Toward a Common Tenderness

A young woman, who has inherited her grandparents' huge house, a fascinating place full of amazing objects, feels overwhelmed by the weight of memories and her new responsibilities. Fortunately, the former inhabitants of the house soon come to her aid. (An account of the life and work of Fernando Fernán Gómez [1921-2007] and his wife Emma Cohen [1946-2016], two singular artists and fundamental figures of contemporary Spanish culture.)

Summer 1994, Mostar, Bosnia and Herzegovina. Two civil wars in only three years has torn the city apart and destroyed it. The town is split into a Croatian majority in the west and a Muslim majority locked in the east. An invisible wall divides the two areas. The EU appoints German social democrat Hans Koschnick as municipal administrator of the town in the hope of rekindling a sense of community there.

Emir Kusturica views himself as a rock musician and believes that he became a world-famous filmmaker by pure chance, as he shoots his movies only in between concert tours with the “No Smoking Orchestra” band. At these little pinpoints of time he gets “Palms d’Or” at Cannes, “Golden Lions” in Venice, builds his own villages, a power plant and a piste and regrets not becoming a professional football player. Kusturica’s own living is very much similar to his movies, where shoes are polished with cats, death is treated like a story from tabloid press, and life is a miracle...

In present-day Bosnia and Herzegovina, economically depressed towns turn themselves into tourist destinations in order to survive—deliberately forming their own cultural narratives. Centering on four different locations, The Stone Speakers interrogates a nation’s contradictory memories. Made with subtlety and tactful distance, director Igor Drljaca’s film reveals the traumatic consequences of being a country that is stuck in a postwar identity crisis.

Love and admiration in 16mm. The fusion a beauty that exists throughout three generations; my three Venus.

An attempt to erect a virtual memorial for the victims of the Bosnian war, using archive material, videos and statements from survivors in a 3D animation.

The six-decade transformation of a block of houses, shown by means of artfully featured archival shots, highlights the beauty and sadness of human-made decay. In the blink of an eye 66 years pass by and a savings bank replaces a church.

Between 1993 and 1995, artist and photographer Louis Jammes took pictures of people on the streets of Sarajevo under siege and gave them angelic face and wings. Then he put his huge portraits on destroyed city walls. Suddenly, it seems as life is getting back with their arrival, because they brought a sense of peace, beauty, nostalgia...

The carnage in Sarajevo provides the focus of this French documentary which seeks to call attention to the terrible conflict in the hopes of finally ending it. The film is divided into five parts. Each part covers a time frame ranging from April 4, 1992, the beginning of the war, to the present. The major issues that occur are three-fold. It depicts the systematic genocide of Bosnians, the silence of Western countries, and the determination of the Bosnians to resist. They refuse to be seen as victims, even though the filmmakers portray them so. Also included are the origins and political aspects of the war. It offers interviews with participants. It also reveals how the U.S. State Department censored reports about Serbian death camps.

An isolated filmmaker struggles to connect with others in the absence of cameras. When he becomes creatively stuck, the world around him begins to dissolve.

The war crimes trial of Ratko Mladic, accused of masterminding the murder of over 7000 Muslim men and boys in Srebrenica in the 90s Bosnian war, the worst crime in Europe since WW2.

An excerpt about the troubled, passionate and intriguing relationship of an actor with his own life.

In this exciting documentary you'll join a small team to the Bosnian city of Visoko. They've heard of a man called Semir 'Sam' Osmanagich. He claims to have discovered huge old pyramids, a vast network of underground tunnels and an ancient tumulus. For four and a half days he guided our team around, in search of proof of his claims. The Bosnian Indiana Jones, as Osmanagich is nicknamed, promised to show our camera crew the best places. So it would be definitive once and for all that there really are pyramids in the Bosnian Visoko valley. But are there? Or is it the biggest hoax in history?

Filmmaker Sabina Vajraca documents her Bosnian Muslim family's return to their home of Banja Luka, Bosnia, to recover their stolen belongings many years after being forced to flee to the United States. In Bosnia, they witness the devastation of the city, visit war crimes sites, and confront the family that has been living in their former apartment -- with all their furnishings -- for a decade.

Jonathan, the doc's director, standing in front of a mirror recalls an event from his childhood, reflecting on the image he has of himself. To do this, he immerses himself in his past. All of this happens extremely fast, like the duration of a thought and the format of a micro short.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

Las Preguntas que Perdimos

An abstract perspective into two young South African workers in the heart of Johannesburg's industrial sector during Covid-19

Nearly 20 years since the end of the 1992-95 Bosnian war, there are people who still live in refugee Centers, usually located on the outskirts of cities and villages. In such centers what should have been temporary has become indefinite. Collecting medicinal herbs or scraps from nearby coal mines and raising children who were born as refugees in their own country are just some aspects of the monotonous daily life of the people in Ježevci.