https://berlinstan.cargo.site Berlinstan Fri, 06 Jan 2023 14:13:07 +0000 https://berlinstan.cargo.site en https://berlinstan.cargo.site/Some-Of-Us-She Thu, 08 Jul 2021 09:01:30 +0000 Berlinstan https://berlinstan.cargo.site/Some-Of-Us-She in postproduction SOME OF US AND SHE Documentary film With Rasha Chatta Iliusi Vega Bani Abidi Elsa de Seynes Lione Marie Maya Memesahi Raana Ghazanfarpour Sylvia Schedelbauer Ren Saibara Kyla GreenhalghDuru Yavan A film bySchokofeh Kamiz Camera Schokofeh KamizMontageKerstin schroedinger Producer Berlinstan Germany 2023©Schokofeh Kamiz For many years, I've closely watched and rewatched every film about women that came my way. An observation emerged: most of the women portrayed in these films are either cast in the role of the victim or made to embody something special or unique, at times turning into heroine figures. As a result, I have become concerned with the following question: what does this polarisation of the figure of the woman into victim/exceptional figure achieve? Is it not a subtle, implicit perpetuation of the patriarchal system to suggest that “this woman was able to make it, and this one wasn’t”? Such films fulfill a certain function and one can even argue that they are necessary. But still, the question remains: where are the so-called ordinary women? Who are they? What is their role in society? What are their problems? What are their everyday struggles? These interrogations, and many more, constitute the point of departure of this film, conceived as a long reflection on what being an ordinary woman entails, thereby challenging many of the common definitions linked to the concept of "heroism". The film adopts an intersectional lens to shed light on women from different social and professional backgrounds - all from my own circle of friends, after all this is where ordinary women are to be found! - who share their daily experiences, their aspirations, their struggles, their conception of the world around them back&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;next home https://berlinstan.cargo.site/YAGHOOT Thu, 05 Jan 2023 10:58:38 +0000 Berlinstan https://berlinstan.cargo.site/YAGHOOT in pre-production YAGHOOT Documentary film With Parastou Fruohar A film byJudith Albrecht Schokofeh KamizDOP M.R. Jahanpanah Producer Berlinstan Germany 2024 “Yaghoot, The Woman in the Red Dress" is a film about love and waiting, political resistance, self-determination. The film tells the fairy tale story of Yaghoot, a homeless woman in a red dress, who waited in vain for her lover in Tehran's famous Ferdosi Square for 30 years, both before and after the 1979 Iranian Revolution, until her death. It is a story of unrequited love and unfulfilled desire. The destitute and homeless woman, who chose a life of waiting in public, became an urban myth, a symbol of an idiosyncratic female lifestyle, of love and passive resistance. The stories about "the woman in the red dress" are part of a collective memory in turbulent times: always dressed in bright red, Yaghoot is still present in the minds of Iranians at home and abroad. Her story, and memories of her, have been carried all over the world by the over four million Iranians who left Iran since 1979. Grandmothers tell their stories to their grandchildren. Poets have written poems about such stories, and songwriters songs. Her figure provides a projection surface for women of different social and ethnic backgrounds, political or religious orientation. Many seem to be able to understand the sad fate of waiting as a basic motif of life and find it hope-giving. The myth of the woman can also be seen here as an aspect of the spiritual ideas that are deeply rooted in Iranian society. "The Woman in the Red Dress" is the&nbsp; story of a woman who chose to wait in the shadow of the great stone monument of the poet Ferdosi, giving people hope for love and freedom. back &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;next &nbsp;home *Image from internet https://berlinstan.cargo.site/After-Sabeen-1 Thu, 05 Jan 2023 19:13:52 +0000 Berlinstan https://berlinstan.cargo.site/After-Sabeen-1 2018/19After Sabeen Documentary film&nbsp; With Mahenaz Mahmoud Marvi Mazhar Mohamad Hanif Seema MalikChand Zingara JadooVoiceZeerak AhmedCamera and EditSchokofeh KamizColorgradingJorge Piquer Rodriguez SounddesignJochen Jezussek MusicNearest Gas Station Jeremie Mortier Aiden Backer Producer Berlinstan Germany 2019©Schokofeh Kamiz “Fear is just a line in your head. You decide on which side you stay.” &nbsp;Sabeen Mahmud Karachi, Pakistan. 