Nika Son

One summer, Dídac travels by bike along the Danube with his family, starting where the river first emerges in Germany. As they journey downstream, he begins seeing a mysterious boy, Alexander, who appears and disappears in the water. Dídac feels himself changing, drawn toward Alexander and away from his brother Biel. Their mother, Monika, who once took the same trip as a teenager, drifts into memories of a past summer love. When she sees Dídac and Alexander together, she encourages them to continue the journey alone. But as twilight falls, Dídac begins to question who Alexander truly is.

A person enters the frame dressed up as a bird. In a dressing room, John Malkovich sheds the costume of Casanova. A young woman's skirt is just as orange as the beak of a zebra finch singing in a cage. White lilies stand at the foot of a statue of the Virgin Mary, red roses in front of the window of an SM studio. There the quiet game of submission in exchange for money, in a museum an embrace, a poem whispered in the ear. Children playing in a forest in autumn. A forest in summer, framed by light. An orgasm and a dance.

In the turmoil of German reunification, Patty loses her job, loses her friend Jelena and disappears into the historic forest of the Kyffhäuser mountains. When she reappears in the nearby town thirty years later, barely aged, Jelena follows her ghostly apparition into the historical landscape of an East German present.

Two women spend a weekend in the North Sea. One of them will soon return to her family in Argentina, whereas the other one will try to come a step closer to the ocean. She will cross the Atlantic Ocean on a sailing vessel. Time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. When the other one reappears, the wind is still in her hair while the ground beneath her feet is solid. She returns and the other one could ask: “Have you changed?”

In addition to demonstrating the unexpected complexities of individual life paths, THE WILD establishes the possibility of “cinematic space” becoming a type of “third space”. Two seemingly contrasting spaces merge to construct a new space. The first space is the living room of a retired couple. The second space is embodied in Super 8 recordings filmed by the old man during his numerous trips to Africa and Asia during the 60s, 70s, 80s and 90s. The pictures show exotic animals which are projected directly onto the walls and furniture of the house. The assembly of these differing spaces does not create a more succinct boundary between them, but rather assists in the mingling of the two spaces. In this fleeting moment of third space, as it is limited by time, a new cinematic reality is formed.

Ida lives on a sailing yacht with a crew of five men. While on shore leave in Marseilles, she becomes fascinated with the French Foreign Legion and decides to sail to Sidi Bel Abbès, the Legion's former headquarters in Algeria.

The ensemble of buildings that makes up the maternity clinic and art school in Hamburg where the director taught is the starting point for this sober interrogation of how motherhood and career can be combined based on three generations of German women.

The people are in turmoil. The ground from which their enchanted garden grows, is trembling. Between bushes and trees, flowerbeds and fountains, everyone has lost their way on their own. Their eyes search for paths, their hands try to remember. Sometimes they spot something. Sometimes they listen. They catch a whisper, a faint promise. They follow the petals downstream. Further.

A three-week vacation in the middle of a heatwave. Failed Emptiness is an existential thriller that describes the familiar experience of emptiness when responsibilities end.

Rio, an introverted young man, tries to make a living for himself by commiting petty theft in restaurants and resorts around the Croatian coast. His life, however, drastically changes when Andrea, a young Serbian part-time worker, enters his life, with the two becoming partners in crime, planning a major heist of two wealthy women staying at the hotel Andrea works at.

This precisely calibrated domestic diorama alights upon the imagined futures of a group of anonymous young adults. In Helena Wittmann’s warmly rendered feat of formalist filmmaking, questions of time and the realities of space convene in languid interior pans, incremental shifts in light, and the private reflections of her subjects.

A young girl is cured of her epilepsy just as summer vacation is about to begin. During her last days with her classmates, she’ll come to experience life in a new way. Arranged as a series of elliptical tableaux, this haunting narrative from Luise Donschen (Casanova Gene) captures a simultaneous sense of discovery and disorientation as it proceeds from the confines of the classroom to a wider world of adolescent anxieties.

From the music of French composer Arnaud Rebotini, German filmmaker Helena Wittmann crafts a story of a solitary man walking across a desert. This short film is part of the 2x25 Project of Film Fest Gent and the World Soundtrack Awards. The project commissioned 25 composers to compose a short piece of music, after which 25 filmmakers made short films that are the ultimate symbioses of music and cinematography, fitting completely within the DNA of the festival. The result: 25 exceptional films where the music inspired the form, narrative and texture.

Shot in the German countryside, Catskin is a mysterious and alluring portrait of Ludwig, a teenage boy who lives a simple life with his father, grandmother, and their cats.

An audio-visual installation by Helena Wittmann and Nika Son, based on the interaction of the shape and the sound from waves. The delicate image-installation arouses an awe of audiovisual senses to the audience. The shape of waves, the pitch of sound, and the innumerably changing waves made by screens of two different sizes, create the message of formation, evolution and extinction in the audio-visual, synesthetic sense.

The debut documentary by Bulgarian-born German resident and renowned photographer Pepa Hristova is set in the Strandzha mountains, the natural border between Bulgaria and Turkey. In that sparsely populated land and in one of the last primeval European forests is a crossroads between ancient rituals, nationalism, migration and anarchy, as the bleak past blends with modern-day threats in a terra incognita for the West.

The image of a room, its appearance changing with the shades of light. A window front, seen through the window. Changing flower arrangements on a side table. Sounds, entering the room from outside the frame. A construction site hints at changes in the exterior. Rehearsals. Are the sound waves of the piano reaching us from downstairs or from next door? In 21.3 °C Helena Wittmann reduces the filmic elements to the essentials: light, shadow, sound, direction. Out of this minimum, stories emerge that linger, atmospheres that resonate. Little by little the viewer is thrown back upon herself/himself. Through the facing window front someone seems to look back at us. Only the temperature remains the same.

“Territorial Fight” follows a student and her mentor through various vocal and speech exercises. The student is subordinated to the trainer during the lessons, ready to be guided and shaped by him. Yet from a certain moment she becomes the author and the authorial narrator. As a voice over, her speech overlays the command-like speaking of the teaching situation and self-confidently opposes it with another register. The teacher’s words are decreased and cut off as the student finds a pictorial language with which she describes how song birds assert their territory through their singing, and therefore raise their claim to space. The films consists of a collage of several lessons with a voice and speech trainer from a music and theatre school. The learning objective of the student was the desire to speak in a space-occupying way.

About crooked order and loud silence.