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The FilmFestival Cottbus dedicates an exhibition to the Lusatian artist Maja Nagel and shows excerpts from her versatile oeuvre: drawn metamorphoses, documented performances, memories of villages dredged away and a poetic contemplation of the disappearance of the Muskauer Heide. Evolution as an endless round dance in which the bodies are constantly in motion, producing new figures and merging into an ornamental chain - on the pattern of a wallpaper that they tear off.
In 1997, Alex from East Berlin, Svetlana from Bosnia, and Chantal from West Berlin meet on the street in Berlin's Kurfürstenstrasse. Alex just got kicked off the construction site, has no apartment or money. Svetlana is no longer tolerated and must return. Torn between feelings and existential need, the three drift through Berlin at night. Berlin has always been a city of contrasts. In 1997 this is a clear advantage, because in Berlin East and West Germans live in one city - here the German-German encounter is part of everyday life. Also for Alex from Marzahn, who works on a construction site at Potsdamer Platz. Alex is always in a good mood, although he is divorced and loses his job because he regularly sells the tools. On the street in the Kurfürstenstraße he meets Svetlana from Bosnia and Chantal. Alex loves Svetlana, but Chantal has an apartment. Svetlana needs a marriage because her acquiescence expires. Torn between feeling and existential need, the three of them drift through this Berlin of contrasts, on the border between Eastern and Western Europe. Without a script, Eoin Moores developed the story with the actors during the shooting. This created a very authentic atmosphere and a glamorous role for Andreas Schmidt. KF
In the PGI hotel the inhabitants seem to want to outdo each other in peculiarity. The hares on the top floor have already taken over the world domination, which they exercise with Voodoo, and in the approaching night of the carrots either something horrible or something quite wonderful will happen. Ralph Eue
Autobiographical animated film by the Chinese artist Shui-bo Wang, who spent his childhood and youth during the Cultural Revolution (1966-1976) and for whom memories of the protests on Tiananmen Square (1989) became the key image of broken hopes. A collage rich in material that relates family and official documents in a multi-faceted way. Ralph Eue
"One day, a man entered my belly. The next day, when he was still there, I realized I had to get used to him." With a few words and expressive black-and-white images, "One Day" creates a metaphor for the emergence of togetherness and for the great physical emptiness that remains when it comes to an end. Duscha Kistler