An anthology of 7 diverse women Narrative in 7 different worlds with 7 different colors, as well as their remarkable experiences in Process of Women Empowerment.Self-Reflection and Re-reflection, feeling of the moment, broken lines, unclosed and resumed forms, these are the different situations in 7+1 fragments that appear next to each other - even inside each other.

7+1 Fragments consists of 7 fragments, each with a female narrative with different characters and different colors, forms, and different Moments, which meet each other in the eighth (last) fragment. The film is a free adaption from "Haft Peykar" (هفت پیکر) epic by Nizami (نظامی).

In a cross-genre work that bends time, history, and form, three acclaimed actresses reenact a troubling interview with the iconic French actress Maria Schneider (1952-2011), whose traumatic experience on the set of the legendary Last Tango In Paris only resurfaced after #metoo. As Maria transforms through multiple interpretations, shocking revelations occur.

An amateur filmmaker who has filmed bears for years, contacts a film school looking for someone to edit his images into a film. A student comes forward. But when she digitises his archive, she discovers that the recordings are not only of bears. A discus-sion ensues about the power of a gaze and its voy-euristic violence.

Dezerteri (Deserters) is a hybrid documentary essay about a generation of Bosnian and Herzegovinian high schoolers from the city of Mostar, struck by the devastating Bosnian War on the verge of their maturity. The tapestry of memories of the early 1990s is composed of postcards and silent shots of places which the protagonists of the film were forced to abandon. The serenity of these places today is in contrast with the emotions expressed in letters they sent to Dado, the filmmaker himself who grew up in Mostar, from all over Europe. His friends and former classmates describe their flight across borders, their experiences in refugee camps or while remaining in Mostar during the war, and their lasting hate for the enemies. A film about a lost generation, exile, difficult choices and an answer to the toughest question of any war: to stay or to run?

Photo model, actress and activist Marie Anne Erize Tisseau was kidnapped on 15 October 1976, half a year into the Argentinian military dictatorship, and was never seen again. The only remaining film footage of her is a commercial for Jockey Club cigarettes featuring a cocktail party near the beach. Yaela Gottlieb skilfully combines excerpts from the commercial with other life style advertisements produced between 1976 and 1983 that can be found in the collection of the Museo del Cine Pablo Ducrós Hicken in Buenos Aires. Gottlieb's film opens a space for reflection on the question taken up from the Mothers of the Plaza de Mayo who have been searching and claiming justice for their children and relatives that disappeared during dictatorship: Where is Marie Anne?

When war broke out between Russia and Georgia in 2008, more than 30,000 Georgians were displaced from the province of South Ossetia. A great number of them was received at a settlement in Tserovani set up by the Georgian authorities—simple buildings arranged in geometric pattern: a refugee camp. The house Robinson resides in with his family is in row 6. He was in Armenia when the war started, and thus unable to return to South Ossetia where his wife still lives. While Robinson spends his days brooding, his little grand-children play, do homework for school or go to sport. In Reihe 6 (Row 6), Bidzina Gogiberidze and Lennart Hüper show life interrupted and life blossoming side by side. Neither of the two aspects is privileged, in contrast, it is precisely the tension between the gaze back and the gaze ahead that the film pointedly dissolves.

The sun rises on Sunday morning in Berlin. On her way home, Derin finds herself thinking about what she left behind in Turkey. She remembers why and how she moved abroad to Berlin.
Tower attempts to look at and analyze the impact of the recent immigration from Turkey to Western Europe. The film researches the reasons for this "new wave" of immigration, especially from Turkey to Berlin. Tower focuses on the emotional aspect of the separation and the social trauma that is caused within the society that is left behind.

This documentary short dance film is based on Gizem Aksu's spectral friendship with Sinti-Roman boxing legend of Germany, Johann Rukeli Trollmann (1907-1944) and the inter-generational and inter-geographical journey of this friendship.Rukeli Trollmann was exposed to many forms of discrimination by the Nazi regime because of "boxing by dancing like Gypsy" and was murdered in the Wittenberge Concentration Camp. Inspired by the fight of Rukeli Trollmann, the film traces the artist's experience of immigration to Berlin and the fight for justice in Istanbul.
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In Istanbul, three more dancers join the dance/fight of Rukeli by sharing the power of dance in their fight for justice: Gizem Nalbant, who experienced urban transformation in Romani neighborhood, Sulukule where she was born and grew up; Banu Açıkdeniz who has been researching on feminist body politics; and Sema Semih, who has been part of LGBTQI+ movement for many years. As it carries Rukeli’s story to Istanbul's Romani Neighborhoods, Sulukule and Fikirtepe; the film throws a 9/8 rhythmical look into Istanbul's recent urban memory through the bodies of dancers.