24 April 2015. A car stops at a red light. Inside are two women: Sabeen and her mother Mahenaz. Two men on a motorcycle stop and open fire. Sabeen dies on the spot; her mother is wounded but survives. The evening that she was killed, Sabeen Mahmud, founder and director of the well-known Karachi institution T2F, had hosted a discussion on the unexplained and ongoing disappearances of over 20,000 activists and civilians in the country. This event was originally supposed to take place in the most famous university in Lahore. However, at the last minute, after massive pressure from the state, the commitment for the premises was withdrawn. Sabeen, too, had received ominous warnings from unknown visitors and was advised by concerned friends to cancel this event, which others had refused to host. But Sabeen had gone ahead undaunted: "Someone's got to do this!" In the wake of the killing, the director follows Sabeen’s mother and friends in an attempt not just to record their accounts and memories of her, but also to create a portrait of a woman she never had the chance to meet. &nbsp;&nbsp; ︎︎ &nbsp; back&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;nexthome https://berlinstan.cargo.site/Block Thu, 05 Jan 2023 19:52:00 +0000 Berlinstan https://berlinstan.cargo.site/Block 2015 @VIERTE WELT Block - Wohnen der Zärtlichkeit Performence&nbsp;video installationby and with Dirk CieslakJeroen de Boer Kaveh Ghaemi Johannes Maas Pedram PyAnnett Hardegen Schokofeh KamizTereschkowa ObaidValentina PrimaveraMarcus ReinhardtSolmaz ShahbaziMariel Jana SupkaJudith van der WerffMonika Wiedemer supported by:Regierenden Bürgermeister – Senatskanzlei kulturelle Angelegenheiten und den Fonds darstellende Künste. Block - Living Of Tenderness In the centre of Kreuzberg, the Vierte Welt is located at the dead end of a shop-turned-gallery that never functioned as such. If you take a photo of the venue from the outside, it could be almost anywhere in the world: in the banlieues of Paris or Marseille, in Victoria Island or Ekbatan. In "The Block - Living of Tenderness," Vierte Welt makes a connection from block to block and builds a bridge between the (in)same stories of two far-apart neighbourhoods in Berlin and Tehran. What connects the two places? What do they have in common? In the 1970s, Tehran was to be transformed into a metropolis along the lines of an "entrepreneurial and democratic American city” - starting with Ekbatan, which was the first district to be built according to the new master plan for Tehran. Rumours that Tehran's central bazaar, the heart of Iran's economy, was to give way to a highway broke the camel's back in 1978. The Shah was hounded out of the country and his dream of modernisation came to an end. In Ekbatan, the residents took over their district in self-government. West Berlin was also destined to become a car-friendly city. The Kreuzberg centre was created and half a district was to be demolished and rebuilt to make place for an urban highway. The battle for the city began. "The question from now on was: "Who owns the city?"" The plans for urban redevelopment could not be realised. The Kreuzberg centre was built - and survives as an artefact of the time. &nbsp;&nbsp; &nbsp;back&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;nexthome https://berlinstan.cargo.site/RADIO-OMID Thu, 05 Jan 2023 20:43:13 +0000 Berlinstan https://berlinstan.cargo.site/RADIO-OMID 2015 @VIERTE WELTRADIO OMID &nbsp; Performance video installation by and with Matthias Breitenbach Dirk Cieslak Schokofeh Kamiz Omid Montazeri Judith van der WerffDramaturgy/Production Annett Hardegen Set design primavera°maasArtistic collaborationLuisa Grass Video Lenny Triefenschal Technical Support&nbsp;Miriam Akkermannsupported by:Hauptstadtkulturfonds State Of Emergency #1-6 or six attempts at the art of hospitality A performance based on “State Of Emergency”, a travelogue by Navid Kermani. The sensitive observations of the German-Iranian author Navid Kermani in regions at the edge of the world, where a “State Of Emergency” dominates, unfold a quiet power. These impressions, with their poetic calm and accuracy, create the feeling of an encounter with people in Kashmir, India, Afghanistan, Iran, Syria, Palestine