ALMOST THERE – ALMOST THERE (Schweiz 2016, Jacqueline Zünd, DOK.international). Three men, three continents: Bob, an American, Steve, a Brit and Yamada, who is Japanese, dare to take on new beginnings and personal journeys – in the autumn of their life. Impressive cinema with images that remind us of the loneliness and melancholy in Wim Wenders’ films.
CAMERAPERSON (USA 2016, Kirsten Johnson, DOK.international). CAMERAPERSON is a diary of memories and images – a collection of documentary footage from Kirsten Johnson’s 25-year career as a camera operator. A film about the influence of images on the way that we see the world.
LA TEMPESTAD CALMADA – THE CALM TEPMEST (Spanien 2016, Omar A. Razzak, DOK.international). A fishing boat leaves the Italian island fortress and sails to the open sea. Suddenly a storm arises. Faces are filled with fear. Then, all at once, complete calm. The storm has subsided. Poetic and idiosyncratic – pure film art!
MISS KIET'S CHILDREN – DE KINDEREN VAN JUF KIET (Niederlande 2016, Petra Lataster-Czisch, Peter Lataster, DOK.euro.vision). A sensitively observed film about everyday life in a Dutch integration class taught by the wonderful Kiet Engels.
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.
SWAGGER (Frankreich 2016, Olivier Babinet, DOK.euro.vision). Tough and scathing yet at the same time full of pride, eleven youths tell of their lives in a Paris banlieue. A creative mosaic of encounters with the philosophical “swaggerers” – the heroes of the suburbs.
UNTITLED (Österreich, Deutschland 2017, Michael Glawogger, Monika Willi, DOK.special). What does a documentary look like „when you let yourself be led by nothing but your own curiosity and intuition“ (Michael Glawogger)? Out of this notion, Monika Willi has put together an extremely vital film essay: entirely in the spirit of the exceptional late Austrian director.