A THOUSAND GIRLS LIKE ME (Afghanistan 2018, Mani Sahra, DOK.horizonte). Since adolescence Kathera has been abused by her father. Now she is pregnant with her fourth child and has dared to do the unthinkable and report him. The film accompanies the young Afghani woman in her fight for justice.
BOY OF WAR (Deutschland, Tschechische Republik 2018, Cyprien Clement-Delmas, Igor Kosenko, DOK.special). 18-year old Artiom feels a calling: he must go into battle – for his “mother,” Ukraine. He will save her, he thinks. With childlike naivety he treks through forests and ruins, his gun at the ready playing war and practicing for war - until the harsh reality catches up with him.
CRAZY (Niederlande 1999, Heddy Honigmann, Retrospektive). Music can evoke memories instantaneously. Familiar tunes help Dutch UN veterans from different generations to come to terms with their traumatic experiences in various war zones.
DER KRIEG IN MIR – THE WAR IN ME (Deutschland, Schweiz 2019, Sebastian Heinzel, DOK.deutsch). Can our parents and grandparents’ traumatic experiences influence our behaviour? Could they be inscribed in our DNA? Nightmares about war lead the director on a journey into his family’s past.
IN MEINER HAUT – IN MY SKIN (Deutschland 2018, Anna-Sophia Richard, Student Award). Violence in a relationship is taboo. Our knee-jerk response – why doesn’t she just leave? – has a fatal catch: it puts blame on the victims as well. With her film, Anna-Sophia Richard changes perspective and offers only women’s point of view.
ISIS, TOMORROW. THE LOST SOULS OF MOSUL (Italien, Deutschland 2018, Francesca Mannocchi, Alessio Romenzi, DOK.international). Half a million children lived in Iraqi Mossul during the three-year occupation by the "Islamic State". Some of them, severely traumatized, talk about life in the city, which now lies in ruins: yesterday and today. What will be tomorrow? A shocking document.
ISLAND OF THE HUNGRY GHOSTS (Großbritannien, Deutschland, Australien 2018, Gabrielle Brady, Best of Fests). In a detention centre for asylum seekers on Christmas Island a social worker tries to help the refugees being held there. This aesthetically impressive film tells us about her work and everyday life in this idyllic non-place.
LA DISGRÂCE – SCARS (Frankreich 2018, Didier Cros, DOK.panorama). The sight of a disfigured face, far from the established beauty ideals, is difficult to bear. The same goes for those afflicted. A revealing portrait of women and men whose fate it is to fall outside the norm.
LOVEMOBIL (Deutschland 2019, Elke Margarete Lehrenkrauss, DOK.deutsch). We are all humans – a moving and visually impressive ‘heimat’ film that gives sex workers a voice and reveals the seething abyss under the surface of the German provincial idyll, without losing its belief in humanity.
NIÑA SOLA – GIRL ALONE (Mexiko 2019, Javier Ávila, DOK.international). 19 year-old Cintia is murdered. In search of answers and the perpetrator, her mother and sister reflect on their own experiences in violent relationships. A Mexican social study and an intimate and poetic crime film.
RECONSTRUCTING UTOYA (Schweden, Dänemark, Norwegen 2018, Carl Javer, Best of Fests). The terrorist Anders Breivik killed 69 young people on 22nd July 2011 on Utoya. Six years later in an empty film studio, four survivors reconstruct their escape from the massacre. Intense, painful and evocative memories make for essential viewing.
SHOOTING – DISPAROS (Mexiko 2018, Elpida Nikou Rodrigo Hernández, DOK.horizonte). What can oppose violence? Images! As is shown by the young Mexican photographer, Jair Cabrera, whose work was honoured by the renowned Time Magazine. Cabrera was on the verge of success but then he had to leave his country for political reasons.
SHOOTING THE MAFIA (Irland, USA 2019, Kim Longinotto, Best of Fests). Letizia Battaglia fights the mafia with her camera. She captures the crimes of the Cosa Nostra in aesthetic images that make the horrors visible. A touching portrait of a fearless Sicilian woman.
STRESS (Deutschland 2018, Florian Baron, DOK.special). In slow motion and accompanied by an oppressive collage of sound, the experience of five young veterans from the war in Afghanistan unfolds. Without showing any violence, Florian Baron gives us an intimate insight into the after-effects of the front line.
THE REMAINS – NACH DER ODYSSEE – THE REMAINS – AFTER THE ODYSSEY (Österreich 2019, Nathalie Borgers, DOK.panorama). Thousands of refugees drown in the Mediterranean Sea trying to reach Europe. Who recovers their bodies? Who takes care of the survivors? THE REMAINS sheds light on one particular aspect of the trauma that many refugees have to live through.