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As the army acts ever more brutally and their city is transformed into a ghost town, the young men become armed insurgents. The protagonists are two friends: Basset, the charismatic year-old goalkeeper of the national soccer team whose revolutionary songs make him the voice of the protest movement, and the year-old media activist and cameraman Ossama. The close-up camerawork takes the viewer right into the group.

Scenes of lively protest parties make way for panicking civilians on the run, followed by grim battles in a deserted city, and rising numbers of fallen loved ones. At night, she stares up at the universe, and she is taking lessons from a space fanatic who teaches schoolchildren about astronomy. So it is possible!

When her father died suddenly six years ago, Sepideh discovered that she could feel closer to him by watching the stars. And so her dream was born, but not everyone appreciates her boundless ambition. Her mother and uncle are worried about the emancipated young woman.

We follow this brave young Iranian woman as she watches the stars, as well as at school, in the mosque and at home, where tensions steadily rise. As we follow Sepideh, it becomes clear just how at odds her dreams are with her current reality and the expectations of those around her. Fortunately, Sepideh is able to express all her thoughts, dreams and cares in the letters she writes to her hero, Albert Einstein. They call themselves the Freetown Streetboys, even though there are some women among them as well.

Suley, Lama, David, Alfred, Shero and Sarah have all faced enormous physical and psychological challenges, and have been abandoned by the world around them. Without commentary and in poetic, cinematic images, the camera records the dark environment that they inhabit. The group shares their heartrending stories of the precarious nature of life in this complex country. But there is also room for everyday personal struggles, such as starting relationships, how to bring up children or not , and sex.

Filmmaker Boris Gerrets likes to explore the underbelly of big cities, using chance meetings and silent observation to present the day-to-day life of those inhabitants who normally stay in the shadow. Over the years he has collected over 1, hours of unique recordings of Bayaka music, which he recently donated to the Pitt Rivers Museum in Oxford, England. Many years ago, when newborn Samedi became gravely ill, Louis promised him to show him where he was from.

Now the time has come to fulfill this promise, and Louis takes year-old Samedi on a journey to the world he left behind in the United States. While Samedi manages America quite well, Louis feels like a stranger in his old world. Feri, for example, is an incurable romantic. And the women speak plainly when sharing their most intimate thoughts and dreams to the camera. Their tragicomic tales prove the ancient game of love and romance is still being played in this remote village, with its aura of bygone days.

An elderly woman rolls meatballs in cabbage leaves as she recalls her wedding night, which came to an abrupt halt when her groom sank through the rickety bed — before anything could happen. Towards the end of the film, we see the women rolling sideways down a hill, slightly hindered by their round bosoms. They are young once more. And There Is the Prison, Honey In this, at least, they are no different from other boys their age. But they are different in one crucial way, because nine-year-old Daniel and Habtom and Yohannes, both aged 12, live on the street, sleeping in an abandoned car on the side of the road.

Without money or any form of adult support, they struggle to survive in Addis Ababa, the capital of Ethiopia. And there are around , other street kids like them. We see how they live, smoke a joint together and solve conflicts with other street children. These scenes are interspersed with interviews in which they discuss their situation in a relaxed and astonishingly adult tone. What prompted them to live on the street? Is life there really so much better than at home? When the boys have had enough of the vicious conflicts between young gangs, they decide to go on a journey, back to the families they left behind.

But they are kids living in a cruelly tough world. A fivemember international jury will evaluate the films, nominate three of them and select the winner from these. This makes him an American Arab, but what does that term actually mean? American Arab deals with life in between two cultures, and the expectations, prejudices, suspicions and stereotypes that any American with an Arab appearance and name will encounter. But Usama discovers firsthand just how persistent racist preconceptions can be.

Each day, a small, closely-knit team packs a van full of the supplies they will need to do their job in the most remote corners of the countryside. In most Western countries, donating blood is an ethical deed that people do without financial compensation, but in Blood, a few touching scenes are enough to render the economic necessity palpable.

Wherever the blood bank should end up, the line of donors is always long. The nurses work away, poking needles into veins and managing the many liters of blood. Meanwhile, they converse with the donors, distract them a bit from the scary needles, and when one faints, raise his legs to get the blood flowing back to his head. He has been trying to push his plan through in Europe for 10 years, but bureaucracy has always gotten in the way.

Paloheimo feels that democracy responds too slowly to solve the crisis facing the world. Now, he has come to believe China might well have a pioneering role in securing the future of mankind. He was the first Chinese person to own a private jet, but he has since adjusted his outlook and disposed of the plane. He is convinced that a better world will start not with ordinary people, but with the rich. And Zhang thinks big — really big. His dream city is the tallest and quickest-built mega-building, incorporating indoor farms for 20, people.

