Volker Sattel

The Tara is a river on the outskirts of Taranto whose waters are believed to have healing properties; bathing there is a tradition for the inhabitants of the city. Starting from this bucolic place, Volker Sattel and Francesca Bertin take us on a journey through a territory where myths clash with reality and where so-called “progress” has taken a heavy toll on nature and society.

The Tara is a river on the outskirts of Taranto whose waters are believed to have healing properties; bathing there is a tradition for the inhabitants of the city. Starting from this bucolic place, Volker Sattel and Francesca Bertin take us on a journey through a territory where myths clash with reality and where so-called “progress” has taken a heavy toll on nature and society.

MARX is Olaf Nicolai’s audacious 24-hour film created from a single shot of a sole statue: a vast bronze bust of Karl Marx, installed 50 years ago in Nicolai’s hometown of Chemnitz (formerly Karl-Marx-Stadt). Shot in one take on the 2020 autumnal equinox, when day and night are equal lengths, and screened on the same date, MARX transforms this iconic figure into a kind of unnatural landscape, subject to constant change beneath the evolving light of night and day. Turning notions of time upside down and inside out, this 24-hour film will be screened at 17 worldwide venues all at once – like an artificial sun rotating around the Earth.

“Kerstin” is driven by the opinions and expectations of her coaches and colleagues. Through various rehearsals, theoretical considerations and intensive coaching-practices, some more, some less successful, she springs from one island to the next, to play “Irena”, the female protagonist in the film “Cat People”.

The portrait of a house without supporting walls. A bold dome made of concrete, an open space – right in the middle of the bizarre rock formations of a rugged coast made of reddish granite. The house belonged to actress Monica Vitti and director Michelangelo Antonioni. The emptiness of the “cupola” and the deserted quality of the site are the starting point for speculating – seemingly at random, figures wind up in the image and enter the dome, and even today, the utopia of an alternative concept of living seems to float above its form.

Unannounced, Aziza is once again standing in her room – internship, Portugal, everything canceled. But her room is occupied. Her mother, Trixi, has rented it out. Zach lives there now, a twenty-something from New Zealand, who came to Germany on a one-way ticket. Starting from this situation, the film develops an almost documentary-style portrait of a Kreuzberg ‘situation’: everything is readily available, time, people, summer, streets. And in the end a crash, the film itself: ‘for nothing’?

Within the closed world of the nuclear power industry one of humanity's most compelling struggles has taken place. Germany was at the vanguard of the nuclear power industry but now the walls are coming down. It was the country's greatest scientific endeavour but now all are due to be decommissioned, thanks to popular fear and the power of democracy.

Berlin in the 3rd millenium. Rather by chance Kai Starel gets into the newly founded CC Institute "Carl Celler Culture", where hip creative minds buzz around in bleak spaces and think about company logos with animals. This brings up art, campaigns or something inbetween - and a liaison between the designer queen Rena Yazka (Sabine Timoteo) and Kai, who becomes her model.

A man and a woman are robbed, several people are after the money.

A man and a woman are robbed, several people are after the money.

Documentary film.

함부르크에서 살던 세 친구들이 도시를 떠나기 전 마지막 하룻밤을 같이 묵게된다.