violence

We all perceive poetry differently. For some, a poem is a rhyming text, for others a metaphysical experience. For director Kateřina Dudová, it is an experiment with three people who are close to her, whom she places in one room for three days, leaving them to their fate with the task of writing a poem. Sometimes the recording of real events is more poetic than the poem itself. “I was given the task of making a 'film poem', but I hate poems, so I'm looking for something… the feeling I want to get from poetry, how I feel. What is a poem?” – Kateřina Dudová

Olga Chernykh originally wanted to make a portrait of her mother. However, in February 2022, Russia invaded Ukraine again and everything fell apart. The director's three-generation kaleidoscope of memories is an attempt to find a foothold in the face of an uncertain future. Her video interviews with her mother and grandmother are interspersed with photographs and films from the family archive and reportage images of contemporary everyday Ukrainian life. Above all, a sense of longing and loss permeates the collage of past and present stories of three women and one country. At the same time, it speaks of the courage and defiance of a nation that has repeatedly faced external pressure.“We worked a lot on the balance of the portrait of the country and the history of this city and immersing it inside a family story because we did not want to have a historical film.”Quote source: Variety

On the 13th of December 1981, telephone connections were cut off throughout Poland. Tanks appeared in the streets of the cities. A night curfew came into force. In response to the growing influence of the Solidarity trade union movement, General Jaruzelski's government declared a state of emergency. Tomasz Wolski's edited documentary uses lesser-known archival footage to put this tense chapter of Polish history into a broader context. But it is not only the speeches of politicians and dramatic clashes between citizens and the repressive apparatus that are included in this collage, edited with a flair for the absurd – the myth of a nation that suffered under totalitarian rule is shattered by images of everyday life. Many Poles are convinced, in line with government propaganda, that the opposition could have started a civil war. Others are more concerned about empty shelves than about the lack of freedom. The ubiquitous police and soldiers become as much a part of socialist reality as the fact that a shoe shop sells chickens. Ironically, the foreign correspondent seems most concerned about the whole situation. This portrait of a divided country, whose tragicomic quality also lies in its timelessness, concludes Wolski's historical trilogy (see An Ordinary Country (2020) and 1970 (2021)).“This time, I wanted to treat archive material like free jazz. The soundtrack will reflect that as well.”Quote source: Variety

One of the qualities that is most ingrained in Eastern European culture is hospitality. Welcoming the guest, setting the table and making sure they return home full and satisfied. But what if a guest has dropped in uninvited and their hunger cannot be satisfied, no matter how hard we try? Since the beginning of the war in Ukraine, Tania Licheuskaya has been recording the first events at the Luninets air base in Belarus, and the black soup she cooks for uninvited guests from the neighbouring country becomes a symbol of resistance.“He breaks into your home without knocking, he is hungry and hopes you will feed him. He has always been hungry, and he likes to expand the boundaries of his appetite. This hunger has a dark history of liberation wars, peacekeeping and anti-terrorist operations.”

During the first wave of Covid-19, four young Ukrainian filmmakers retreat to the countryside to work on their artistic projects. Where they were looking for peace and escape from pandemic restrictions, they end up finding much more. The film diary, in which the director's voice speaks to the overman within, becomes not only a record of creative development and search, but also a description of the painful journey to the knowledge of one's inner self. The separation does not only refer to the spatial and relational distance between individuals, but can also be understood in the coordinates of the separation of individual layers of the personality in the process of self-observation.“Separation is a natural process of destruction, which exposes a person, leaving them alone with themselves.”Source: IMDb

The year 2017 was marked by the suicide of a victim of paedophile priest James Brzyski, who by some estimates molested over a hundred boys in Philadelphia in the 1970s and 1980s. One of the survivors is comedian Gerad Argeros, who appears naked, literally and symbolically, before his audience. His cathartic stand-up show is both self-therapy and collective healing. To speak is not to let evil win.“I'm standing here naked in front of you and I don't care what you think of my little penis. I'm here to tell you what happens to children who are raped. They just disappear.”

Footage of the everyday life of an ordinary Ukrainian family from the city of Svitlodarsk in the Donetsk region shows a life marred by the Russian occupation, where martial law has become the norm. The picture contrasts children's games, doing homework and having dinner in front of the TV with the panorama of the bombed-out buildings of a ghost town.“In war and the army, the worst thing is deathly silence. When there is silence, something is going to happen.”

