Maria von Hausswolff

In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visitors enter their orbit, all captivated by Janet.

In the late 19th century, a young Danish priest travels to a remote part of Iceland to build a church and photograph its people. But the deeper he goes into the unforgiving landscape, the more he strays from his purpose, the mission and morality.

In a remote Icelandic town, an off duty police chief begins to suspect a local man to have had an affair with his wife, who has recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love.

Imagine: An alien has landed on a foreign planet, where life once existed. The alien moves around aimlessly through dark shifting nature, occasionally coming across a frozen figure, a human, poised in time and action, in a deserted wilderness where the sunlight is now out of reach. ALIEN TOURIST comes together as a conglomeration of fragments - of images, places, frozen moments and echoing sounds that present the viewer with a vision of our world, now gone.

It's a movie about a subject that captivates me. And I can see that it also captivates the world and people and has done it at all times. It is the meeting with the stranger. Why is it so difficult to relate to those who's not like ourselves? We constantly divide the world into 'us against them'. Each time we meet a new person, we define ourselves in contrast to the other. We do not look at what connects us, but what separates us. It seems like something that is pervasive - not just for Denmark, Europe and the US, but in every possible society and culture in the world at all times. It is a common human condition that we have endless difficulty in dealing with the stranger. With this movie, I want to ask a single question that sets the world on fire. It is an exploration of my own wonder why the encounter with the stranger is so explosive and can make seemingly sensible people like myself and others mad.

A brother odyssey set in a workers' environment during a cold winter. We follow two brothers - their routines, habits and rituals - and a violent feud that erupts between them and another family.

Parents tell the story of two parents who attempt to fill the void in their lives after their child moves out. Left with a feeling of needlessness, they try to rekindle the magic sparks from their younger days, returning to their old student apartment where they first fell in love. When one morning they wake up feeling thirty years younger, they are forced to come to terms with the fact that the past they once knew might no longer exist.

Hypnotherapist Kate lives with her husband, Orla, and their daughter, Athena, while simultaneously maintaining a deeply romantic - and highly secret - relationship with Andreas. As a role model to her daughter, she struggles to navigate her existential quest - a journey filled with body fluids, intimacy, Greek mythology, laughter, madness, and clumsiness. We follow Kate through darkness and sunshine in this erotic, existential modern love story, as she battles society’s norms and dares to redefine the rules of love.

When we die, there are still some practicalities that need to be taken care of before our time among the living is finally over. In Meanwhile on Earth we enter the world around our end station, an industry of death. It is a place where the existential meets the mundane, the sacred meets the profane.

Death, the passage of time and eternity. Big topics, but seen from a new and original perspective in a film based on a simple idea: that one's sense of time ceases to function when one dies, and that one for a short – or in fact very long – moment has the chance to experience eternity. And to therefore live in a single memory forever. Which one would you choose? 'I Remember When I Die' takes place at life's last destination, a hospice, but is a poetic and vital journey into the borderland of consciousness, and right into a possible afterlife.

What makes a mother give away her baby? This is the big question in Sun Hee Engelstoft’s poignant heartbreaker of a film about three Korean women who have become pregnant outside of marriage and are now hiding from the outside world until they give birth. They live in a shelter for unwed mothers on a South Korean island, where beautiful landscapes are in sharp contrast to the fierce dilemma that women go through: should they keep their children or give them up for adoption? Engelstoft has been given unique access to this particular shelter run by the strong-willed Mrs. Im, who fights for the girls’ independence but is up against a social structure and family tradition that leaves women in an impossible situation. Engelstoft’s sensitive portrait brings us close to a forbidden world and through her own experience as a Korean adoptee, she gives a deeply personal and extraordinary insight into a culture in which women can’t choose their own fate.

We follow a painter, a successful artist living alone and isolated. Driven only by his work, he finds himself lost when he’s forced to deal with his unannoced son and other outsiders that stand in the way of his work and get him out of balance.

A man is in the ocean fighting for his life. He is surrounded by seven boats.