Director: Anja Kofmel
Switzerland, Croatia, Germany, Finland, 2018, 90’, color, b&w
German, Spanish, English with Turkish, English subtitle
Combining documentary and animation in her feature-length debut, Swiss filmmaker Anja Kofmel is trying to uncover the mystery surrounding the death of her young cousin who was killed under suspicious circumstances in the Yugoslavian civil war. Premiered at the Critics’ Week section of Cannes, Chris the Swiss underscores its narrative with poetically drawn, almost gothic monochromatic animation. Kofmel objectively probes the reasons that compel young men to heed the call of war in faraway lands and gives a touching elegy to doomed youth.
Trailer
Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
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