The filmmakers follow two women for years, each grappling with the topic of dying for different reasons. In doing so, they confront their own grief. The relative certainty of imminent death and the hope for self-determination, as well as the emotional ambivalence of those affected and those who will be left behind, are the central themes of this film.
Bones on Holiday
Natalia Vitovtov, Michael Stock
Geboren 1990 in Nowokusnetzk/Russland. Ausbildung zur Mediengestalterin Bild und Ton. Während der Ausbildung Volontariat in der Postproduktion einer TV-Produktionsfirma, in der sie anschließend als Post Production Supervisor und Conforming Artist sowie als Deputy Head of Post Production arbeitet. Tätig als Regisseurin, Producerin und Postproducerin.
2018 | Knochen auf Urlaub | Dokumentarfilm Co-Regie |
2024 |
Born in 1986 in Steinhöring/Munich. Training as an actor, internships and engagements in research, script development, as an assistant in production and directing. Active in various areas on numerous feature films.
1992 | Prinz in Hölleland | Spielfilm | |
1994 | Inzest- ein Alptraum ohne Ende | ||
1995 | Liebe Sünde | TV-Beiträge | |
2005 | Funking Differnt | Dokumentar-Spielfilm | |
2008 | Ich liebe dich | Dokumentarfilm | |
2013 | Healing by Sharing - a Trip Through Kenya | Dokumentarfilm | |
2010 | Postcard to Daddy | Dokumentarfilm | |
2016 | Kilombo Camp | Kurzdokumentarfilm | |
2024 | Knochen auf Urlaub | Dokumentarfilm Co-Regie |
2024 |
“Bones on Holiday” is an 84-minute no-budget documentary in which everyone involved has been working more or less for nothing for several years. As with our film Postcard To Daddy, we turned necessity into a virtue and produced films from our own resources and with support/donations from friends. Due to this independence and a small team, we managed to capture intimate, caring, and important shared moments.
This film created itself out of and alongside our lives, in jobs, in daily routines, in shorter and longer journeys, as well as from the questions about accompaniment and the fear of loss that we all explored. The whole ambivalence of ‘dying’ and the unpredictability of which story life will write in the end led us to a unique experience. We never really conceived this film; rather, it revealed itself to us, piece by piece, like a puzzle over the last six years.”
Natalia Vitovtov and Michael Stock