And deep within this gigantic construction, people will be able to enjoy artificial sunlight. She hitchhikes wherever the winds of fate take her, and along the way she encounters all sorts of people in many different cultures. This leads to lovely conversations, with each person talking in his or her own language.

Her husband explains what drove her away, and the film alternates scenes of her encounters with her life at home, revealing a tragedy and the anatomy of an unconventional marriage. But year-old heart patient Dale is 50 years older than his girlfriend Girlie, who lives in the Philippines.

Thrown into turmoil by this situation, the filmmaker — who is twice the age of her potential future stepmother — follows the happy couple. April is clearly torn. She is horrified by the behavior of her father, who appears to be seducing Girlie with invented stories about his wealth, and who happily lets his girlfriend take care of him in their apartment in the Philippines. But things feel quite different when April visits her father in Canada.

Who is really benefiting the most from this relationship? Should April take action now that there are plans for a wedding in Hong Kong? Or are Dale and Girlie truly happy together? Struck by loneliness and a terrible sense of guilt, Or counts the days until his departure from Tel Aviv. We see her recovering from the operation, adopting a new identity, talking with fellow transgender people, on an emotional outing to a karaoke bar. Back in Tel Aviv, she must face her family and the price of seeking her true identity.

This is an exciting tale about fear, self-doubt, willpower, and the importance of family and being able to be you are. In Huntsville, Texas, preparations are being made to carry out the sentence. At precisely 6 p.

In Killing Time, he shifts his attention to the next of kin as they and Chester watch his last hours, minutes and seconds tick away. Everyone kills the time before the execution in his own way. Occasionally their words are filled with hatred, but at other times the tone of their emotions and experiences is surprisingly nuanced.

And all this takes place against the backdrop of the certainty that many others will follow Chester. He was the th person in the state of Texas to be put to death since , and there are more convicts in Texan jails awaiting the same fate. The Turkish cities used as locations have become tourist attractions, and huge numbers of parents name their children after the main characters. Kismet seeks out the secrets behind the soaps, which while breaking taboos also count many strict Christians and Muslims among their loyal audience.

The film alternates interviews with the stars, directors, and scriptwriters with analyses by sociologists and portraits of faithful fans — most of them female — from Abu Dhabi, Cairo, Athens, Mostar, Sofia and Istanbul.

The soaps transcend cultural and religious boundaries, and their devotees see them as much more than a temporary escape from their often-dismal social reality. They may swoon at the hotly debated romantic intrigues, but they are also emboldened by the female characters, all of whom are strong, independent fighters. Alongside illustrative scenes from the series, the documentary brings us the personal stories of women who followed in the footsteps of their heroines to fight for their rights, and to ultimately break free of oppressed lives.

Here, Olga lives in a simple dwelling under a think layer of snow. This year, she spent days by herself, with only a cat to keep her company. Food often gets stolen, and she once came face to face with a bear and got run over by a herd of reindeer. But Olga feels right at home here. She grew up in an orphanage, and when her mother finally got some money together and came to pick her up, she felt like a stranger in her own family. When rumors circulate that the brigade is going to be shut down, she is truly worried.

If Olga loses her job and her house, what will become of her? In these days of economic boom in present-day China, it is no easy matter to follow dreams that go off the beaten track. The film follows Li Zi during the year he loses his innocence. In an interview, Li Zi and two of his fellow puppeteers reflect on the events. The filmmakers were not seeking to moralize through their observations of the debris. Orthodox Bulgarians and Islamic Turks live here alongside gypsies and communists.

Violent conflicts are a thing of the past, and the villagers are united by friendly clubs they have set up themselves. But do the members of this club all live in the same world? Women are also a great topic for these heated discussions.

It taught our women to argue with us. The documentary shows interviews with this motley group of seven, as well as a number of other members of the aging village populace, including two Muslim women. Between the contemplative inhabitants, there is also a Finnish family — the first tourists to stay longer than 10 days in Satovchka. This weekly broadcast is devoted entirely to the hundreds of Eritrean refugees held hostage in wretched conditions in the Egyptian Sinai Desert.

The Bedouins have held sway in the desert ever since the Egyptian revolution, so they kidnap Eritreans making their way to Israel and demand large ransoms from their families. We follow Meron in her attempts to turn the tide by making telephone contact with hostages and kidnappers alike during her radio show. The film focuses on the stories of two hostages. Hiriyti was pregnant when she got kidnapped.

