Tracing Light – Die Magie des Lichts

Zu Gast zum Filmgespräch im Filmhaus ist heute der Regisseur Alexander Horwath

Henry Fonda for President

Zu Gast zum Filmgespräch im Filmhaus ist heute die Regisseurin Marion Guillard

Benelux Shorts

Zu Gast zum Filmgespräch im Filmhaus ist heute die Regisseurin Angela Christlieb

Pandoras Vermächtnis

Zu Gast zum Filmgespräch im Filmhaus sind Marcelo Busse und Julia Suermondt

Der Unternehmer, das Dorf und die Künstler

Hollywoodgate

Ein Tag ohne Frauen

Zu Gast zum Filmgespräch im Filmhaus ist heute die Regisseurin Kathrin Jahrreiß

Der dritte Bruder

Once Upon A Time In A Forest 

Im Anschluß an den Film begrüßen wir Elsa Kremser und Levin Peter zum Filmgespräch

Dreaming Dogs

Zu Gast zum Filmgespräch im Filmhaus ist heute die Regisseurin Fillipa Bauer

Die Statik der Träume

Zu Gast zum Filmgespräch im Filmhaus sind heute die Regisseure Lucas Dülligen, Niklas Lipski und Leonard Mann

NRW Shorts

Archiv der Zukunft

Zu Gast zum Filmgespräch im Filmhaus ist heute der Regisseur Markus Lenz

Provisorium

Zu Gast zum Filmgespräch im Filmhaus ist heute der Regisseur Younes Laaguidi

Einer von uns

Soundtrack to a Coup d'Etat

Anschließendes Konzert mit Harald Grosskopf und Ümit Han

Cyborg Generation

Heute freuen wir uns auf Anja Dreschke zum Filmgespräch im Filmhaus &nbsp;

Tarantism Revisited

Zu Gast zum Filmgespräch im Filmhaus ist heute Katrin Schlösser

Besuch im Bubenland

E.1027 - Eileen Gray und das Haus am Meer

Vorpremiere vor Kinostart

Mir zeynen do!

Kino zeigt Seele ist ein gemeinsames Projekt der Eckhard Busch Stiftung und dem Filmhaus Kino Köln. Seit 2012 werden jedes Jahr ausgewählte Filme rund um das Thema psychische Erkrankungen gezeigt.Thema heute: Schizophrenie

Rose - Eine unvergessliche Reise nach Paris

Anna Samo, Tom Bergmann

kein Vorverkauf, Reservierungen ausschließlich über die Regisseurin (+49 1575 8835386 oder <a href="mailto:lisa.zielke@mail.de" target="_blank" rel="noopener noreferrer">Mail</a>)

Sechs Menschen führen vor der Kamera Aktionen durch, die sie bezüglich ihrer eigenen Sexualität gewählt haben - was könnte gut tun in der aktuellen Lebensphase? Was bestärkt, hilft, reizt, bereichert? Vulvas betrachten, Abdrücke davon machen, ein Ölritual, Aussprache mit den Eltern zur versäumten Aufklärung, Fußvorliebe thematisieren, schwanger Liebemachen, sich über Penisse austauschen, sich fesseln lassen, sich der Welt zeigen und Scham abbauen… Ein Filmprojekt über sexuelles Empowerment.&nbsp;

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Sexploration

The program is part of the film festival: Where the Wind Scatters Seeds; (7.−9. February 2025).&nbsp;

