Nora Fingscheidt

Les adieux de Dieter Kosslick, qui a dirigé le Festival international du film de Berlin de 2001 à 2019. Un documentaire dans les coulisses de la Berlinale, où se croisent de jeunes espoirs du cinéma et des célébrités telles que Juliette Binoche, Charlotte Rampling ou Christian Bale.

This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.

This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.

This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.

This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.

World, that is for the followers of a small Mennonite community in Argentina, all that is outside, beyond their community, where the "worldmen" live. Their everyday life is determined by an attempt to ward off everything modern, a life without electricity, machines and communicative media, a school whose only books are the Bible and the Catechism. Nora Fingscheidt takes this life in the eye and lets it be told by those who live it - in different degrees of devotion. In the process, it is not least apparent how a life-style, which has devoted itself entirely to the departure from this "world," is formed around it. And then, between the pictures and the words, a gap opens, in which the longing for a more destitute life, as well as the fear of a sad departure, becomes perceptible.

Inspirée de faits réels, une série manifeste qui rend compte des violences faites aux femmes au quotidien. Sur une idée originale de Nathalie Masduraud et Valérie Urrea, 24 films courts audacieux, d’après les textes de 24 autrices européennes, interprétés par 24 actrices d’exception. Emprise, revenge porn, féminicide, codes vestimentaires sexistes… : H24 éclaire les diverses formes d’abus dont peuvent souffrir les femmes à chaque heure du jour et de la nuit. À la force des monologues en différentes langues européennes et proposées en versions sous-titrées s’ajoute l’interprétation subtile et poignante des comédiennes. Transcendant les individualités, les récits, écrits par une pléiade d’auteures talentueuses dessinent les contours d’un fléau systémique sans laisser place à la fatalité, racontant aussi l’insoumission et la riposte, narquoise ou cinglante. Poétique et tragique, un appel à la sororité et à la parole libérée.