young filmmakers worldwide are grappling with their realities by researching questioning and a sect in what they seek to expose social ills resistance using the power of film we meet up with five filmmakers from schemes include poverty social unrest. alienation from nature and the legacy of war. uses his camera to fight suppression of the past he wants to wake up his home country mozambique i know it's crazy to think that images can change people but i believe so there was a will be doing this american director said young confront systemic racism in the

u.s. . our government should never be against its people or governments and i would be treating its people as enemy combatants. how alienated are we becoming from the natural world this is a topic that occupies peruvian animator. for good but we come from that sure and when we die we go back to nature. lebanese cameramen christopher our own and german film editor constantine bach collaborated on a haunting film about child poverty in lebanon seeing those things on set every day that's what makes you want to make that movie because it's something that the world doesn't see or doesn't want to see. resistance young filmmakers aiming to change the world in our arts twenty one special. we met up with five film activists at barely knowledge talents twenty nineteen the platform for young filmmaking talent at the berlin film festival the barely. i.

you know just so casa is from mozambique he was born in the capital my puto a bitter civil war raged in mozambique for nearly sixteen years starting in the late one nine hundred seventy s. two opposing political groups the mozambique liberation front and the mozambique a national resistance fought for power hundreds of thousands of people were killed . across there was a child at the time back at the base we used to spend the summer in my grandmother's feel a chance i remember being awake in the middle of the night. you know in the heat or bombings in god and gunshots all over in and i asked my grandmother why are these this noise and she said it's only fireworks. a peace accord was signed in one thousand nine hundred two but the history of the bloody period has not been dealt with instead it has been repressed that's one of the demons corsa

confronts in his films. westerns and when he comes for we can feel them. the. safety of being. mean that she should dish they get. more fish to look at who asked the fleet up at. your place. the world. the end. the as piling on of the dead tell no tales its short film which is basically a story of. anti euro weise going back to ease home

village to encounters himself with his memory or to listen to stories of the old jamba a storyteller but finds him deaf and. in newt i mean and then he realized he has no one else to tell him stories with that mission. and spared this the young adult studies a lot of fun. together. it's more of a metaphor in how people or how the storytellers are kind of missing or disappearing and in african societies would we have mostly the storytellers the

people who pass memories through generations with generations and it's also a way to revive. distribution of telling stories around the campfire which is getting lost in mozambique. from mozambique to the brazilian jungle this is the setting of a we still leo's animated film. this theme is respect for nature the rhythm of life everything is part of a cycle he wants to stop the older stories from disappearing from collective memory to laos who was born in peru uses his drawings to pose key questions starting point of any mission it's human nature it's in your head and i think that triggers many things in the audience when you know how for real subject in front of the calmer.

we have judgments about the cycle of life and the reception that. i meet a. girl who must understand. her grandfather. in an ancient ritual the grandfather will make his way into the next world playing the flute he will die but can't except this in steals the flute. most of the films that i do revolve around death and the reason is that we don't pay enough attention to nature i think to the earth itself i think of the earth character and everything and everything we do with the nature of the place we leave

the air we breathe and i am not a documentary filmmaker so i wanted to do it you know passionate way. in the course of the short film learns to accept the cycle of life. music plays a major role in way of giants. musician ttyl arose and agreed to work on the project. is improvised sounds give the film its atmospheric soundtrack.

i explained what the film was about and he was very moved because he's sixty something years old and he had just had a child so he was very moved because he identified with the grandfather of the fuel and then he performed the trucks and kind of did very organically. and it was to me as award winning film has been shown at some one hundred fifty festivals worldwide. we forget that we come from nature and that when we die we go back to nature and i wanted to show the. pointed to cut away in a scenario where we are really close to nature so i chose an indigenous stripe living amongst giant trees to reprise send and represented something growing in the

place of the person who dies. was with the death of your grandfather and his transformation into a tree of life and death from merge into a harmonious circle of nature. of . the. some buffalo young finds her themes in the here and now the american filmmakers work is driven by rage and resistance. she grew up in los angeles and her childhood was characterized early on by a sense of differences of exclusion and insurmountable barrier.

