Anton Yaremchuk

The climate crisis, Germany’s nuclear phase-out and Russia’s war against Ukraine are just three of the heavy pieces in the dramatic game about the future of energy. Caught in the middle are two small towns with barely a thousand residents each: Gundremmingen in Bavaria, home to a shuttered nuclear plant, and Choczewo on Poland’s Baltic coast, where the country’s first facility is now under construction. What do the good people on the ground think about it all?

The film traces the rise and fall of GDR deep-sea fishing fleet - and the afterlives of its last surviving ships. Once more than a hundred strong, only a few vessels remain, now under new names, with new missions and new dreams: repurposed as rescue boats, cultural platforms, or sound spaces.

Following the 2013 Maidan Revolution in Kyiv, A Rising Fury takes viewers to the front lines of a growing conflict between Ukraine and Russia to witness firsthand a war that is tearing country and family apart.

The Russian war of aggression in Ukraine is not only waged with bombs, rockets and rocket-propelled grenades, but also in the media. It is a "propaganda battle" internally and externally. Russia spreads targeted disinformation in order to systematically devalue news. At the same time, their own population should be convinced that they want to liberate Ukraine from Nazis. Ukraine's narrative wants to emotionally mobilize its own population and strengthen resistance to the aggressor. Spindoctors are of particular importance in the propaganda battle over Ukraine. On the Ukrainian side, it's often influencers like Oleksiy Arestovych. On the Russian side, Vladimir Solovyov, Putin's snout, is supposed to sell the war to his own people with his daily TV talks. The documentary shows the new front lines of virtual warfare and provides insights into the populists' bag of tricks on social networks.

As a student at the National Music Academy in Kyiv, Denis takes his graduation project very seriously. But he doesn’t want to be absorbed by the routine of formal examinations. He decides to revisit and present a new edition of The Barber of Seville, bringing to the stage young and unknown vocal talents, and motivating the artists to sing and recite in Italian, the opera’s original language. What does it mean to be both a student and a conductor? How do you deal with organisational problems and a hostile orchestra, unwilling to collaborate? How do you get through all of this without lowering the artistic standards your mentor has been teaching you for the past few years?