Mit Anmut und Härte - Galerie der Protagonistinnen (German Edition)

Webheimat-Gemeinde wird eingestellt

---

A method of a class is the blue print for functions, activities or processes , which can be executed by on instances of that class. The implementation of a method is kind of an algorithmic description, which steps have to be executed to realize the method. The instance of a method is then e.

Instances of methods are abstract entities always, but they or respectivly their funtionary or agent can produce a result or a product. One instance of it would be a person going to a teller machine and getting money. A physical quantity is a physical property that can be quantified by measurement. Relations establish connections between instances of classes namely subjects and objects. Instance relations are relationships between instances.

Rules serve to infer information from other information. They may have one or more conditions and actions and one conclusion hypothesis. Ontology4 provides inference engine capabilities by means of the built-in OQL and PQL query languages in way known from the field of artificial intelligence.

Especially when it comes to the visualization of rules as OntoGraphs, the visual thinking metaphor gets is special meaning for the representation of knowledge engineering aspects. A domain is an area of the real an non real world. A domain can have subdomains. Mereologies are orthogonal to Taxonomies and model hierarchies of part-whole relations composition, aggregation The relational model is a data model which represents information and the relationship between subjects as flat tables.

There are no means to represent hierarchies without additional conventions. Here is a proposal for such conventions:. Througout Ontology4 the term relationship is used to represent the relation between subjects and objects. Technically this is done by using SROP relations which are the mathematical counterpart. In contrast to Doug Lenat propositon "Everything is an object", here it is claimed "Everything is a relationship".

A subject without a relationship simply does not exist. In the cases where the relation name contains a noun one can use the following naming convention: Unlike in relational database systems referential integrity in Ontology4 is much more easy to be kept. On the abstract level transitive relations can be recognized by the fact, that source and target concept are the same, e. For a car to move by itself, definiately a motor is required and it would have to have at least 3 tires.

This does imply also, that if the car is scrapped, then automatically motor and tires disappear. The concept of an " integrated whole " can also be stated in terms of a system embodying a set of relationships which are differentiated from relationships of the set to other elements, and from relationships between an element of the set and elements not a part of the relational regime. A taxonomy is the hierarchy of classes starting with a given base class. The following example shows as an automated teller process as an example for a business process.

The name of a decision process step is prefexid by a question mark, e. Depending on the answer of the question the next process step is chosen.

Class Hierarchy of ^natPerson with Attributes and Methods

The name of an action process step is preceded with an exclamation mark, e. The following process chain has been modeled on the base of the graphic provided by Andreas Schmidt. A first attempt is made to model most of the important ontology concepts. The target is to deliver a set of base concepts and their relations. Concept-Equivalences are worked out separately to identify similar and equivilant concepts.

A PDF-file with the concept graph can be downloaded here. In this section we try to identify ontology concepts, which are identical, similar, inverse, reciproke, opposite, orthogonal or functionally equivalent. At present following relations have been identified:. Classes and Subclasses Instances of subjects which have the same groups of attributes in common, are grouped in classes and subclasses.

Table View of Natural Persons. Vehicle Class Hierarchy with Multiple Inheritance The example of the class hierarchy of vehicles shows typical aspects of multiple inheritance: Alexander Dibelius, Michael Schild, Prof. Insbesondere sollen dabei die leistungsstarken Visualisierung-Komponenten der Hyperbolic-Trees und der Netzwerkgraphen zum Einsatz kommen. Management Eckard Heidloff, Dr. Auf Basis von cms2web wurde die Wissensmanagement-Workbench Ontology4 entwickelt. Referenzen Derzeit betreut die bense. Title The emerging water steam is used to boost a turbine. Like identity, OntoClean does not require that the relation itself be specified, often it is enough to know that the relation exists.

Attribute is Besitz Attribute is Relation Relation. Description Object of the relation. Description Subject of the relation. Description Name of the relation between subject and object. Description Creator of the relation. Description Creation time for relation. Description Starting Date of validity of relation. Description Startingtime of validity of relation. Description URL of the image. Description Knowledge base to which relation belongs.

Description Language to which relation belongs. Description Ending Date of validity of relation. Description Ending date until which the relationship is valid. Description Ending Time of validity of relation. Description Internal unique database ID for relation. Description Person who at last updated the relation. Description Last update time for relation. Description Source text in Wikipedia format. Text A attribute is synonym for DataProperty. All Relations with Concept DataType.

Graph Visualization of DataType. Instances In our proposal for an upmost ontology we argue that their are two base layers in ontologies, the layer of abstract concepts and the layer of instances. An instance can have no further instances Typically an instance from our point of view is the manifestation of something, which typically can be identified by a serial number, a bar code or something similiar to it.

Graph Visualization of Class Relations. Rules Rules serve to infer information from other information. Domains and SubDomains A domain is an area of the real an non real world. Graph Visualization of Domains. Graph Visualization of Domain Computer Sciene. Domain Law and SubDomains. Graph Visualization of Law Domains. Mereologies Mereologies are orthogonal to Taxonomies and model hierarchies of part-whole relations composition, aggregation Meta-model Visualization Graph Metamodell. Introduction The Ontology4 conceptual SROP Model lends itself to model other data and meta models like relational database models, object oriented models or any kind of other models.

Mapping to relational Database Models The relational model is a data model which represents information and the relationship between subjects as flat tables. It is its solitude. And, the possibility to synthesize. It is a condition already practiced by others. Distance oneself from life to get closer to it.

This is the agape, a selfless feeling that does not deny complexity and the dramatic condition of the world, but opens to hope. It is one of the ways to spend our stay on Earth. Our presence at the Festival even more quickly. And finally, we wonder about what we are leaving behind. I think of love, inscribed not only in the word cinephilia, but also in every image of the world.

Indeed, we make images through painting, visual arts, writing, photography, film because we love. Even the horrors represented make us feel in their total lack of humanity the need to love. And with this love for film and for humanity , we fight against exclusion and against a fragmentary vision of the world.

