62. Internationales Leipziger Festival für Dokumentar- und Animationsfilm
DOK Leipzig 28 October – 3 November 2019
62nd International Leipzig Festival for Documentary and Animated Film
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DOK Panels 2015

Controversial panels of international experts discussing trends and developments in the international documentary film industry

Panel Overview

  • DOK Panel
    AniDox:Lab Presentation & Talk >>

  • DOK Panel
    No Man Is an Island: ARTE Case Studies >>

  • DOK Panel
    Doc Tales: Producing True Stories for Kids >>

  • DOK Panel
    Animadoc Case Studies: Creating Reality >>

  • DOK Panel
    Reach for the Sky -
    Case Study on European-East Asian Co-productions >>

  • DOK Panel
    Rebels Don’t Wait for Permission: Women in Documentary >>

  • DOK Panel
    Glorreiche Zeiten. Zukunftsperspektive Animation? >>

  • DOK Panel
    The Art of Criticism >>

  • DOK Panel
    König ohne Land.
    Zu den Chancen des langen Dokumentarfilms im Deutschen Fernsehen >>

  • DCP – DIY
    How to Make a DCP with Open Source Software >>


DOK Industry

Brigid O´Shea

+49 (0) 341 30864-1080

AniDox:Lab Presentation & Talk

AniDox:Lab Presentation & Talk

AniDox:Lab is an international workshop and laboratory where documentary and animation filmmakers join forces. The focus of the lab is to develop new approaches and directions by sharing the knowledge of these two genres. In Leipzig, you can meet the filmmakers participating in this year's lab. After each presentation, there will be time for Q&A with the directors. AniDox:Lab instructor Uri Kranot will talk about the learning process and the results of the previous labs.


Additionally we will widen the focus and talk with experts about the adventure of producing mixed genre films and take a chance to have a closer look at dos and don’ts of animated documentaries.



  • Klara Grunning-Harris, Swedish Film Institute, Stockholm
  • Uri Kranot, AniDox:Lab, Viborg


No Man Is an Island: ARTE Case Studies

No Man Is an Island: ARTE Case Studies

From a director’s first ideas to a film’s world premiere, there are many partners involved in seeing a creative documentary to completion. Local, international, language, religious and cultural interests all have to be managed before you even start thinking about budgets and revenue splits or the requirements of your international broadcasting partners. Long-time international collaborative partner ARTE walks us through two recent co-productions, exploring the production process on a human scale, beyond the financing plan.


Experienced producers and commissioning editors will share their stories and experiences in an informal session on the pitfalls and successes of European and international co-productions today.



  • Pierre-Olivier Bardet, Idéale Audience, Berlin
  • Lutz Dammbeck, director and producer, Berlin
  • Sabine Lange, ARTE G.E.I.E., Strasbourg
  • Catherine Le Goff, ARTE G.E.I.E., Strasbourg
  • Thomas Kufus, zero one film, Berlin
  • Søren Schumann, RBB/ARTE, Potsdam



  • Daniel Saltzwedel, Filmproduktion, Berlin


  • Overgames by Lutz Dammbeck (Germany)
  • Francofonia by Alexander Sokurov (France, Germany, Netherlands)



Doc Tales:
Producing True Stories for Kids

Doc Tales: Producing True Stories for Kids

Documentaries and true stories present us with the opportunity not only to open windows into worlds that might otherwise be unseen, but also to change and influence those who view them. Where better to start with the next generation! Doc Tales will give you an in-depth look at storytelling for junior audiences, from the perspectives of the filmmakers creating the films, the commissioning editors responsible for the content and the exciting world of digital and interactive storytelling.


  • Panelists
  • Paulien Dresscher, Cinekid, Amsterdam
  • Claudia Marschal, director, Paris
  • Saskia Wielinga, IKON, Hilversum
  • Nadine Zwick, Arte Junior, Strasbourg



Animadoc Case Studies: Creating Reality

Animadoc Case Studies: Creating Reality

Even though the mix-genre animated documentary in itself is no longer new, the growing numbers of animated documentaries each year shows that filmmakers will continue to break down walls and experiment without creative boundaries. DOK Leipzig, in each edition, shows a number of animadoc films with an enormous variety of artistic storytelling. The lack of footage material, the protection of the protagonists and of course the poetic artistic language helps to visualise dreams, emotions and the invisible are the driving intentions of the filmmakers using this style. Read more