when i was about eight or nine they started to see some of the problems that exist in american society and i was really confusing curious you know why were all the black people in one area and why people in a different area and why don't all the black people you know work at the grocery store or not at the bank and you know these kind of questions came into my mind at a really early right. down like right. when you. are there are twenty fourteen demonstrators and police faced off in the streets of ferguson missouri. was. michael brown jr was killed. he was eighteen years old and he was gunned down by a police officer cars. not you.

and i get out there and it's just i mean total chaos the police had you know huge rifles that they were shooting rubber bullets and tear gas and pepper spray and people are running and protesting in their tanks tear gas and a few people. says she couldn't help but be affected by the growing tensions while filming. she aims to reveal systemic racism in the u.s. so her documentary is intentionally one sided yet it also shows the power of peaceful protest one of the scenes from whose streets that sticks in my mind the most is the night when it was announced that darren wilson would not be indicted

for killing mike brown jr our investigation has been completed the grand jury determined that no probable cause exists to file any charges. on each of the five night. no one had anything by that point in the system but how were people going to react were there going to be riots or was it going to be peaceful protesting. from the first day that we felt we realized that this was something that this was important and that we had to keep going. to fix the over for starting. point. there were a lot of questions about why we were out there and rapper trying to educate her on how things have never been right for black folks in america. and this is what we have to do. the director got close to the activists showing us their daily lives

and how unsettled they were by the situation in the u.s. the documentary received much attention after premiering at the sundance film festival in two thousand and seventeen. i wanted to thank for herself to resist and participate in. that right. and they cannot be taken away. we have not as a country responded to the horrors of our history and as a result those ideologies have continued to live underground and now they're starting to come to the surface with a president who is sympathetic to them and you know people who have been having to kind of claw their way up from the. now at a point where it's still a struggle but we have enough of a voice that we can speak for ourselves. but what about those who can't yet speak for themselves who are too young and vulnerable the oscar nominated feature film comparing them focuses on children who are struggling just to survive living in

poverty in the slums of beirut. german editor constantine bokken lebanese cameraman christopher own had a major influence on the film's look we caught up with him at barely knowledge talents. comparing them shows us children with no childhood it's the life story of twelve year old zane. on the freezone. look i'm glad i mean good just to keep. it living i mean. if you don't like. trust. the hot feel bad but honestly. i think oh oh now. that didn't get any. legs.

nothing. is. a boy who wishes he'd never been born but he's not alone to filmmakers spent three years doing research for this film and children suffering was omnipresent it was the moment when you realized that the fiction that we're doing that the reality is surpassing the fiction that we're doing and that made everyone realize how important this fictionalized version that we're creating here is and that these topics do need to be talked about. you would see those goods on the streets everywhere you would see families also between lanes and like on the highway you're just just. ignore them you just treat them like their moods or. like ghosts that don't exist but they're everywhere. in the film zings only close relationship is with his eleven year old sister then his parents sell her off to a grown man for

a few chickens zain runs away the start of an odyssey into the unknown. she finds a home with right heel and ethiopian woman living illegally in lebanon with her baby eunice there's a life on the run without papers or rights. but it's not the story which makes comparing them so unusual it's how director nineteen labaki enter cameramen christopher own tell it in a way that's wrought direct and real much a shot from a child's perspective i had developed. which would have the camera lower. so i would hold that. my ways but the camera would be even lower but still i had to need and a lot of times the governor had to be almost over like previews centimeters over the floor. for director love a key it was important that the story be as authentic as possible the actors all

