Kristina Konrad

Every year since 2011, a unique beauty contest has been taking place in Haifa. The contestants are female survivors of the Holocaust. In the midst of this flashy spectacle, their personal traumas remain as deep as ever. There are many things about this contest that are controversial: it is organized by the right Zionist organization, the International Christian Embassy Jerusalem, and the dubious contest itself rises the public indignation of various speakers, including other survivors.

Ramba Zamba: a theater with handicapped and non-handicapped people/actresses and actors, which has been living and working on inclusive integrative togetherness impressively every day for thirty years now. The film accompanies the mentally and physically impaired actresses and actors for six months through the theatrical production of the play GOLEM, from the beginning of rehearsals to the premiere. In doing so, the film is also partly influenced by the portrayed persons themselves, quasi inclusively co-determined, by them capturing their own view and perception, their view of reality itself on film.

A new production center, maybe set in an undetermined future. What is being produced here? We shall find out by following the given traces. Two pairs of hands trying to untangle themselves. A human sheep virtually cut into pieces. A warm welcome to the authors and actors of their lives. Stories being told, their narrators dissected. When the gates open, those leaving Labour Power Plant have been made fit for the demands of the labour market. The next production cycle begins… People with their own wills, interests, and desires are being equipped with the different physiological, cognitive, psychological, and social core competencies to transform them into human resources. Meanwhile, the management is introducing new methods to enrich the products with the innovative features of ‘self-evaluation’, ‘self-optimisation’, and, most importantly, ‘self-fulfilment’. A series of interventions are performed, leading to an assembly that may appear strange at first sight.

In São Paulo, Yá, a young indigenous woman with no memories, and Jorge, a non-binary artist, flee from an influential policeman who uses TikTok to persecute them. Between dreams of a Jaguar Woman and urban labyrinths, they seek to survive.

The Aromanians (Rrãmãnji) are an ethnic group found mainly in today’s Albania, Greece, Bulgaria and Romania. For filmmaker Alexandra Gulea, this question of heritage is connected to the name she shares with her grandmother, who was born into a traditional Aromanian life, and is fluent only in an Aromanian language. The older Alexandra's father suffered a violent death in an uprising for his people's rights, which forced the family out of Greece and into a politically treacherous Balkan landscape deep in the throes of nationalist upheavals, until finally, they found a home in Romania.

Nonon is an orphan who left Mali and the Kaye region at the age of 14 to go to Europe, and who is today, after crossing the desert, in transit in the mountains of Morocco. We discover his terrible living conditions in the forests surrounding Nador, his daily life as well as that of sub-Saharans, the different paths they can take to get around the ban on entering the city of Nador, to escape the multiple roundups, the destruction of the camps in the mountains... Finally, we see the barrier crossed...

Every year since 2011, a unique beauty contest has been taking place in Haifa. The contestants are female survivors of the Holocaust. In the midst of this flashy spectacle, their personal traumas remain as deep as ever. There are many things about this contest that are controversial: it is organized by the right Zionist organization, the International Christian Embassy Jerusalem, and the dubious contest itself rises the public indignation of various speakers, including other survivors.

Ramba Zamba: a theater with handicapped and non-handicapped people/actresses and actors, which has been living and working on inclusive integrative togetherness impressively every day for thirty years now. The film accompanies the mentally and physically impaired actresses and actors for six months through the theatrical production of the play GOLEM, from the beginning of rehearsals to the premiere. In doing so, the film is also partly influenced by the portrayed persons themselves, quasi inclusively co-determined, by them capturing their own view and perception, their view of reality itself on film.

A new production center, maybe set in an undetermined future. What is being produced here? We shall find out by following the given traces. Two pairs of hands trying to untangle themselves. A human sheep virtually cut into pieces. A warm welcome to the authors and actors of their lives. Stories being told, their narrators dissected. When the gates open, those leaving Labour Power Plant have been made fit for the demands of the labour market. The next production cycle begins… People with their own wills, interests, and desires are being equipped with the different physiological, cognitive, psychological, and social core competencies to transform them into human resources. Meanwhile, the management is introducing new methods to enrich the products with the innovative features of ‘self-evaluation’, ‘self-optimisation’, and, most importantly, ‘self-fulfilment’. A series of interventions are performed, leading to an assembly that may appear strange at first sight.

