WIE WEIT GEHEN

For the past five years, Sarah Braun has been slowly dying of MND. A prisoner in her own body, all the young woman has now is her imagination, which she uses to look back on her life with humour.

She jumps between memories of childhood, disease diagnosis, losing the love of her life, and the pure bliss of being in the mountains. Sarah has no interest in hospital dramas, pity or awkward silences. She’s looking for adventure, and so a 3-day hike in the Dolomites mirrors the arc of her life story. Speaking OFF, she shares often highly entertaining thoughts, and uses humour and imagination to tweak the storyline. The longer the hike goes on, the more intensely we wish that her life could have taken a different course. The film shows Sarah’s fight for every second of life. A fight she wins – even though, by then, Ms Braun has died.

SOUVENIRS OF WAR

When Hasan, a survivor of the genocide, recounts how his brother was killed in front of him, there is always a visitor who suffers more from the heat, than from the stories told. Adis instead, may seem somewhat cynical, transforming real battlefields to playgrounds for war gamers.
But most of the time, in Souvenirs of War, we feel that creating a life after the destruction of a war, is not easy for anyone. Adnan, who brings together veterans of all sides, struggles between breaking the dichotomy of victims/perpetrators and overcoming.
Set in the booming tourist destination Bosnia, 25 years after a war that violently split a multi-ethnic society and left 100.000 dead and 2 million displaced, the field of tension between the moral duty to remember and the convenience of oblivion, characterizes a society whose traumas won’t heal by time alone. Tourists can learn lessons of grief and forgiveness and with their presence, may disrupt some of the obstacles to the catharsis urgently needed.