Intro

In 2013 Addai joins a salafistic group in Syria. The encounter of Addai's mother with Ilias, a homecomer from Syria, gives rise to invidual fragments, by means of which the story of the son and comrade can be traced.

The Big Bang has nothing on this.

Most accidents happen at home. Thus the appeal to one’s personal political responsibility comes as a surprise. Randomly reading a Brecht text inspires to take action.

Normally, you would drink a bottle of wine with your friends or family. Assuming you drink at all. But during the Corona confinement, nothing is normal. So a young animator drinks the bottle alone by herself and animates a movie.

Based on their experiences living and working amongst Soviet-era concrete, panel-block apartments, the filmmaker, together with five visual artists, examine past and present attitudes towards their former homes. Combining touching, personal stories with experimental research on the history of twentieth-century art and architecture, the film creates both a compelling narrative, and a contemporary aesthetic of panel-block mass housing using original watercolors, put into motion using digital animation and stop-motion techniques. As global and personal histories interweave, the film explores notions of moral and political responsibility as evinced in physical space.