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Belarusian vlogger and young farmer Semyon, who is a deeply religious man, always loving to philosophize in relation to democracy, admire his mother and share this with the whole world. For five years now, he has been living in a village with two little sons and raise sheep. It would seem that a harmonious existence in the wilderness can not hinder anything...
In a document from November 1st, 1007, Wellerstadt is mentioned for the first time verifiably. The royal couple Heinrich and Kunigunde make the plan to establish a diocese, with Bamberg at its centre. During the imperial synod in Frankfurt in 1007, the bishops approve the plan. Heinrich transfers his royal court Forchheim together with 14 villages, including Wellerstadt, to the diocese. As “Waldrichesbach”, Wellerstadt is not only presumably earlier mentioned in documents than Baiersdorf but is in fact older than Baiersdorf. A once presumably Thuringian settlement at the river Regnitz has by now become the district of the small Franconian town of Baiersdorf: Founded at a ford, destroyed during the Thirty Year’s War, rebuild, often flooded by the Regnitz, pushed back and forth between the diocese and the margraviate. Waldrichesbach has turned into Wellerstadt, an endearing small village in Middle Franconia.
IJswee is a documentary film about an ice club, a village and the warm winters. In the film we follow Oringers, the inhabitants of Odoorn, through the winter. The Oringers all experience IJswee in their own way. You will also see the Icecounter (Rafael van der Ziel), who builds ice sculptures and drinks frozen milk. You see the Drenthe countryside changing with the weather. You see animations, archive material and you hear the mysterious sounds of IJswee in the music of Wietse de Haan. And there are two trumpet players, who welcome winter with their music and say goodbye to it.
In the 1980s the breathtaking scenery of the Engadine is the setting of a social tragedy. The local youth rejects the rigid rules of traditional society. Along with juvenile get-togethers, heroin appears in the mountain valley. As more and more die from overdose, society reacts to the crisis by isolating itself and averting its eyes. The film lifts the veil on the stories untold. Can the memories of this bleak past become part of the Engadine’s acknowledged heritage?
"...a charming depiction of life as I knew it with my grandparents in my own village..." Clara Caleo Green, Cinema Italia UK "The sum of the individual fates and life choices paints a picture, the validity of which extends far beyond this village." Joachim Manzin, Black Box This documentary records the thoughtful and emotional confrontation with time, change, loss and hope related by the members of a small community in the idyllic Ligurian countryside who are dealing with a rapidly changing agricultural industry, transformed by globalisation and technological advances and an increasing number of foreigners buying the empty houses in their village. Forgoing the use of music and voice over, the film lets Aracà's inhabitants tell their own stories and allows the audience to dive into the rich soundscape of the ligurian alpine countryside.
The follow-up film to “Barstow, California” takes us to the mountains of Miyama, a remote forest and tourist area north of Kyoto. Uwe Walter, a shakuhachi player from Germany, lives there with his wife Mitsuyo for 30 years. Together with the villagers he prepares the annual Gion Festival. On the eve of the festival, the village representatives tell him that his self-built studio is to be demolished. This brings back memories for him of earlier times and his first steps as a Nō actor. In the manner of a fresco, the film interweaves rural depictions of everyday life with the story of its German protagonist. In the village community with its togetherness of generations, Uwe shares life with his neighbours, with farmers, hunters, woodsmen, poultry farmers and anglers, tills his kitchen garden, and like other tradition-conscious villagers, he also grows his rice. The film shows them in a harsh mountain landscape between the rainy season and the first snow.
Spain, 1961. Life in the small village of Torrelobatón, in the province of Valladolid, was turned upside down when the cinematic magic circus of a future Hollywood blockbuster, produced by Samuel Bronston, the rogue mogul of his own film empire, came to town: its inhabitants became participants and witnesses of the shooting of “El Cid,” a film directed by Anthony Mann, starring mythical actors Charlton Heston and Sophia Loren. Those days, legends came alive.
