Between 2020 and 2021, the Icelandic filmmaker Hlynur Pálmason filmed his three children building a tree house in their backyard. Using a fixed frame, his lockdown project yielded a fascinating study of the seasons grounded in the leisurely rhythms of kids at play.
After the revolution in 1979, Iran prohibited the depiction on the silver screen of men and women touching. Since then, directors have relied on every cinematic trick in the book to mirror ecstatic tension—but often the game of glances is enough to set a scene ablaze. Nazarbazi collages these intense cinematic moments into a poem about love and desire in Iranian film, which also echoes our own pandemic time of physical distancing.
Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.
Filmmakers Paul Shemisi and Nizar Saleh embark on a journey from the Democratic Republic of Congo to Germany to screen their latest film. However, during a layover in Angola, their trip takes a harrowing turn when airport authorities question the authenticity of their documents.
In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.
Confused about German bureaucracy and questioning her sexuality, Hoda, an Iranian asylum seeker in Berlin, finds herself hooked on Magdalena, who promised to ensure her asylum by marrying her. Due to changes in Magdalena’s private life, her decision to marry Hoda becomes more complex.
