Tímamót

In Bettina Büttner’s exquisitely lucid documentary Kinder (Kids), childhood dysfunction, loneliness, and pent-up emotion run wild at an all-boys group home in southern Germany. The children interned here include ten-year-olds Marvin and Tommy. Marvin, fiddling with a mini plastic Lego sword, explains matter-of-factly to the camera, “This is a knife. You use it to cut stomachs open.” Dennis, who is even younger, is seen in a hysteric fit, mimicking some pornographic scene. Boys will be boys, but innocence is disproportionately spare here. Choosing not to dwell on the harsh specifics, Büttner reveals the disconcerting manner in which traumatic episodes can manifest themselves in the mundane — a game of Lego, Hide and Seek, or Truth or Dare. Filmed in lapidary black-and-white, Büttner’s fascinating film sheds light on childhood from the boys’ characteristically disadvantaged perspective — one not yet fully cognizant — leaving much ethically to ponder over.

A self-funded, non-profit feature documentary exploring and celebrating Iceland’s contemporary independent music scene at the beginning of the 21st century. Featuring music by Ólafur Arnalds, Seabear, DJ Musician, Hafdis Huld, Berndsen, Mugison, Lara Runars, Severed Crotch and others.

This film is a story about that time in the Baltics, Latvia, and Riga. Young rebels of 1960s – nonconformists, hippies and beatniks – have turned into a generation of well-known writers, poets, musicians, directors, as well as politicians of the new independent Latvia. The ones who were 18, 20, or 25 in 1960s are half a century older today. The protagonists of the film are united by the bohemian gathering place of their youth, a small nameless cafe in the Old Town of Riga, commonly referred to as “Kaza” (The Goat). This place is surrounded by legends, myths and humorous stories.

A non-verbal visual journey to the polar regions of our planet portrayed through a triptych montage of photography and video. Landscapes at the World's Ends is a multi-dimensional canvas of imagery recorded above the Arctic Circle and below the Antarctic Convergence, viewed through the lens of whom is realistically an alien in this environment, the polar tourist. Filmed during several artist residencies on-board three expedition vessels, New Zealand nature photographer and filmmaker Richard Sidey documents light and time in an effort to share his experiences and the beauty that exists over the frozen seas. Set to an ambient score by Norwegian Arctic based musician, Boreal Taiga, this experimental documentary transports us to the islands of South Georgia, the Antarctic Peninsula, Greenland and Svalbard. Landscapes at the World's Ends is the first film in Sidey's Speechless trilogy, and is followed by Speechless: The Polar Realm (2015) and Elementa (2020).

The term "mongrel complex" refers to a feeling that is characteristic of certain classes in Brazilian society. This feeling, marked by defeatism, pessimism, and misinformation, is closely linked to the denial of "who we are as brazilians". The documentary "The Mongrel Complex" explains this feeling, discusses the theme, and gives a brief social and political panorama of Brazilian reality.

Documentary feature about 11-time Jeopardy! champion and Internet iconoclast, Arthur Chu.