By putting herself behind the camera, she steps in front of the curtain. Photographer Lene Marie Fossen penetrates to the core of existence with her black-and-white images.
Lene Marie Fossen stopped eating at the age of ten - since then she has suffered from anorexia. In her photographs, she deals with her illness and traces the sense of shame that haunts her. She thus gives her work a compelling truthfulness. "Self Portrait" also tells of Lene Marie Fossen's struggle to survive.
Three directors accompany Lene Marie Fossen's journey over a long period of time. In doing so, they approach the photographer's radiant being in an almost magical way and do not allow the audience to remain at a safe distance. This closeness not only creates familiarity and empathy - the fragility of her body leads the viewer back to her own search for orientation.

Viktorija fled Soviet-occupied Lithuania 20 years ago. Now, in the mid-1990s, shortly after the collapse of the Soviet Union, she returns with her 12-year-old son Kovas to claim the family estate for herself. But the now run-down farm is now home to an impoverished Russian family. While Viktorija must consider how far she is willing to go to realize her dreams, her American-born son is confronted with a side of his identity previously unknown to him.

In "Motherland" Tomas Vengris finds his way to impressively poetic images, with which he turns the journey of his protagonists into a journey through love and longing for the audience, constantly driven by the eternally pressing questions: Where do I come from? Where am I going? Matas Metlevski and Severija Janušauskaitė shine in the roles of son and mother, reflecting the conflicts of different generations - personal destinies against the slowly fading backdrop of great historical changes.