Popular Din Greenland

1943-1945. More and more Danes resist the occupying forces, and the policy of collaboration collapses.

‚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.

A single-note score indicates the open and horizontal structure of Kamil Dossar’s abstract audiovisual arrangement of image, sound, objects and bodies.

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.

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.

In the borders between Bosnia and Croatia we meet fleeing families who bet everything in a game, where the only objective is to arrive in the hallowed lands of Europe.

Annett Wolf has had many lives, and it’s not over. Now 85 years old, she has moved to Halifax (Canada) with the hope of filming a snow wolf, a vision from her childhood that haunts her, the Wolf.