Sorin Dorian Drăgoi

A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film tells the story of the Skladanowsky Brothers, the German-born duo responsible for inventing the "bioskop", an early version of the film projector.

"An eye for an eye, a tooth for a tooth" is the life motto of 30-year-old Agnieszka. After serving five years in prison, Agnieszka flees Poland for Germany in an attempt to start over. In Munich she meets the lonely 70-year-old Madame, boss of an escort agency. The woman provides her with a refuge and a job: Agnieszka begins to work as a dominatrix for Madame. She becomes like a daughter to her. All seems well until a much younger boy falls in love with Agnieszka. Madame will not stand any competition."

Christopher Columbus, on his deathbed, tries to understand and digest the possible consequences of his determining role as navigator, discoverer, colonizer, and exporter of the Catholic faith.

No description available.

Young Ela, trapped by the pandemic lock-down, peers out her window, unveiling the hidden lives of her neighbours – especially that of a mysterious boy. As a silent crisis unfolds, Ela's imagination becomes her secret weapon and when he needs help, she tries to reach him despite the distance.

A French real estate developer prepares an old Romanian thermal resort for renovation. A Roman fresco in a crypt delays the project, so he tries to burn it down. But he locks himself in a courtyard by mistake. He stays trapped for days, the neighborhood being deserted. He tries communicating with the few remaining residents and changes from a civilized being to a beast, until finding new perspectives. Will he leave the courtyard, or not?

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

A father climbs up to the roof of his house, because the TV is jammed. He wants to correct the antenna position. Soon he forgets about the antenna and enjoys the view. After several hours he is still sitting on the roof and doesn't like to come down. His unusual behaviour has some severe consequence