Goran the Camel Man

In 1945, Allied troops invaded Germany and liberated Nazi death camps. They found unspeakable horrors which still haunt the world’s conscience. A film was made by British and American film crews who were with the troops liberating the camps. It was directed in part by Alfred Hitchcock and was broadcast for the first time in its entirety on PBS FRONTLINE in 1985.

Agrokor is the largest privately owned company in Croatia and a symbol of modern-day success of Croatian economy. The corporation headquarters is located in the tower of Dražen Petrović House, popularly known as the Cibona Tower, which represents one of the symbols of previous Croatian achievements from the late socialist period. In 2017 Agrokor’s business problems are disclosed – the losses amount to billions. In collusion between politics and economy, who is responsible for the breakdown of this corporation? Today Agrokor’s sign no longer hangs from the Cibona Tower.

The film is a fragmented representation of an artist's experience at an art gallery where Wolfgang Lehmann, as a part of his masterclass, shows 2 of his films and in-between, a film by Kurt Kren.

This documentary delves into the lives of two people who have faced a gender identity disorder (GID), where the person’s sense of being male or female isn’t definite. These individuals have a strong desire to assume the physical characteristics and gender role of the opposite sex or also a person who has undergone a hormone treatment and surgery to attain the physical characteristics of the opposite sex is what is known to be called a “transsexual”. ‘I’dentity exposes two lives of different socio-economic strata in society as we try to string together their lives via them. It’s an attempt to understand this psycho-physiological turmoil that a transsexual goes through, be it approvals or ousting. The films aim is to explore the various choices these two individuals have in hand to deal with this condition and their life long struggle to “fit in” within the confines of a civilized society.

The Flight of the Condor traces the global circulation of the melody “El Condor Pasa”: from the Andes mountains to global metropoles; from Lima to Paris to New York, and back; from panpipes to piano and from symphony orchestras to the disco; from indigenous to popular music; and from world music back to national heritage.

Silk Road Ghosts takes the viewer off the beaten path as I ply a circuit, following in the footsteps of the ancient conquerors, passing through some of the more remarkable parts of Central Asia's Silk Road. From Almaty in Kazakhstan, I set out towards a daunting rendezvous with the Darvasa Gas Crater in Turkmenistan. Along the way I dot many of the road's pivotal locations, bearing witness to its myriad ghosts which served to glorify the annals of our planet's history.

A fairly shabby, dark, three-part wardrobe in a hallway: About ten years have passed since Joana Claude suffered sexual violence when it was assembled. Now the time has come to not only disassemble it. Instead, Joana sets out to destroy the artefact of pain completely. The gesture is made with fervour, tearing out the shelves and doors looks like retroactive resistance, what was pent up finds an outlet. At the same time, the ritual is characterised by gradual escalation: At first the director speaks of her relationship with her parents – a big sweat stain on her back already beginning to show –, in the end everything is in flames. The act is short, it lasts only a few minutes. And yet it allows an intimate insight that acquires a universal, strength-giving character as it unfolds.