Nora Fingscheidt

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A woman is released from prison after serving a sentence for a violent crime and re-enters a society that refuses to forgive her past.

Twenty-four short films by 24 female writers, performed by 24 women actors, all based on women’s real life experiences of sexism, harassment, and violence. A diversity of female voices and talent from across Europe come together for a series that tackles head-on the everyday brutality experienced by women.

Fresh out of rehab, Rona returns to the Orkney Islands—a place both wild and beautiful, right off the Scottish coast. Now 29 and after more than a decade of living life on the edge in London, where she both found and lost love, Rona attempts to come to terms with her troubled past. As she reconnects with the dramatic landscape where she grew up, memories of her traumatic childhood merge with more recent challenging events that have set her on the path to recovery.

Wherever 9-year-old Benni ends up, she is expelled. She has become what child protection services call a “system crasher.” But she is not looking to change her ways, and has one goal: go back home to her mother. When anger management trainer Micha is hired to help, suddenly there is hope.

On the occasion of the last “Berlinale” under the direction of Dieter Kosslick in February 2019, the camera follows the festival director on his professional assignments and also takes part in the few moments of breathing deeply.

Adam and Ella's application for a license to procreate is in the final stages of review. The only thing standing in their way is the bureaucratic license clerk, and a spot-on performance.

This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.