DOK Leipzig 29. Oktober – 4. November 2018
61. Internationales Leipziger Festival für Dokumentar- und Animationsfilm
DOK Leipzig 29 October – 4 November 2018
61st International Leipzig Festival for Documentary and Animated Film
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DOK Talk Specials


DOK Talk Specials

  • DOK Talk Special
    The Documentary as firebrand? The Polish example >>

  • DOK Talk Special
    Documentaries in Turkey: The Next Frontier? >>

  • DOK Talk Special
    Die archivierte DDR
    Aspekte des Umgangs mit historischem Filmmaterial >>

  • DOK Talk Special
    The Language of Protest Artistic Forms of Expression
    in the Ukrainian and Russian Context >>

  • DOK Talk Special

    Mit 71 hat man noch Träume … >>

DOK Talk Special:
The documentary as firebrand?
The Polish example

DOK Talk Special:The documentary as firebrand? The Polish example

When we talk about disobedience in documentary film we inevitably think of the Polish school. Its representatives were invariably firebrands in several respects: they courageously and radically opposed political dogma and shifted artistic boundaries. At the same time their films were characterised by great social responsibility. Later generations built on the work of founding fathers Jerzy Bossak and Kazimierz Karabasz to renew the creative documentary film – as this year’s retrospectives illustrate. Naturally, the backdrop for this retrospective is also formed by current political and social developments in Poland (as part of Europe), which call for nothing less than a new “cinema of moral unrest”. While the international reputation of Polish documentary film (rightly) holds firm, it would appear that in recent years any critical analysis of social reality in the filmmakers’ own country has gone astray. Or is a new wave of social criticism about to be unleashed? Will the new restrictive conditions under which filmmakers have to work provoke inventiveness and resistance? What political role can documentary films even play today? We will be discussing these questions together with some of Polish documentary films’ most important rebels and pioneers of filmmaking.






  • Dr. Grit Lemke, DOK Leipzig
  • Kornel Miglus, Polish Institute Berlin, co-curator Polish retrospective



  • Maciej Drygas, filmmaker, Warsaw
  • Krzysztof Gierat, festival director Krakow Film Festival, Krakow
  • Maria Zmarz-Koszanowicz, filmmaker, Warsaw
  • Maciej Kubicki, Telemark Sp. Zo.o., Warsaw


DOK Talk Special:
Documentaries in Turkey:
The Next Frontier?

DOK Talk Special:Documentaries in Turkey: The Next Frontier?

The documentary scene in Turkey has grown considerably since 2000, with a rising number of compelling creative documentaries, more festivals, and social media platforms that offer documentaries much-needed exposure. The Country Focus on Turkey unites politically up-to-date and controversial documentary and animated films: independent filmmaking that challenges the official narratives told by the government.

However, the recent changes in Turkey’s political climate have put filmmakers in an increasingly difficult position. The film I Remember for example, had to be withdrawn from the Ankara Film Festival in April 2016 following a number of censorship measures. The work by Kurdish director Selim Yıldız is a personal recollection of the massacre in Roboski by Turkish armed forces in 2011. The issue of the Armenian genocide is made the subject of discussion in Return and The Eagle’s Tree. Many films shift the focus onto the actors from protest movements that have originated in recent years. They include, for example, an activist for LGBT rights during the protests in Gezi Park, along with neighbourhood residents in their struggle to preserve a historic cinema in Istanbul.


This panel will discuss some of the key issues that documentary film production in Turkey faces today, from funding and distribution to artistic expression in the midst of censorship debates.






  • Özge Calafato, curator Country Focus Turkey, Abu Dhabi



  • Basak Callioglu, ARTvoltage, London
  • Gürcan Keltek, 29P, Istanbul
  • Kazım Öz, Istanbul
  • Fırat Yücel, Emek Bizim, İstanbul Bizim initiative, Istanbul


DOK Talk Special:
Die archivierte DDR
Aspekte des Umgangs mit historischem Filmmaterial

DOK Talk Special:Die archivierte DDR Aspekte des Umgangs mit historischem Filmmaterial

