An experimental film that attempts a lyrical interpretation of the concepts of love and anxiety. The two concepts meet as two people, separated by a wire mesh. The separation is sought to be annulled from both sides. Sound and image express an abstract mood experience around the two concepts. The film experiments with polarizing colors. (DFI)
Dark cityscapes and dreamlike footage of autumn trees invoke a state of melancholy and loneliness.
A film poem about the Danish flag, the Dannebrog, and where to look for it. (DFI)
Each powerful step in one woman's wild, ritualistic journey to freedom is told with both tenderness and rawness.
Emil takes his friend Ask for a swim in the sea. On the trip, they talk about their friendship - and everything and nothing. When Ask starts flirting with him, Emil is unsure what to do.
4 years after the success of his first one-man show “JOKES”, Nikolaj Wulff is back and ready to do what he does best. The white gun is loaded, and he'll be firing live when Nikolaj once again takes the trip directly from the internet and onto the Danish stand-up stages. It will be pure stand-up comedy in its purest form served up with Nikolaj's usual energetic, present and youthful style. It will be hilarious. It will be hilarious.
‚Vind’ is a still image film composed of photography by artist Frederik Worm and instrumental compositions by musician and composer CTM.
Mo travels with a humanitarian organisation to the Greek island of Lesbos to help refugees, but when he saves a crowded boat from drowning, the authorities accuse him of human trafficking.
The first two years in Denmark’s only crisis centre for young people under 18. Joannahuset gives vulnerable young people a temporary home and a helping hand in the fight against a bureaucracy that doesn’t always listen to them.
David is fighting to stay in Denmark where he has been living for ten years.
Inspired by biologist Suzanne Simard’s concept of network topologies, which denote the intricate interrelationships of forest ecosystems and include both human and nonhuman life forms, artist Pia Rönicke conjures a polyphonic narrative of nature as an arena for complex and conflicting forces. A network of narratives that ‘Drifting Woods’ activates through botanical studies, close observations and conversations with some of the local and visiting people who work in and with the forest. Over the last 250 years, large-scale industry has increasingly capitalised on natural resources in a process where the mapping of the forest has been singularly focused on reducing both land and trees to raw materials. Rönicke dares the opposite movement: a ‘de-mapping’ of the forest and a decentralisation of the modern gaze that always places humans as the natural centre of everything. The film ‘Drifting Woods’ is based on Pia Rönicke’s installation of the same name.
Fourteen years ago, her husband died after a period of illness. The couple spent their last years at Bispebjerg Hospital. Today, Wivel returns to the same hospital to make an autobiographical and reflective film about life and death – and to portray the staff who work in this particular difficult field. What is it like to go to work every day to care for people whose lives are running out? What thoughts do you have? And how do you make the last chapter of another person’s life a good, vibrant time? Doctors and nurses share their thoughts on the philosophical, personal and practical dimensions of their work when we sit in on their meetings.
