Ferit is the cherished heir apparent of one of the well-established families of Antakya. Ayse, on the other hand, is a lively young girl living in Istanbul who has managed to stand on her own feet. Ferit, who is about to marry Hande, the daughter of the Varoglu Family, confronts the facts before the wedding and his world turns upside down.

Two sound artists play and listen into the large hole of the Garzweiler open-cast mine as a self-experiment. The camera observes the conflict at the hole, looks and listens into it. All attempts to alleviate or stop the wounding of the landscape seem fragile, helpless and perhaps even futile.

Inspired by surrealist art and Greek mythology, A Wounded Fawn follows the story of Meredith Tanning, a local museum curator who is dipping her toe back into the dating pool, only to be targeted by a charming serial killer. When a fateful romantic getaway between the two becomes a tense game of cat and mouse, both must confront the madness within him.

Inspired by surrealist art and Greek mythology, A Wounded Fawn follows the story of Meredith Tanning, a local museum curator who is dipping her toe back into the dating pool, only to be targeted by a charming serial killer. When a fateful romantic getaway between the two becomes a tense game of cat and mouse, both must confront the madness within him.

电影讲述了发生在上世纪九十年代哈萨克小镇中的故事，聚焦四个少年各自的生命轨迹。首先，扎哈拉斯（提穆尔·艾达贝科夫 Timur Aidarbekov 饰）正经历着父亲过去的阴影，因为后者曾是一名诈骗犯而难以找到工作。为了支持家庭，扎哈拉斯只能在玉米加工厂打工，面对着父亲的煎熬。另一位少年巴拉潘拥有一副出色的嗓音，能够动人地演绎“万福玛丽亚”，但在校园生活中，他逐渐学会用拳头而非歌声来面对生活的困境。 　　扎哈巴则在小镇的垃圾堆中漫游，寻找可以卖出的废金属。他和其他三位同龄男孩一起，在废弃的隧道中艰难地度过流浪生活。最后，阿斯兰在为医药学努力学习，但当他成功说服女友堕胎后，他的人生态度发生了根本性的变化，迎来了一场内在变革。

苏联电影最好的电影之一-无家可归战后童年的悲剧。这是一个中年作家的故事，寻找自己的兄弟。他们都被卷入战争生活的童年岁月。一是通过了富裕和繁荣的人，他生长在一个富裕繁荣的建筑师。对方是小偷，惯犯。我的妹妹，在前面的死亡和自杀的母亲十四年后，他的父亲在家庭中最年幼的子女照顾-解说员。他们一起挨饿，偷菜。然后，她死了。出纳员是幸运的-在一个古老的庄园位于莫斯科孤儿院，他得到了。有，饱受战争蹂躏的儿童和教育工作者不低于饱受战争蹂躏的包围，形成了作为一个人。当与他的兄弟-事实上，陌生人-英雄的感觉越来越孤独，和观众意识到这仅仅是人权和...

苏联电影最好的电影之一-无家可归战后童年的悲剧。这是一个中年作家的故事，寻找自己的兄弟。他们都被卷入战争生活的童年岁月。一是通过了富裕和繁荣的人，他生长在一个富裕繁荣的建筑师。对方是小偷，惯犯。我的妹妹，在前面的死亡和自杀的母亲十四年后，他的父亲在家庭中最年幼的子女照顾-解说员。他们一起挨饿，偷菜。然后，她死了。出纳员是幸运的-在一个古老的庄园位于莫斯科孤儿院，他得到了。有，饱受战争蹂躏的儿童和教育工作者不低于饱受战争蹂躏的包围，形成了作为一个人。当与他的兄弟-事实上，陌生人-英雄的感觉越来越孤独，和观众意识到这仅仅是人权和...

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

In 1890s India, an arrogant British commander challenges the harshly taxed residents of Champaner to a high-stakes cricket match.