Two questions for Carolin Weidner
What is your personal connection to documentary and animated film?
Carolin Weidner: I think that the Berlinale showed Michael Pilz's "Himmel und Erde" in 2013. I went in by chance and was very impressed. My most important documentary film experiences have taken place in the cinema. Peter Nestler here in Leipzig in 2012 for example. It was amazing to see D.A. Pennebaker's "Don't Look Back" during the Musikfilmmarathon, a Berlin festival that only took place twice unfortunately. That's where Werner Schroeter's "Abfallprodukte der Liebe" was screened, an incredible film, beautiful. Through my writing activity, I've often come across works by filmmakers more or less by chance and the Arsenal has certainly had a huge impact. That's where I first encountered the films of Peter Liechti or Helena Třeštíková for instance. These are important experiences, sitting in a cinema, it's difficult to describe.
What are your priorities in the selection process?
Carolin Weidner: A film should be strong and self-confident enough that it doesn't need to have to focus on me as a viewer. It makes me angry to feel I'm being manipulated. Maybe this has to do with a certain authority that the filmmaker has which is palpable. Not authority in the sense of "I know exactly how it goes and nobody can fool me." More like: "It's important for me to make this film in this way, to edit it like this..." A lack of compromise, perhaps. Courage. Sensitivity. This sort of thing is visible.