In Brazzaville, 'invisible forces' rule the world. The monk Medard tries to heal the sick victims of evil spells. But he is accused of practicing black magic.
He is accused of causing a lightning strike that led to the death of children.
Medard adheres to traditional beliefs based on ancestral spirits, magical beings and spells. Directors Hadrien La Vapeur and Corto Vaclav follow their Medard as he works.
Amador, a convicted arsonist, returns to his home village after his imprisonment. His mother and her three cows welcome him, but the rest of the village is unfriendly.
Director Oliver Laxe himself grew up in the Galicia region, which is heavily affected by forest fires. Most of these fires are politically or financially motivated arson. He based his main character on a local forest ranger.
In 2014, the award-winning theater director Julia travels to Burkina Faso with her acting ensemble to stage Danton's Death. Once there, she discards the concept imported from Europe.
Puppet maker Michael Pietsch makes a puppet of the president and independence fighter Thomas Sankara, who was assassinated in 1987. His alleged murderer is Blaise Compaoré, who has ruled the country autocratically for 27 years. When protests break out on the streets of Ouagadougou, fiction becomes reality.
Guatemala, 2018: A young forensic scientist identifies the countless dead of the civil war. When an indigenous woman searches for her husband, the scientist recognizes the dead man in the photo.
During the 36-year civil war, 200,000 people disappeared, most of them Mayan. Decades later, many bodies in mass graves remain unidentified.
When the elderly Mayan lady Nicolasa shows forensic scientist Ernesto a photo of her deceased husband, he believes he recognizes his father, who has been missing for years. At the same time, Ernesto's mother is scheduled to testify in court against her husband's murderers.
"OUR MOTHERS is about these truths of trauma and grief, but also about the struggle to turn these truths into justice." (Mark Reviews Movies).
This reinterpretation of Chaplin's The Kid in an underground, claustrophobic world, transforms the classic material into a dystopian, grotesque masked ball.
A full century lies between Chaplin's first feature-length film and Pfaffenbichler's very free reimagining of that work. The Kid, shot in 1920, is a story from the zones of the lumpenproletariat, a tragicomic-moral tale of child abandonment and police violence. 2551.01 is all that, too - and yet just 100 years, all manner of cinematic history breaks and countless wars removed from Chaplin's bittersweet patchwork comedy.
A lonely and mysterious man roams the streets, creeps into deserted places and lets the days pass. His story writes itself.
Is he a deserter? A former soldier? A survivalist? A free and wandering spirit or a scarred soul on the run? Only his name is recognizable on his camouflage jacket: WILCOX.
Denis Côté dedicates his wordless, documentary-like film to a civilization-refuser who, following the example of Christopher McCandless and Dab Aabye, seeks his salvation away from human settlements and beyond their control.
""I want to attack the building blocks of cinema: Image, sound, editing and narrative." In Wilcox, Côté reduces the narrative to its bare essentials, relying on these building blocks to convey most of the emotion." (Cinema Scope).
It's summer. Zou and Anselm are newly in love and spend their afternoon at the lake. A fairy tale seems to have come true.
The mood is peaceful, the light breaks on the waves and the sun's rays warm their skin. But then Anselm's friend Gustav shows up, and reality returns with him. The ease has vanished, the sun is burning and their young love is suddenly questioned. Is this love at all? A narcissistic impulse? Boredom? Or just the fear of being alone?
The more Zou racks her brains, the more uncertain she becomes, and suddenly her life and dreams begin to falter. Lost and bored, she sets out to find her place in a seemingly free society whose concepts of life have been severely disrupted by globalization and social media..
In the Russian-occupied territories of Eastern Ukraine, a teacher and a student who both oppose the new regime, find themselves gravitating toward each other.
Nina, 30, is a Ukrainian language teacher who can’t leave the city of Luhansk. She is forced to retrain as a Russian language teacher. Andrii, 17, is a student who was orphaned in the aftermath of the war. They cross paths when Nina witnesses Andrii being arrested by the police for hanging the Ukrainian flag from the roof of his school.
Nina knows that in this world of injustice and lies, Andrii could go to prison for a long time. She risks her own life to free him..
Yusuf is a shy man who feels closer to his pigeons than he does to people. Only with his birds, over the roofs of Adana, can he find peace.
Yusuf is a young man who lives with his sister and brother. On the roof of their house, he passionately feeds and breeds the pigeons bequeathed to him by his father. He has a special relationship with the female pigeon Maverdi.
When Kiki stumbles upon her vagina in the personification of Kitty, she realizes there's a lot more to life than she thought!
Kiki is 25 and a budding new lawyer, part of an Aboriginal graduate program at a ‘progressive’ Sydney firm. Nervous and clumsy, she hasn’t yet made friends and her boss questions her skills.
Kiki’s idols are Franny and Ferdinand, ice-dancing champions of the eighties. She keeps a framed photo of them on her desk, and her safe space is watching their gold medal winning 1984 Winter Olympics routine on loop.
One hazy morning, after a drunken night out with work colleagues and a lecherous attempt by work crush Brandon to hit on her, Kiki regains consciousness to find a strange woman straddling her: Kitty..
2006: Baghdad is ravaged by sectarian violence. Haifa Street is the epicenter of the conflict. Ahmed has to cross this sniper-infested street.
Ahmed has returned from the U.S. to take his beloved Suad and their daughter to somewhere safe. But just as Ahmed enters Haifa Street, 23-year-old Tariq shoots him and prevents anyone from getting close to him. As Suad takes on the arduous task of recovering Ahmed's body, the familial bonds between the sniper and his victims become increasingly clear.