Serpil Turhan

KÖY (Turkish for village) is about the longing for home, for belonging and the freedom of the self. Three women from three generations are united by their Kurdish roots.

KÖY (Turkish for village) is about the longing for home, for belonging and the freedom of the self. Three women from three generations are united by their Kurdish roots.

KÖY (Turkish for village) is about the longing for home, for belonging and the freedom of the self. Three women from three generations are united by their Kurdish roots.

Rudolf Thome’s idiosyncratic oeuvre was created with a continuity rare in German cinema – he has directed 28 feature-length films over more than four decades since 1968. The writing of the script for film no. 29 and the parallel efforts to secure financing form the thread that runs through this cinematic portrait, which consists wholly of conversations and observations around Thome’s home, a converted farm in Brandenburg. The filmmaker is nothing if not forthcoming, and the viewer has the opportunity to experience him in various other roles: as a gardener, a father, a cyclist, and a performer of his own persona.

Rudolf Thome’s idiosyncratic oeuvre was created with a continuity rare in German cinema – he has directed 28 feature-length films over more than four decades since 1968. The writing of the script for film no. 29 and the parallel efforts to secure financing form the thread that runs through this cinematic portrait, which consists wholly of conversations and observations around Thome’s home, a converted farm in Brandenburg. The filmmaker is nothing if not forthcoming, and the viewer has the opportunity to experience him in various other roles: as a gardener, a father, a cyclist, and a performer of his own persona.

Rudolf Thome’s idiosyncratic oeuvre was created with a continuity rare in German cinema – he has directed 28 feature-length films over more than four decades since 1968. The writing of the script for film no. 29 and the parallel efforts to secure financing form the thread that runs through this cinematic portrait, which consists wholly of conversations and observations around Thome’s home, a converted farm in Brandenburg. The filmmaker is nothing if not forthcoming, and the viewer has the opportunity to experience him in various other roles: as a gardener, a father, a cyclist, and a performer of his own persona.

The film is set in a modern day 'Berlin Republic' liberated from all irrelevancies. It's about artistic production, the creative industries and above all film and cinema - a political manifesto in feature film format. It centres on Asta, tough, hardened by theory and immaculately styled right down to the emblems on her leather jacket, with current art scene jargon flowing elegantly from her lips.

Between Turkey and Germany, the filmmaker films his Kurdish parents and grandparents. Facing the language barrier, she brings to light the link between forgetting and building an identity.

DETECTION. Consideration of past, present and future of a small village in Germany. For over a century — wars and states went by — the military is the largest employer. The everyday life of the community is inextricably linked to the events on the nearby military training area. Diaries, daily instructions, petitions, letters and photos tell about daily life at different times.

DETECTION. Consideration of past, present and future of a small village in Germany. For over a century — wars and states went by — the military is the largest employer. The everyday life of the community is inextricably linked to the events on the nearby military training area. Diaries, daily instructions, petitions, letters and photos tell about daily life at different times.

막 교도소에서 출감한 트로얀. 그는 불빛이 명멸하는 밝은 도시를 뒤로 하고, 다시 범죄자의 삶으로 복귀한다. 오랜 동료들과 현금수송차량 탈취를 계획하는 그. 그러나 부패경찰 메이어가 이들을 미행하고, 이전 동료인 바우어는 부하들에게 트로얀의 제거를 지시한다. 불신과 배신, 폭력이 거미줄처럼 엮인 비열한 어둠의 세계. 이제 트로얀은 그 속에서 스스로를 지켜야만 한다.

Danger and Kaspar are graffiti artists who have each been ejected from their respective crews. They decide to work on a project in honor of one of their deceased brethren.

Dentist Sue and the philosophy professor Anton have been leading a seemingly intact life, juggling careers and a family with four children. Until one day, however, when their 18 year-old son Thomas has a breakdown. Thomas' situation threatens the stability of the family.

A day in the life of the 21 years old Deniz, who aims to become an actress and makes her living by dubbing movies. After she has split with her old boyfriend she gets to know Diego and spends the evening with him.

Thomas Arslan's second feature film and part of his Berlin-trilogy is a slow-paced milieu study of German-Turkish youth in Berlin-Kreuzberg. The film depicts the every day life, domestic conflicts, dreams and disappointments of three siblings and their aimless, meandering strolls through the Kreuzberg district.