And we recognise only a single identity, that of human beings, things among things, at the same time equal and different. This love, about which Marguerite Yourcenar speaks in Memoirs of Hadrian that mysterious play which extends from love of a body to a love of an entire person is not merely appearance, but flesh, rhythm, energy. A love that inhabits the shots, that regulates the editing, that brings the films to life. A love found in the form of things, rather than in the subjects addressed.

Roberto Rossellini said one day that he made films because he loved life, and that if he had no more films to make, he still would have loved life. Any discourse about style stops there. But it stops there because, when we talk of life, we talk of breath. All the films that we are going to show you come close to this breath of life, they capture it. Not only through the images, but also and above all through the short moments that they live on screen, their succession over the course of time. An image does not persist, if it does not have the breath of life from the time that it has lived.

This is where love surprises us, as in all romantic relationships. Life opens a door. Emotion begins its work. Augustin d Hippone said: Love and do what you want! This is a reminder that reality has no fixed dimensions; that the conditional is another version of reality; and that the future is not simply an extension of the present.

This year s festival will feature films from South Africa, which exemplifies this different perspective. This is a huge achievement in these times when genuine curiosity is ceding the floor to urbanity and sophistication. We tend to see only what fits into our world view, even though or precisely because we are overwhelmed with images every day, and travel more than ever before. The festival programming, which is always up to date with current affairs, continues to explore the complex realities of our past and contemporary history with talent and audacity.

During this 48th edition, this gateway to the world will take the form of a focus on a country that is developing its film production, South Africa; the entire wealth and complexity of a continent will thus lie before us. I was saddened to learn that the Artistic Director Luciano Barisone will be leaving, ending his term in office with a record that I would call remarkable, such has his programming been imbued with humanity, intelligence and sincerity.

Thank you, Luciano, for this magnificent contribution that makes the festival so successful. Es ist eine wahre Liebesgeschichte, die Nyon mit seinem Filmfestival verbindet und sie hat seit vielen Jahren Bestand. Ausserdem hat sich das Festival durch eine sehr effektive Ausschilderung in seiner Stadt sichtbar gemacht.

There has long been a genuine love story between Nyon and its film festival! While many of us growing up in Nyon remember the film screenings put on for schools, today they are attended by increasing numbers of students, with priority to those from establishments in the region. What is certain is that the Festival, which attracts audiences from many different walks of life, sometimes from far away, values its local roots.

As a result, the encounters between the inhabitants of Nyon and the Festival have increasingly been stepped up, notably with the Avant-Premiere proposed to the local population. In addition, the Festival has successfully become visible in its own town through effective signage.

This is a key venue for social interaction and for meeting people and an indispensable complement to the splendid programme of films that invite their audiences to travel anywhere in the world. A big thank you to the organisers, volunteers and visionary viewers for their attachment to Nyon and their openness to the outside world. Dank ihrer genossenschaftlichen Verankerung werden Mitarbeitende, Kunden und die Gesellschaft am erwirtschafteten Erfolg beteiligt.

By making the audience its central focus, the Festival continues to enchant documentary film lovers from Switzerland and beyond. This philosophy echoes that adopted by Swiss Mobiliar, which makes customer satisfaction its top priority. Firmly established in French-speaking Switzerland for a number of years now, Swiss Mobiliar is a unique kind of insurance company.

As a cooperative structure, its successes benefit employees, customers and the company as a whole. Es ist gerade das Handwerk liche am Dokumentarfilm, das sich wie kein anderes mit den Gegeben heiten vor Ort und in der Welt auseinander zusetzen weiss. Thanks to the Pacte de l audiovisuel an agreement between the Swiss film industry and SRG , SRG is stepping up its commitment with an annual financial contribution of Alongside the Federal Office of Culture it is therefore the main player in Swiss film promotion.

In turn, RTS, as a producer and broadcaster, features over documentaries on its channels every year. For us, therefore, it is an honour once again to support a genre of cinema whose quality continues to grow over time and this unique and highly regarded expertise which addresses realities both on the ground and in the world in general. We would like to thank Luciano Barisone, who is directing his last festival this year, for his keen observation of our era and for the quality of his programming.

Sie offerieren neue Ideen, denken quer und machen Mut. Today s developments in South Africa cannot be compared with the transformation of the s which brought equality, openness and mutual respect to a large section of the population for the very first time. Even so South Africa is still a changing society. Artists are important drivers of such change. They come up with new ideas, think against the tide and embolden society.

They point out shortcomings and suggest alternatives. In a turbulent world in which change often brings conflict we need people to assume this role a role artists fulfil with a great deal of dedication and rarely any guarantee of personal success or recognition from society. We are grateful to the festival for providing these artists with the recognition that is so vital to spur them on in the essential but often uncomfortable role they play in their society and ours.

Davon zeugt auch das jedes Jahr noch zahlreicher erscheinende Publikum. The Loterie Romande actively participates in the social and cultural life of French-speaking Switzerland. Among other things, it is committed to help institutions working in the field of culture, and notably in film. I am particularly happy and proud that the Foundation is contributing to the organisation of such a prestigious event whose influence easily exceeds the borders of the Lake Geneva town that it calls home. In rushing here in greater numbers every year, the public is not mistaken. Make way for documentary film and enjoy the festival everyone.

Bienvenue aux Paquis et Les Apprentis diffusion en juin Seitdem hat sie eine Vielzahl von Spiel und Dokumentarfilmen produziert, darunter: Bienvenue aux Paquis and Les Apprentis to be broadcast in June Familystrip und Blow Horn His company Eddie Saeta has obtained over the years over awards. He has produced 37 films, presented more than times at prestigious international festivals, museums and film archives.

Familystrip and Blow Horn in His feature film Stella Cadente , has been presented in more than fifty international film festivals. He was honoured with the Barcelona City Award for his commitment to art and fine arts. Heute leitet er die Informations- und Dokumentationsmagazine des Senders.

Born in , Reda Benjelloun graduated in law at the Sorbonne. He began his career as a legal consultant in Paris, before moving into journalism, joining the Moroccan television channel 2M TV in In turns, he would be reporter, news presenter and a news programme producer. He is now the channel s director of news programmes and documentaries.

