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Audience Award Competition 2020
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The Blunder of Love
Rocco Di Mento
Cinematic genealogy: A grandson sets out to document his grandparents’ boundless love but upon closer inspection of the myth is unable to overlook the family rifts.
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The Blunder of Love

The Blunder of Love
Rocco Di Mento
Competition for the Audience Award 2020
Documentary Film
Germany
2020
84 minutes
English,
Italian
Subtitles: 
German

A young man meets a young woman and both fall for each other. A house is built, children are born, the fairy tale story of boundless love takes its course. A grandson sets out to explore the myth of his grandparents’ romance and tries to honour his deceased grandfather on film, assisted by all the surviving relatives. Not an easy undertaking when things may not have been exactly as the family tradition would have it …

In his search Rocco Di Mento unearths old 8mm home movies, an unpublished novel, various love letters and a whole host of long-suppressed feelings. It’s hardly surprising that this mixture begins to develop a dynamic of its own. Suddenly the issue is no longer only the search for the love of one’s life but also the questions of what holds people together above and beyond their relationship status and degree of kinship and how forgiveness is possible even though you have long since lost faith in it. An ingeniously constructed family constellation full of Italian temperament, in which tension, emotion and truthfulness are inextricably linked. Because: “Even if you leave you will always be part of your family.”
Luc-Carolin Ziemann

Credits DOK Leipzig Logo

Director
Rocco Di Mento
Cinematographer
Sabine Panossian
Editor
Antonella Sarubbi, Valentina Cicogna, Rocco Di Mento
Producer
Valeria Venturelli
Sound
Jerome Huber
Score
Franziska May
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The Cars We Drove into Capitalism

The Cars We Drove into Capitalism
Georgi Bogdanov, Boris Missirkov
Competition for the Audience Award 2021
Documentary Film
Bulgaria,
Croatia,
Czech Republic,
Denmark,
Germany
2021
93 minutes
Bulgarian,
Czech,
English,
German,
Norwegian,
Russian
Subtitles: 
English

A nostalgic trip into a past when buying a car constituted a lifetime’s work – especially for those Europeans who had a maximum of two handful of brands at their disposal. This cheerfully edited collection of auto biographies from socialist production evokes seemingly carefree times when the motorized vehicle was allowed to be simply a status symbol: free from ideological turf wars revolving around the climate crisis and mobility diets.

From Russia via Bulgaria and the Czech Republic to Germany and Norway, love stories between humans and Trabi, Moskvitch and Volga are captured on film. We meet protagonists who are fond of their beloved piece of tin, then or now, or have even amassed a considerable collection. There’s a couple who met and fell in love at a retro car exhibition and still drive the same model today. We meet a sexton who passes on his official car after 32 years of use. We make the acquaintance of a pin-up who always poses in front of vintage cars from the East. They all have a soft spot for these rickety rust buckets, because even though the products of the socialist car industry were usually slow, chunky, tedious to drive and to repair, they were all regarded as showpieces of a successful life. And there was one in almost every family: coveted, long longed-for, assiduously polished.
Lina Dinkla

Credits DOK Leipzig Logo

Director
Georgi Bogdanov, Boris Missirkov
Script
Boris Missirkov, Georgi Bogdanov
Cinematographer
Boris Missirkov, Georgi Bogdanov
Editor
Emil Granicharov, Jacob Thuessen, Georgi Tenev
Producer
Martichka Bozhilova
Co-Producer
Tina Leeb, Miljenka Čogelja, Dana Budisavljević, Jiří Konečný, Sigrid Jonsson Dyekjær, Sascha Beier, Simone Baumann
Sound
Veselin Zografov
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The Good Soldier

Le bon soldat
Silvina Landsmann
Competition for the Audience Award 2021
Documentary Film
France,
Germany,
Israel
2021
88 minutes
English,
Hebrew
Subtitles: 
English, German Subtitles for deaf and hard-of-hearing

The NGO “Breaking the Silence” – BtS for short – consists of veteran Israeli soldiers who, by collecting personal accounts of their memories, want to raise awareness of everyday military life and the treatment of the population in the Occupied Territories. Director Silvina Landsmann’s film allows us a look behind the scenes of a contested group with a controversial approach in the midst of a conflict that’s been smouldering for more than 70 years.

What makes a good soldier? The ability to execute orders without scruples, or the consideration of higher moral goals when dealing with the enemy? For many members of BtS, the latter was only possible after active military service. In their work, they engage with operations and acts that in retrospect seem wrong to them. They address the Israeli population and foreign media with videos, lectures and city tours. The streets of Hebron are the site of frequent clashes between BtS, Israeli settlers and the army. On the political level, too, the organisation is harshly criticized. They are accused of fabricating stories, damaging Israel’s reputation and playing into the hands of anti-Semites. Landsmann observes with a cinematic, sober eye how the group struggles internally and externally to find its voice.
Kim Busch

Credits DOK Leipzig Logo

Director
Silvina Landsmann
Cinematographer
Silvina Landsmann
Editor
Tal Shefi
Producer
Silvina Landsmann, Pierre-Olivier Bardet
Co-Producer
Christoph Menardi
Sound
Ami Arad, Guy Barkay, Nadir Fleishman, Zohar Cheppa, Tully Chen
Audience Award Competition 2020
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The Painting
Andrés Sanz Vicente
Are we looking at a painting or is it looking back at us? Velázquez’s larger-than-life painting “Las Meninas” sparks captivating digressions about curiosity and penetrating gazes.
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The Painting

El cuadro
Andrés Sanz Vicente
Competition for the Audience Award 2020
Documentary Film
Spain
2019
107 minutes
English,
Spanish
Subtitles: 
German

It has been said that the baroque artist Diego Velázquez didn’t paint figures, but the air and light between them. And one could say about this film that it is not Velázquez’s larger-than-life painting “Las Meninas” that is the subject, but the penetrating gaze with which it looks back at his viewers. Among the many clever minds that discuss the artist and the intricate structure of this painting’s composition, it is curiosity itself that somnambulates here.

“Paintings aren’t movies, they’re paintings”, insists art critic and historian Svetlana Alpers. She’s right, of course – and then again, she isn’t. She’s one of the renowned talking heads interrogated by director Andrés Sanz Vicente to solve a crime. But who or what actually died? Perhaps our ability to see, as Alpers claims? For around 400 years, Diego Velázquez’ painting has been exposed to the eyes of its public, the analyses of its scientifically advanced critics who have racked their brains over who on the canvas enters through which door and why. “The Painting” is a continuation of this painting-eye-encounter with the means of cinema. The air and the light between the concrete thing and its passionately glowing aura are captured. In this, but only in this, a painting can be a movie after all.
Sylvia Görke

Credits DOK Leipzig Logo

Director
Andrés Sanz Vicente
Script
Andrés Sanz Vicente
Cinematographer
Javier Ruiz Gómez
Editor
Andrés Sanz Vicente
Producer
Antonio Gómez-Olea
Sound
Micky López
Score
Santiago Rapallo
Animation
Andrés Sanz Vicente