Daan Milius

Jazz and decolonization are intertwined in a powerful narrative that recounts one of the tensest episodes of the Cold War.

Sophie and Jessica are anthropomorphic beings that wander through different worlds – searching for themselves and for one another. Their bizarre and battered appearances are modelled with so much detail you can almost touch them.

A monster film with no monsters. Inspired by the existence of taxonomies of monsters at the heart of Early Modern European science, the film explores and reinterprets a way of seeing the natural world that is almost impossible to imagine from today’s vantage point.

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss.

If you were to design your dream house now that you're at the end of your life, what would it look like? This question from the filmmaker to her father, retired architect Karlhans Pfleiderer, is the starting point of Das Retirée or the last house of my father. Slowly but surely, the house takes form, first drawn on shifting layers of transparent paper, then glued into a scale model. Between the words and the gestures, the film of the daughter becomes the father’s last house, a space in which unspoken words, unfulfilled desires can appear, disclosing coping-mechanisms that have survived several generations.

When asked a question on politics, late Palestinian poet Mahmoud Darwish once answered: “I write about love to expose the conditions that don’t allow me to write about love.” In TWO TRAVELERS TO A RIVER Palestinian actress Manal Khader recites such a poem by Mahmoud Darwish: a concise reflection on how things could have been.

Jazz and decolonization are intertwined in a powerful narrative that recounts one of the tensest episodes of the Cold War.

Sophie and Jessica are anthropomorphic beings that wander through different worlds – searching for themselves and for one another. Their bizarre and battered appearances are modelled with so much detail you can almost touch them.

A monster film with no monsters. Inspired by the existence of taxonomies of monsters at the heart of Early Modern European science, the film explores and reinterprets a way of seeing the natural world that is almost impossible to imagine from today’s vantage point.

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss.

If you were to design your dream house now that you're at the end of your life, what would it look like? This question from the filmmaker to her father, retired architect Karlhans Pfleiderer, is the starting point of Das Retirée or the last house of my father. Slowly but surely, the house takes form, first drawn on shifting layers of transparent paper, then glued into a scale model. Between the words and the gestures, the film of the daughter becomes the father’s last house, a space in which unspoken words, unfulfilled desires can appear, disclosing coping-mechanisms that have survived several generations.

When asked a question on politics, late Palestinian poet Mahmoud Darwish once answered: “I write about love to expose the conditions that don’t allow me to write about love.” In TWO TRAVELERS TO A RIVER Palestinian actress Manal Khader recites such a poem by Mahmoud Darwish: a concise reflection on how things could have been.