Meşhur Kimden Faroe Islands

Porker & Voldper

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.

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.

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.

They are the ones the others are not allowed to play with. But 80-year-old Inger nonetheless gives a home and some much-needed love to the misfits she invites to live in her big mess of a villa in a small town somewhere in Denmark. Some of them have lived there for years, while others drop by for a brief mention and have moved on before anyone found out what they were even called. Abuse and mental illness are an important part of the story, but not the whole story. For Inger insists that there is good in all people and that the most important thing is to learn to love ourselves. But when Inger suddenly falls ill herself, the guests in her self-designed microcosm must learn to send some of the love and care the other way. Director Jella Bethmann paints a vivid and ultimately life-affirming portrait of ‘bad company’ in a film that gives space to some of the people who don’t fit into society’s conformist puzzle of norms and frames.

Danish documentary from 1997. »The Jew and the Aryan« documents how the Nazis used film as a medium for propaganda to convince the German populace that the Aryans were a superior people, while the Jews were a deadly enemy that had to be eradicated from Germany. »The Jew and the Aryan« goes behind the scenes of Leni Riefenstahl's »Olympia« and »Triumph of the Will«, which show Hitler as a divine leader. Clips from anti-Semitic films such as »Jud Süss« and »Der Ewige Jude« are also shown, portraying the Jewish as money-grubbing, lecherous and parasitic beings. Based on the book by Morten Brask and Siri Aronson.

William is fed up with Næstved. He is tired of living in a field, from where he has to cycle 20 minutes in the dark to get to town, he is tired of keeping half his life secret from his mother and father. And he is tired of his best friend Magnus also starting to behave like his parents. Magnus is fed up with Larry not knowing how to take care of his pets, which always end up dying. Larry is pretty fed up with being called Larry. The three 19-year-old friends are approaching adulthood, and their carefree days of ice-cold beers, shoplifting, and dreams of traveling the world on a shared fishing boat are coming to an end. William is facing a crisis of loyalty. The choice is between their shared boyhood dreams and William's own. Should he stay in Næver or go his own way?