We hear the young woman in a phone conversation with Meron, and also with her husband Amaniel in Tel Aviv, who is doing everything he can to free his badly abused wife and their baby from a torture camp. The ransom for year-old Timnit has been paid, but neither her brother nor her boyfriend have heard anything from her since her flight to the Egyptian-Israeli border 18 months ago.

There, she stumbles on the marks left by the many atrocities. They ended up in an orphanage and were put up for adoption, at which time the authorities apparently decided that it was a good idea to separate them, and to keep silent about the fact that they were twins. Twin Sisters tells their story from the perspective of both sets of adoptive parents: one from Sacramento, California, the other from a tiny village in picturesque Norway.

Through a series of coincidences that they later attribute to fate, the parents meet each other during the adoption procedure in China and launch an investigation that reveals the little girls are sisters. They grow up with the knowledge that they each have a twin sister living on the other side of the world, and although their lives are very different and language is a barrier, the bond between them grows deeper. When the girls are eight, the American Mia and her parents go to Norway.

Together with their amazed parents, we observe the girls in action. They not only look and act alike, but they are unmistakably and inextricably connected to one another. The filmmakers ask random passersby to tell a personal story for the camera.

The film opens with a young girl half giggling, half crying as she describes a very unpleasant experience. It seems that the impersonal camera has become the first confidant she has had for a long time. I want my films to convey a sense of us — while I remain silent and invisible. With this competition, IDFA supports talented new filmmakers. He quickly determines to walk again one day, on prosthetic legs that he will design himself.

Fortunately, he can use his hands to do what his legs no longer can. But how do you get back to living a normal life in a wheelchair? Canadian director Laura Bari followed Ariel for 10 years, starting in the period following his accident. Ariel takes care of his children, does odd jobs around the house and drives all around in his car.

And he also works incessantly on his mechanical legs. He designs them, and with the help of his daughter, makes plaster casts of his knees, where his legs end and the prosthetics will be fitted. Ariel remains remarkably positive considering the arduous journey of transformation he must complete to walk again.

But the handicap is not the only cause of setbacks, because his divorce also brings challenges for him. Between the ups and downs of his life, we see dream sequences of Ariel in the sand and on a salt flat, surrounded by people dancing and by different kinds of artificial legs. Will standing on his own two feet remain just a beautiful dream? Meeting family members again, memories are evoked of the deceased and preparations made for a ceremony.

In this diary, Kyoko talks — a voice from beyond the grave — about her motivations for moving to Paris. As a child, she had survived the atomic bomb on Hiroshima. As a young woman, she wanted nothing more than to live like a heroine from the New Wave films. She left her country after getting to know her future husband, French documentary maker Pierre-Dominique Gaisseau.

A personal story of family ties and passing through grief and memory is transformed into an examination of post-war Japan, the French New Wave and the desire for freedom. The pain is palpable when he loses to his rival from a nearby village. Photos grace the shop windows and entire monthly wages are committed to his chance of winning. But once the party has come to a muted end, the villagers start to squabble. Is it Bahador, who put lots of money into the bull, or Nader, who lent the animal out?

And should Barre be entered for the next fight or not? There are hardly any shops, and no special attractions whatsoever — until the mayor tells the local paper about the mountain alongside the village. He says it will be the sole safe refuge on Earth during the Apocalypse, which will take place on December 21, His pronouncements unleash a barrage of media hype.

For months on end, the village is awash with the international media, and filmmaker Martijn Payens is on hand from the start. He presents the story as a classic fairy tale, with a friendly voice-over that introduces the mountain, and then simply records the goings-on. What effect is all this media attention having on the inhabitants? The hype results in a kind of Droste effect: faced by the absence of hordes of visitors, the press starts reporting on itself.

This documentary not only captures the media hype, but it also contributes to it. Martijn Payens: Mushrooms of Concrete www. And with 1, Facebook friends and 2, followers on Twitter, she has built up an impressive network. She posts demonstrations as Facebook events, plots escape routes using Google Maps and uploads footage shot by demonstrators.

She also ensures that all kinds of recording equipment get to her friends, once ordinary students who now want to overthrow the rule by terror of President Bashar al-Assad. But what began as peaceful protest has escalated into a violent situation. We see her friends mostly through their own footage, which gives a terrifying impression of brutal violence, death and devastated streets.

The story of the young Syrians is accompanied by commentary from a range of experts in the fields of Syria, war, journalism and social media. What influence is the Internet having on the phenomenon of revolution? Why is a camera more effective than an AK? And why did the regimes in Egypt and Tunisia fall within a matter of days, while the Syrian regime is still holding out? He is talking about a few bags of water, all the size of a fist, somewhat haphazardly hung from the low ceiling of the mineshaft.

