How to Remember(NaN)

Begrijpt u nu waarom ik huil?(nl)

The work of Leiden professor Bastiaans on dealing with the trauma of war victims attracts the attention of filmmaker Louis van Gasteren. He decides to make a film about the psychotherapeutic treatment with LSD of a former concentration camp prisoner in the clinic of Bastiaans. Patient Joop is arrested in September 1941 and begins a long hellish journey through various camps, until he is liberated by the Russians. When he returns to his wife, he has become a completely different man. Joop suffers from nightmares and is incapable of normal human contact. With two cameras, Van Gasteren records approximately six and a half hours of the first treatment that Joop undergoes with Bastiaans (four more will follow later). Special attention is paid to details: Joop's hands, the sweat on his forehead, a tear running slowly down his cheek. Van Gasteren reduces the recordings to more than an hour.

A Minha Avó Trelotótó(pt)

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

Sin libertad: 20 años después(es)

It Started with Trees – Revolt in the Gezi Park(cs)

Protesters diary from Gezi Park - Taksim Square, Istanbul. Occupy Gezi movement started when the government decided to build shopping mall in place of the last green area that remained in the middle of Taksim Square.

Mujeres en la isla: las otras hijas del mestre(es)

Adrift by the Towers(pt)

Vila das Torres was a self-built community based on one of the largest urban gardens in Rio de Janeiro, below the energy towers of the Light Company and next to the train lines. Eight years after its removal for the construction of Parque Madureira, former residents report their memories.

Shâd Bâsh(fr)

In Memoriam (La derrota conviene olvidarla)(es)

Tell No One(pl)

Polish documentary directed by Tomasz Sekielski about child sexual abuse in the Catholic Church in Poland.

Diameter of the Bomb(en)

Since the renewed Intifada began in 2000, there have been over 75 Palestinian suicide bombings. This is the story of 0ne-the bombing of bus 32 in Jerusalem in June 2002. The film connects the stories of a group of ordinary Israelis-Jews and Arabs. Each of them holds a clue to someone who died that day.

Remembering Port Chicago(en)

In California's Bay Area, a painful memory lingers of the Port Chicago disaster of WWII, when hundreds of the Navy's first Black Sailors perished, and the White officers in charge were protected by the chain of command.

12 September: Coup Diary(tr)

Turkish democracy got over May 27 and March 12 and set off again, but the storm did not subside, and the mutual reckoning was not over. On the contrary, new fronts were opened in the country and blood began to flow like a gutter. Finally, on September 12, there was a knock on the door again. Those who came that day changed everything, everything. Nothing will ever be the same again

Demirkırat: Fight(tr)

It's easy to say... After 23 years of single-party rule, Turkey decided to try democracy once again in 1946. In every attempt up to that time, the regime had been turned upside down and given up in a short time. Now a new one was coming. Would he be able to reach the multi-party regime that has been pursued since Atatürk this time? The calendar of democracy began to run on the morning of Monday, January 7, 1946. That day was a turning point in Turkish political history. The Republic of Turkey woke up with a single party in the morning, it was now multi-party...

Demirkırat: Pressure(tr)

Looking back at the turmoil of the 1950s today, it's hard not to be sad. Even though one knows the end of the story, he is always waiting for something to happen to prevent this bitter ending. He wants the mistakes made to be noticed, a common point to be agreed and the accident that says I am coming to be prevented. But in vain... After the accident today, all we can do is look at the causes of the accident and learn from it... Beginning from the mid-1950s, the democracy, which was knitted stitch by knot before, began to unravel again, stitch by stitch. A tense, harsh, vicious period has opened in the political arena... It seemed impossible to see the future and take precautions in that dusty smoke...

The World According to Monsieur Khiar(nl)

Nighthouse(es)

Shot in Havana and processed at Phil Hoffman's Film Farm, Marcel Beltrán Fernández's Casa de la noche explores those same histories from the point of view of an insider, as a lived experience that is evocatively mirrored through ripped and torn celluloid.

Trying to Catch the Wind(fr)

My grand father Wilhelm was a former Wehrmacht soldier. I have been filming him since my adolescence. After his death, I opened a box with memories from WWII he never showed anyone. Did I ever question him on his past? I can’t remember…

W milczeniu(pl)

Danny(en)

A moving personal documentary about Danny, a friend of Kybartas who died of an AIDS-related illness in 1986. This powerful work explores the reason for Danny’s return home and his attempts to reconcile his relationship with his family members who had difficulty facing his homosexuality and his imminent death.

History and Memory: For Akiko and Takashige(en)

This film is a poetic composition of recorded history and non-recorded memory. Filmmaker Rea Tajiri’s family was among the 120,000 Japanese and Japanese Americans who were imprisoned in internment camps after the attack on Pearl Harbor. And like so many who were in the camps, Tajiri’s family wrapped their memories of that experience in a shroud of silence and forgetting. This film raises questions about collective history – questions that prompt Tajiri to daringly re-imagine and re-create what has been stolen and what has been lost.