DAY 1: (dis)location withinWhat does home look like? What do the spaces we inhabit carry? What myths feed the walls that grow around us? The light traveling through the lens of the camera might not be able to reach into the nuanced lived collective and individual experiences, encouraging experimentation through other media. The “caméra-stylo” manifests itself in drawing, embroidery, collage, found footage; all these techniques form constellations of visual exposure refraining from the canonical categorization of art, articulating the subtleties of recall, summoning memories from hidden intimate spaces, and discovering transcultural mutualities. &nbsp;Program #1: (dis)locationDocumentary filmmaking is far from a neutral observation; everyone participating occupies a certain position, assumes power and responsibility. The agency of the subjects is filtered through the constraints the directors impose. What qualifies a narrator as reliable? What does it mean to involve the imagination of Romani children? How does feminism foster solidarities between racialized and white women? Which parts of testimonies are left out? The sacraments lurking behind the fabric of everyday preoccupations accentuate the violent structures ordering societies in the era of coloniality. When we leave homes, when home leaves the spaces we are in, is home even there?Short film program:I Like Life a Lot (D: Kati Macskássy, Hungary 1977, 9’; Hungarian, English subtitles) The Komló settlement showcased the exploitation of unskilled Roma labor in the 1970s. Roma pupils and their art teachers collaborated, using audio interviews and drawings to turn harsh realities into fairytales.The Stitches Speak (D: Nina Sabnani; India 2009; 12’; Gujarati, English, English subtitles) Tanko Bole Chhe is a 12-minute animated documentary celebrating Kutch artisans of Kala Raksha, their journey, and life through their appliqué and embroidery art.Drop by Drop (D: Alexandra Ramires (Xá), Laura Gonçalves; Portugal 2017; 10’; Portuguese, English subtitles) The last villagers refuse to be forgotten. In a world driven by progress, this house endures.&nbsp;Oro Rojo (D: Carme Gomila;&nbsp;Spain 2021; 12’; Spanish, Arabic, English subtitles) Red Gold is an animated short documentary on Moroccan women's strawberry-picking protests in Huelva, exploring migration policies, global extractivism, and racial capitalism.&nbsp;Curated by Julia Jesionek and Polina Resnianska&nbsp;

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Program #1: (dis)location

DAY 1: (dis)location withinWhat does home look like? What do the spaces we inhabit carry? What myths feed the walls that grow around us? The light traveling through the lens of the camera might not be able to reach into the nuanced lived collective and individual experiences, encouraging experimentation through other media. The “caméra-stylo” manifests itself in drawing, embroidery, collage, found footage; all these techniques form constellations of visual exposure refraining from the canonical categorization of art, articulating the subtleties of recall, summoning memories from hidden intimate spaces, and discovering transcultural mutualities. &nbsp;Program #2: withinWhen the family tree has been uprooted, the personal mythology might stay in the land. As day turns into night, and night turns into day, dreams become enmeshed in the habitual nightmares of the mundane. Unable to distinguish between realities, one turns to introspection, seeking to picture what lies behind the faint lines of nostalgia. Distress morphs into homesickness for an unknown place. As the ambivalence of memory amalgamates with the rich tapestry of animation’s visual abundance, what is achieved in the personal documentary goes beyond mere representation but into the translation of the act of remembering itself. Defying the principles of high art through the material interrogation of film, once forgotten images from the past are re-animated and bloom anew in surreal sceneries. Do you recognize that place? The place you cannot visit, the place that is merely a memory, an image etched into your mind, a distant rustle of disjointed shards, a recurrent flash of dark.Short film program:Girl from Moush (D: Gariné Torossian; Canada 1993; 5’; no dialogue) In her memoir, Gariné depicts a yearning shaped by fleeting Armenian icons that stir fascination and uncertainty. Viewers explore the artist's uncharted mind, facing and embracing grand projections.Poppy Flowers (D: Evridiki Papaiakovou; Estonia 2024; 4’; English, English subtitles) Memories flow as a daughter reflects on shared rituals with her mother, exploring their complex bond. Maturing, she questions divinity while 35mm frames become cherished memorabilia of her past.Wild Flowers (D: Karla Crnčević: Wild Flowers; Croatia/Spain 2022; 11’; Croatian, English subtitles) Born from a desire to revisit personal archives, the film delves into memory, documentation, and non-institutional archives. It links politics with intimate spaces, examining war's impact on private archives and gardens as symbols of renewal.Bye, Little Block! (D: Éva Darabos; Hungary 2020; 8’; Hungarian, English subtitles) A young woman learns that soon she will have to move from the blockhouse flat she lives in. After receiving the upsetting news from the owner of the flat she is overwhelmed with emotions. Her teardrop of farewell grows into a concrete monolith. When the drop hits the ground a surreal panorama of the blockhouse area - she used to call home - unfolds…The Fifth Floor (D: Tereza Burianova; Czechia 2023; 4’; Czech, English subtitles) The film portrays a repetitive nightmare linked to a specific location, an apartment where the author spent the first twelve years of her life. The film works with elements of sleep paralysis and anxiety. By combining rotoscopy with old family photos and videos, the viewer has the opportunity to immerse himself into this dream.Comma (D: Sonia Leliukh; Germany/Ukraine 2023; 4’; no dialogue) A man with an exploding head is waiting at the train station. He tries to piece together a coherent story out of newspaper headlines, asking the question as to whether it is possible to live through catastrophes while walking the dog.Night (D: Ahmad Saleh; Qatar/Jordan/Germany/Palestine 2021; 16’; Arabic, English subtitles) The dust of war keeps the eyes sleepless. Night brings peace and sleep to all the people in the broken town. Only the eyes of the mother of the missing child stay resilient. Night has to trick her into sleeping to save her soul.&nbsp;Curated by Julia Jesionek and Polina Resnianska&nbsp;

