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Freetown Christiania, also known as Christiania, is an intentional community and commune of about 850 to 1,000 residents, covering 7.7 hectares (19 acres) in the borough of Christianshavn in the Danish capital city of Copenhagen. Christiania has been a source of controversy since its creation in a squatted military area in 1971. Its cannabis trade was tolerated by authorities until 2004. Since then, relations between Christiania and Danish authorities have been strained.
A middle aged married woman suffers from depression. Her husband suggests she get a dog, but instead she gets a job. Treatment of the women workers leads her into a hilarious fantasy in which roles are reversed and bearded men sit behind typewriters worrying about their looks and what to buy for dinner. She gets involved in a strike and loses her job, but has found some friends and a more positive attitude to life.
About sixteen-year-old Susanne and her relationship with her parents and friends. To make her friend Peter jealous, she flirts heavily with a forty-year-old silversmith from the sailing club where she works.
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Although at first sight this might look like a simple ‘making of DANCER IN THE DARK’, the later developments in the film reveal the whole drama of Lars von Trier’s inner life during the shooting process. All his doubts and insecurities in collaborating with the crew and actors - especially actresses - are exposed. The biggest drama started when Björk walked off the set. Nobody knew whether she would be back or not. Admitting that he feels threatened by women, who can ‘make him feel embarrassed’, the director gives this documentary the nature of a personal diary. When he discusses the importance, purpose and beauty of the use of a hundred cameras in a certain sequence or the meaning of the Dogma 95 rules, the audience is witnessing the process of the artist’s search. Is the pain that the director went through during the shooting really visible in the final result, as Lars von Trier claims in this film? (from: http://www.idfa.nl/)
Edda Chiemnyjewski, a freelance press photographer and single mother living in 1970s West Berlin, is confronted with the fact that "a cook has no time for affairs of state". She also fails to find a market for the project she has been working on with her women′s photography group that seeks to document the city. While from today′s perspective the city, which becomes one of the film′s protagonists, looks like post-war Berlin, little has actually changed as regards the precarious existence of free-lancers. With a heavy dose of self-irony Helke Sander, who also plays the leading role, tells of a divided life in a divided city.
For many years, market woman Addi has been helplessly exposed to the ever-increasing aggression of her husband Max. His physical and emotional abuse has become part of her everyday life, from which she cannot find a way out. Due to her economic dependence on Max and the passivity of those around her, every attempt to escape leads her back to her husband. When Addi accidentally learns of the existence of a women's shelter, this is her long-awaited escape from violence and she flees to the facility with her son. Strengthened by the solidarity among the women, she founds a shared flat with others in order to regain her long-suppressed freedom. Director Cristina Perincioli had the story developed and acted out by residents of Germany's first women's shelter in West Berlin.
