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2022 | DCP | 1:1.33 | 5.1 Mix | 93 Min
World Premiere at 72th Berlinale - 52. Forum Selection 2022

There is a geography of miracles.

Afterwater_Stills_1_(C) Flaneur Films.jpg


Director, Writer, Editor: Dane Komljen


Producer: Zsuzsanna Kiràly – Flaneur Films



Montse Triola – Andergraun Films;

Vladimir Vidic, Natasa Damnjanovic – Dart Film;

Jeonju Cinema Project


DoP: Jenny Lou Ziegel

Costume: Isabelle Lange

Choreography: Rose-Anabel Beermann

Location Sound: Johannes Schmelzer-Ziringer, Jordi Ribas

Sound Design: Jakov Munižaba

Sound Mix: Linus Nickl



Jonasz Hapka, Ton Gras, Rose-Anabel Beermann, Signe Westberg, Boban Kaludjer, Gorka Martin, Clàudia Robert, Alice Heyward, Orlando Rodriguez


Germany, South Korea, Spain, Serbia

Supported in Serbia by:

Film Center Serbia

Ministry of Culture and Information of the Republic of Serbia


Berlinale Forum 2022
Cinéma du Réel
Art of the Real
Jeonju International Film Festival

Artists Film Festival

New Horizons International Film Festival

World Sales
Square Eyes Film



There is a geography of miracles. Jonasz studies insects and fishes, Signe leaves and herbs. After a day spent in gardens and libraries, they meet, take the train and leave the city, pitching their tent on the shores of a lake. As they read, eat fruit, wander the forest and swim in the cold water, the outside world feels further and further away. A stranger appears and a trio is formed. But there are also other trios, other lakes, different places, different times.



With Afterwater, the idea took hold to make a film as fluid as water itself, to begin one story and make it flow seamlessly into another, drifting out ever further as parallels, rhymes, and echoes appear. The starting point were tales about submerged settlements and drowned histories which evolved into a study of a certain type of landscape: a reflective surface onto which one projects stories and images. This film explores lakes as biotopes and repositories of imagination, capturing a multitude of species, languages, materials, temporalities and ways of being together. A group of people gather by the side of a lake and, as they plunge into it, the film shifts from present to past and future, from digital to celluloid and analogue video, from community to community, body to body. Springing from the experience of floating in cold water and that feeling of being touched by everything, this is a film that forages for links between what we are, what we have forgotten, and what we can’t yet see.

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