He has left his Syrian homeland, but he cannot escape from a recurring nightmare where state security forces are pursuing him while the home that can save him seems beyond his grasp. How deep into the past do the roots of a trauma reach?

Three humans serve a giantess in a giant-ruled land. They try hide their true feelings about her from her. And they know that if that blue scarf around their necks would ever be removed it would mean getting closer to her - in the worst possible way. The film provides a tense look at the dynamics of working for giants and what that can mean for the characters' humanity - or lack thereof.

I think of silences when I think of you is a lyrical portrait of a woman’s engagement in Ghana and her impending migration in the late 1990s. The film depicts a woman’s navigation through the world in relation to silence, set against her desires and dreams of Europe.

«It’s going to be quite soundless, the roar of our aircraft is drowning everything else. We are running straight into the most gigantic display of soundless fireworks in the world, and here we go to drop our bombs»
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As chilling as it is absurd, Kamal Aljafari’s Paradiso XXXI, 108 repurposes found footage from Israeli military propaganda and turns it into a fictional drama of men playing at war. Aljafari takes the title from a short story by Borges and describes the work as a “cinematic self-portrait” – questioning our interpretation of screen violence, its relationship to real-world horrors, and troubling our positionality as spectators.

March 8, 2020: A Memoir is a desktop documentary/essay attempting to find the blind spots of 'Touristic Cameras' looking at Taksim Square during the Feminist Night March. It's a multi-voiced memoir of the last demonstration in Istanbul before the COVID-19 pandemic.

In Quibdó, a city with the highest homicide rates in Colombia, Jonathan and hundreds of young people come together through dance to face the brutal fate of violence.

On any given night, tens of thousands of fishermen in China's distant-water squid fleet perform an industrial ballet thousands of miles out on the high seas. With unprecedented access to the extremely remote fishing grounds, SQUID FLEET is a poetic exploration of the motivations of the fishermen, the brutality of systemic labor abuses in the Chinese fishing industry, and the destruction wrought by the commodification of people and nature in our globalized world. It is based on two years of rigorous investigative journalism from the Pulitzer Prize-winning team of The Outlaw Ocean Project.

The  animated  film  “The  Crowd”  is  evoked  by  the  composition  The Crowd from the 1971 album "Sing Me a Song of Songmy, a Fantasy for Electromagnetic  Tape"  by  İlhan  Mimaroğlu  and  Freddie  Hubbard. Pelin Kırca turns the associations she had into a surreal game and invites the audience to participate. 
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Composed  by  avant-garde  musician  İlhan  Mimaroğlu  and  accompanied by  trumpeter  Hubbard,  the  album  is  known  for  bringing  together choir,  strings,  and  all  the  'familiar'  sounds  of  jazz  music  as well as the 'unfamiliar' or rather experimental sounds of musique concrète.  The  Crowd  also  contains  some  text  excerpts  and  poems, especially by Fazıl Hüsnü Dağlarca; when we listen to the words, it  is  quite  possible  to  perceive  the  existence  of  anti-war messages mixed into the melody.

OUR ARK is an essay film on our efforts to create a virtual replica of the realworld.

One night in October 2011, a mysterious dream gives birth to Cuco, a transgender latex
pirate.

A village man comes across a piece of meat by chance, and after cooking and eating it realizes the uncanny taste that is unknown to him. The search to find the same taste leads to a catastrophic turn of events

A loose reimagining of the myth of Sisyphus. A woman (Leonie Benesch) is caught in an endless and absurd daily ritual, feeding and creating bread. She finds some escape through carnal visions before the eternal process begins again.

Misty field, crowded locker room. Margo belongs to neither. Maybe if she loses her virginity, she will finally find her place.