It is heavy, unhealthy, hazardous work, which thanks to the relatively high pay — two to four times what people earn in the city — is nevertheless tempting to many young men. Once a year, they are honored during the Day of the Mineworker — a relic from the Soviet era when the most deserving workers receive a rose from the director of the mine in a kitschy ceremony.

For the rest of the year, the workers are ignored, pestered or intimidated by their bosses, and no one is concerned with their safety. Gradually overcoming the skepticism of the mineworkers, he manages to film a series of oppressive, revealing moments. He would seem the embodiment of the American dream, having made it from young Filipino immigrant to successful professional.

His mother had sent him to the U. Vargas established the Define American project and joined the Dreamers, a group fighting for legal recognition of the approximately 11 million U. Footage of the lectures and other activities the journalist undertakes for the Dreamers combine with memories of his youth and his grandparents, with whom he grew up, musings on what it means to be an American, and footage of his family in the Philippines.

Hamid 26 and Tarek 21 have never fired a gun, but in they run recklessly toward the war, fueled by their hatred of Muammar Gaddafi and their desire to be part of history. Life is not all about festivities though, everyday life is equally important in Tired Moonlight; the countless games of patience during lonesome evenings, brief family visits and living-room performances with the local children.

Wandering through this amalgam of stories, we zoom in on Dawn, a middle-aged woman whose life is turned upside down by a lover from the past, an exceptional poet. In her first film, West convinces as a director with a distinctive voice and a talent for creating a poetic atmosphere, which is enhanced by the warmth of filming on Super L www. Full of eclipses, encounters, illusions and magic, the film is founded in uncertainty concerning home. Cultures linked by the raw symphony of a brass band.

Lemieux manages to visualise this extreme sensitivity, described in a taped interview, in an exceptional manner. He paints a crumbled, peeling reality using chemically corroded film celluloid. The electrified images make the film a hypnotic search for a radiation-free zone. How can shamanism, medicinal drugs, sexuality and the return of the feminine be aligned with the narcissism of cyberspace?

Can empathy, spirituality, feminism and ecological consciousness enable a healthy future for all living organisms on the planet? See also Short Special: Basim Magdy. Hartung investigates his personal experiences with evangelicalism and a broader cultural familiarity with biblical violence. He splices stop-motion animation of hand-constructed collages and assemblages with news footage.

The result is a highly original film that ranges from sequences of terrible violence to nearly abstract scenes of hallucinogenic beauty. We encounter a solitary, anonymous figure who sleeps on graves and wanders through the lush forest as if in search of something. The lone, mysterious character marks a sense of isolation and his movements signal a final communion with the forest and the dead before they vanish.

At the same time, elsewhere, he becomes embroiled in a business conflict. His dexterous sound composition adds an extra veneer to evocative but fleeting images, making our senses as malleable as putty. She compiled an enormous archive of abstract drawings that resulted from minor events and coincidences during countless night-time urban walks. A few of the thousands of drawings — or rather scores — are brought out. Gradually it becomes increasingly clear why the artist chose not to exhibit this work.

Guided by female inspirations we tour the ritual anchorages of life in and around Miami: the Catholic church, the swamp, the backyard, the water.. An intensely musical film that Terence Nance collaborated on with his brother and musician Norvis Jr. Hernandez Music: Norvis Jr. With: Norvis Jr. We hear how her father tries to understand the world by quantifying and categorising certain things, for instance calculating the calories that his farm produced.

He gravitates towards communities like 4chan because he sees in them a compelling mix of attraction and repulsion, an ambivalence reflected in the current cultural moment. Mainsqueeze is entirely composed of online footage.

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In Picnic Cinema, the line production of a film becomes a very simple process, so it will be easy for filmmakers to enrich their own work," he said. Ismail writes and directs "Mobil Bekas," which marks his fourth feature-length film, but he leaves it to his cast to give names and add details to characters they are playing. Following's Sunny's storyline, the story then ventures to other segments that are all related to the car.

After making the critically-acclaimed drama "Mencari Hilal" "The Crescent Moon" , which is the director's response to his belief in Islam as well as his critique of Indonesia's costly sidang Isbat meeting to discuss moon sightings, which mark Ramadan and Idul Fitri every year, Ismail said he wanted his next project to speak of his anxiety as an Indonesian citizen. The year-old said he sees the car in "Mobil Bekas" as a parable of Indonesia as a country.

And the state is using their wounds as a weapon to spread fear," Ismail said in a statement. The Friday filming at the Yogya zoo marks the seventh and final day of production of "Mobil Bekas.