Kolja Kunt

As so often, also here it's rather about allusion than description. This also applies to the persons represented. Flat silhouettes of people. Their heads depicted in profile. Faces with no expression, formal gestures. In the background, a little bit of everyday life: The hard, square, stone architecture arises from ocher-colored, brownish, blackish mush of color or mud. A demonstration of the function of the central perspective. An idealized representation of a tropical paradise. Strangely, there's no absurdity in this.

In 1988, Cynthia Beatt and the young Tilda Swinton embarked on a filmic journey along the Berlin Wall into little-known territory. The film is now an unusual document. 21 years later, in June 2009, Beatt & Swinton re-traced the line of the Wall that once isolated West Berlin. This film depicts this poetic passage through varied landscapes, this time on both sides of the former Wall.

Charo seems like a typical Berlin teenager. She's a student surrounded by good friends and has her eye on the coolest guy in school. But no one knows that Charo has been living in Germany illegally for years, not even her best friend Laura. Problems start to arise when Charo's mother is caught by the police and wants to take Charo back to Columbia. Charo now needs to trust Laura with her secret because it's the only way she'll be able to fight for her future in Germany.