Two questions for Leopold Grün
What is your personal connection to documentary and animated film?
Documentary awakened a desire in me to work as an artist myself. I had studied to become a teacher, but a project gave me the chance to tell the story of parts of Munich and Dresden through film. That's when I went to the Berlinale for the first time and to Leipzig for the documentary festival and I watched an incredible amount of films. And I kept having a sense that I also wanted to make films like this. It took a few more years before I made my first documentary for the cinema. The two feature-length films that I've made both premiered at the festivals which had an impact on me - Berlin and Leipzig.
What are your priorities in the selection process?
I look for a composition, a work. I look for the film that doesn't want to be all of that, a film that's porous and strange, that unsettles me and doesn't let go. I'm glad when everything isn't explained to me all at once, when there's still some mystery, when I see several layers, according to which I can approach the narrative or essay. Documentaries often have a theme and are political, they're a window to the world. That's great and wonderful, but I want more than that. Space for thought and feeling. The montage also plays an important role for me. It's often not allocated enough time and yet this is what in my view can make a documentary film so strong.