’, and, most importantly, ‘self-fulfilment’. A series of interventions are performed, leading to an assembly that may appear strange at first sight.

In 1986, the Uruguayan Parliament passed a law granting amnesty for all crimes and human rights violations committed by the military and police during the dictatorship (1973-85). This law of impunity prevented the clarification demanded by the relatives of those who had disappeared and been murdered by the former regime. A public initiative arose calling for a referendum in which the law be subject to the vote of the people. Unas preguntas uses U-matic footage, mostly of interviews recorded on the streets of Uruguay between 1987 and 1989, to present a time capsule of the period.

In 1986, the Uruguayan Parliament passed a law granting amnesty for all crimes and human rights violations committed by the military and police during the dictatorship (1973-85). This law of impunity prevented the clarification demanded by the relatives of those who had disappeared and been murdered by the former regime. A public initiative arose calling for a referendum in which the law be subject to the vote of the people. Unas preguntas uses U-matic footage, mostly of interviews recorded on the streets of Uruguay between 1987 and 1989, to present a time capsule of the period.

Cameroonian filmmaker Jean-Pierre Bekolo's newest work uses split-screens (at times, up to four images simultaneously) to present a fake documentary in which "the president" has disappeared; talk-show hosts, rivals, politicians and even rappers chime in on what may have occurred, and what their president for life has—or has not—done for Cameroon.

Daniela would like to live far away from here in the future. Here, is a poor part of town in Montevideo, where Daniela lives in a small house with her son, husband, mother, sister and brother-in-law. They are better off than most of the people living in that neighborhood. They all work and the father provides them with whatever they need. He is one of the millions of emigrants from Latin America whose salaries are essential to the survival of their families. The movie carefully approaches Daniela’s world, tells her story, a girl immersed in daydreaming, who is also a down-to-earth mother, beloved daughter and young wife – and about the pain of emigration.

Daniela would like to live far away from here in the future. Here, is a poor part of town in Montevideo, where Daniela lives in a small house with her son, husband, mother, sister and brother-in-law. They are better off than most of the people living in that neighborhood. They all work and the father provides them with whatever they need. He is one of the millions of emigrants from Latin America whose salaries are essential to the survival of their families. The movie carefully approaches Daniela’s world, tells her story, a girl immersed in daydreaming, who is also a down-to-earth mother, beloved daughter and young wife – and about the pain of emigration.

Daniela would like to live far away from here in the future. Here, is a poor part of town in Montevideo, where Daniela lives in a small house with her son, husband, mother, sister and brother-in-law. They are better off than most of the people living in that neighborhood. They all work and the father provides them with whatever they need. He is one of the millions of emigrants from Latin America whose salaries are essential to the survival of their families. The movie carefully approaches Daniela’s world, tells her story, a girl immersed in daydreaming, who is also a down-to-earth mother, beloved daughter and young wife – and about the pain of emigration.

"Nicaragua era el Vietnam de mi generación". La cineasta regresa a la Nicaragua neoliberal, un país que 25 años antes había ofrecido una de las últimas utopías sociales que congregaba a miles de personas de todo el mundo. Había esperanza de que el pequeño país pudiera triunfar sobre la pobreza y la discriminación dentro de un sistema de pluralidad política, una economía mixta, y permaneciera independiente de los bloques políticos mundiales: la esperanza de que David realmente pudiera vencer a Goliath. La obra bombea el pulso íntimo de un viaje tan personal como revelador, el que hace la propia autora buscando a dos guerrilleras sandinistas a las que filmó en 1985 recitando a Rubén Darío. El delicado trabajo de Konrad y la fuerza que emana el camino en el que la acompañamos, hace de la película una pieza excepcional para conocer el devenir de un país tan significativo en el panorama político reciente de América Latina.

An experimental study about the love between Franz Kafka and his adored Felice based on their correspondence.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Women and men of different generations are re-united in Montevideo as they remember their years of exile in France, Mexico, Spain and Switzerland. They realize that eleven after years of military dictatorship, Uruguay is not the same as the country they left and they missed so much. After their return from exile they find themselves in situations that seem like another kind of exile, which is perhaps in some ways more painful. They connect with what they feel deep inside, and they recognise that they share these experiences with others and have a collective history.

Raúl Sendic, leader of the National Liberation Movement of Uruguay, died in Paris on April 28, 1989. On May 5, 1989 his remains were repatriated to Uruguay and, on May 7, he was buried in La Teja Cemetery. Tens of thousands of Uruguayans were waiting for him and carried out an unforgettable march.