We call them 'particularly sensitive'. The children and youths who for no obvious reason suffer from fear – fear of the dark, fear of school camps, fear of going to school and, not least, fear of being away from the parents, even for just a short moment. 'Mom – I'm Scared' closely follows three girls who all suffer from extreme anxiety and therefore – together with their parents – embark on a course of treatment with child psychologists called 'Cool Kids'.
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).
An old Danish lullaby about a little elephant and a circus.
Film portrait of Danish jazz musician and trumpeter Jakob Sørensen.
Porker & Voldper
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.
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.
The soon-to-be 70-year-old, beloved singer-songwriter Lars Lilholt is still going strong and generously shares insights from the long road of his life.
Follows the lives of two cuban women over a 10-year period at the same time describes the development of cuban society from 2005-2015.
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.