and on Lampedusa, the gateway to Europe: an exercise in long-distance love. The examination of Kermani's texts in the AUSNAHMEZUSTAND series describes various ways of understanding. Understanding means to hold a conversation; in no case is it a dialogue, a debate or a political or ideological dispute. It is the world behind Lampedusa: the crisis belt that stretches from Kashmir to Pakistan and Afghanistan to Iran to the Arab world and even to the borders and coasts of Europe. Navid Kermani reports from this region, from our immediate neighbourhood, as distant as it may seem to our media. As if by magic, he succeeds in bringing individual fates and situations to life in such a way that world-political and even existential problems that affect us directly suddenly become clear. Even behind Lampedusa lies our world. Text C.H.Beck Verlag “The act of hospitality can only be poetic.” &nbsp; Jacques Derrida We take Kermani's stories as an opportunity to build a place of hospitality in the Vierte Welt. We enter a space where we meet as guests and as hosts. Here, an unwritten right of hospitality is guaranteed. A right of which we actually know nothing (anymore). The guest/host arrangement becomes the basic theatrical theme of the evenings. But what is hospitality?&nbsp; What can it be? To call out to someone: “Make yourself at home… Help yourself…” is probably to nullify the laws of hospitality. Are we faced with the task of remembering the laws of hospitality in order to reinvent them? We will do our best, and our hosts, performers Anders Carlsson and Matthias Breitenbach, will meet their respective guests from Pakistan, Afghanistan, Tehran, Syria, Palestine and Lampedusa over six evenings. And in doing so, they insist on cultural difference. There is nothing to reconcile and nothing to heal. We live together in a world where the universality of modernity relentlessly continues to inflict wounds. Everything traditional is annihilated. There is no going back. We will have to continue on the path. How? That is what we have to agree on - as Karl Marx put it, under penalty of our downfall. &nbsp; back&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;next home https://berlinstan.cargo.site/we-dont-agree Sat, 05 Feb 2022 09:59:31 +0000 Berlinstan https://berlinstan.cargo.site/we-dont-agree &nbsp; video installation with Usmaan Peerzada Prince Rafeh Malik Hassan Raza Mariyam Nizam Shakir Shams Zain Peerzada Fahad Raza Hamza Noman Javed Sublime LtdSardar Rehmat Ullah Khan Saida Tariq Irem Tauquir Muhammad Afzal Ameenar Sehar &amp; Raza Kazim supported by:Hauptstadtkulturfond 2013 @VIERTE WELT &nbsp; &nbsp; &nbsp; WE DO IT, not because we agree with it! &nbsp; Democracy and freedom are the great exports of the West. Not being a democrat is not an option. Democracy is consensus and the highest value. The&nbsp; fantastic thing about supreme values is that they resemble magical vessels: as empty as a magic hat, almost anything can be conjured up from them, even torture. And only one thing is clear: democrats only love democrats. So we democrats of the West gather under the banner of democracy to proclaim freedom, the opening of all markets, human rights and who knows what. And the others, who live in places affected by war and misery, are asked to prove to us first of all that they will make an effort and are willing to tread the right democratic path. That they will not endanger democracy. That they take it seriously.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A three channel video installation about the other people with whom we share our future: eight people in Karachi, Lahore Islamabad, Rawalpindi and Sialcot. &nbsp;&nbsp; back &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;nexthome https://berlinstan.cargo.site/Harlan-s-Childen Fri, 06 Jan 2023 14:13:07 +0000 Berlinstan https://berlinstan.cargo.site/Harlan-s-Childen Performance video installation by and with Dirk CieslakDennis DanielFlorian Guist Simone HaverlandAnnett HardegenSchokofeh Kamiz Katharina Meves Sabina Moncys Wolfram Sander Alexander Schröder Mariel Jana Supka Judith van der Werff supported by:Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten &amp;&nbsp;Konzeptionsförderung des Fonds Darstellende Künste e.V. aus Mitteln des Bundes 2012 @VIERTE WELT HARLAN'S CHILDREN | eight days - eighty truths The starting point of our preoccupation