Fri 04.12.2026 Kino: Delivery Status Unknown

The two-part film programme Delivery Status Unknown explores infrastructures, communication networks, and transport routes, expanding on the thematic starting point of INDUSTRIAL: Silk Roads 3000—the “New Silk Road” connecting Asia, Africa, and Europe—to encompass additional directions, routes, and stories. The selection of artistic and documentary short films, spanning the years 1967 to 2025, reflects on the development and effects of global digital connectivity—from telex to scamming—as well as the deep-time dimensions of extractivism, climate research, and data archiving. The second part of the programme offers an unusually intimate insight into the lived experience of undocumented migration through CHANCE by Effi & Amir (2020).

19:00

Mit fünf Schritten, Waldemar Kuri, West Germany 1967, 12 min

Las nubes caídas, Josefina Buschmann, Chile 2022, 17 min

Cold Call, Stefanie Schroeder, Germany 2025, 16 min

Slow Dissolve, Library Stack, Andreas Bunte, Germany 2025, 27 min

Followed by a discussion with the audience, moderated by Florian Wüst.

21:00

CHANCE, Effi & Amir, Belgium 2020, 75 min

Followed by a discussion with the audience, moderated by Florian Wüst.

About the films

Mit fünf Schritten, Waldemar Kuri, West Germany 1967, 12 min

Telex makes it possible: travel bookings can be made in seconds, electronic data coordinates production lines in car factories, and order processing in chemical plants is controlled remotely. Mit fünf Schritten explores the role of worldwide telex technology in communication and organisation. Commissioned by Siemens AG, the film was produced by Münchener Gesellschaft für Bildende Filme (GBF), a production company founded in 1950 by Otto Martini and Karl G’schrey, whose name became synonymous with artistically ambitious scientific and industrial films.

Las nubes caídas, Josefina Buschmann, Chile 2022, 17 min

The “cloud” is an opaque metaphor of our times. Where are these digital “clouds”? How can we make their footprints on the ground—their materiality and geographies—visible? Josefina Buschmann’s short film, originally conceived as a multimedia installation, delves into the socio-environmental reverberations of digital infrastructures in Chile, challenging the myth of cloud computing. Combining new and old image-making techniques, Las nubes caídas (The Fallen Clouds) reflects on fibre-optic cables in the Pacific Ocean, follows an ecofeminist collective resisting a Google data centre in Santiago, and ultimately turns to lithium extraction in the Atacama Desert.

Cold Call, Stefanie Schroeder, Germany 2025, 16 min

An artist in residence is struggling with writer’s block. Outside, construction workers are busy at work; inside, nothing happens—until the landline rings. A caller claiming to be a Microsoft employee offers to help with her supposedly malfunctioning computer. She begins to open up about her heartbreak, emptiness, and procrastination. Without realising it, she becomes a scam baiter. Cold Call tells the story of an unexpectedly genuine, almost comforting conversation between two strangers—and of how easily we can become part of the very structures we believe we are questioning: digital vigilantism, racism, and global inequality. (Luc-Carolin Ziemann)

Slow Dissolve, Library Stack, Andreas Bunte, Germany 2025, 27 min

At a German institute for polar research, glacial ice is examined to decode traces of the ancient atmosphere. Trapped oxygen and dust particles help scientists understand the planet’s history and refine their climate models. Many of the samples come from a Danish ice-core repository, where an archivist prepares specimens to be shipped to external laboratories. Slow Dissolve then shifts to the production facility of Norwegian data storage company Piql, which prints customer data onto analogue reels of 35mm film for long-term underground storage in the Arctic. The material processes of cinema become a post-apocalyptic vessel for data.

CHANCE, Effi & Amir, Belgium 2020, 75 min

Starring themselves and working without a script, the four young Sudanese asylum seekers in CHANCE embark on the precarious journey from Belgium to the UK. Filmed entirely inside a truck trailer, this docufiction offers a rare and deeply human encounter with four individuals and a reality that too often remains invisible. CHANCE grew out of Effi & Amir’s longstanding friendship with migrants in transit. Through these friendships, they learned about “the chance”: the nocturnal attempt to slip into parked trucks along Belgian motorways, hoping not to be caught, that the truck will stay on course, and that security checks at the port will fail to detect them before they reach their destination.