Marcus Lenz

The residents of Bucha, Ukraine, are rebuilding their city from the rubble after surviving the horrors of Russian occupation. A newly married couple, a schoolgirl, a city official, and an elderly housewife have all endured the painful experiences of war, yet they manage to hold onto hope and solidarity. But how do you rebuild in the wake of growing trauma, especially with war still raging in your country? As time hopes for a peaceful life fade, they must grapple with mounting tensions within their communities. Shot over a three-year period, the film is a follow-up to When Spring Came To Bucha, as five protagonists navigate the complex terrain of inner conflicts, trauma, and a longing for justice, posing questions about the future of a society at war.

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Born out of fire: on September 19, 2021, a new crater opens up on the Atlantic island of La Palma. Nobody suspects that it will be the largest and incredibly destructive volcanic eruption in Europe for five centuries - a rare chance for scientists to watch evolution at work. ARTE exclusively accompanies the scientific work on the volcano from the first day of the eruption. For almost three months, the volcano hurls gigantic chunks of pyroclastic material, lava and ash out of itself. At times, several rivers of lava are pushed down the mountain flank at a speed of 120 meters per hour. Anything in their way is destroyed and buried under a layer of lava up to 60 meters high.

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Russians bombarded Bucha, Borodyanka, Irpin and other cities in the region following their invasion of Ukraine on February 24, 2022. By the time they retreated a month later, the damage was huge: buildings had been destroyed and there were corpses lying in the streets. Filmmakers Mila Teshaieva and Marcus Lenz went in immediately, in time to film local people emerging from their shelters, but never showing the actual atrocities. That wasn’t necessary, as the trauma of war is clear to see on everyone’s faces, including those of the volunteers who rushed in from far and wide to help.

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Young Roman and his mother Oksana leave Ukraine and go to Germany, where she works illegally while they both live with Gert, an old widower who tries to befriend Roman, who struggles for his mother's attention and sees Gert as a rival.

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Jost roams through the streets of Berlin. He opposes the world enraged, aggressively and furiously in a self-destructive way. He continuously provokes situations proving to himself that everybody hates him. He is convinced he does not need anybody and does not let anyone get close to him. Anna is walled in by her fear and unable to leave her apartment. She manages to keep this situation from all the others in a system of lies. Her reserves draw to a close. She heads for a catastrophe. One day, Jost shows up at her door.

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The residents of Bucha, Ukraine, are rebuilding their city from the rubble after surviving the horrors of Russian occupation. A newly married couple, a schoolgirl, a city official, and an elderly housewife have all endured the painful experiences of war, yet they manage to hold onto hope and solidarity. But how do you rebuild in the wake of growing trauma, especially with war still raging in your country? As time hopes for a peaceful life fade, they must grapple with mounting tensions within their communities. Shot over a three-year period, the film is a follow-up to When Spring Came To Bucha, as five protagonists navigate the complex terrain of inner conflicts, trauma, and a longing for justice, posing questions about the future of a society at war.

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Coal mining has shaped Lusatia for generations. In the GDR it was still an important industrial location but, after the fall of communism, companies shut down and livelihoods were destroyed. With the planned phase out of coal, the region is facing another upheaval. Britt Beyer takes a sensitive look at the people who must deal once again with the collapse of existing structures and points of reference.

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Russians bombarded Bucha, Borodyanka, Irpin and other cities in the region following their invasion of Ukraine on February 24, 2022. By the time they retreated a month later, the damage was huge: buildings had been destroyed and there were corpses lying in the streets. Filmmakers Mila Teshaieva and Marcus Lenz went in immediately, in time to film local people emerging from their shelters, but never showing the actual atrocities. That wasn’t necessary, as the trauma of war is clear to see on everyone’s faces, including those of the volunteers who rushed in from far and wide to help.

Open details →