Na-ewu ewu Site na Greenland

A film about Brønderslev's development from village to market town. Industry is the 'pulse of the city'. The Pedershaab machine factory has played a significant role in the city's growth. The foundation stone was laid in 1886, and manufacturer Peder Nielsen's motto was "From Ore to Steel. From Glow to Baal. From Dream to Goal." Brønderslev Andelsslagteri. Brønderslev Andelsmejeri. Brønderslev Teglværk. Horticulture with fruits and vegetables. The bell foundry. Around these companies, the city and everyday life develop. Brønderslev Church and Brønderslev Gl. Church. Brønderslev School - teaching in the classrooms, gymnastics, needlework and handicraft lessons.

A loyal pack animal from a nomadic tribe has his courage tested, when taken down a challenging, unfamiliar path by his ailing human.

A cute little frog lands right in the middle of another frog family’s dinner. At first, the family is charmed by the adorable newcomer, but soon he begins to turn their lives upside-down. How can a frog so little be so badly behaved?

The sound artist Jacob Kirkegaard has travelled thousands of miles from El Paso to Tijuana, along the growing wall that separates Mexico and the United States. A man-made metal membrane that makes its own sounds and whose steel wires sing in the wind as it stretches across the landscape from the desert to the sea. In his meditative video and sound work, Kirkegaard has mounted microphones on and around the wall to understand its dual character as a militant monument and abstraction. Both panoramas and close-ups show us that this, at first sight, deserted area of south-western USA has its own life of light and shadow – and not least sound.

Authority, autonomy and one’s own complicity are elements in the transgressive situations that the artist Christian Falsnaes establishes in ‘Look at Me’, where he, in collaboration with the actress Minni Katrina Mertens, directs different groups of people at a night club, a gallery and an open-air festival. The boundary between subject and object – and between spectator and participant – is fleeting until you are finally invited on stage yourself. Throughout the entire proceedings, however, there is only one director. When Falsnaes and Mertens take turns to give both the others and each other instructions, it happens in an interplay where dominance and submission are the constants. ‘Look at Me’ embodies the kinds of soft and hard authority that we more or less consciously are subjected to everywhere in modern Western society, and it is made as both a documentary and a video work in its own right.