The new program of the International Cycling Film Festival (ICFF) shows unconventional perspectives on the bicycle. Experimental films use the bicycle as a line-drawing brush, other films show the bicycle as a summer pastime, as a feminist refuge, but above all as a mirror of social stratification.
It is precisely in this point that the program is highly topical, for example when it leaves the perspective of the middle class and explores the precarious zones of society in which the bicycle is less a lifestyle and more a necessity in hard everyday life.
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