Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

trailer banner
The Moelln Letters poster

The Moelln Letters 

Germany, November 1992. In a racist attack, three of İbrahim Arslan’s family members perish in a fire. Thirty years later, İbrahim discovers thousands of letters of solidarity, forgotten in the city archive. We accompany the family as they navigate their profound trauma.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


Germany, November 1992. In a racist attack, three of İbrahim Arslan’s family members perish in a fire. Thirty years later, İbrahim discovers thousands of letters of solidarity, forgotten in the city archive. We accompany the family as they navigate their profound trauma.

Rating:
Genre:Documentary
Directed By:Martina Priessner
Written By:Martina Priessner
In Theaters:
Box Office:

Runtime:96 minutes
Studio:

Articles You May Like


Indie Film Review "Andhela Ravamidhi" The pursuit of dreams, obstacles to overcome, patriarchal mindsets, empowerment, and life’s beauty artistically and compellingly collideIndie Film Review "Andhela Ravamidhi"

What are we willing to walk through to see our dreams come to pass? Our minds might be so wholly alive with the passions we carry and the plans we make to see these things become all we wish them to be, yet life doesn’t always want to come alongside. Instead, obstacles arise, both physical and mental, which attempt to dissuade us or even prevent us from moving forward, stalling or stagnating the momentum to achieve what we desire. The age-old question remains….can we overcome? Or will we BE overcome?

Kirk Fernwood

"Him" (2025) Film Review-The realities of making the grade in professional sports gets a cultism-driven, horror film makeover

"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.

Kirk Fernwood