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1-13 of 13
- Ever since she was a young child, filmmaker Ester Gould has been amazed by the sheer self-confidence of her older sister Rowan, whose boundless creativity and natural beauty tended to make everyone around her jealous. She has the world at her feet, and the universe is her playground. But can such a well-developed sense of your own worth go too far? Self-assurance is greatly valued - until it spills over into an unhealthy overestimation of the self. In this incisive, personal visual essay, Gould explores our society's increasing obsession with the self. Thanks in part to social media, the pressure to have a fantastically successful life is ever greater; personal development seems to be the only thing that counts. The filmmaker follows a number of seemingly successful people going out, socializing and participating in the art world, as they reflect in conversations or interviews on the level of self-confidence they display and how this relates to their actual "self." Meanwhile, dreamy reenactments tell the story of the filmmaker's sister Rowan, illustrated by excerpts from correspondence between the sisters. How marvelously everything is going; how fantastically she's doing; she's taking yet another inspirational course; she gets so many invites that there's simply no time. Gould gradually starts to question her interesting sister's stories, which leads to a disconcerting denouement. - See more at: https://www.idfa.nl/industry/tags/project.aspx?id=0EB122D3-2D7D-474F-9AFE-25948DD336E8#sthash.wgBgnTGl.dpuf
- In 1983 East-Germany the Anhalt family secretly builds a single-engine aircraft to escape life under a communist regime. They are betrayed and arrested by the Stasi. 30 Years later the events are still a determining factor in their lives.
- Ninnoc doesn't just want to adapt to other kids simply to fit in, but she's also afraid of being excluded.
- In this funny, abrasive and moving portrait of the Kooijman car dealership, we watch as the company struggles to survive during the recession. Anyone accustomed to working in an office environment is certain to find many scenes familiar - and funny in a cringeworthy way. The viewer is invited to sit in on a performance review meeting between the boss and one of his employees. The auto mechanic gets to hear that "There's never much of a friendly expression on your face - unless you're in a bar, that is." A lack of friendliness is most certainly not a good thing, and "customer experience" is what it's all about. When it comes to marketing strategy, the Nespresso machine is Kooijman's great example. Elsewhere, the camera follows the daily lives of several employees. And so we learn about life outside the world of targets, customer experience and customer satisfaction in scenes filmed with a photographic eye, dialogues that seem to have been written for the stage, and just the occasional voice-over. It raises the issue of how "work" is viewed in this sector - or perhaps all sectors - in the Netherlands. The filmmaker also questions the high price we are prepared to pay for status and recognition. Images of damaged cars brought into Kooijman's garage contrast sharply with glamorous shots of car shows, leather gearshift knobs and glistening race cars.
- His search for his inner self is both disarming and provocative - he constantly takes on a new identity. Maurice Nuiten, a young photographer, captures this struggle perfectly in beautiful, vulnerable pictures that he takes of himself and of others. Documentary The Little Prince takes place both in the city where Maurice experiments with life and the decent village Fijnaart, his hometown where he comes every week to visit his parents. In the film we constantly discover new, surprising and paradoxical sides to Maurice, his work and his life.
- In nature only one rule counts; eat or be eaten. Wild Boar is a poetic and visually arresting documentary about the curious relationship between man and the rise of the wild boar. Wild Boar is an exploration of a society conflicted with nature and a reflection of the curiosity of human nature itself. Will we eat them or will they eventually devour us?
- Marienborn, a small village somewhere in the middle of Germany, was once world famous. The town lay on the border between East and West and for decades served as the most important and most guarded border crossing of the Iron Curtain. Many here worked for 'the system', sometimes forced, as Stasi officer, guard, accountant or waitress. In this hermetically closed-off border town, where no westerner or outsider was allowed, the villagers formed a tight-knit community, caring for each other and creating a pleasant atmosphere. Yet, everyone knew that no one could truly be trusted. Criticism was unwelcome and even close friends could be informants. Now, almost 25 years after the fall of the Iron Curtain, this documentary shows how the people of Marienborn are haunted by their past. Conflicting feelings of guilt, regret and a longing for their former sense of community have resulted in a lonely mutual silence. Meanwhile, the once-isolated community is flooded by outside visitors. Tourists ask imposing questions, pilgrims search for healing at the village's Holy well and an African asylum seeker, who ended up here by chance, tries to understand how the villagers live together. Being suspicious while falling under suspicion. Looking, while being watched. In this documentary the closed-off community of Marienborn lives as if in a claustrophobic dream while trying to reconcile with the past.
- Anne has Tourette's syndrome, which means she sometimes has to go in circles, always to the right, or lick everything in sight.
- An intriguing documentary about up-and-coming funeral tourism in the German-Dutch border region, drawing the audience's attention to the commercialisation of the 'last farewell' in relation to our inhibitions about death.