Jakob Krese

A story slowly reveals itself: a spattering of campfires and makeshift tents is actually a caravan heading to the US border in search of safety and a new life. Silent images and fragments of touching conversations calmly direct the viewer’s attention to individual destinies. What seems so abstract and far away, suddenly becomes close and alive.

Hazira survived Srebrenica. She saw the war, it corroded her life. She has been stuck in a refugee camp in her own country for 29 years, working hard and unceasingly to make ends meet and keep the trauma at bay.

Director Annika Mayer's mother mentioned to her one day that she wanted to dispose of the family's old Super8 film footage. Just in time, Annika is able to save the material from the 1950s and 1960s. The footage shows a model family of the post-war period in the FRG. This irritates her, since she knew about her grandmother's unhappy marriage. Upon closer questioning of her father and grandparents, she realizes the extent of the violence in her grandparents' marriage and her father's childhood.

Lilian and her four kids are in search for a better life. She dares to leave her violent husband in Guatemala and joins the migrant caravan in order to make it to the Mexican-US border. Being a single mother, this is her only chance to make the dangerous way through Mexico.

Dinora left Honduras for the United States in one of the migrant caravans leaving Central America. Settled in a suburb of Washington D.C., she speaks on social media of the difficulties she has encountered integrating, as well as of the presence around her of a film crew which has thus unwittingly become the subject of its own film.

A story slowly reveals itself: a spattering of campfires and makeshift tents is actually a caravan heading to the US border in search of safety and a new life. Silent images and fragments of touching conversations calmly direct the viewer’s attention to individual destinies. What seems so abstract and far away, suddenly becomes close and alive.

A story slowly reveals itself: a spattering of campfires and makeshift tents is actually a caravan heading to the US border in search of safety and a new life. Silent images and fragments of touching conversations calmly direct the viewer’s attention to individual destinies. What seems so abstract and far away, suddenly becomes close and alive.

Hazira survived Srebrenica. She saw the war, it corroded her life. She has been stuck in a refugee camp in her own country for 29 years, working hard and unceasingly to make ends meet and keep the trauma at bay.

Director Annika Mayer's mother mentioned to her one day that she wanted to dispose of the family's old Super8 film footage. Just in time, Annika is able to save the material from the 1950s and 1960s. The footage shows a model family of the post-war period in the FRG. This irritates her, since she knew about her grandmother's unhappy marriage. Upon closer questioning of her father and grandparents, she realizes the extent of the violence in her grandparents' marriage and her father's childhood.

Lilian and her four kids are in search for a better life. She dares to leave her violent husband in Guatemala and joins the migrant caravan in order to make it to the Mexican-US border. Being a single mother, this is her only chance to make the dangerous way through Mexico.

Dinora left Honduras for the United States in one of the migrant caravans leaving Central America. Settled in a suburb of Washington D.C., she speaks on social media of the difficulties she has encountered integrating, as well as of the presence around her of a film crew which has thus unwittingly become the subject of its own film.