Following an ordinary night of BDSM, a graffiti of a nude beheaded woman appears under Lady’s window. Lady needs to defend herself not only from her anonymous predator, but also from those who are looking out for her safety.

On a country road, a couple going for a ride on a scooter find themselves immobilized after running out of gas. While waiting for their friend Lolo, a philosophical discussion ensues.

Alon is on his way to a funeral in the Kibbutz where he grew up, after his best friend ends her life. On his way up north he meets a young broken-hearted girl that joins his journey

A student house, two women, a man, two scores, a dinner, love, crowded streets, neverending hopes, silent screams crushed by the sound of a colossal city.

Damascus in the spring of 2013. The Syrian soldier Husam is on a 24 hour leave from the front to visit his family. A lump sits in his throat, while he is having breakfast with his mother: He wants to tell her how he really feels, that he is afraid of death and wants to escape military service. But his mother insists on glorifying him as a hero, who fights for the honor of his country and family.

Dima, Dmitry, Dmytro. Glory to the Heroes uses archival footage and semi-historical narrative to weave a complex exploration of identity, culture, and the power of archives in contemporary Ukraine.

Osman Kavala, a leading figure in Turkey’s civil society, has been in custody in the largest high-security prison in Europe in Silivri since November 1, 2017. Prosecutors accused Kavala of organizing the "Gezi protests" in Istanbul. A verdict was only delivered on the 18 February 2020, when he was acquitted. But on the same day, the chief prosecutor of Istanbul demanded the continued detention in which he was accused of an involvement in the attempted coup d'état in 2016. If convicted, Osman Kavala faces life imprisonment without parole.

"Letters from Silivri" draws on letters of Osman Kavala to document a timeline of his imprisonment. By separating voice and image the film intends to create an echo chamber that allows audiences to listen more carefully to Kavalas letters, while at the same time place his words in context to a civil society.

In a small port town, fifteen year-old Ferah is spending her summer vacationat her grandmother’s beach house. The grandmother indulges in watchingdating shows on television, while the granddaughter craves her own sexualrelease. Pressure is palpable, desire doesn’t still, and the summer wind blowsstrong through every opening.

A woman has to put aside her desire to be touched. The loss and change ofher familiar surroundings pushes her to her limits.

EVA is a feminist short film by and with Julia Diep My Feige. It examinescodes and dependencies in the fashion world and shows the gradual processof objectification. The perspective of camera and the “male gaze” mergereferring to traditions in art history. Eva serves hereby as a projection and acollective memory based on real experiences of different female individuals.Her name alludes to the creation of the first woman while its meaningoriginates from the Hebrew version “Chavah”/”Havah” which means “ tobreathe”.

Raheel , an Afghan national, has illegally traveled to Iran to look for herhusband, but there comes up some problems that leave her no hope to moveahead.

An immersive look at the life of Maíra, a woman detached from her own realityAt times an encounter with death is the only way to restore life to someonewho even though is still alive, had given up on living.

A lesbian reverie set amidst the backwoods of New England, New Flesh for theOld Ceremony explores the physicality of grief through a macabre fable abouta woman whose wife is devoured by and then possesses their beloved pack ofdogs.

The experimental film Sacred Clockworks reflects religion throughphotographic animation of their impressive sacral architecture. Therebythe domes of churches, mosques or synagogues are treated like clockworks– infinitely continuous, embodying thousands of years of history. The filmexamines the dome’s distinctive structure built from multiple layers of circularpatterns. The film reminds us of the commonalities of different religions byexamining the similarities of their sacral architecture. A statement for moretolerance and against any fundamentalism.

A chance encounter backstage: Broken glass and a shared cigarette bring two strangers together. Three nights in which they learn to overcome social hierarchies and unrequited love. A short film inspired by Fyodor Dostoevsky’s novel “White Nights”.

In Nicer soon a narrator shares two memories. In the process of repeatingthem in rotation they seem to get charged by ideas of romantic popularculture. The images in this one take are described in circular motion, leadingto the understanding, that everyone is in the center of their surroundings.

