That Which Does Not Kill

Can a critical reflection of a war be achieved for example by means of poeticity or visuality, or would it be advisable in such an undertaking to tendentially forego unambiguous words and images in favour of a more critical reflection of a war? If a text or a film was made in such a way as to seem to lack reference to reality, would it then make finding the truth redundant, since no reference points to factuality – the atrocities, for instance – could be found? Or would such a design of a text or a film allow conclusions about the problematic nature of any attempt at describing, at showing the complexity of evil?

A group of female fighters from the Kurdistan Workers’ Party set up a camp in the mountains under constant attacks from Daesh, and the Turkish and Iranian armed forces. These girls and young women left their families to protect the families of others. Together, they train in combat, venture into war zones and then come back to the heavily mined hills. They openly speak about war and the role women play in it.

This poetic documentary is an elegy to the Middle East, where cement flows across the region as they rebuild after the ravages of war. For the narrators, the smell and taste of cement remind them of their father, who left to work in neighboring countries, and the horrifying sight of their devastated home.

A warrior as an archetype – a symbol – a real person – along this line, the film’s authors descend into the heart of darkness of the  Liberian civil war at the turn of the century. One by one, seven generals share their thoughts on what it means to commit one’s life to a war in which ancient traditions clash with modern alienation.

With the use of a casual cinematic language, French director Andy Guérif has breathed life into a grandiose polyptych by painter Duccio di Buoninsegna from Siena. Twenty-six simultaneously unfolding scenes from the Passion of Christ show the 14th century majestic work of art frame by frame from a previously unseen perspective.

Childhood as an age of extraordinary imagination, games, and sense of security in a world bordered by the close horizon is explored in this observational documentary that focuses on a year in the life of a Norwegian Waldorf kindergarten. This sensitive study of the expressions of modern, progressive pedagogy can renew viewers’ faith in education and the importance of the work of educators.

A film essay about the obsession with maintaining visual memory using Polaroid works as a historical excursion, a how-to manual, and a philosophical contemplation. Accompanied by a hypnotic soundtrack, the film reveals the magic of instant photography using the compelling nostalgic aesthetic of the time before digital photography.

A sensitive portrait of 26-year-old Taelor examines the upper-class American mentality in the era of Donald Trump. Absurd property disputes and dysfunctional family relationships combine with alcoholism, drug addiction, and love of weapons to reflect the reality of the contemporary American south with a dash of brutal honesty.

Apocalyptic depiction of an area literally engulfed by the mining industry is presented in this documentary that observes the eponymous northern Swedish city, part of which was abandoned due to activities in the nearby iron mine. The mining company’s management decided not to halt profitable mining activities and instead made the decision to move the residents of the threatened district. Using footage shot in the city inside the Arctic Circle and directly in the mines, the director has uncovered subtle film imagery, and using the stories of three protagonists now living in a bizarre inter-time, imaginatively addresses the topics of resettlement, tradition, and respect for a particular location. “The dystopian story of Kiruna is about lost people looking for a home in an uprooted city. It shows the dark side of the advanced society, whether in Sweden or the Czech Republic.” G. Stocklassa

Combining elements of science fi ction and poetry, the fi lm uses period documentaries to look at the question of Dutch colonialism within new contexts while digging deep into the history of this nation. The fi lm, which was awarded the 2019 Doc Alliance Selection Award, consciously aims for a deeper refl ection on the complicated nature of what we consider to be true

Through interviews and footage from theatre rehearsals, the film reflects on the origins of a theatre production by Croatian director Oliver Frljić about the murder of a twelve-year-old girl during the war in Yugoslavia.  What might seem like history is actually everyday reality for Croatian Serbs, filled with hatred and fear.