Program #2: within

The program is part of the film festival: Where the Wind Scatters Seeds; (7.−9. February 2025).

DAY 2: Our Eyes Have Exhausted the Vocabulary of DeathBorrowing its title from Etel Adnan’s Jenin, this program brings together films that challenge the colonial and authoritarian use of visual media. By reframing archives as spaces of resistance and reclamation, these works highlight memory’s survival and vulnerability, offering insights into how storytelling can preserve histories, forge solidarity, and foster hope amidst loss. Organized into three sections—Two Rivers and a Wind, Resisting Oblivion, and Vocabulary of Absence—the program traverses landscapes of conflict and displacement, connecting stories across borders to expose shared struggles and resist erasure.&nbsp;Program #1: Two Rivers and a WindTwo Rivers and a Wind examines the role of visual media in occupation and dispossession. Spanning Taiwan, Palestine, and Buryatia, these films reveal the structures of occupation and preserve ancestral memory, reclaiming visual media as a tool for solidarity.Short film program:Water Sleep II Akaike River under Xizang Road (D: Su Yu Hsin; Taiwan 2019; 10'; English/Japanese/Traditional Chinese, English subtitles) Maps are controlled by nation-states: who creates them, what they will look like, how they will be read, and how they will be shared. water sleep II Akaike river under Xizang Road is an essay film which the artist guide us to find the lost river in historical maps.We Have Always Known the Wind's Direction (D: Inas Halabi; Palestine 2019-2020; 11'; Arabic, English subtitles) Fragments of landscapes and voices cohere into a rich exploration of the unrepresentable in this film about the possible burial of nuclear waste in the South of the West Bank and the invisible networks of power that control the region.The River I Grew Up With (D: Natalia Papaeva; The Netherlands 2022- 2023, 30'; Russian/Buryat, English subtitles) "The River I Grew Up With" captures Orlik's landscape and family tales, blending Buryat and Russian through a bilingual mother-daughter duo. Papaeva uses red and green text to depict a family's view of a shifting culture.&nbsp;Curated by Vincent E., Sarah Savalanpour and Shadi Tabibzadeh&nbsp;