Since , he has been producing a weekly documentary slot for 2M, called Des Histoires et des Hommes, which is broadcast in prime time on Sunday evenings. Prominent Iranian actor and film editor, Babak Karimi was born in Prague in Son of actor Nosrat and actress Alam Danei, he debuts as a ten years old child in what is widely recognized as the first Iranian neorealist film: Doroshkechi also known as The Driver directed by his father. In the same year, he moved to Italy where he later specialized in editing and shooting. As an editor he worked on a great number of documentaries and reportages in Italy and around the world.

As an actor, he participated in several films. With celebrated Iranian director Asqar Farhadi he made three films: Babak Karimi just completed Invasion, Shahram Mokri latest feature. Elsa Kremser was born in in Wolfsberg, Austria. As an author and producer, she has realized numerous short and documentary films that have been shown and awarded worldwide. She worked for two years at Navigator Film in Vienna. Currently working on her feature length documentary Stray Dogs about the ghost of the dog Laika, the first living being launched in space to orbit the Earth.

En , il se fait remarquer dans les festivals internationaux avec La Parade notre histoire. Lionel Baier was born in in Lausanne in a Swiss family with Polish origins. In , he was noticed at international festivals with La Parade notre histoire. In September , he received the Grand Prix from the Vaudoise Cultural Foundation Fondation Vaudoise pour la culture , an award which recognises a personality from the Vaudoise cultural world who has enriched the landscape with a significant work and new approach.

His next film Sans Merci, part of the Onde de Choc TV collection, is currently in post-production and will be released in Seit war sie die Produzentin der meisten Filme von Survivance. Carine Chichkowsky was a production manager for several companies producing short movies, videoclips and documentaries for almost ten years. She was also the executive producer for the Films de la Villa of Mafrouza, a monumental documentary cycle of 5 x , awarded with the Golden Leopard at the Locarno Film Festival with Paraboles, the last part of the cycle.

In , she founded, with Guillaume Morel, Survivance, her own independent production and editing company. Since , she has produced most of Survivance s films. From its foundation, Survivance has two main activities: Pieter van Huystee started as a photographer for illustrated magazines. After working at a public broadcasting company, he became creative director of IDTV. In this period, he mainly did entertainment programmes, but also got in touch with Johan van der Keuken and produced his later documentaries like Brass Unbound and Amsterdam Global Village.

By combining daring with decisiveness, Pieter van Huystee Film has become one of the leading Dutch independent production companies, highly esteemed for the quality and wide range of its projects. Many van Huystee documentaries and features are screened at festivals all over the world and have been awarded many times.

After graduating from the University of the Witwatersrand, Darryl worked in documentary film production before entering a career in cinema exhibition and film programming. In he co-founded The Bioscope Independent Cinema in Johannesburg an independent space dedicated to promoting South African and International documentary, fiction, and short films. Er ist seit Kodirektor von Doclisboa. In he starts the collaboration with the Torino Film Festival where in he becomes the curator of the Italian Competitions Short Films and Documentaries.

Three years later he creates a new section devoted to international documentaries in the attempt of introducing the most interesting and relevant films from a very specific and cinematic perspective in Italy: From until he s been programmer of From Sodom to Hollywood Turin LGBT Film Festival for which he also edited several retrospectives in particular the one dedicated to Fassbinder, those about queer cinema in the Arabic world, the Spaghetti Western, and j-ender: Since , he is also co-director of Doclisboa.

Levin Peter wurde in Jena Deutschland geboren.

Levin Peter was born in Jena, Germany. His diploma project, the feature film Beyond the Snowstorm, won the First Steps Award and was shown at the Berlinale and many other festivals. He founded the production company Raumzeitfilm together with Elsa Kremser in He received the Nipkow and the Gerd Ruge Grant and works on his feature length documentary Stray Dogs, about the ghost of the dog Laika, the first living being launched into space to orbit the Earth.

Most innovative feature film. Most innovative medium-length film. Most innovative short film. Most innovative first film. Bester Schweizer Langfilm aller Wettbewerbskategorien. Best Swiss feature film of all competitive sections. Innovativster Schweizer Langfilm aller Wettbewerbskategorien.

Most innovative Swiss feature film of all competitive sections. Bester Film der Sektion Premiers Pas. Best film of the Premiers Pas section. Bester Film der Sektion Grand Angle. Best film of the Grand Angle section. Career Award for Alain Cavalier. Feature film of the International Competition that sheds light on issues dealing with meaning and sense of direction in life.

Film of humanist dimension focusing on stories developing values that confer meaning to the future of mankind. Mit fortschreitender Kampagne zeichnet sich jedoch ab, dass Bernie die demokratischen Vorwahlen nicht gewinnen wird. Sanders is a voice outside the establishment and has put new values and priorities into his political agenda. Pushed forward by his enthusiasm, Jonathan joins the thousands of women and men that rally around the caucuses supporting Senator Sanders.

But as the campaign moves along, it becomes clear that Bernie is not going to win the democratic primaries. So, when he declares himself defeated by Mrs. Hillary Clinton, Jonathan does not give up the fight. He accuses the Democratic Party of having unfairly prejudiced Bernie Sanders and thus being responsible for the senator s defeat.

Table View of Natural Persons

Filmed with an accurate direct cinema style, Lionel Rupp and Michael David Mitchell s film captures brilliantly the outburst of hope that represented Senator Sanders challenge to the powers of the political establishment. A moving tribute to all the women and men that fought passionately for a peaceful revolution that hopefully will not go away.

Die Bergleute erinnern sich an die Kameradschaft in der Sowjetzeit. The Siberian city of Norilsk, above the Arctic Circle, was established here for the nickel and other metal deposits. Built under Stalin by Gulag prisoners who numbered some , between and today it still constitutes an open-air cage, imprisoned by the glacial landscape, imbued with suffering and history. From these beginnings, whereas the miners remember the old Soviet camaraderie, theatre artists and the descendants of prisoners strive to highlight the dark past of Norilsk, buried beneath frozen ground and censorship.

