Adam Graf

A felicitous and at the same time almost unbearable cinematic experimental set-up that uses documentary means to show what the Belarusian reality behind the news items looks like. Based on eyewitness accounts, Pavel Mozhar re-stages Lukashenko’s perfidious and oppression-based power system. Violence in the shape of detailed reconstructions may seem abstract at first glance but drills itself into our consciousness all the more persistently in the course of the film.

Two craftspeople, Uli and Didi, are working on a swastika in their workshop. Somewhere between a rural idyll and the monotony of country life, they wonder about the strange newcomers to their village.

A crew from the U.S. intends to film a war drama at an abandoned sugar factory on the remote outskirts of a German city, making the nearby town, which had been a pool of stagnant water, seem to come to life. The residents are excited, each making their own little plans, until a tank pulls up in front of the mayor's house and a sudden power outage disrupts all plans.

Inside the halls of a dystopian textile factory two young workers shortly escape their harsh reality into the fantasies of a fairytale.

In a near-future Romania, young Ozana (Silvana Mihai) is chosen to work as a food taster for the leader of forces occupying her country. The sole rule for her to follow is that she must never look this man in the eye.