sixpackfilm

Aino is celebrating her bachelorette party. Toni, who was once briefly with Aino, works at the gas station. Lolly has moved away, but always has sex with Aino's mother whenever she returns to her hometown.

Composed of 28 static-camera scenes from everyday (occupied)-Tibetan life, each picture (without narration) a "narrative" lasting several minutes, these 28 views explore the contradictions between the traditional way of life and modernism's obvious invasion of Tibet.

Bergmanesque ghosts appear at the bedside of Edward Weki, a 75-year-old Sudanese man suffering from the final stage of Parkinson’s: Alma, the nurse of Ingmar Bergman’s film Persona, and a female version of Death from his The Seventh Seal help the old man recover lost memories of his life on the island of Farö.

We accompany the 90-year-old filmmaker Alexander Hammid on a stroll through New York, wandering with him through the outer and inner landscapes of his world. The observation of details takes on a meditative character.

Void, elegiac images - a story and loving and dying: A journey entrusts itself to the viewer's ability to associate and creates a collision of melancholy, softly red-filtered vacation images with an (apparently) totally unrelated story.

Shot in a single take on 70mm, Arena is the latest film by the ever-inventive Austrian artist Björn Kämmerer and a tribute to the unexpected aesthetic pleasures we risk overlooking.

Dropping Furniture shows the destruction of a living space. The film is conceived as a symbolic image for the loss of an existence.

Inside a museum, nowadays. A diorama represents two young soldiers in the trenches. All of a sudden, we are thrown into the diorama: the immobile soldiers come to life, there is terror on their faces – the camera dances around them – explosions, chaos, fog: everything flies about in the air. With every gunshot, they shudder and curl up

Russian-born director Aleksey Lapin travels back to his relatives’ home village near the Ukrainian border, where he himself used to spend every summer. The film crew introduce themselves at a specially organized musical event, claiming that they have come to cast a historical film that is to be set in the village. What follows is a charming, semi-fictional documentary by and with the village community.

A man rescues a boy and later tries to get him off his back but to little avail, so they end up drifting around a subterranean world, populated by grotesque masked figures. A hundred years after Chaplin filmed his first feature film, The Kid, Norbert Pfaffenbichler offers an experimental punk-style interpretation, which the filmmaker himself has defined as a dystopian slapstick film.

Somalia. A policewoman sits in her parked car. After a while, she gets out, puts on her service cap, and enters the prison. There, decisive hours have dawned for young Farah. Organizational machinery starts up around him. Farah is examined by a doctor, instructed by the bailiff, and looked after by an imam. Farah is waiting for his parents to visit. “How are you?” is the question everyone asks him that day. Each time, “Good” is his concise answer. Only when the policewoman takes Farah out of town the next morning does the unspeakable become a painful reality.

Anton and Franz live together since the beginnings of 20th century. They talk about their difficulties of being vampires, since their first bite in 1938. Their inconsistent arguments recall those of normal human beings. And history repeat itself. As if that were not enough, they also doesn`t really like each other much.

There are no taboos in the grotesque underground realm of Pfaffenbichler’s 2551 movies, which cross all borders, especially those of good taste. Reviving the original punk spirit of true independent filmmaking, Pfaffenbichler and his ingenious collaborators have concocted another marvel of no-budget ingenuity.

The film "Into the Emptiness" describes an example of the ritual game of "serfdom" in a "studio for bizarre eroticism". This game comprises a masochistic phantasy in which theguest assumes the role of an obedient slave and servant while the woman employed by the "studio" plays a domina who rules and punishes without mercy.

"Stranger Than Paradise," vaguely associatively linked to Jim Jarmusch's wintery Eighties road movie, is a genuinely film-choreographed work: a hybrid, subtly futuristic chamber play for eight people and an investigative camera. Set in sunken moods and deceptive images, this dance film is an elegy that marks the transition from one species to the next. "Stranger Than Paradise" is a reflection of the systematic expansion of the human and animalistic into the mechanical and sometimes their hybrid existence. The body is obsolescent: it is still needed but the preparations for its abolition are in progress.

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.

The accomplishments of four handicapped ten-year-olds are recorded on camera. Their determination to do and create is obvious in each action.

In Nauruan, Anubumin means "night"—and darkness is what the fourth joint film by Zanny Begg and Oliver Ressler begins with. The small and inconspicuous island of Nauru with close to 10,000 inhabitants lies in the Pacific at a great distance to the mainland. But Nauru is a tragic place steeped in history that has been overwritten by numerous narratives. The film addresses these different narratives, starting with the early exploitation of the island and its calcite and phosphate deposits by the colonial powers in the 19th century. After the golden 1970s, when the "Birdshit island" was flush with money, the phosphate was completely mined and the island state soon became insolvent. Since then, Nauru has turned into a gloomy place: 80% of the area is uninhabitable; the attempt to tap new sources of income led to the wide-scale practice of money laundering.

Sitting on her bed, Kurdwin Ayub wears a babydoll and hugs a blanket in her arms. She speaks to the camera as if addressing her ex-boyfriend. How to react to his eyes staring at us?

Shifting between a suburban hostelry, domestic harmony and the idyllic setting of the Prater funfair, Johannes Holzhausen's documentation is a respectful and sympathetic observation of the long-term relationship between two people leading an unspectacular existence on the edge of society. A retrospective view of an unhappy life from the perspective of happier times.