In the harshness of the icy winds battering the city, suffocating in the toxic smoke of the factories, people recount daily lives and dreams, and teenagers hope to flee to other possible lives. A fresco with the appearance of a Russian novel which, like the city, invariably hesitates between the black of the mine and of the smoke and the white of the sky and of the immaculate polar beauty.

Parmi ces corps, celui d une jeune femme blanche. Seine afrikanische Vergangenheit holt ihn ein. Es wird so sagt er sein letzter Film sein. In , the bodies of dozens of migrants, who had been trying to reach Europe via the Canary Islands, were washed up by ocean currents onto a beach in Mauritania. Among these bodies was that of a young white woman. Intrigued by this incident, eight years later, the filmmaker returns to Senegal, where he had been involved as a producer in shooting a famous film.

Coming back to Africa plunged me into different emotions: His African past catches up with him. This will be he affirms his final film. Tous connaissent en revanche, le but: Juste avant l apocalypse dont Donald Trump n est que l un des noms. Woher diese Migrant- Innen kommen, spielt keine Rolle, denn es geht vor allem darum, am Leben zu bleiben und den Gangs auszuweichen, die ihnen entlang des Weges ins Exil auflauern. Aber alle kennen ihr Ziel: Kurz vor der Apokalypse, bei der nur einer der Namen Donald Trump lautet.

We watch from behind as a person with a sling bag walks through the night, before melting among her peers in a refuge, in Mexico, welcoming those women and men who are fleeing a political situation, an economic impasse enriching organised crime. It is of little matter where these migrants come from, as it is, above all, a matter of staying alive and avoiding the gangs that keep an eye on the long path to exile.

However, everyone knows the goal: Destierros was shot during the American electoral campaign. Just before the apocalypse of which Donald Trump is only one name. Lech Kowalski returns to Utica, where he grew up, in a multicultural district inhabited by the descendants of migrants from the European continent, into which white proles are also crammed.

The town resembles all the other small cities on the rustbelt of the East American coast, whose factories were the spearhead of the American dream. On the terrace of an apartment where he has hung a luminous sign announcing I Pay for Your Story, the revenant offers to buy residents life stories from them.

This style resonates like a confession of faith for the filmmaker working in this trash setting: For the characters who parade before the camera, most of whom come from visible minorities, continue to pay for the devastating effects of ultraliberalism. Kowalski empathically observes the crushing of the American working class. At times, happenstance becomes involved, when a woman pronounces the word hell and the projector shuts down abruptly, plunging the decor of an old Jamaican club into darkness. At the point at which Singapore is preparing to celebrate its independence, a time capsule is filled with present-day objects, to then be buried and offer gifts to posterity.

At the same time, another, old capsule is opened and reveals strange objects from the past In the background of this event, the filmmaker crosses the country, filming scenes of daily life: The present thus become mysterious, as if it were coming out of a capsule from another time. An accurate observation of the society of an Asian country, this film offers us a reflection simultaneously cold and dramatic on the state of the world, its museification, at the point where the natural disappears and the predetermined and conformist disposition of human culture takes over.

Through an extremely controlled frame and very subtle editing, Pin Pin Tan draws a sombre portrait a country in which destruction and conservation are walking at the same pace, in an almost surreal manner. Wie kann man wissen, was andere wahrnehmen und wie? Sight, like other senses, is as much a matter of personal experience as of the absence of possible comparisons.

How can we know what others see and in what way? How can we describe when our reference points are constantly escaping? After Hiver nomade, his first film that notably won Best Documentary at the European Film Awards, which followed a winter transhumance with great sensitivity, the filmmaker tackles his own story this time. He develops a profoundly personal film, with an inevitably universal reach.

In an introspective search linked to origins and to childhood, to present and past suffering, to the anguish of beings, the filmmaker fashions a cinematographical language and an immersive and absorbing visual device, which speaks to each and every one of us. Der Ton dieser Fabel der Wirklichkeit ist gegeben. A man leaves Brazil and a red clay quarry that saturates all the surrounding nature to board a cargo ship.

He is accompanying the mountain that has been extracted from the Brazilian forest and will travel in the ship s hold to Taiwan. The opening, the account of a man s dream, is like a warning: Is this global world of which the modern man dreams, which pushes back boundaries, already a nightmare of wandering blindly for others? Like the mudslides that invade the imagination of the people encountered, Romulo s slow and melancholic voyage across the Pacific Ocean is almost immobile. This story of disappearances of land and of mysterious languages takes us aboard globalisation.

We take a highly poetic dive into the mist and fog of the absurdity of transporting raw materials across our world, in which man manages to move mountains of them. Der Film zeichnet das Bild einer Grossmutter, die in einem Altersheim in der Ukraine lebt und als letzte den schwedischen Dialekt beherrscht, der in einer im Die Familienmitglieder, darunter auch ihr Sohn Arvid, sind in Russland geblieben, doch die vor Energie sprudelnde Lida hat sich in einen Mann und ein Dorf vom anderen Ende der Welt verliebt. A tree moans and moans but never breaks.

A strong tree tips over and is gone. Embracing a fabric of places, times and stories the Sweden of the s, a Siberian work camp, and contemporary Ukraine Lida is situated somewhere between a mysterious requiem and a documentary novel. It paints a portrait of a Babooschka living in a retirement home in Ukraine who turns out to be the last to speak an old Swedish dialect in a colony of the same origins dating back to the 18th century.

Although war is ever present, yesterday as today, in the end it is just a background noise against which Europe and the world rip each other apart, leading to migrations of lives and stories. While members of her family, including her son Arvid, remain in Russia, the sparkling Lida has fallen for a man and a village that looks like the end of the world. It is only through the film, impressionistic and dreamlike, that a form of family dialogue may exist. While certain elements of the story are thus sketched out, others remain elusive, much like the personality of the protagonist.

