Florian Marquardt

Love Alone Can’t Make a Child chronicles the love story and emotional odyssey of Maria and Christiane who, for over a decade, have been trying to fulfil their desire of giving birth to a child of their own. The director, a childhood friend of Maria, lovingly narrates the couple's journey, showcasing their resilience in the face of ever-increasing challenges, and the intricate dynamics of a relationship under tremendous strain. More than anything else, the film continually pursues what love truly means in a long-term romantic relationship.

In a small town plunged into darkness, two children, Kyona and Adriel, are separated from their parents and, facing the path of exile alone, embark on a heroic journey that will take them from childhood to adolescence, in search of refuge, peace and the hope of finding their family.

In a small town plunged into darkness, two children, Kyona and Adriel, are separated from their parents and, facing the path of exile alone, embark on a heroic journey that will take them from childhood to adolescence, in search of refuge, peace and the hope of finding their family.

В первой же сцене этого документального фильма героиня из Ростока уверенно указывает на место, где, по её словам, во времена существования ГДР обычно встречались геи. «А где же в Ростоке встречались лесбиянки?» – задают ей вопрос. Та в ответ заливисто хохочет: «Я бы тоже хотела это знать!» На самом деле таких мест – особенно за пределами больших городов – в ГДР почти не было. Лесбиянки жили в условиях тотальной информационной изоляции. Фильм Барбары Валльбраун состоит из шести историй. Шесть женщин откровенно рассказывают о том, как влюблялись, как боролись с давлением общества и семьи, как находили и поддерживали друг друга.

В первой же сцене этого документального фильма героиня из Ростока уверенно указывает на место, где, по её словам, во времена существования ГДР обычно встречались геи. «А где же в Ростоке встречались лесбиянки?» – задают ей вопрос. Та в ответ заливисто хохочет: «Я бы тоже хотела это знать!» На самом деле таких мест – особенно за пределами больших городов – в ГДР почти не было. Лесбиянки жили в условиях тотальной информационной изоляции. Фильм Барбары Валльбраун состоит из шести историй. Шесть женщин откровенно рассказывают о том, как влюблялись, как боролись с давлением общества и семьи, как находили и поддерживали друг друга.

22-year-old Kei refuses to conform to the Japanese achievement-oriented society. He is homeless by choice, living on the streets and under the bridges of Kyoto. His love for nature and music keeps him afloat in his dream world. However, when he runs out of money, he is forced to face reality.

22-year-old Kei refuses to conform to the Japanese achievement-oriented society. He is homeless by choice, living on the streets and under the bridges of Kyoto. His love for nature and music keeps him afloat in his dream world. However, when he runs out of money, he is forced to face reality.

A couple embark on an early vacation. Left alone, their children cut loose until the boy gets caught for skipping school and things take an unexpected turn. Boasting exquisite camera work, the film is also unforgettable for its wholly original ending.

Oscillating between aesthetic and documentary forms, Kaltes Tal describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.

Oscillating between aesthetic and documentary forms, Kaltes Tal describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.