La Palma

Filmmaker Erec Brehmer's world collapses when his longtime partner Angelina Zeidler dies in a car accident. Using personal videos, photos, voice messages, diary entries and music they shared, he creates ways of meeting and loving her again despite her absence. "We don't talk about the dead, even though that's the only thing we can still do" once someone is gone. And so, Who We Will Have Been is less a documentary and more a mode of communication with the deceased, where slow motion, reverse and soundbites taken in a totally different context suddenly give profound meaning and subtext. When Angi asks in a saved video "Am I still in time?" it resonates with deep, universal, spooky-action-at-a-distance significance. Do we still exist in time without a body and out of mind? Brehmer's powerfully emotional and absorbing meditation on living with loss recognizes that grief changes, but never really ends, like love.

Since the outbreak of the global corona pandemic, the number of anti-Semitic content on the Internet and social media has also been increasing. Researchers see a connection between online radicalization and anti-Semitic violence – and also attacks. "Jud Süß 2.0" documents the visual roots of this new anti-Semitism.

In 1996, one of the biggest media scandals in German history shook the public: Michael Born, a self-made journalist, had faked over twenty reports for the newly established private television station between 1990 and 1996. Some seemed amateurish, others dealt with absurd topics: child labor for IKEA in India, drug addicts licking toads to get high, and the Ku Klux Klan in the Eifel region were just some of his numerous fabrications. How did it come to this? Was Michael Born an enlightened figure who subversively exposed the tabloid system, a victim of the system, or simply a bumbling fraud? Film traces Michael Born's footsteps. Put together from hundreds of hours of raw material and the memories of former companions, an incredible story of forgery emerges. A media-theoretical film about levels of reality, fake news, and the question: Why do we actually believe what we see?