A fictional city grapples with an inexplicable, complete loss of hair. Positedboth as an extension and the boundary of a body, hair occupies a liminalposition between the animate and inanimate “dead” matter. “Excessive”human hair is variously associated with sexual inversion, the primitive, thecriminal, the pathological, the diseased, the beast or even the lunatic. Thefilm satirizes these accounts by removing the supposed evolutionary obstacleposed by hair. However, the resultant world is that of tactile longing, sensorydeprivation, and eco-anxiety.

Microscripts is an animated short film in homage to the Swiss writer RobertWalser.

A coming storm after dog days dawns during a sudden road trip to a distantisland for a funeral. The dead is buried in haste and a man makes a detourthrough Aegean Turkey. The funeral is eclipsed by a last wish. The windblows ashes where it pleases.

“POST MORTEM berlin” shows the choreography of a body’s last journey. Weexperience the process of a cremation: from the arrival of the coffin to thefilling of the ash capsule. The technically and hygienically perfected processof cremation renders the deceased ́s last encounter into an industrializedritual.

After being assaulted in public by a group of boys, the budding love betweenDaja and Robin is put to a test as they are forced to deal with the aftermath.HYSTERIA tells a queerfeminist tale of anger, frustration, solidarity and whatsleft for us in the end.

The employee simply desires her salary but instead her boss pushes her intoan unexpected match on the squash court. SQUASH draws a picture rightbetween metaphor and reality of workspace and in that feminism, modernity,ageism and maybe even more.

Didem and Ayşe haven’t been able to find a job even though it has been awhile since they have graduated from the university. This time period in whichthese two young women step into adulthood and somehow need to makemoney now is short for humankind, but lingering for them and the days arenot much different from the previous ones.

Do You Like Poetry? follows the daily routine of Roberto, one of the inhabi-tants of the largest city in South America. After starting a medical treatment,he realizes that the result may not be as he expected.

Three women stop for a break at a highway rest area and cheerfully chatteraway in an strange language. After a while, two of the women mysteriouslydisappear.

A religious and traditional Kurdish man after his wife’s death suspects her andhe thinks his wife had a relationship with another man.

Ali — a lonely, elderly immigrant — seeks out new relations among the localsin a public bathhouse. But, with just limited knowledge about Danish cultureand the local sauna rules, making a good impression can be a lot harder thanfirst expected.

The ethnographic film Homeland presents the intimate stories of three forcedmigrants from Syria and Yemen, who are uniquely building up a new life inBerlin, Germany. As the filmmaker is closely immersed into the everydaylifeworlds of the newcomers, the film gives a raw representation of theirprocess of adjusting to a foreign culture and environment; the desire to beincluded in new communities; and the reality of feeling lonely and oftenhomesick. Accordingly, the research explores what ‘feeling at home’ means inthis context.

A mini bus is on a journey across the mountains to Kabul Each person on thebus has a reason to take this journey An old man is traveling to give a turkeyto his grandchild, as his last wish before dying However, the main road isblocked by insurgents They decide to use an alternative road, which is notvery secure, and there is still the possibility of getting caught by insurgents.

Joining a recent wave of immigration from Turkey to Germany, Aslı is new inBerlin. She auditions for the voice of the audio guide for an archaeologicalmuseum, facing her with objects from her home country, including a monu-mental Zeus Altar. Her encounters during the rest of the day further reveal theabsurdity of out of placeness.

The touristic voyage gaze does not only create an object but also implies thedesires and longings of the subject who stares and grasps. The westernersjourney to know about oneself becomes a search for a counter-narrativewhere the new ‘orient’ is believed to provide the answer to lost origins and ashelter from problems. Many do not recognize the lifestyles of non-westernpersons, who do not submit to western standards with regard to fashion,self-narratives and occupied space. Many expect non-western persons to bepassive and modest, available to offer them care and a sense of belonging.

After George Floyd`s tragic death in 2020, the filmmaker gets in touch withBlack activists in Cologne. Parts of the Black Community collaborate withassociations in Cologne to plan a demonstration on the occasion of MartinLuther King’s famous speech in 1963. The filmmaker gets involved in thepreparations and talks to the activists about the Black Lives Matter movement.

The Host is a woman living alone in the middle of a vast land. The visitors thatshe has long waited for finally arrive. They mingle with the Host’s life, bothinterfering with her daily routines and helping her to take a decision.