Die mit schwerer Artillerie bewaffneten Terroristen nahmen die Stadt unter Beschuss und schnitten sie vom Rest der Welt ab. Due to the war that has laid waste on Syria, the Kurdish city of Kobane, located in the Rojava region, at the frontier with Turkey, has been under the siege of Daesh militias the so-called Isis. Equipped with heavy artillery, the terrorists shelled the city and cut it off from the rest of the world.

While the fight was raging on, many people sought sanctuary over the border in Turkey. Across the border, people were watching in horror as the war unfolded but managed also to forge bonds of solidarity with those fleeing from Kobane. No Place for Tears is a powerful testimony to the valour of the Kurdish people in Kobane and the courage of the villagers of Maheser who sheltered their neighbours from the war.

Reyan Tuvi films with heartfelt compassion the plight of those who endure the hardships of war. By capturing the transcendent beauty of their dignity and resilience she allows us access in one of the most crucial moments in recent history. Il est le lieu du pouvoir. Son voyage dans les entrailles du temple de la loi et de la souffrance devient ainsi un film d une formidable puissance imaginaire. Es ist ein Ort der Macht. Mit der Kamera in der Hand folgt sie den Spuren ihres eigenen Erlebens. Like Kafka s castle, it guards its secrets well.

It is the place of power. The filmmaker, who worked there for several years as a crime reporter, is extremely familiar with its labyrinthine spaces, its practices, its ceremonies. She comes back to it now, while the Courthouse, such as she knows it, is about to disappear: I m staging my intimate experience, my emotions, my feelings, and I m confronting them with the future of an allpowerful institution.

As the Courthouse gradually empties and becomes silent, ghosts take over the premises. The walls, the panelling, the drapes, and the marble steps, which are worn through use, retain their footprints forever. Her voyage into the depths of the temple of law and suffering thus becomes a film of tremendous imaginary power. Easter Island is the second-most remote island from a continent in the world, after the Tristan da Cunha archipelago.

It is located in the Pacific Ocean 3, kilometres away from Chile of which it is part , inhabited for centuries by a population of Polynesian origin for whom its name is Rapa-Nui. Exploited by European colonisers from the 18th century onwards, visited by archaeologists, anthropologists and tourists attracted by the moai, the large tuff statues that people its coastlines, and filmed thousands of times, it has a stable population and an administration that manages the existence of the community, including justice.

The presence, on this isolated territory from which escape is difficult, of a prison, even if it is a building without walls, is therefore a bizarre paradox By mixing images from every kind of source amateurs, explorers, adventurous filmmakers, etc. Diese Reise ist nur ein Vorwand, um die beiden seit zehn Jahren getrennten Kindheitsfreunde wieder zusammen zu bringen.

Tao and Dong promised each other they d return to the village where the latter grew up, in Inner Mongolia, before following his family, who left to find better fortune in a large city in Southern China. This voyage is a mere pretext meant to reconnect the two childhood friends, who were separated for ten years. With a rare sensitivity, Tao Gu films this companion, who was lost not only from view, approaching him stealthily to capture all of his tragic intensity, his disillusioned generosity. Dong i still a dreamer besotted with rock, an incensed body struggling to find money he comes up with a jade business which does not work out , love, sex and, above all, to live following his own conceptions of liberty, under the ambiguous gaze of his parents and his successful brother.

Through this portrait of a hypersensitive soul struggling with a rapidly changing capitalist society, Taming the Horse transmits the energy imbued with hopelessness of Chinese youth trying to find its way between the lost paradise of childhood and a brutal confrontation with the reality of adulthood.

La guerre au Liban est finie mais en Syrie, elle fait encore rage. Von ihrer Heimat abgeschnitten, versammeln sie sich jeden Abend vor einem kleinen Fernseher, um Nachrichten aus Syrien zu erhalten. Von Angst geplagt und der grundlegendsten Menschenund Arbeitsrechte beraubt, hoffen sie weiter auf ein anderes Leben. In Beirut, Syrian construction workers are building a skyscraper while at the same time their own houses at home are being shelled.

The Lebanese war is over but the Syrian one still rages on. The workers are locked in the building site. They are not allowed to leave it after The Lebanese government has imposed night-time curfew on the refugees. The only contact with the outside world for these Syrian workers is the hole through which they climb out in the morning to begin a new day of work.

Cut off from their homeland, they gather at night around a small TV set to get the news from Syria. Tormented by anguish and anxiety, while suffering the deprivation of the most basic human and workers right, they keep hoping for a different life. After The Immortal Sergeant, Ziad Khaltoum composes an excruciating essay on what it means to live in exile in a war-torn world with no possibilities to return home. Precise camera framing, unorthodox editing, and dreamlike narrative detours are the trademarks of a daring, imaginative and visually challenging cinematographic work.

Die Zeit scheint stehengeblieben zu sein. Auch Materialien wird besondere Aufmerksamkeit gewidmet, dem Holz, aus dem das Haus besteht, der bergigen, kargen Landschaft. Manchmal wird die Stille durch ein Gebet oder einen Gesang unterbrochen, der die unsichtbare Verbindung zwischen der roten Erde und dem Sternenhimmel zu sein scheint.

Von der Gegenwart der Elemente eines quasi autarken Lebens tauchen wir ausserdem schrittweise in die Erinnerungen des Paares ein. The gaucho tradition is observed through the story of an elderly couple who lives in the hills of Northern Argentina.

🌍 Free Download E Book Pdf White Haired Melody By Yoshikichi Furui Pdf Pdb Chm 1929280467

Beginning their daily routine, gestures endlessly repeated throughout their whole life, we contemplate the details, like heating the water to prepare the mate, rearing goats, and sewing. Time seems to stand still. We also look at raw materials such as the wood that forms the house, the mountainous and arid landscapes.

Sometimes, the silence is broken by a prayer or a song that seems to weave the invisible link between the red earth and the starry sky. Each element is perfectly in its place, and the very triviality of the gestures then seems to fulfil a mission of a metaphysical kind. And from the present of the elements of a life in virtual autarky, we are also immersed step by step in the memories of the couple. Thus nostalgia unfurls for a world that is destined to disappear, like the fire that warms through the night before slowly going out before our eyes, and under the light of the sunset that heralds a new day.

