A film by Markus Imhoof
Seventy years after the end of the Second World War there are 60 million refugees, asylum seekers and migrants worldwide. Humanitarian aid can ease, but political solutions are crucial: the causes of the refugees' streams have to be remedied, and where people are stranded, they must be absorbed, trained and integrated quickly. But according to the international treaties, not everyone who risks their lives has the right to asylum.
Markus Imhoof travels to the people who work with and for refugees. Relations between European citizens and strangers reveal much about our society and our future: apparent stability is just as unhealthy as unlimited growth.
In co-production with Thelma Film / Ormenis Film, Bavarian Radio, SRFSupported by FFA, FFF, BKM
Do not worry!
Screenplay: Jana Simon, Kathi Liers
Directed by: Emily Atef
The evening meal of the Schenk family is disturbed by the arrival of two police officials telling them that the eldest son, Jacob, is not on holiday in Spain, as is supposed, but has probably joined the IS in Syria. A shock to the parents. They try to reach Jakob several times.
And indeed, Jakob takes up contact with his parents and wishes to come back home. In an adventurous journey to the Syrian border, his father succeeds to embrace his son again and bring him back to Germany.
However, back home, questions start being asked: did he return of his own free will, has he disassociated himself from the IS ideology, or is he in fact a 'sleeper' agent awaiting orders?
A zero one film production commissioned by WDR
by Katharina Weingartner
Every 60 seconds in Africa a child dies from malaria. The illness accounts for the death of over a million people every year, 90% occurring in the sub-Saharan regions of Africa. Aside from the human cost, the annual economic losses attributed to Malaria total over 12 billion USD.
And despite the vast amount of research, there is currently no single solution for the fight against malaria â€“ yet. Plasmodium is one of the oldest known parasites on earth and has played a crucial role in various wars; but the war against malaria still remains to be won. In1955, a global effort to eradicate endemic malaria was initiated by the WHO, but it was mostly successful in countries with temperate climate. For the countries in Africa, India and South-East Asia the solution is yet to be found. The approaches vary from traditional Chinese herbal medicine to semi-synthetic medication, from the distribution of insecticide-treated bednets to costly vaccination programs. The parasite constantly challenges the global community, the public health organisations and private aid-funds.
For THE FEVER Katharina Weingartner focuses the complex history, present and future of Malaria and observes the search for a solution. The film introduces the people who work in the health industry and the people who are trying to survive the illness.
Funded by Ã–FI Austrian Filminstitut, ORF Film-/Fernsehabkommen, Land Vorarlberg / Kultur, FFA, MBB, SWR/ARD, BAK, ZÃ¼richer Filmstiftung, SRF
A feature film by Connie Walther and Dorothee SchÃ¶n
They are going wild. Often for no apparent reason. They have a low tolerance for frustration. They have their aggression out of control. They can not communicate with their environment. They only calm down after fighting. Too much testosterone. Their body language is intimidating. When you meet, you better switch to the other side of the road. They are socially neglected and have experienced violence. They are dangerous. That's why they are locked in.
It's about shelter dogs that are not placeable because they bite humans.
And it is about young violent offenders who are sentenced to imprisonment.
And it 's about what happens when one hit the other.
A film by Ulrike Ottinger
"Paris Calligrammes" unites Ulrike Ottinger's personal memories of the 1960s when she lived in Paris, with a portrait of the city and a sociogram of the time. The films aspires the form of a cinematic figurative poem (kalligram): text and image, language, sound and music build a mosaic which gives us a sense of a historical period and at the same time shows the brittleness of all cultural and political achievements.
Funded by Medienboard Berlin Brandenburg