Universität der Künste Berlin

Neda finds no fulfillment in love, family or work, and so she wanders through Berlin searching.

A flat tire, and the date is getting closer: Martin and his daughter have a date with Mama at the playground. But she prefers to party with her friends at the Spree, like there would be no pandemic. Soon summer will arrive in Berlin.

A young refugee leaves Nigeria for Berlin in search of a decent life with a properly paid job.

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

Burn-out and depression are not individual phenomena but collective ones. The film is an invitation to rest through images and listening, so as to transform individual exhaustion into shared power to act.

Migrant shipyard workers spend their daily routine in a dormitory on the Adriatic coast. In the evening one of them visits the nearby city.

Berlin. Summer 2018. They are 17 years old. The diverse neighborhood they grew up in is one big construction site, where people have to give way to the dreams of others. They drift through the city and wonder how anyone will be able to live in this city in the future. They are always in discussion: about everyday sexism, the individual's responsibility for the system in which we live. What is happening and what should happen is in contradiction, but they keep the faith.

Sava Centar is a congress space built in 1978 in Belgrade, Yugoslavia, whose architecture reflects an idea of the future. Made to host thousands, it now stands almost abandoned. The maintenance workers shoulder the duty of restoring the space.

"Margina" reflects upon life in the Roma community, giving very intimate insights into the life of a Roma family in Macedonia, who exists "at the edge" of European society. Without overt pathos, the film shows everyday family-life, marked by social marginalization and economic hardship, but also the usual domestic problems

The door slams shut behind him, the goal is clear: he urgently needs to pee. If only it weren’t for the others and the way they look at him. The noise, the pressure, the self-consciousness. A journey from the urinal to the cubicle.

Flusser presents here theories that focus on the believability of the electronic image, the role of religion and memory, as well as the new language systems and apparatus of the digital avant-garde era. — Television Image and Political Space in the Light of the Romanian Revolution (Lecture, Budapest, the 7th of April, 1990) — On technical images, chance, consciousness and the individual (Interview by Miklós Peternák in München, the 17th of October 1991) — On religion, memory and synthetic image (Interview by László Beke and Miklós Peternák in Budapest, the 7th of April 1990) — On writing, complexity and the technical revolutions (Interview by Miklós Peternák in Osnabrück, European Media Art Festival, September 1988)

Aslı, who has just moved to Berlin, is performing a voice. Speaking in Turkish for an audio tour of an archaeological museum, while talking about the altar of Zeus, who moved from his country to Germany in time, she tries to cope with feelings of mischief and foreignness in her own life and to be herself.