Human beings who have experienced such a strong shock that they are no longer even afraid of death as it often happens to genocide survivors sometimes fall into what is known as a feeling or a melancholy of timelessness. They live somewhat outside time, a mode of extra-temporal existence, waiting for the day on which they will be freed from their suffering. It is the people almost ghosts having survived the conflict in Nagorno-Karabakh between Armenians and Azerbaijani that has lasted for almost twenty years that the filmmaker shows and listens to in his film.

Behind them, behind their wandering bodies, behind their frenzies, is what remains of the collapse of the Soviet Union in Caucasus: With an inspired composition of image and sound, Pierre-Yves Vandeweerd transforms the subject matter of history into poetry, there where condemnation for man on earth means living and not dying. Tuxpan, a town located in the State of Veracruz, is the closest commercial port to Mexico City.

It is home not only to several wheats, corn, and soya importexport activities, but also to several fishing boats. As in all ports, the community that lives here includes traders, sailors, and prostitutes. The story told by this film starts in this setting when, in , following a violent and unexpected tropical storm, a small boat of fishermen disappeared in the Gulf of Mexico without leaving a trace. The men that made up the crew left behind them families and friends devastated by sorrow.

Five years later, a former prostitute and an old fisherman imagine a sea journey in another boat to mourn with a moving act of love. But before setting out, they need to meet the friends and family of those that perished and collect, in a magic box, objects, and messages laden with their most profound sentiments Here is a flamboyant documentary melodrama, inhabited by human compassion.

Jeden Sommer, wenn die grossen Fussballmannschaften in ihre Trainingslager in teure und sonnige Regionen fliegen, treffen sich einige andere Spieler auf einem Feld in Duisburg. Alle sind Profis, und alle sind arbeitslos. Sie suchen verzweifelt einen Job. The Other Fields wirft ein neues und vollkommen anderes Licht auf die Mythologie des modernen Fussballgeschehens.

Ein Athlet ist nur so gut wie seine Leistung. The Other Fields zeigt, wie die Unterhaltungs- und Sportindustrie ineinandergreifen und letztendlich nur ein weiterer Auswuchs des kapitalistischen Produktionssystems sind. Every summer, when the major football teams fly their star athletes to training grounds in expensive and sunny locations, some other players meet on a football field in Duisburg. Even though there are professional footballers, they are all unemployed.

And they look desperately for a job. The Other Fields sheds a new and completely different light on the mythologies of contemporary football. Dreams only last a season or two. An athlete is only as good as his performance. The achievement-oriented society does not allow too many dreams or dreamers even though it is exactly dreams that are sold to audiences everywhere. Footballers looking for a breakthrough but living constantly on the verge of failure are exchanged at a fast rate. The Other Fields shows how the entertainment and sports system fits and basically is just another cog of the capitalistic production system.

Des musiciens jouent sur la plage. Un homme marche dans la ville, comme perdu. Die alten Politiker haben endlich einmal verloren und es entstehen neue Hoffnungen, neue Energien. Am Strand spielt eine Band. Upwelling ist ein politischer Film wie kein anderer vor ihm. Wenn alles gesagt und getan ist, bleibt der Politik als einzige Hoffnung noch die Utopie. There is a new mayor in Messina, Sicily. Old politicians have lost for once, and there is an outpouring of new hopes and energies. People around the newly elected mayor try to reshape the city observing ecological principles, discussing also new methods and values for the everyday political action.

So, while the mayor fights truck drivers who are no longer allowed to drive through the city centre, some other people engage in different activities. A girl occupies a public building. A band plays on the beach. A man walks around the city as if he were lost. Another one returns to Messina after many years and tries to adjust to the new reality. Upwelling is a political film like no other one before. After everything is done and said, the only hope left for politics is utopia. A real utopia where women and men get together once again to start once more from scratch.

Pietro Pasquetti s and Silvia Jop s film reinvents the militant political film but gives it a different spin by focusing on the crumbling of traditional ideologies. A surreal comedy about the need to change. La fille le rejoint pour rencontrer sa nouvelle famille et pour retrouver ses racines perdues.

Tout avance par fragments, de temps et d espace. Voici donc un film qui se construit comme un journal intime: Alles geschieht in Fragmenten aus Zeit und Raum. Aber alles ist von einer schmerzhaften Energie getragen, die beharrlich die Grenzen durchbricht. Ein Film wie ein Tagebuch: A Russian girl, a Kurdish father.

The father lives in Syria, in a town near the Turkish border. The girl joins him to meet her new family and to find her lost roots. Everything moves forward in fragments, of time and of space. It is not only an aesthetic choice. It is a form consistent with the state of war, with the fragility of existences, with the capturing of reality by the body and by the spirit.

But everything moves forward, in its way, carried along by a painful energy that obstinately perforates the borders. The strength of this film is its fragility, its being made of everything and of nothing, its being attached to a thread, that of the breathing of the person who is filming, who is carrying it on her shoulders, as is often the case in the life of people living in exile.

Hence here is a film built like a personal diary: This region that he had chosen from them all, Urt on the banks of the Adour, the village sheltering his mother s house. He would often come here to rediscover his pleasure in writing: The pleasure of these mornings in U.: It is here that he now rests in the same grave, close to the maternal breast. On the edges of documentary and fiction, this essay stages and universalises them in the light of the South West, here, and now. Barely two seconds later, they capture a slight echo.

It was the first success for Project Diana, two years after its launch. Giving form s in all the possible ways that this expression may carry to what is invisible is at the heart of Simon Ripoll- Hurier s practice. From amateur radio operator clubs to ghost hunters, from bird watchers to the drums that could send signals on battle fields, the challenge is to successfully establish contact with a distant, absent being, by using much more mysterious means than those inhabiting our daily lives.

So, although the machine appears in diverse forms, the test is probably more linked to the immaterial, to the silence or to the background noises that constantly disturb the efforts and attempts. In Switzerland, Guyana or New Jersey the director questions and frames carefully these elusive, perhaps despite themselves, poetic and at times quirky inquiries.

