ATENTAMENTE – SINCERELY (Kolumbien 2016, Camila Rodríguez Triana, DOK.horizonte). Happiness in the autumn of life. In a retirement home in Colombia Alba and Libardo have fallen in love and long to spend a night together alone in a hotel. But at a cost of 15,000 Pesos this is way out of their reach. A gentle observation that is masterful in its simplicity.
CITY OF THE SUN – MZIS QALAQI (Georgien, Niederlande, Qatar, USA 2017, Rati Oneli, DOK.horizonte). A mining town in Georgia. 50 percent of the manganese needed by the world used to be extracted here. Today only a few people are holding out in Tschiatura. A portrait of a waning industrial utopia and its residents in the post-industrial era.
DEAD DONKEYS FEAR NO HYENAS – DAS GRÜNE GOLD (Schweden, Deutschland, Finnland 2016, Joakim Demmer, DOK.horizonte). How can a country export food products by the tonne and at the same time be dependent on food aid? Precise investigative journalism reveals Ethiopia to be the scene of a global land rush as it sells off its own future.
MADAME B. – HISTOIRE D'UNE NORD-CORÉENNE – MRS. B. – A NORTH KOREAN WOMAN (Frankreich 2016, Jero Yun, DOK.horizonte). When the North Korean woman, Madame B, sets out for South Korea she doesn’t imagine that her past will catch up with her. Suspected of being a spy and put under pressure by her first family she is reminded that the Korean War is not over yet.
MAMA COLONEL – MAMAN COLONELLE (Frankreich, Demokratische Republik Kongo 2017, Dieudo Hamadi, DOK.horizonte). Colonelle Honorine Munyole, a widow and mother of seven children, runs a police unit devoted to child protection and fighting sexual violence in east Congo. As Maman Colonelle she doesn’t just uphold the law but offers people reason, arbitration and compassion. She makes up for what the state fails to achieve.
MOTHERLAND – BAYAN INA MO (USA, Phillipinen 2017, Ramona S. Diaz, DOK.horizonte). The Dr. Jose Fabella Memorial Hospital in Manila has one of the highest birth rates in the world: at times up to 150 women are in labour here at the same time. Amidst the orderly chaos of mothers, babies, nurses and family members we gain intimate insights into Filipino society.
NO PLACE FOR TEARS – GÖZYAŞINA YER YOK (Türkei 2017, Reyan Tuvi, DOK.horizonte). War. Noises in the fog. The inhabitants of Kobane are fleeing over the border to a Kurdish village on the Turkish side. There they make a stand against IS by forming a human chain. An impressively poetic film about returning and hope.
PASSENGERS – MOSAFERAN (Iran 2016, Mahmoud Rahmani, DOK.horizonte). A man asks the taxi driver where he can find quick sex. Another passenger does an impression of car horns. In the taxi people let their masks slip. Striking and sobering insights into everyday life in Iran.
TEAM GAZA (Niederlande 2016, Frederick Mansell, Laurens Samsom, DOK.horizonte). Everyday life in Gaza consists of more than war and poverty. TEAM GAZA observes the Beach Camp football team as they fight against relegation. Off the pitch the players follow their dreams: a house, family, independence. A fresh look at the Gaza Strip.
THE AFRICAN WHO WANTED TO FLY – L'AFRICAIN QUI VOULAIT VOLER (Belgien, Frankreich, Gabon 2016, Samantha Biffot, DOK.horizonte). He was the first ever black African to learn i the fine art of Chinese martial arts n a Shaolin temple. THE AFRICAN WHO WANTED TO FLY tells the amazing story of a 15-year-old from Gabon, who set out to become a Kung Fu fighter in China.
THE CINEMA TRAVELLERS (Indien 2016, Shirley Abraham, Amit Madheshiya, DOK.horizonte). Year after year two travelling cinema operators take films to the remote provinces of West India. But their 35mm projectors are getting on a bit and the current blockbusters are only available as digital copies. The end of the analogue era has caught up with them too.