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Life is by no means easy for eight-year-old Dominik from the Berlin district of Hellersdorf. Living with his younger brother and sister and his single mother, he finds himself constantly torn between his sense of responsibility ty to the family and his own desires as he struggles to make his own life. This documentary portrait of Dominik accompanies him during the ups and downs of his daily life.
They sew our clothes, tan leather for shoes and bags. Twelve hours of work, every day. Despite this, the people in the supplier countries are often desperately poor. How does this poverty come about? Manfred Karremann explores this question using the example of Bangladesh, where much of what we use every day is produced. Bangladesh is the second largest textile producer in the world after China. The main reason for the poverty: goods are produced incredibly cheaply in Bangladesh. About nine cents an hour is paid for the dangerous work in a tannery. The seamstresses in the textile factories get a little more. Just enough to survive. Because that's what it's all about for the men, women and children who do any job, for any wage.
South Korean cinema is in the throes of a creative explosion where mavericks are encouraged and masters are venerated. But from where has this phenomenon emerged? What is the culture that has yielded this range of filmmakers? With The Nine Lives of Korean Cinema, French critic, writer and documentarian Hubert Niogret provides a broad overview but, nevertheless, an excellent entry point into this unique type of national cinema that still remains a mystery for many people. The product of a troubled social and political history, Korean cinema sports an identity that is unique in much modern film. Niogret's documentary tells of the country's cinematic history - the ups along with the downs - and gives further voice to the artists striving to express their concerns, fears and aspirations.