  • Andy Glynne, Mosaic Films, London
  • Falk Schuster, director, Halle/Saale
  • Justin Stephenson, director, Toronto



  • Katrin Haucke, DOK Leipzig



Reach for the SKY – Case Study on European-East Asian Co-productions

Reach for the SKY – Case Study on European-East Asian Co-productions

The case study will explore various aspects of making **Reach for the SKY** (2015), a Belgian-Korean co-production that participated in the Documentary Campus Masterschool in 2012 (and won the prize for best pitch). Having a Belgian and a Korean co-director, as well as a Belgian and a Korean co-producer makes it a perfect example of a truly international co-production. Read more



  • Gert van Berckelaer, Visual Antics, Brussels
  • Woo-young Choi, Director, Seoul
  • Steven Dhoedt, Director, Adegem, Belgium
  • Sinae Ha, Boda Media Group, Seoul



  • Mark Siegmund, Curator Country Focus: South Korea

In Partnership with Documentary Campus.



Glorreiche Zeiten.
Zukunftsperspektive Animation?

Glorreiche Zeiten. Zukunftsperspektive Animation?

Die Studie der AG Animationsfilm hat die gefühlte Lage in Zahlenmaterial gefasst: Aufgrund fehlender Kontinuität in der Beschäftigung und mangelnder Bezahlung ist die Situation der deutschen Animationsfilmer prekär und bietet kaum Zukunftsperspektiven. So kann beispielsweise mehr als jeder Vierte nicht für sein Alter vorsorgen und viele haben schon einmal über einen Ausstieg nachgedacht. mehr


Die Diskussion findet in Kooperation mit der AG Animationsfilm, dem Bundesverband der deutschen Animationsfilmbranche statt und wird auf Deutsch geführt.



  • Helmut Hartung, Promedia, Weimar



The Art of Criticism

The Art of Criticism

Have recent developments in marketing strategies brought about a shift in how film criticism is practiced and perceived nowadays? Is criticism still an art form or has it become a part of the public relations branch of the film industry? There are very few platforms for insightful and opinionated criticism today especially for the non-fiction genre. We invite freelance journalists, bloggers and theorists to tell us more about the obstacles of their trade and share their views on where this art form is headed.



  • Mark Adams, Edinburgh International Film Festival, London
  • Christopher Campbell, nonfics, Atlanta
  • Barbara Wurm, senses of cinema, TAZ, Berlin
  • Barbara Schweizerhof, epd Film, Frankfurt am Main



  • Stefano Tealdi, Stefilm International, Torino



König ohne Land? - zu den Chancen des langen Dokumentarfilms im Deutschen Fernsehen

König ohne Land? - zu den Chancen des langen Dokumentarfilms im Deutschen Fernsehen

Die ARD feiert den Dokumentarfilm seit einigen Jahren mit einer eigenen Ausschreibung und mit der Veranstaltung „Top oft he Docs“, der SWR würdigt ihn zusammen mit der MFG Baden-Württemberg durch einen „Deutschen Dokumentarfilmpreis“. „Königsdisziplin“ hat SWR-Fernsehdirektor Dr. Christoph Hauser den langen Dokumentarfilm genannt. mehr 



  • Ingrid Gränz, ZDF/3sat, Mainz
  • Nicole Leykauf, Leykauf Film, München
  • Claudia Tronnier, ZDF/Das Kleine Fernsehspiel, Mainz
  • Martina Zöllner, SWR, Stuttgart



  • Vera Linß, Medienjournalistin (u.a. Deutschlandradio Kultur)



  • Thomas Frickel, AG DOK, Rüsselsheim



DCP – DIY: How to Make a DCP with Open Source Software

DCP – DIY: How to Make a DCP with Open Source Software

Self-distribution is a tricky business for both animation and documentary professionals alike. But many producers and filmmakers are taking their destiny into their own hands, often reaching wide audiences outside the traditional markets. But the best-researched and executed marketing strategy can unravel fast if you don’t have the technical know-how and skill to actually deliver the physical film for screening. And if you’re planning to show your film on the big screen, chances are you’ll need a DCP to get the very best quality.

Are your tech skills the only thing between you and an indie release of your film? Don’t have a spare 10.000 Euro around for a professional to convert files for you?


Paul Müller-Hahl, technical coordinator at DOK Leipzig will take you step-by-step through the process of creating your own DCP using open source software. This is a not-to-miss session for all independent filmmakers at DOK Leipzig, students and veterans alike!



  • Paul Müller-Hahl, DOK Leipzig