After the First World War, the nationalism of Finnish society increases and with it the need to create a nation with fighting power. One of the strategies of the government and propagandists of the time was the indoctrination of children and youth, together with their education to love the nation and hate the enemy. Using archival footage, radio recordings, photographs, as well as authentic diary entries of Finnish teenagers, the film depicts how state power can abuse children's innocence and malleability to achieve its political and war goals. This creates a parallel between the historical reality and the young fighters of today's wars. “They only need to believe, obey and fight. Our battleground is the soul of the Finnish youth.”

When Russian missiles started flying over their heads, the film director packed a few essentials and left the immediate danger area to visit her aging parents, who live farther inland. But the war soon caught up with her there as well. This documentary diary of the early days of the Russian invasion of Ukraine brings to life the immediate reactions of ordinary people to the horrors unfolding in their neighbourhood. As the conflict escalates, so does the tension in the home, which is gradually stripped of basic certainties such as electricity and heat. But leaving home is not easy. And who would take care of all those cats and dogs if people leave?“Stories about families jammed into one house always turn out badly, but these three are even more isolated. There is no one around, people are leaving, and everyday conversations turn into bitter fights all too quickly.”Quote source: Cineuropa

On September 22, 1998, the Iranian poet Hamid Hajizadeh and his nine-year-old son Karun, whose name symbolically refers to Iran's longest river, were brutally murdered in their home in Kerman. The documentary film, based on the statements of the survivors, tries to sensitively reconstruct one of the many terrible, politically motivated events that took place in Iran at the end of the previous century, and draws us into the fateful day with the help of detailed shots of the objects in Hamid's study.“And he asked, which one torments the other one; The places or the memories…?” — Shahriar MandanipourSource: Berlinale Talents

“If a house is like our body, where is its heart located?” asks the narrator of the film, who is also one of the residents of the house in question. As we observe her and her partner going about their daily activities, the violent history of the place is revealed in hints as it comes back to life years later.

During the summer holidays of 1994, an act of sexual violence took place in the Austrian alps. Nineteen years later, Philip Treschan confronts his mother with his trauma in a documentary essay. The family album is a nostalgic illusion, a gateway to an unspoken reality and a tool for an intimate conversation with the past and for piecing together the fragments of memory into a comprehensible whole.“Memory is not an unchanging vessel for carrying the past into the present; memory is a process, not a thing, and it works differently at different points in time.”Source: Philip TreschanTrigger warning: Film deals with topic of abuse.

Khlong Toei is one of Bangkok's central districts, home to the largest slum in the exponentially growing Thai metropolis. The place, which accommodates 100,000 inhabitants, could at first glance be characterised by chaos, overcrowding and pollution. However, the pure, immersive observation of the masterful duo Bêka & Lemoine, capturing the rhythms of day and night life in this fascinating environment, proves that it is in fact a living organism in which order reigns and time passes slowly but surely. The means of private and public transport that arrive and depart without ceasing, the cycle of life being born and fading away in the midst of the huge market that is the beating heart of the neighbourhood and the origin of the most diverse interpersonal interactions, the cleaning crews responsible for its cleanliness and its systematised space, children playing and eating together in narrow alleys and cozy rooms shared by entire families – all of these are humanly subtle yet authentically raw images of everyday life that shatter the stereotypical notion of slum life.“Deconstructing the clichés associated with slums, such as violence, gangs and illicit trafficking, the film is a full immersion and close observation of the living conditions, daily rhythms, micro economies and neighborhood relationships binding this community together.”

The director Tomáš Hlaváček is loosely building upon the time-lapse documentary Housing Against Everyone, in which he captured the dispute surrounding the Rapid Re-Housing project in Brno. The topic of decent housing for families in need is also addressed in The Impossibility. People occupying rental apartments in Brno's “Kuncovka” wanted hot water, electricity and fair negotiations. Instead, they received bullying and threats from the owner, who, in his own words, “does not like coloured people”. Neither the police nor the city helped them. So they joined forces with activists and lawyers to fight for their rights. Hlaváček chronicles the months-long conflict with its legal follow-up as an engaged observer. "When I first set foot in that house, I came roughly against the gap between theoretical understanding and the real experience of extreme poverty and inequality that plunges the lot of the inhabitants into lived hopelessness. I observed a space where defending one’s own rights, let alone human dignity, is so expensive and dangerous that claiming it is tantamount to existential endangerment of self and family. At Kuncovka, I learned that to be poor is to become a commodity of abuse that no one wants to hear, because poverty is itself a guilt. It wasn’t a matter of just turning my head and pretending that this world didn’t exist." - Tomáš Hlaváček