Li Tavor

In 1877, in a watch factory in a valley in north-western Switzerland, Josephine produces balance spindles, tiny parts that ensure the agitation movement (“unrueh") of the mechanical watches. She soon grows uneasy with the organisation of work and possession in the village and its factory and joins the anarchist worker movement of the local watchmakers. There she meets Piotr Kropotkin, a moony Russian traveller. The two of them meet at a time when new technologies such as time measurement, photography, and the telegraph are transforming the social order, and anarchist discourse is addressing emerging nationalism. During a walk in the woods, Josephine and Piotr ask themselves whether time, money, and the government are not all but fictions.

Red and Blue move through the rooms of a secluded house beyond the Swiss mountains, following the quiet rhythms of their days, waiting—for her, for something to happen, for time to move. But time lingers, folds, repeats. The house is not a home but a residue, an echo of past lives, past desires, past rehearsals of belonging. It is not a place of transition but of repetition, an architecture of disappearance where presence and absence collapse into one. Set against a hauntingly still landscape, Äned am Bärg (Yonderland) blurs the line between reality and memory, expectation and loss. Through dreamlike imagery and enigmatic interactions, it explores the weight of waiting, the unraveling of identity, and queerness as a state of suspension—a refusal to arrive.