In We Have to Survive, Tales from Greenland, Australia, North Carolina and Mongolia show how the world is united in one thing: the threat of climate change.
We Have To Survive Contemplates a World in Crisis
Exploring the Outer Edge of Film
In We Have to Survive, Tales from Greenland, Australia, North Carolina and Mongolia show how the world is united in one thing: the threat of climate change.
Filmed over the course of ten years, Pieter-Jan De Pue’s documentary Mariinka is one of the best films made about the Russian invasion of Ukraine.
Fernanda Tovar’s Sad Girlz is a touching tale of female friendship under the shadow of sexual violence — the winner of Berlinale Generation 14Plus.
Unidentified Nonflying Objects is another freewheeling and deeply weird animated gem from the mind of Russian animator Sasha Svirsky.
Hong Sangsoo’s latest film, The Day She Returns, is even more minimalist than usual, using just a handful of scenes to create a spare poem of differences.
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
Muriel d’Ansembourg’s taboo-breaking drama explores the way pornography can change who we are, in often finger-wagging ways.
Ralitza Petrova’s lust is a tale of sex addiction and childhood trauma that, despite its grimness from scene to scene, exerts a curiously optimistic pull.
A clown’s life is turned upside down when her husband and two kids die in the emotionally resonant Four Minus Three, playing in Panorama.
Faraz Shariat’s Prosecution carefully examines justice both within and without the complex, biased machinery of the German state.