is Thomas Harlan's last text, Veit. In 1964, Veit Harlan called his disowned son Thomas to his deathbed; 46 years later, the seriously ill son dictates his legacy to his dead father. A fictional conversation with one who is no longer present but never disappears. Veit is a final invocation that pronounces the betrayal of the father, which lasted until the death of the son, as at once compelling, necessary, right and unendurable. This father is addressed with an informal YOU. Before dying: the last words, the last possibility to open up, an attempt to tell the truth; the dictation of a legacy, great theatre. The artistic work of Thomas Harlan, existentially bound to his origins, socialisation and biography, generates in its consequence a radical strategy for a political-artistic confrontation with guilt and responsibility. Using Thomas Harlan as material, we want to make this strategy visible by moving it into our future: what will remain after everything is sold? Who will have been to blame? Is there a relationship between the legacy and the heirs of the National Socialist past on the one hand and a future legacy of the total sell-out of our world today on the other hand, which is legitimised (excused) by the "natural laws" of markets and money flows? What is my relationship to this as an artist? What Thomas Harlan describes in Veit as "... something similar to the truth ..." is to be examined for its theatrical possibilities and questioned for the aesthetic-political consequences for us, the survivors, the heirs. Our work becomes a work against a rash ego, against “efficient", ready-made talk; language and the possession of language are at stake (and thus the essential basis of theatre) here, because such thinking is exhibited in speaking, it follows the call of a cause and no longer celebrates an attitude of its own. Thinking and speaking in all their mobility become the subject: a speaking thinking that is committed to the production of reality and yet can only take place inside an art space. The project explicitly seeks connections between discourse theatre and archive; Thomas Harlan and his work provide the material, starting point and tools, for a theatrical archive of truths. This archive will be opened over the period of eight days. Eight days, eight themes, eighty truths will be presented in the form of films, conversations, readings, performances and guests. Excerpts from Harlan's work act as performers who appear in this documentary space, in which&nbsp; fragments act as documents, witnesses and testimonies. &nbsp;&nbsp; back &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;nexthome &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; https://berlinstan.cargo.site/Some-Involvements Thu, 08 Jul 2021 09:01:31 +0000 Berlinstan https://berlinstan.cargo.site/Some-Involvements Some Involvements ©No Land’s song <img width="3278" height="1547" width_o="3278" height_o="1547" data-src="https://freight.cargo.site/t/original/i/dcd327811e218f020072371be23936c3ff84797e95173090a3b9da124c467480/Sara.png" data-mid="132633779" border="0" src="https://freight.cargo.site/w/1000/i/dcd327811e218f020072371be23936c3ff84797e95173090a3b9da124c467480/Sara.png" /><img width="3062" height="1454" width_o="3062" height_o="1454" data-src="https://freight.cargo.site/t/original/i/b74c3d7f45c7df2a40db61c60e7a975b108c22ac1014f89d604148f04be4f750/Screenshot-2022-02-06-at-21-45-41-No-Land-s-Song-2014.png" data-mid="132647448" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/b74c3d7f45c7df2a40db61c60e7a975b108c22ac1014f89d604148f04be4f750/Screenshot-2022-02-06-at-21-45-41-No-Land-s-Song-2014.png" /> <img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/44226569c95b9e082add83d44058ac061c85e60473fd405fc511dfc1ecde780c/736293_1750638165154410_988880325154036920_o.jpg" data-mid="132633716" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/44226569c95b9e082add83d44058ac061c85e60473fd405fc511dfc1ecde780c/736293_1750638165154410_988880325154036920_o.jpg" /><img