Nach über 25 Jahren ist das DDR-Filmerbe noch lange nicht komplett ausgewertet. Jenseits von DEFA- und Fernsehproduktionen entstanden andere Bilder, die einen erweiterten Blick auf den DDR-Alltag versprechen, aber bislang kaum gezeigt wurden. Auf der Grundlage von zwei aktuellen Forschungsprojekten, einerseits zum Amateurfilm in der DDR (organisiert in Betriebs- und Pionierfilmstudios), andererseits zu den Filmen der Staatlichen Filmdokumentation (SFD), entstanden für DOK Leipzig vier kuratierte Programme, die einen Ausblick geben. Produktionsbedingungen, Zweck, Anspruch und Charakter der filmischen Dokumente unterscheiden sich dabei fundamental. Während die Amateurfilmer ihren Alltag im Betrieb und in der Freizeit aktiv abbildeten, waren die SFD-Filme nicht für die Öffentlichkeit bestimmt und konnten gerade dadurch auch tabuisierte Themen aufgreifen. Auf dem Panel diskutieren wir mit Expertinnen und Experten über die jeweilige Bedeutung der Bilder als kulturgeschichtliche Quellen und beantworten praktische Fragen zu ihrer möglichen Verwertbarkeit für Filme. Wie ist das Material archiviert, was ist bereits digitalisiert, welche Rechtefragen sind zu beachten (u.a. in Bezug auf das Persönlichkeitsrecht), und wann ist ein Film als eigenständiges Werk zu betrachten? Das Publikum ist zur Beteiligung aufgerufen.



German without translation



  • Dr. Andreas Kötzing, Universität Leipzig, Hannah-Arendt-Institut der TU Dresden, Leipzig



  • Dr. Anne Barnert, Film- und Kulturwissenschaftlerin, Jena
  • Dr. Ralf Forster, Filmmuseum Potsdam, Potsdam
  • Babette Heusterberg, Bundesarchiv - Filmarchiv, Berlin


This discussion is realised with the support of the Federal Foundation for the Study of Communist Dictatorship in East Germany.



DOK Talk Special:
The Language of Protest
Artistic Forms of Expression in the Ukrainian and Russian Context

In May 2014, the Crimean film director Oleg Sentsov was abducted by Russian Federation security services. He was later accused of being the organiser of a terrorist group and put under arrest. After a show trial, the artist was sentenced to 20 years in a penal colony and taken to Yakutia.

The exhibition Sentsov’s Camera takes us back to these events. In essay form, it tells of how conflicts become inscribed in spaces, and how the inhabitants of these spaces suddenly feel that they are prisoners. The story goes beyond Crimea and the Ukrainian borders to other landscapes such as the Isle of Rügen in Germany or the Solovetsky Islands in Russia.

This talk will take us to the interface between art, documentary film and resistance. In times of accelerated history, documentaries about protest movements can turn into important testimonies of disintegrating public spaces more quickly than expected. Furthermore, under the pressure of censorship or self-censorship, the artistic intention behind a documentary can prove to be a gesture of protest. In the roundtable discussion, protest will be considered both in terms of content and as a form used by filmmakers from Russia and Ukraine.


Tour of the exhibition with curator Kateryna Mishchenko followed by a panel discussion with Marina Razbezhkina, Ksenia Marchenko and Nadia Parfan. 






  • Kateryna Mishchenko, GfZK, Kyiv/Leipzig



  • Ksenia Marchenko, journalist/filmmaker, Kyiv
  • Nadia Parfan, 86PROKAT, Kiev
  • Oleksiy Radynski, Visual Culture Research Center, Kyiv
  • Marina Razbezhkina, Marina Razbezhkina Studio, Moscow


This talk is organised in collaboration with the Galerie für Zeitgenössische Kunst (GfZK)

DOK Talk Special:
Mit 71 hat man noch Träume

Ein DOK Talk Special in Kooperation mit MDR Kultur


Fast ist es ein heimlicher Schwerpunkt des Festivals - junge Regisseurinnen entdecken die alten Leute als Thema. Was oft als „demografisches Problem“ oder „Zeitbombe“ in den Nachrichten thematisiert wird, hier wird es im Dokumentarfilm genauer fokussiert. In „Happy“ ist es der Vater, dessen neue Frau aus Thailand jünger ist als die eigene Tochter; in „Trockenschwimmen“ sind es Senioren, die sich erst im ganz späten Lebensherbst wortwörtlich ins kalte Wasser trauen, sich freischwimmen und zu neuen Ufern aufbrechen.



  • Regisseurinnen Susanne Kim und Carolin Genreith,
  • Choreografin Heike Hennig
  • Grit Lemke, die Leiterin des Filmprogramms bei DOK Leipzig


Moderation: Stefan Petraschewsky, MDR Kultur