Music
„Heimspiel“ tells the story about the game an energy company in Germany is playing with three villages. For lignite mining, villages are getting demolished, replacement villages are built from the scratch and the villagers are getting resettled. For some the demolition of their homes means great pain. Others, however, are happy about the generous financial compensation. But all of a sudden one of the villages will be preserved. Everyone in the village becomes an ally or an enemy. It‘s a film about the „home sweet home“, neighbourhoods and about the power of money.
Casting
A nearly finished construction site. The wiring is completed, the walls are painted, the final inspections are being done. The construction manager Thomas Zetzsche is proud of his achievement. The prestigious building he created is a modern dream come true. But suddenly that dream begins to crumble as more and more defects appear. Cables run into dead ends, the fire protection malfunctions and entire rooms go missing. Desperately Thomas is trying to fix the building until he finally accepts that the opening date has to be postponed. Now he must confront his own responsibility in this faulty system and draw the necessary consequences
Music
Martha is online and as long as she is connected to the main unit her life continues – monotonous, convenient, perfect. Nevertheless the well maintained system gets disrupted and Martha herself becomes the problem. The calculated consequence: offline.
Music
〈미래의 아이들에게〉는 세계 도처에서 시민들의 시위가 고조되는 이때 거대한 정치적 움직임의 한복판에 서 있는 새로운 세대를 이야기한다. 영화는 칠레의 사회 정의를 촉구하는 레이엔, 홍콩의 민주화를 부르짖는 페퍼, 그리고 기후 변화가 우간다에 초래하는 끔찍한 대가에 저항하는 힐다의 모습을 담는다. 개인의 삶에 마저 상흔을 남기는 도무지 승산 없는 이 투쟁을 지켜보며, 영화는 세 여성들에게 저항의 의의를 묻는다. 〈미래의 아이들에게〉는 흔히 ‘다음 세대’라 불려온 이들에 의한, 이들에 대한 영화이다.
(2021년 제18회 EBS 국제다큐영화제)
Music
“Those freaking 33 percent, where were they?” Lovis asks herself as she discovers a clearly right radical slogan on the regional train. She starts counting: “One, two, Nazi. One, two, Nazi.” In anger, she exits the train at the next stop. Stranded on the platform, she is confronted with the question: What now?
Music
The wild west! Cowboys galloping through vast landscapes, yearning looks into the distance, huge egos duelling to the blood - of course it needs the wide screen! But following the slogan ‚vertical is the new widescreen‘ even the western has to keep up with the times. With the new ‚Mobilescope‘ the genre expects of it's cowboys the same cool acting as we are used to. Will that work well?