width="2548" height="1438" width_o="2548" height_o="1438" data-src="https://freight.cargo.site/t/original/i/992ae0faac67313a4178775b1677a366cf01a5b6541b764cabe48fbd10ce282e/Screenshot-2022-02-06-at-21-50-14-No-Land-s-Song-2014.png" data-mid="132647636" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/992ae0faac67313a4178775b1677a366cf01a5b6541b764cabe48fbd10ce282e/Screenshot-2022-02-06-at-21-50-14-No-Land-s-Song-2014.png" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="1134" height="536" width_o="1134" height_o="536" data-src="https://freight.cargo.site/t/original/i/4efafe8118592297af592cc7212eb8acf6c8873eee689abb5871162c2dfb6549/Bildschirmfoto-2016-06-02-um-23.52.44.png" data-mid="132539931" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/4efafe8118592297af592cc7212eb8acf6c8873eee689abb5871162c2dfb6549/Bildschirmfoto-2016-06-02-um-23.52.44.png" /> No Land's Song * Editing A Documentary Film by Ayat Najafi In the wake of the revolution of 1979, the new regime forbids women in Iran to sing publicly as soloists in front of men. In defiance of censorship and cultural, religious and legal taboos, a young composer named Sara Najafi decides to organize a concert for female solo singers. The documentary poses the question of whether women will ever be successful in singing free, together, side by side, in front of a mixed audience, without restrictions or interference. Success in their immediate quest makes for a compelling drama. On the other hand, the long-term effect is more questionable.︎︎ ©Aus diesem Tralala kommst du nicht Raus<img width="1920" height="2560" width_o="1920" height_o="2560" data-src="https://freight.cargo.site/t/original/i/30bdfe9834e2326634b86179d8aa239417132a27454dd2208391266a4d87cd27/ben.jpg" data-mid="132648845" border="0" src="https://freight.cargo.site/w/1000/i/30bdfe9834e2326634b86179d8aa239417132a27454dd2208391266a4d87cd27/ben.jpg" /> BErlin - Aus diesem Trallala kommst du nicht raus * Editing A Documentary Film By Pantea Lachin and&nbsp;Sobo Swobodnik About the life, ideas and influence of the crossover artist and activist Ben Wagin.&nbsp;︎ ©Töchter des Aufbruches <img width="1591" height="2251" width_o="1591" height_o="2251" data-src="https://freight.cargo.site/t/original/i/1d083ec04faec9caff47fcdc08cfdf02b592a24468fc08d56113a40880507c08/tochter.jpg" data-mid="132649451" border="0" src="https://freight.cargo.site/w/1000/i/1d083ec04faec9caff47fcdc08cfdf02b592a24468fc08d56113a40880507c08/tochter.jpg" /><img width="850" height="465" width_o="850" height_o="465" data-src="https://freight.cargo.site/t/original/i/84c15a273f83d027b4f14fd6ce86c270f0d1f67c98eb918702e920d3540467be/Bildschirmfoto-2016-06-03-um-00.05.20.png" data-mid="132539928" border="0" data-scale="68" src="https://freight.cargo.site/w/850/i/84c15a273f83d027b4f14fd6ce86c270f0d1f67c98eb918702e920d3540467be/Bildschirmfoto-2016-06-03-um-00.05.20.png" /><img width="850" height="469" width_o="850" height_o="469" data-src="https://freight.cargo.site/t/original/i/6b6232696b2fdc8fd2cd1658a6407d2613ae8a88711aecd5045eeabc55b1715c/Bildschirmfoto-2016-06-03-um-00.10.08.png" data-mid="132539929" border="0" data-scale="68" src="https://freight.cargo.site/w/850/i/6b6232696b2fdc8fd2cd1658a6407d2613ae8a88711aecd5045eeabc55b1715c/Bildschirmfoto-2016-06-03-um-00.10.08.png" /><img width="1942" height="1065" width_o="1942" height_o="1065" data-src="https://freight.cargo.site/t/original/i/b065ccbc2a45b5cf5a539911fcb6ca2514d8b160ea3014477d5944b025a9de02/Bildschirmfoto-2016-06-03-um-00.12.39.png" data-mid="132539987" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/b065ccbc2a45b5cf5a539911fcb6ca2514d8b160ea3014477d5944b025a9de02/Bildschirmfoto-2016-06-03-um-00.12.39.png" /><img width="1944" height="1067" width_o="1944" height_o="1067" data-src="https://freight.cargo.site/t/original/i/2bdc470206eb5a2f6ab48b661f7b6e8f43ff6da7969dbd2a617a9b1aa229834e/Bildschirmfoto-2016-06-03-um-00.07.52.png" data-mid="132539988" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/2bdc470206eb5a2f6ab48b661f7b6e8f43ff6da7969dbd2a617a9b1aa229834e/Bildschirmfoto-2016-06-03-um-00.07.52.png" /> Töchter des Aufbruches * Director of Photography A Documentary Film By Ulrike Bez Come along and wander, because I have wanderlust..." In music that is fast-paced and full of vitality, Ebow, a young rapper, takes us on a journey through the history of immigrants in Germany. Filmmaker Uli Bez has interviewed three different groups: so-called traditional immigrants from the sixties, political immigrants, and their grandchildren. The last go back to their very roots, grandmothers and mothers, portrayed as a source of creativity. All these women share with us their frequently adventurous life, with an open mind and a touch of humour. We hear stories of not being able to