Lighting
Made from a reconstruction of the memories of his uncle's empty apartment, this film transports us to a nephew’s reflections on absence and the regrets of his vague memories.
Born in Germany in 2002, Noa Blanche Beschorner evokes the memory of those who, a generation before her, lived through the separation of East and West Germany. Tapetenwechsel (Change of Scenery) is the story of youth seeking their identity when confronting their collective memory.
A young woman with feminist ideals finds herself disturbed by her pent-up desires and impulses for a misogynistic man.
Taking the form of language exercises, Sous le soleil exactement is a tribute to the city symphonies of Berlin - a city whose inhabitants, streets and movements inspire the traveler's observations. Noa Blanche Beschorner returns to her native Germany and, through editing, creates a dialogue between spaces - sometimes populated, then deserted. A meditative film, where time and space set the tone.
After receiving news of her estranged parents' deaths, a young woman returns to the childhood home she had left behind, immersing herself in a complex and non-linear grieving process.
On a bleak day in midwinter, a girl travels to her city's bus station to meet someone. She travels familiar streets and moves confidently. Her relationship with her city changes when no one arrives on the expected bus. She wanders out of the bus station, noticing her city in a new way.
Andrew works as a fishmonger. Overnight he prepares cuts of fish for sale the next day. His Girlfriend, Molly, works days in an office as a temp. They only overlap twice a day. In the morning as Andrew returns from work and eats dinner, and Molly rises for breakfast. In the evening, Molly returns home and Andrew gets ready for work. To compensate for all the time apart, they have developed rituals to keep a sense of togetherness. Making coffee, food, and taking pictures of Andrew after work.
Quatre altitudes bosniaques is an exercise in topographic cinema shot in Bosnia-Herzegovina. The document draws on the geography of the city of Sarajevo, from which the filmmakers construct a visual ethnography fragmented into four levels of elevation.
