Ona Carbonell: Starting Over
In August 2020, Olympic artistic swimmer Ona Carbonell became a first time mother, an experience that reshaped her life overnight.
Middle-aged women start acting and launch a drama club. However, nothing big or small goes right. But they never give up the play.
In August 2020, Olympic artistic swimmer Ona Carbonell became a first time mother, an experience that reshaped her life overnight.
Calling Mother is about the moments when you just have to call your mum. It is a compilation of phone calls made by different people to their mothers. Film follows the lifespan of a human being from youth to adulthood, a child changing from a dependent to a caretaker. Phone calls are connected by images of an old telephone center and a story of a young mother who doesn’t have a mother to call.
Herlinda Augustin is a Shipibo healer who lives with her family in Peruvian Amazonia. Will she and other healers be able to maintain their ancient tradition despite Western encroachment?
A provocative and ironic pamphleteering documentary about the making of Christoph Schlingensief’s Nazi-'Hamlet’ (2001). Both a media event and a form of political action Schlingensief let ex-neo-Nazis play themselves. His provocation in so-called Nazi-free Switzerland was not appreciated and when he added fuel to the flames by calling for the local political party SVP to be banned, his media offensive made front-page news far beyond Switzerland.
Thomas Haemmerli is about to celebrate his fortieth birthday when he learns of his mother's death. A further shock follows when he and his brother Erik discover her apartment, which is filthy and full to bursting with junk. It takes the brothers an entire month to clean out the place. Among the chaos, they find films going back to the 1930s, photos and other memorabilia.
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When the MV Sewol ferry sank off the coast of South Korea in 2014, over three hundred people lost their lives, most of them schoolchildren. Years later, the victims’ families and survivors are still demanding justice from national authorities.
When filmmaker Mari Soppela took her children and husband to live for a year on a sacred mountain in her native Finland, she was fulfilling a lifelong dream to share the arctic wilderness of her childhood with her family. But when years later her children turn the camera onto her, she is forced to confront her motivation for filming their lives in this searching and searingly honest cinematic exploration of identity, belonging and motherhood. Filmed over the course of 27 years, Mother Land challenges us all to examine the landscapes we carry within us and the narratives we create to make sense of our lives.
Ten years ago, 304 innocent people aboard the Sewol ferry in Korea lost their lives at sea. The reason for the sinking and the complete failure of the rescue are crucial factors yet to be revealed. But the government continues to withhold key evidence, citing national security reasons. This documentary finds a conclusion of why all the matters have gone wrong.
This documentary tells the story of people who were at the scene of the 2014 Sewol Ferry disaster: journalists, bereaved families of the victims, and the survivors. Ten years after the disaster, what did it leave them? These are three omnibus documentaries with different perspectives.
10 years have passed since the Ferry Sewol disaster. People are still waiting for the truth about the incident at Paengmok Port.
The 10-year struggle of the families who lost their children from the Sewol Ferry Disaster.
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Have you ever been in a fight? Even thrown a punch? Because Andrew never has. His mom raised him as a pacifist, and she would like to keep it that way. But deep down, Andrew has a question: how much can he know about himself if he’s never been punched in the face? More importantly: how much can he know about his mom, the woman that has sacrificed so much for him, if he’s never fought for anything?
Tatjana in Motherland is a partly animated documentary essay about Slovenia and its men. It is a “documentary-tale” of how Slovenian society has been disintegrating in an invisible way. The story will unveil a Slovenian Oedipus archetype of the possessive martyr mother type and her relationship with her son, in which she through emotional manipulation, by constantly creating feelings of guilt, burdens her son to such a degree, that he remains dependent on her for the rest of his life. In order to put this relationship to its best use, all Slovenian governing structures have elevated mother figure on the level of a saint and have assigned to it the cultish role. The result of the Slovenian maternal cult is a typical Slovene male, who is pathologically obsessed with his mother.
In her first feature-length documentary, filmmaker Nam Arum turns her camera on her parents, two members of South Korea’s 386 Generation. The political activism of this generation came to a head in June 1987 with major protests that forced the authoritarian government to hold universal suffrage elections and implement key democratic reforms. Over 35 years later, the filmmaker reflects on the state of this democracy through a warm-hearted family portrait set against the backdrop of the country’s recent history. Using a personal and intimate cinematic style, Arum examines her father's adherence to conventionality as a high-ranking civil servant and her mother's fervent enthusiasm as a feminist activist. In the midst of these two contrasting dynamics, Arum seeks to discover her own role and how she can contribute to social change.
What if you love your child, but are unhappy in your role as a mother? Spijtmoeders is a documentary film about mothers who, if they could make the choice again, would rather not be mothers. Three women talk about their struggles with motherhood, the shame and guilt they feel, and the high expectations society places on them. The fear of judgment from others is great: what if people think that they are not a good mother, that they do not take good care of their child? What if they think they don't love their child? The mothers are represented by hyper-realistic dolls, but their voices are real.
A look at the entire process of creating and developing Patrice Chéreau’s third staging of "In the Solitude of Cotton Fields" by Bernard Marie Koltès with Pascal Greggory and Chéreau himself. From the first reading around the table through the first contact with the performance space, rehearsals and lighting to opening night, the entire creative process unfurls in front of our eyes. The film shows us the evolving and ongoing dialogue between Greggory and Chéreau, a dialogue full of crises and magical moments of harmony and insight via which the truth, intensity, complexity, mystery and depth of Koltès’ text gradually emerge to form an implicit bond between these two men. The film also shows Chéreau directing rehearsals for Mozart’s "Don Giovanni" in Salzburg, revealing both the unity of and profound differences between his opera and theater work.
A documentary on the South Korean ferry disaster that claimed the lives of more than 300 passengers in April, 2014.
Within the world of theatre the rehearsal room is a sacred space -- the private domain where boundaries are pushed, risks taken, mistakes made, vulnerabilities exposed and, at its very best, magic created. It's not a place into which the public is often, if ever, invited. Until now; In The Company of Actors features an ensemble of Australia's finest actors, including Cate Blanchett and Hugo Weaving, as they prepare to perform the Sydney Theatre Company's production of Hedda Gabler, at the prestigious Brooklyn Academy of Music in New York. Opening night is just five weeks away and the pressure is on.