amateurs cast on the street essentially play themselves in real life zane fled syria with his family the story was changed in the making that's why the dean wanted to have me editing on sat next to her to influence to see the film come to life in real time because it was shot chronologically and we could decide we had the freedom to decide on a day to day basis what are we going to shoot next. the shoot took six months and produced more than five hundred hours of material in twenty eighteen comparing them debuted at cannes where it won the jury prize this year it was nominated for an oscar as best foreign language film in the film seen cares for heels baby you and us their interaction is very moving. but for christopher alone and constantine book awards are so important they want to change things. it's easy to blame people

but it's much harder to understand why they act the way that they act what is wrong with the system that makes them act this way how were they brought up to act in this way and that's something that was very important to us in the film to. to not easily point fingers and to blame his parents in the story for example but to make people understand that this is part of a bigger issue and it's first and foremost a structural problem. in a jail so costs are also shows why people act the way they do he hopes his films will find an audience in his homeland that mozambique ins will be ready to remember their past. i'm not a political film maker because you know your first mission it's to tell a story that you're passionate about the one of course i realize that my films are always related to come one team which is memory and collective

memory. specifically of my country mozambique. this was also the implied theme of his first feature length documentary a memory in three acts here eye witnesses recall history that doesn't appear in mozambique and schoolbooks. in the d.c. i don't. say she should i do with the. but . then. i used to go with you sure i see with. elements of our colonial history that people tend to be. and i was able to

awake. and bring them into the story a film. noir so very much could not buy every. one. and i switched my side. of the gun. a memory in three acts has been screened at festivals worldwide and showered with prizes film yet i don't have cinema short of films like medical martial screening but i really really really want the people from mozambique to see that film in the way i want to have the feedbacks because i believe it's very important film to show there and i'm working on that i will try even if i just need to show it like an hour or cinema and make some on the ground screening.

earlier we still doesn't face such distribution issues the peruvian lives and works in brazil unlike mozambique brazil has plenty of cinemas. way of giants is a short that runs just twelve minutes julio is now preparing to make his first animated feature but is struggling to find financing partly due to brazil's recent change of government. situation in brazil is a little bit tricky we have a new government who use far right so we are not sure what is going on nobody really knows what's going on and it's kind of like a wild card and one of the first things the president did was close the ministry of culture or among other things. but lucky for us the film business use very strong so i don't think it's something that is just going to do and even if they tried to do that i'm sure we were

reverted we will fight for it. so fully on plans to keep fighting to the success of whose streets has only strengthened her conviction since donald trump took office she's spoken out against sexism as well i started to really notice the difference in the way that men and women are treated in the things that we have access to in the culture and hearing all the stories from women about assault and how common it is and even realizing situations that i've been in that have been extremely uncomfortable that i didn't even know that i should be able to speak up for myself because no one had ever taught me you know how to set those boundaries or taught me that i was right to feel uncomfortable. or next project will be a feature she worked on the idea while taking part in berlin talent it's about a young woman who gives motivational speeches during the apocalypse and the idea

came to me because i feel like it's sort of my story in a way after doing whose streets and going around the country speaking about the film during this trump. i find myself having to dig deep to find what is hoped for and where the possibilities when people were feeling so frustrated and so afraid and so down about the political landscape and so that inspired me to think you know what if we took this to the extreme. bach and christopher alone didn't win an oscar but comparing them has made a real impact and for them that's better than any award. refugees you know has a promising future u.n.h.c.r. resettlement program has found him and his family a new home in norway. since parents him and his three siblings are living in hammerfest in the north of norway

now and he's going it's incredible he's going to school for the first time in his life he's learning norwegian he has a passport i mean he's registered for the first time in his life he has a birth certificate that he didn't have before. so our five filmmakers plan to keep on making films that could change the world. i don't propose to offer answers but i'm not trying to teach anyone anything i'm just trying to be brave enough to let people see the questions that i'm asking and the things that i'm grappling with. we make films because we want them to resonate with people whatever that resonance. with a good moment. and imation he said it's a craft. i believe.

one hour of these stand then the feeling in the cinema and watch a film. i mean film that really matters sui opes or. you know a piece of truth it. that we will take home and we will reflect. on tomorrow.

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