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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.

Aquaman: Heroines of Atlantis

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Seduced and Abandoned

As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty

Being James Bond

Anna Nicole Smith: You Don't Know Me

Avatar: Creating the World of Pandora

Spider-Man: All Roads Lead to No Way Home

Embrace the Panda: Making Turning Red

The Class of ‘92

The Walking Dead: The Return

Joker: Put on a Happy Face

Storming Caesars Palace

Godzilla: King of The Monsters- The Antarctic Base

Mountain Gorilla

This Is Roundnet

Blind Gary Davis

Ray of Hope

The Letter League

Sheep Coming Through Chute, Humuula Ranch, Hawaii

Pacino and De Niro: The Conversation

Amsterdam, News Topics

Against the Tide
Islands