محبوب از جانب Greenland

A complex picture with double shots of details in a room, graffiti on walls, fragments of texts, pictures and neon shots. (DFI)

Experimental 16 mm black/white film from Chicago from 1950 by Danish photographer Keld Helmer-Petersen (1920-2013).

The title is the opening line of the thousand-year-old epic poem "Bjarkemål". A boy's war fantasy in an ordinary Danish villa garden, photographed in harsh, strong spring light. (DFI)

An alternative Danish film. A montage of quickly edited footage (upside down, mirrored, black and white, color etc.) of various sights, Danish culture, history and nature.

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.

Shortly after robbing a gas station along with his group of friends, our main character, David, gets caught by the police. Luckily for him, he gets off with only 90 hours of community service, which he serves at a local church.

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.

Editorial, poetic and kind, Stella’s aim for the film is that the queer community sees it and immediately knows that “this was made with love, not with the usual ‘once a year rainbow’ vibe”. At its core, the film makes space for multiplicity: “As a queer director myself, I really wanted to strike the balance between telling true queer stories, which are sometimes sad and sometimes happy.” The intergenerational cast was asked to write a letter to their younger/older self. A selection of quotes acts as the collective voice of the film.

Max and Bastian are both between childhood and adolescence. Max was born a girl, but has come out as a transgender boy. And Bastian, born a boy, feels more like a girl. They are both faced with the choice of whether to start on hormones to end their puberty. But can you trust themselves when everything is constantly changing? Max and Bastian are surrounded by friends and family who do everything they can to understand them and help them to whatever they decide in Julie Bezerra Madsen’s equally empathetic film, which follows them through a period in life when everyone is changing – some of us just change a bit more than others.