Program #1: Two Rivers and a Wind

DAY 2: Our Eyes Have Exhausted the Vocabulary of DeathBorrowing its title from Etel Adnan’s Jenin, this program brings together films that challenge the colonial and authoritarian use of visual media. By reframing archives as spaces of resistance and reclamation, these works highlight memory’s survival and vulnerability, offering insights into how storytelling can preserve histories, forge solidarity, and foster hope amidst loss. Organized into three sections—Two Rivers and a Wind, Resisting Oblivion, and Vocabulary of Absence—the program traverses landscapes of conflict and displacement, connecting stories across borders to expose shared struggles and resist erasure.&nbsp;Program #2: Resisting OblivionResisting Oblivion uncovers hidden scars of history in Iran and the Afghan diaspora, revisiting narratives erased by authoritarian regimes or national exclusion. The chosen film explores identity and belonging amidst displacement, showing the power of memory to resist oblivion and reclaim lost histories.Film program:The Silhoettes (D: Afsaneh Salari; Iran/Philippines 2020; 79'; Persian (Farsi/Dari), English subtitles) At the height of the USSR’s invasion of Afghanistan in 1982, 1.5 million Afghans took a long journey to the border of Iran to flee war. TAGHI, born after that generation, and unwilling to inherit the limitations of his parents’ refugee status, navigates outside the protective walls of his family to trace his identity and the doors to his future in the homeland he never knew. As war continues to rage in Afghanistan, what future awaits him in which land?&nbsp;Curated by Vincent E., Sarah Savalanpour and Shadi Tabibzadeh&nbsp;

Program #2: Resisting Oblivion

DAY 2: Our Eyes Have Exhausted the Vocabulary of DeathBorrowing its title from Etel Adnan’s Jenin, this program brings together films that challenge the colonial and authoritarian use of visual media. By reframing archives as spaces of resistance and reclamation, these works highlight memory’s survival and vulnerability, offering insights into how storytelling can preserve histories, forge solidarity, and foster hope amidst loss. Organized into three sections—Two Rivers and a Wind, Resisting Oblivion, and Vocabulary of Absence—the program traverses landscapes of conflict and displacement, connecting stories across borders to expose shared struggles and resist erasure. Together, these works reimagine archives as dynamic spaces that resist erasure and foster solidarity, bridging past and present struggles through the transformative power of storytelling.&nbsp;Program #3: Vocabulary of Abscence + Music PerformanceVocabulary of Absence draws on family archives to reflect on the losses of migration—fractured homes, loved ones left behind, and disrupted social fabrics. By creatively engaging with archival gaps, these films transform absence into a fertile ground for reconstructing stories, enriching both personal and collective memory.Music performance by Atena EshtiaghiShort film program:I am trying to remember (D: Pegah Ahangarani; Iran/Czech Republic 2021; 15'; Persian, English subtitles) I asked: "Why have they erased you?" He said: "Maybe they are scared." I said: "Whoever is scared, should erase themselves." He said: "In that case, the faces of the living would all be gone and only the dead would remain."3350 KM (D: Sara Kontar; France 2023; 13'; Arabic, English subtitles) Father and daughter have been separated by 3,350 kilometres for seven years. He lives in Syria, she lives in exile in Paris. All they have left is to talk on the internet. The daughter records the conversations.x + x = + (D: Niyaz Saghari; Iran/UK 2020; 7'; Persian, English subtitles) +x+=+ is a meditation on the overwhelming process of grief and healing through the use of archive sound and image.Random 13 minutes (D: Israa Issa Mahameed; 2024; 13'; Arabic, English subtitles) A Random 13 Minutes captures an intimate phone conversation between Israa Issa Mahameed, living in the peaceful Norway, and her mother in Nablus, one of the most tense areas in Palestine. The conversation was recorded on December 30, 2022, at 3 a.m.&nbsp;Curated by Vincent E., Sarah Savalanpour and Shadi Tabibzadeh&nbsp;