Erika Rossi compose un portrait aux multiples facettes sur ce que signifient aimer, s engager et transmettre. After the passing of her mother, Lorena finds the diary that she kept all her life. The entries allow her to discover a different woman. Having grown up in the worship of her father who fought as a partisan during the war, Lorena realises that she must start digging in the secret story of her mother if she wants to understand aspects of her own life. The pages of the diary feel like a book from another time. Working as a nurse, her mother was covertly working for the partisans passing them intelligence that she astutely acquired from wounded German soldiers by administering more morphine than usually required to ease the pain.

Like an unfathomable spy that could have been the creation of a writer like Graham Greene, Lorena s mother becomes the silent witness of the turmoil that led to the foundation of the Italian Republic. Her intimate thoughts about the meaning of pain and war, and her willingness to act and fight, shed a new light of compassion and understanding in Lorena s life choices. Erika Rossi creates a multi-layered portrait about the meaning of love, commitment, and legacy. Peppino est parmi eux. Un corps dans la masse. Un homme qui se bat, comme tant autres. Jeden Morgen richten sich die Schausteller auf dem Marktplatz ein.

Und dann wieder bei null anzufangen. Stallholders set up on the market square every morning. Peppino is one of them. A body in the crowd. A man who is in trouble, like too many others as well. Pushed by desperation, he is the momentum, the rhythm of the film. The camera records his movement on his permanent errand, while he walks around the city or the Piazza della Repubblica, whether it s raining or night has already fallen, in search of some goods to put together a fireworks stand. And this place, where stallholders spend their time setting up their stands, haphazardly, then taking them down to store them in a nearby garage during the few hours of night-time, becomes a symbol of this life on the edge.

Where people, every day, must rebuild their routine, start from scratch again, in order to have a few euros in their pocket at the end of the day to get them through to the next one, and then start over. Une question flotte dans l air: Eine alte russische Dame muss aufgrund ihres Alters und ihrer angeschlagenen Gesundheit ihre Wohnung mit ihrer Nichte und ihre vier Kinder teilen.

Was man in einem Film stets sucht, ist da: Because of her age and fragile health, an old Russian lady has to share her apartment with her niece and her four children. At every moment, the calm she enjoyed, her fine family keepsakes, and also her beloved piano, are in danger, under the impetus of the wild energy of the little ones. The two worlds, forced into cohabitation, could not be more distant from each other: A question hangs in the air: This is a charming little documentary comedy, a one-room drama which, like a Russian story from the last century, is seen like a shadow of the world.

The filmmaker finds her place in this microcosm, in a perfect way. Her balance never approach, never move back gives the film an almost perfect framing and sound recording. What we always look for in a film is there: Sie zieht nach Rom, hetzt von Casting zu Casting, probt, hofft und sucht eine Rolle, und vielleicht vor allem einen Sinn.

Angetrieben vom Idealismus und einer gewissen Weigerung, aufzugeben, findet sie Zuflucht in der Kunst. Auf ihrem Weg schliesst sie Freundschaften mit Drehbuchautoren, die ihr Streben nach Anerkennung in einer Welt, die nicht auf sie zu warten scheint, um sich weiterzudrehen, teilen. Denn ganz im Gegensatz zu dem, was ihr eine Wahrsagerin sagt, kommt der Erfolg wahrscheinlich nie. Imma ist dem Genre des modernen sozialen Realismus zuzuordnen. Der Film wurde nah an den Gesichtern gedreht und ist beseelt von der Aura der Protagonistin.

Der einzige Film, in dem die Schauspielerin die lang ersehnte Hauptrolle ergattert zu haben scheint, handelt vom Scheitern ihrer Karriere und ihrem fruchtlosen Ehrgeiz. Propelled to stardom by winning a TV reality show five years ago, Imma, a full-figured woman, a mother of a little boy, has dreamed of recognition in film or theatre ever since.

She moves to Rome, goes to castings, rehearses, hopes, searching for a role and, above all, perhaps, meaning. Driven by idealism and a certain refusal to fall in line, she finds refuge in art. On the way, she forges friendships with scriptwriters sharing the same desire for recognition in a world that does not seem to wait for them to turn. For, unlike what a fortune teller predicted for her, success will probably never arrive. Imma offers up a tale of modern social realism, filmed as close as possible to the faces and inhabited by the aura of its character.

There is something beautiful and tragic etched into the very genetics of the project that confers a power upon the image; the only film in which the actress seems to be able to find the leading role that she wants so much is the very one that traces the failure of her career and of her defeated ambition. In Erwartung des Sturms lacht sie und rauft sich, hat Liebeskummer und versucht, mit ihrem Vater den Kauf eines neuen Badeanzugs zu verhandeln. In the event of natural disaster, turn off electricity and gas, hide your valuable objects, lock the house, climb onto the roof, and maybe you will survive.

Natasha, 12 years old, knows these instructions by heart. So, while waiting for the storm, she laughs and fights, suffers heartbreak, attempts to negotiate the purchase of a new swimsuit with her father. With zest and delicacy, with clear complicity with the body of her young heroine, Elizaveta Kozlova captures the details of a day-to-day life which, although ordinary, never seems insipid, so deeply is it infused with the contagious energy of the protagonist. And as the lines of contemporary Russian society and its problems are sketched out, In the Eye of the Storm reveals itself as the portrait of a character undergoing tremendous change.

The storm approaches, the wind rises; the filmmaker successfully implements the visual language that enables her to capture a tender and tumultuous transition, that which will transform a little girl into a young woman. La vieillesse, le temps qui passe vite. Quelques moments sont inoubliables: Das Alter und die schnell verstreichende Zeit. Die Jugend und die noch langsame Zeit. The peaceful life of an old lady, in a village on the seaside, is disturbed by a sudden confrontation with the fragility of life. This moment sends her back into her past to seek out the meaning of existence.

But the arrival of her niece and her children will all of a sudden fill this gap.