In São Paulo, Yá, a young indigenous woman with no memories, and Jorge, a non-binary artist, flee from an influential policeman who uses TikTok to persecute them. Between dreams of a Jaguar Woman and urban labyrinths, they seek to survive.

The Aromanians (Rrãmãnji) are an ethnic group found mainly in today’s Albania, Greece, Bulgaria and Romania. For filmmaker Alexandra Gulea, this question of heritage is connected to the name she shares with her grandmother, who was born into a traditional Aromanian life, and is fluent only in an Aromanian language. The older Alexandra's father suffered a violent death in an uprising for his people's rights, which forced the family out of Greece and into a politically treacherous Balkan landscape deep in the throes of nationalist upheavals, until finally, they found a home in Romania.

Nonon is an orphan who left Mali and the Kaye region at the age of 14 to go to Europe, and who is today, after crossing the desert, in transit in the mountains of Morocco. We discover his terrible living conditions in the forests surrounding Nador, his daily life as well as that of sub-Saharans, the different paths they can take to get around the ban on entering the city of Nador, to escape the multiple roundups, the destruction of the camps in the mountains... Finally, we see the barrier crossed...

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

No synopsis available yet.

In 1986, the Uruguayan Parliament passed a law granting amnesty for all crimes and human rights violations committed by the military and police during the dictatorship (1973-85). This law of impunity prevented the clarification demanded by the relatives of those who had disappeared and been murdered by the former regime. A public initiative arose calling for a referendum in which the law be subject to the vote of the people. Unas preguntas uses U-matic footage, mostly of interviews recorded on the streets of Uruguay between 1987 and 1989, to present a time capsule of the period.

Daniela would like to live far away from here in the future. Here, is a poor part of town in Montevideo, where Daniela lives in a small house with her son, husband, mother, sister and brother-in-law. They are better off than most of the people living in that neighborhood. They all work and the father provides them with whatever they need. He is one of the millions of emigrants from Latin America whose salaries are essential to the survival of their families. The movie carefully approaches Daniela’s world, tells her story, a girl immersed in daydreaming, who is also a down-to-earth mother, beloved daughter and young wife – and about the pain of emigration.

Daniela would like to live far away from here in the future. Here, is a poor part of town in Montevideo, where Daniela lives in a small house with her son, husband, mother, sister and brother-in-law. They are better off than most of the people living in that neighborhood. They all work and the father provides them with whatever they need. He is one of the millions of emigrants from Latin America whose salaries are essential to the survival of their families. The movie carefully approaches Daniela’s world, tells her story, a girl immersed in daydreaming, who is also a down-to-earth mother, beloved daughter and young wife – and about the pain of emigration.

Sangai, a teenage girl living with her father in a village of inland Bhutan, is not happy with her father, who makes wooden phalluses, believed to have mysterious power, and playing a festival clown with a red mask at a local festival. She reluctantly delivers the phalluses to neighbors but she is followed by dozens of men with red masks and costumes when walking through the hill. Conflict and tension grows between the father, who has concerns about his successor, and Sangai, who has a clandestine relationship with a married man.

No synopsis available yet.

The documentary is based on testimonies of people who are in the front line of care for children and adolescents who have suffered situations of sexual abuse. Professionals, people who dedicate their lives to a very just cause, minimizing the damage to children who have suffered a pain for which they were not conceived.

Raúl Sendic, leader of the National Liberation Movement of Uruguay, died in Paris on April 28, 1989. On May 5, 1989 his remains were repatriated to Uruguay and, on May 7, he was buried in La Teja Cemetery. Tens of thousands of Uruguayans were waiting for him and carried out an unforgettable march.

When people from different generations meet in Montevideo to remember their years of exile in Mexico and Europe due to the military dictatorship, they realize that Uruguay is not the same country they had to leave.

When people from different generations meet in Montevideo to remember their years of exile in Mexico and Europe due to the military dictatorship, they realize that Uruguay is not the same country they had to leave.

No synopsis available yet.

No synopsis available yet.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

Four women in a poor neighbourhood in the town of Las Piedras, in Uruguay, speak about their daily lives, economic problems and numerous children. Their menfolk don't help, quite the opposite. The documentary comes up against the same general questions, and then we move to the more intimate level of love, tenderness and sexuality.

No synopsis available yet.