Program #3: Vocabulary of Abscence + Music Performance

DAY 3: Radical Kinship: Reimagining Communities Through SolidarityThe films in this program invite us to traverse the labyrinths of colonial violence, resistance, and radical imagination. They explore how communities, beyond oppression and alienation, can forge connections with one another. By examining the shared experiences of groups affected by colonialism across different geographic contexts, the program fosters solidarity between communities suffering from colonial violence and its aftermath.Starting from the Vietnamese diaspora, the films delve into forced migration and cultural survival, exploring how living archives are constructed through personal histories. These intimate insights challenge dominant narratives shaped by power structures, which are perpetuated by selective forgetting. These works examine the complex process of negotiating identity "in the belly of the beast". This confrontation with identity under colonial legacies is not only an act of survival, but also reclaiming of self in spaces shaped by systemic forces of control.The second part of the program shifts focus to film as an archive of resilience, one that documents testimonies of colonial violence. These works disrupt established historical narratives and open new pathways to present collective suffering and resistance. The films urge questioning the systemic conditions that distort or erase the testimonies of marginalized subjects, encouraging new ways of listening and understanding. The screen becomes a space for deconstructing past and present traumas, enabling the creation of alternative methods and perspectives of documenting vulnerability.The concluding section shifts towards radical imaginations from black and Kurdish resistance movements: What could a world beyond colonial legacies look like? These films imagine ways of living, creating, and being together outside the structures of imperial control. Through documentation of revolutionary practice, they break inherited hierarchies and propose alternative visions grounded in justice, reciprocity, and liberation.In presenting these perspectives, the films invite the audience to view solidarity as a tool for healing and transformation.&nbsp;Program #1: Living ArchivesShort film program:Roan (D: Thùy Trang Nguyễn; Germany 2019; 12'; Vietnamese; English subtitles) An elderly Vietnamese grandmother and her German-born grandchild spend a quiet day together in her apartment, bridging cultures and generations through tender moments, small discoveries, and profound reflections on life.What If (D: Ngọc Anh Phan; Germany 2021; Vietnamese, English, German subtitles) Exploring the 'what-ifs' of her parents' meeting, director Ngọc Anh Phan pieces together fragments of memory, weaving through time and space to uncover hidden layers of her family's history.What The Soil Remembers (D: José Cardoso; 29'; English, Afrikaans, Xhosa, English subtitles) «What the Soil Remembers» examines the trauma of a community uprooted during the Apartheid regime, making way for an educational institution that would become synonymous with the foundation of white supremacist ideologies. The film follows a group of elders who illuminate the screen with their approach to the problem. The collective wisdom and patience embedded in their actions is what a nationalist regime tried to violently take away from them years earlier.&nbsp;&nbsp;Curated by&nbsp;Schaho Balbas, Idil Xaashi Hassan, Lan Mi Lê and Safiya Yon&nbsp;