Lache wer kann

My film is an intergenerational love letter between niece and grandmother, an ebb and flow between dreams and reality, between past and present, between the magic of childhood and the encounter with death. Old age, time that flies by. Youth, time that remains slow. The eternal question of all human beings at the end of their lives is asked here. Some moments are unforgettable: In these images of attachment to small things, to memories, to details of landscape and nature, we clearly see a slow farewell to the world.

Et survient cette question: Und es kommt eine Frage auf: A liquid expanse, opaque, placental. A face emerges from it, listens to the child who is counting out in Russian the numbers for a game of hide-and-seek, which finishes in a shutdown building whose ceiling is tattooed with a swastika.

And the question arises: Do you remember our creation? Diana, the young woman who asked it, sets off in search of her triple origins, Ukrainian, German, and Jewish. After having signed a childish pact with her grandmother, which frees her from the power of women in exchange of 78 pieces of gold in chocolate , she leaves to search for her father and brother. On the way, Diana stops over in a Kiev beset with nationalist and religious conflicts, with the war of men, a game in which all mothers lose.

Her Oedipal route leads her to the ultimate frontier, the Biblical desert, in the company of nomads who get her to break out of herself. With Kreatura, Viki Aleksandrovich weaves a disturbing documentary poem on the notion of identity; always undecidable, its reality uncatchable and indefinitely reconfigurable in the fictional world of fantasies. Alors que la saison des pluies approche et qu il faut quitter les habitations flottantes pour la terre ferme, Miss Rain reste seule dans sa cabane parmi les roseaux. Miss Rain lebt im Schutz des Wassers.

Miss Rain lives protected by water. Her brother spends his time on a boat fetching her between the lakeside village and the meanders of the river. Whether she is swimming or moving on the water to fish, she is reassured, in harmony with her element. When the rainy season is approaching and it is time to leave the floating dwellings for terra firma, Miss Rain remains alone in her cabin among the reeds. The land sends her back to her nightmares. For her, the forest is the place where the devil hides.

Over 30 years ago, under the Pol Pot regime, all of her family was killed in the woods and her spirit has never recovered from it. Her dreams are still filled with shadows and flames. This film, just like Miss Rain and her brother, is haunted by a past which cannot resurface again and remains hidden in the shadows of the Cambodian forest and the black night, interspersed with flaming torches. Was tun, wenn man auf einer Insel lebt bleiben oder weggehen?

What to do when you live on an island: Hired to star in a fashion infomercial to be shot in Venice in the majestic Hotel Excelsior, Yanet sets foot in Europe for the first time. Once the prudishness of the crew members has been overcome, she joyously drags them along into a Caribbean universe made up of rhythm and dance. Although the filmmakers still dream of exile, the empowerment of a young woman is what ultimately manifests itself here. Yanet lives on the screen through her strength and her grace.

She tackles every moment with lightheartedness. A film bathed in sensuality. The image and its relationship with the sound design lends an almost phantasmagorical feel to certain sequences while playing these element through a discerning distance. Nous n en savons rien. Wir wissen es nicht. Und sie auch nicht. Why are they pumping? We have no idea at all. The movement is repeated, monotonous, like this tree-less agricultural landscape broken by the horizontal line formed by this concrete structure, which has never served any purpose apart from feeding modernist dreams that now belong to the past.

The challenge of this Dadaist road movie speaks for itself, even if it does not have the spectacular nature of an ascent of Everest. In the same manner, it resumes the whole absurdity of the human condition. But the two accomplices seem to have remembered the lesson of Albert Camus imagining Sisyphus happy: They are thus open to lucky encounters with the inhabitants of the world below, from which they have isolated themselves. A woman puts on her most beautiful dress.

The images of Sankara, his words, haunt the Burkinabe reality, filmed under the influence of a fragile hope, carried by the speech of he who was able to render their dignity to the Upright Man: We are roaming around a futuristic, geometric construction whose structure emerges in a milky white. But a matter eroded by time is what now appears, lit up by torchlight, like the remains of a lost civilisation that these men dressed in yellow suits are collecting, beneath the gaze of a child concealed behind the vegetation.

It is down to the citrus tristeza virus a disease leading to the decline of trees which struck the families living in this region of Cuba, who survive, now, in the virtual ruins of a former agronomy school inhabited by New Men familiar with the latest orange-growing techniques. Composed in static shots like a series of hallucinated tableaux that James G. Ballard would not have disowned, The Project is that of a filmmaker returning to the location of an unfinished film.

By taking his project back to the drawing board, Alejandro Alonso crosses willing spectres who now occupy the space where he must accomplish his suppressed desire to understand what was lost on the way in the Castro revolution. De la bonne humeur prescrite. Gute Laune auf Rezept. Wie schreibt man Wohlbefinden. At my back, the ruins of Europe. Guided by Faustine du Couvent, a young Parisian woman with a dark and poetic energy, The Ruins of Europe is an eminently personal object that unfurls nervously, with the aid of archive television images, in order to draw the portrait of a society that is falling apart.

A prescribed good mood. How is wellbeing written? Saturated with images to express the excess of violence, fascism and rebellion in all its forms, a film located between a manifesto and a shout, ambitious and uncompromising. Goryainova moves bravely forward, blindly, too lucid, in the darkness of a world that is shared between those who still believe and those who, having given up, live with desperate nonchalance. Rolex the Portuguese has risked the adventure in neighbouring Burkina Faso, without success. Here he is back in Abidjan, to make lots of money.

With his companions, aged between 15 and 25, he makes a living from casual trade, in particular from that of grazing, i.

• Allenamento e alimentazione per il ciclismo su strada e Mountain Bike: Guida completa (Outdoor) (Italian Edition)
• Sonata No. 16 in G Major, Op. 39, No. 2
• Creado: Jóvenes Estudios Bíblicos en Génesis 1-11 y el Libro de Job: Perfecto para la Juventud Domingo Lecciones de Escuela (Spanish Edition)
• The Time of Great Tribulation
• Doubters of Biblical Proportion: I Believe, Help My Unbelief
• European Immigration: A Sourcebook
• The Cube Method