understand this new environment as well as not being understood back home. And there is an ongoing pain: of having left your children behind in the village, of a mother who turns into a stranger, a feeling of dislocation due to political circumstances and a lack of roots -- a permanent shadow. And yet, leaving poverty behind, these political fugitives were carried on the wings of hope, driven by a strong longing for freedom and self-determination. On the other hand, the women also had to break with their traditional ways of life. Singer and songwriter Ebow X puts it like this: "Let us all be wandering, from heart to heart, let's feel and comprehend each other’s pain..." The story ends with singing women dancing in a circle -- a symbol for being grounded, each of them in their own way. The song “wanderlust” was composed and written by Ebow Düzgün. The gimmick of using the term “Wanderlust”, a typical 19th century German virtue defined in the context of the history of industrialisation gives the film its particular note. All players made huge contributions by sharing their stories and songs. The film was a low budget production by Frauennotruf (emergency call for women). The film is a contribution to the fight against racism and xenophobia in Germany. The title “Daughters of the Dawn” refers to the Enlightenment and to feminism. Both have the same ambition: to escape from an unsatisfactory situation in order to create a life of self-determination. ︎ ©Neukölln Unlimited <img width="1000" height="1407" width_o="1000" height_o="1407" data-src="https://freight.cargo.site/t/original/i/9a1a9ae1e7237c77bb111899ecc9352bffc0cc71389f7b9ebbde353171610bea/neukolln.jpg" data-mid="132649778" border="0" src="https://freight.cargo.site/w/1000/i/9a1a9ae1e7237c77bb111899ecc9352bffc0cc71389f7b9ebbde353171610bea/neukolln.jpg" /> Neukölln Unlimited * 2nd unit Camera A Documentary Film By Agostino Amondi &amp; Dietmar Ratsch The children of the Akkouch family, Hassan (18), Lial (19), and Maradona (14), are successful musicians and breakdancers who live in Berlin. They grew up with hip hop and streetdance - they are their language and their passion. But pressure has put a strain on their two teenagers and a rivalry arises about who should be the family's main breadwinner. In the meantime, Maradona gets himself into more and more trouble, and is suspended from school. He is at the crossroads between his siblings’ ambitious lifestyle and the street life of his mates. However, a surprising qualification for a TV-casting show could prove to be his salvation. If he wins the 100,000 euro prize money, he might be the one who saves the family. Neukölln Unlimited can best be described as a musical film that deals with the topic of the integration of immigrant youth living in neglected urban areas.&nbsp;︎ &nbsp;&nbsp; back &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;nexthome &nbsp;&nbsp; https://berlinstan.cargo.site/about Tue, 03 Jan 2023 09:15:39 +0000 Berlinstan https://berlinstan.cargo.site/about ‘Where we find happiness teaches us what we value rather than simply what is of&nbsp; value.’&nbsp; Sara Ahmed A native of Tehran, I studied photography, screenwriting and audio-visual media. My long-standing passion for journalism led me to embark on a video journalist career - a period during which I covered and reported on many terrains including Libya prior to the civil war. I have also worked as a cinematographer and editor with various multi-award winning directors, and,&nbsp; since 2011, as an independent video artist and filmmaker. Maybe because of my many years of experience in video journalism, I have increasingly become interested in research-based work. My work is of a biographical nature and tries to explore the space between political-social narratives and personal realms, mainly through observation.&nbsp; 'Berlinstan' was founded by me in 2018 as an independent production company.&nbsp; back&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;homeemail&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; ©Schokofeh Kamiz, Berlin 2023 ︎︎ &nbsp; https://berlinstan.cargo.site/Menu Thu, 08 Jul 2021 09:01:31 +0000 Berlinstan https://berlinstan.cargo.site/Menu &nbsp; in process some of us &amp; she yaghoottill the border us apart&nbsp; (coming soon) completedwald pfeift after sabeenblockradio omidwe do it &nbsp;harlan’s kinder involvements about