Program #1: Living Archives

DAY 3: Radical Kinship: Reimagining Communities Through SolidarityThe films in this program invite us to traverse the labyrinths of colonial violence, resistance, and radical imagination. They explore how communities, beyond oppression and alienation, can forge connections with one another. By examining the shared experiences of groups affected by colonialism across different geographic contexts, the program fosters solidarity between communities suffering from colonial violence and its aftermath.Starting from the Vietnamese diaspora, the films delve into forced migration and cultural survival, exploring how living archives are constructed through personal histories. These intimate insights challenge dominant narratives shaped by power structures, which are perpetuated by selective forgetting. These works examine the complex process of negotiating identity "in the belly of the beast". This confrontation with identity under colonial legacies is not only an act of survival, but also reclaiming of self in spaces shaped by systemic forces of control.The second part of the program shifts focus to film as an archive of resilience, one that documents testimonies of colonial violence. These works disrupt established historical narratives and open new pathways to present collective suffering and resistance. The films urge questioning the systemic conditions that distort or erase the testimonies of marginalized subjects, encouraging new ways of listening and understanding. The screen becomes a space for deconstructing past and present traumas, enabling the creation of alternative methods and perspectives of documenting vulnerability.The concluding section shifts towards radical imaginations from black and Kurdish resistance movements: What could a world beyond colonial legacies look like? These films imagine ways of living, creating, and being together outside the structures of imperial control. Through documentation of revolutionary practice, they break inherited hierarchies and propose alternative visions grounded in justice, reciprocity, and liberation.In presenting these perspectives, the films invite the audience to view solidarity as a tool for healing and transformation.&nbsp;Program #2: Radical SolidarityShort film program:Letter To Obama (D: Mohanad Salahat; 2014; 6'; Arabic, English subtitles) In a Gaza Strip refugee camp, two boys sent a Facebook message to President Obama, urging him to end the siege and visit the area with his wife to see the hardships. Receiving no reply, they recorded an angry video message to him on behalf of the camp's people.The tank of my sketchbook (D: Sherko Abbas; 2021; 6'; Kurdish, English subtitles) The film blends found imagery and animation to depict 1980s Iraq, where reality and propaganda intertwined. It contrasts state-sanctioned cartoons glorifying war with the harsh realities faced by Iraqi families, exposing the lasting trauma of a generation shaped by violence and manipulation.Buurman Abdi (D: Douwe Dijkstra; 2022; 29’, Dutch/Somali/English, English subtitles) How can you understand a violent past? Somali-born Abdi is furniture designer and support worker. He reenacts his life, marked by war and criminality, with the help of his neighbour and filmmaker Douwe. By means of playful reconstructions in a special effects studio, Abdi and Douwe embark on a candid and investigative journey through a painful history, focusing on the creative process throughout.Graffiti (D: Paria Mohammadi/Rasoul Mohammadi; 2024; 5';&nbsp;Farsi/English, English subtitles) Two film students living in two different countries - Iran and Germany - are interested in the walls and graffiti of city life. That's why they start filming the graffiti in their cities at the same time. The result is the experimental short film Graffiti.Paper Puppet Testimony (D: Sherko Abbas; 2019; 8'; Kurdish, English Subtitles) The 1991 Kurdish uprising against Saddam Hussein, symbolized by Amna Suraka—The Red Prison—was pivotal. 11-year-old Sherko witnessed a haunting scene that stayed with him. Now, he uncovers the silenced stories of female inmates, aiming to reveal hidden histories and confront denial through memory, trauma, and justice.Nebsei (D: Gabrielle Tesfaye; 2023; ; Tigrigna, English subtitles)&nbsp; Nebsey, meaning ‘my body/soul’ in Tigrigna, is a short animated film revealing the story of women who faced sexual and gender based violence during the war in Tigray. The film responds to research surrounding the themes of gender-based violence during the ‘Tigray War’, its psychological effects on society, and hopes of reconciliation, justice and healing.+ Screening at the Foyer Voices of Bakur (D: Two Rivers and a Valley;&nbsp;2019; 32'; Kurdish, English Subtitles) Voices of Bakur delves into the 2015-2016 Kurdish movement in Northern Kurdistan, where southeastern Turkish towns declared autonomy. Featuring interviews and banned footage, it highlights the fight for democratic autonomy, women’s liberation, and self-defense during a brutal conflict that claimed 1,552 lives.&nbsp;Curated by&nbsp;Schaho Balbas, Idil Xaashi Hassan, Lan Mi Lê and Safiya Yon&nbsp;

