My parents were real estate developers and dealers in the 1980s. They achieved the ‘middle class dream’ thanks to the development boom. However, the Asian financial crisis swept everything away.
While millions of birds migrate freely in the skies above, Fadia, a Palestinian refugee stranded in Lebanon, yearns for the ancestral homeland she is denied. When a chance meeting introduces her to the director, Sarah, she challenges her to find an ancient mulberry tree that once grew next to her grandfather’s house in historic Palestine, a tree that stands witness to her family’s existence.
During the three weeks of Justice's March 2008 North American tour, Romain Gavras, So Me and the band themselves tape every second of their escapades across the country and the chaos that ensued.
A family embarks on an annual tormenting journey along with 130 million other peasant workers to reunite with their distant family, and to revive their love and dignity as China soars as the world's next super power.
World-renowned Drag Queen Miz Cracker helps a Texas family that’s experiencing strange occurrences after renovating their 1892 home. As a lover of the paranormal, can Miz Cracker solve their ghost problem and help them coexist peacefully with the spirits?
Mobile homes have long been an affordable option for people who struggle with the cost of other housing in the United States. But now the economy of mobile home parks is under threat as private equity firms are buying up properties and looking to squeeze more money out of mobile home owners. Filmmaker Sara Terry uses this backdrop to explore urgent class issues that resonate across America, and especially in the high-priced rental market of New York City.
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At the eastern end of Seoul, in a huge apartment complex, it has long been a paradise for cats and people to run around and give love and joy together. However, there are people who are worried about cats who are not leaving the place which will be demolished soon, ahead of reconstruction. "I want to ask. Do you want to keep living here?" For the happy farewell of cats and people, a beautiful struggle begins!
When Werner Herzog was still a child, his father was beaten to death before his eyes. His mother was overwhelmed with his upbringing and thereupon shipped him off to one of the toughest youth welfare institutions in Freistatt. This was followed by a career as a bouncer in the city's most notorious music club and an attempt to start a family. Today, the 77-year-old from Bielefeld lives with his dog Lucky in a lonely house in the country. Despite adverse living conditions, he has survived in his own unique and inimitable way.
Dunchon Jugong Apts. at the edge of the metropolis, Seoul. It has been over 10 years since discussions of rebuilding these old apartment complexes began. The inhabitants tell us about their soon-to-be-demolished houses and apartments. Some of them have spent long spans of time here and some of them short. Some people are now raising daughters in the house they lived in since their childhood, some families came from other places and struggled to adjust. Each add their different forms of love to this space in their own way. As the long-postponed reconstruction nears reality, the day-to-day scenery of the apartment complexes and households is quietly coming to a close.
In April 2014, the entire nation of South Korea watched on television live as The Sewol capsized off the coast of Jindo. The tragedy left life-long wounds in the hearts of people whose family and friends had been among the 304 passengers killed. The majority of the victims were high school students on a school trip. Their parents were not even given the luxury of grieving, as they had to camp out in front of the Parliament, City Hall and the Presidential House, asking for only one thing - to know the truth about why their children had been left to die. But after more than a year, that truth has yet to be brought to light. This film is a documentation of the year-long struggle and painful soul-searching of people destined to be labelled as 'bereaved families' for the rest of their lives, as they come face to face with the naked face of their cruel country.
Cheonggyecheon is a small industrial area in the city of Seoul where small metal workshops are located. Cheonggyecheon had played a key role in the industrialization of South Korea from the remnants of colonialism and war. Following the liberation of the country from Japanese rule in 1945, many industrial complexes became abandoned, resulting in a flood of scavenged machine parts on the market.. In the 1960s, Vietnam War veterans brought many machines into Cheonggyecheon, initiating small-scale production and what’s now considered “copy” production unique to the economies of developing nations. In the past five years, the business on Cheonggyecheon has declined as the surrounding neighborhood is in the process of renovation and gentrification, as part of a beautification initiative by the Seoul Metropolitan Government.
Reclaiming what was once stolen from him, a man journeys back to the place of his childhood nearly 80 years after his world came crashing down.
The drastic economic development in South Korea once surprised the rest of the world. However, behind of it was an oppression the marginalized female laborers had to endure. The film invites us to the lives of the working class women engaged in the textile industry of the 1960s, all the way through the stories of flight attendants, cashiers, and non-regular workers of today. As we encounter the vista of female factory workers in Cambodia that poignantly resembles the labor history of Korea, the form of labor changes its appearance but the essence of the bread-and-butter question remains still.
Shot at the Olympic Stadium in Seoul during the BTS World Tour ‘Love Yourself’ to celebrate the seven members of the global boyband and their unprecedented international phenomenon.
By 2045, twenty localities in Germany will be resettled because of brown coal open pit mining. The film Waste Land follows the inhabitants of three villages in the Rhenish coal-mining district during their last years in their old home and documents how an entire region prepares for its collective relocation.
The film was shot in an old, decrepit building where dozens of guest-workers' families live. The owner, a local influential politician, has avoided paying for the maintenance of the building under the legal standards by using his connections to proclaim the building a national cultural heritage. However, the rent he has been charging was as if the building were an object that offered standard comfort. The only German tenant takes the crew around and speaks of his battle against the landlord’s manipulation.
KIM-GUN searches for the whereabouts of a young man whose identity has sparked a national controversy over the 1980 May 18 Gwangju Uprising. Starting with the vague memories of those who had crossed paths with him during that time, the film tracks down those who participated in the Uprising as “Citizen Soldiers.” It also traces KIM’s final steps, based on photographic clues found in the firearms he carried and the “Surveillance Truck No. 10” in which he rode. By identifying KIM-GUN, we believe that we can find valuable leads to resolving the ongoing controversy over May 18. Why did a nameless young man join the Uprising? Why did he take up arms? Where has he gone afterwards? It is the answers to these questions that the film seeks.
In October 2015, the evicted residents who had imprisoned on a false charge of killing a policeman assembled in a place for the first time after the Yongsan Disaster six years ago. They had occupied a watchtower against unreasonable redevelopment policies and in protest against violent suppression used by riot police in 25 hours of their sit-in demonstration. Their colleagues had died from an unknown fire, and they became criminals. The delight of meeting again lasts only briefly. The ‘comrades’ rip out cruel words while blaming each other.
Gangjeong Village, located at the southernmost part of Jeju Island's Seogwipo City, is in the true sense a 'breathtaking land of water.' In this film, eight directors independently yet collaboratively orchestrate a clever and humorous "mission" at this place where the groundwork for building a naval military base is in progress.
Two women, one house. An intimate story about a Pole and a German placed by war on enemy sides and their parallel lives accidentally brought together. The film reflects on the concepts of invaders, victim, guilt and forgiveness. It confronts different experiences and their paradoxical similarities. It deals with the controversial subject of the post-war accountings. The visual narration is flowing, guided by memories and archives. Traditional documentation confronts experimental use of archival footage in the cinematic impression about displacement.
Self
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