Program #2: Radical Solidarity

DAY 3: Radical Kinship: Reimagining Communities Through SolidarityThe films in this program invite us to traverse the labyrinths of colonial violence, resistance, and radical imagination. They explore how communities, beyond oppression and alienation, can forge connections with one another. By examining the shared experiences of groups affected by colonialism across different geographic contexts, the program fosters solidarity between communities suffering from colonial violence and its aftermath.Starting from the Vietnamese diaspora, the films delve into forced migration and cultural survival, exploring how living archives are constructed through personal histories. These intimate insights challenge dominant narratives shaped by power structures, which are perpetuated by selective forgetting. These works examine the complex process of negotiating identity "in the belly of the beast". This confrontation with identity under colonial legacies is not only an act of survival, but also reclaiming of self in spaces shaped by systemic forces of control.The second part of the program shifts focus to film as an archive of resilience, one that documents testimonies of colonial violence. These works disrupt established historical narratives and open new pathways to present collective suffering and resistance. The films urge questioning the systemic conditions that distort or erase the testimonies of marginalized subjects, encouraging new ways of listening and understanding. The screen becomes a space for deconstructing past and present traumas, enabling the creation of alternative methods and perspectives of documenting vulnerability.The concluding section shifts towards radical imaginations from black and Kurdish resistance movements: What could a world beyond colonial legacies look like? These films imagine ways of living, creating, and being together outside the structures of imperial control. Through documentation of revolutionary practice, they break inherited hierarchies and propose alternative visions grounded in justice, reciprocity, and liberation.In presenting these perspectives, the films invite the audience to view solidarity as a tool for healing and transformation.&nbsp;Program #3: Radical Imagination17:50 short film program Bread of my life (D: Adel Abidin; 2008; 6'; no dialogue) In Egypt, bread is revered as the source of life, almost treated as a sacred object. It comes in various forms, and I once encountered bread so hard that it seemed more suited for drumming than eating. The sound it produced was surprisingly pleasant, resembling that of a musical instrument. In the video, four percussionists, who make a living by playing rhythms for belly dancers in low-key nightclubs (kabarate), experiment with drumming on the bread to create a rhythmic experience.Cultural Nationalism (D: Skip Norman; 1966; 10’; English, no subtitles) A quiet scene in the snow, a black child in an anorak runs mumbling towards the camera. The pictures of Skip Norman’s Cultural Nationalism are underpinned with a powerful monologue by the co-founder of the Black Panther Party Bobby Seale.18:00 conversation circle Rebirthing the Future of Cross Community Solidarity Through Ancestral Remembrance and Radical Imagination&nbsp;- Conversation circle with Amdrita Jakupi &amp; Dr. Cucuteni: "Cross Community Solidarity Through Ancestral Remembrance and Radical&nbsp;Imagination"18:50 short film program HERE IS THE IMAGINATION OF THE BLACK RADICAL (D:&nbsp;Rhea Storr;&nbsp;2020; 10'; English, English subtitles) Afrofuturism is communicated via the Bahamian people through Junkanoo, a form of carnival in the Bahamas. Originally celebrated&nbsp; by slaves who were given Christmas Day and Boxing Day off only, Junkanoo can be viewed as a form of resistance.&nbsp;(short break, intervention)Song Con Song (D:&nbsp;Vi Tường Bùi;&nbsp;2024; 3'; silent) Sóng (Còn Sống) is a poetic reflection on Vietnamese and queer identity, where water symbolizes renewal and connection. Through textures, light, and the áo dài, the film bridges past and future, celebrating the intersection of being Vietnamese-American and queer.&nbsp;Zuhause ist dort wo die sternfrüchte sauer sind (D: Huy Nguyễn; 2023; 24'; Vietnamese, German, English subtitles) In&nbsp;Home Is Where the Starfruit Is Sour, director Huy Nguyễn explores the emotional distance and closeness in his transcontinental relationship with his grandparents, breaking cultural silence to uncover the meaning of love and connection across generations.Frequencies (D: Rebecca Racine Ramershoven; 2024; 6'; English, no subtitles) The short film tells of frequencies of Black culture in the form of pop-cultural scenes, formative personalities, a sermon, singing and private archive material refer to aspects of Black culture, reflect memories and reveal a community far removed from the white gaze.&nbsp;Curated by&nbsp;Schaho Balbas, Idil Xaashi Hassan, Lan Mi Lê and Safiya Yon&nbsp;

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