Film Archive

Countries

A New Era

Documentary Film
2019
71 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Anne-Catherine Witt, Antonio Magliano
Boris Svartzman
Boris Svartzman
Suzana Pedro, Emma Augier
Boris Svartzman, Laurine Estrade
Boris Svartzman
Over ten years, the director and photographer Boris Svartzman repeatedly visited the inhabitants of a plot of land in China. The houses and gardens there are in dispute, above all because of their specific location: an island in the Pearl River, in the middle of the megalopolis of Guangzhou. The area is to be transformed into a “nature paradise” with residential estates and parks for the new Chinese middle class. But the people resist. Their homes were destroyed in 2008. Life went on, just in ruins. They were ejected and returned. Life went on, but not necessarily in the new settlements they were given. Their gardens were destroyed. Life went on, in the gardens they rebuilt.

Loud and quiet resistance against the modernisation that’s going on all over the world seems especially dramatic in China. Svartzman captures in detail the co-existence of a modern, Western-inspired lifestyle and ancient traditions and architectures. This turns the life story of the old gentleman who always cordially welcomes the foreign guest like a ghost into a requiem. The West, fixated on cities, Svartzman says, could have learned a lot about “rural democracy” from China – had the Far East not trampled down its rural spaces and people in such a Western fashion.

Saskia Walker

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

A Tiger with No Stripes

Animated Film
2018
8 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Reginald de Guillebon, Nicolas Burlet
Raúl “Robin” Morales Reyes
Yan Volsy, Pablo Pico
Hervé Guichard
Marc Robinet, Pierre Bouvier, Morten Riisberg Hansen
Raúl “Robin” Morales Reyes
Yan Volsy
A tiger without stripes? Can the animal that terrifies the other inhabitants of the jungle be a real tiger at all? To stop being laughed at the little tiger goes in search of his stripes. He discovers them as shadows on his fur, paints them on with mud, but nothing lasts. How else can he get his stripes?

Marie-Thérèse Antony

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

DOK Neuland
Ayahuasca – Kosmik Journey Jan Kounen

Guided by the meditative chants of a virtual Shipibo healer we embark on an inner journey. Kaleidoscopic visions create a meditative state whose intensity is heavily dependent on our level of attention.

Ayahuasca – Kosmik Journey

VR Experience
2019
18 minutes
Credits DOK Leipzig Logo
Antoine Cayrol (Atlas V), Marion Guth (a_BAHN), François Le Gall (a_BAHN), Vincent Guttmann (small)
Jan Kounen
Small by Mac Guff
Jan Kounen
Nicolas Becker
Jan Kounen, Guillermo Arévalo
Guided by the meditative chants of a virtual Shipibo healer we embark on an inner journey. Our companions are snakes, beetles and scorpions. The destination of our journey is a world that seems to be pure geometry. Kaleidoscopic visions create a meditative state whose intensity is heavily dependent on our level of attention.

Lars Rummel, Marie Hinkelmann

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Big Wolf & Little Wolf

Animated Film
2018
14 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Arnaud Demuynck
Rémi Durin
Alexandre Brouillard, Gaspard Vanardois, Collectif L’Âme Strong
Rémi Durin
Amélie Coquelet, Rémi Durin, Paul Jadoul, Pierre Mousquet, Célia Tisserant, Célia Tocco
Rémi Durin
Philippe Fontaine
The big wolf leads a contented life: He reads books under his tree, grumbles over bills and listens to music, quite undisturbed. Until one fine morning the little wolf turns up and moves in with him. The little wolf listens to his records, turns the newspaper into paper planes and, to top it all, snores. The big wolf doesn’t need this kind of companionship. Or does he?

Marie-Thérèse Antony

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Black Hole

Documentary Film
2019
69 minutes
subtitles: 
English
French
Credits DOK Leipzig Logo
Giulia Olivieri, Fabrizio Polpettini
Arnaud Deshayes, Emmanuel Grimaud
Arnaud Deshayes, Emmanuel Grimaud
Arnaud Deshayes, Emmanuel Grimaud, Gabriel Gonzalez
Arnaud Deshayes, Emmanuel Grimaud
Mikaël Barre
A dark room. The focus is on a woman’s relaxed face. The cherry-red lips are starting to move. The eyes are closed. In trance, a young Indian woman slips into her earlier incarnations – for example the role of a liberal man who fought for equality and freedom. While her body seems to fade into the black background, her re-experience becomes clearer and more visual.

Trupti Jayin, a well-known hypnotherapist in Kolkata, uses the image of the black hole for her patients. If they dare make the leap into the dark nothingness, they may be able to enter more deeply into their subconscious, find or even come to terms with repressed memories. In India’s colonial history, though, the so-called “Black Hole” has a different meaning. The eponymous 18th century prison where some British soldiers died is still regarded as a historical blind spot today, where myth and reality have become indistinguishable. The French filmmakers Emmanuel Grimaud and Arnaud Deshayes go in search of traces in the subconscious to confront the ghosts of the past there. In private and in public. Because in addition to the hypnotherapy sessions, we follow a group of ghost hunters who chase the restless souls through the dark alleys and empty houses of the West Bengali capital.

Julia Weigl

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Bread, Revenge?

Documentary Film
2019
76 minutes
subtitles: 
English
German
Credits DOK Leipzig Logo
Stefan Hayn (Stefan Hayn Filme und Malerei)
Stefan Hayn
Till Megerle
Stefan Hayn
Stefan Hayn
Klaus Barm
In 1944, the French resistance fighter Robert Antelme was captured by the Germans. He was taken to Gandersheim, a satellite camp of the Buchenwald concentration camp. In the last months of the Second World War, Antelme got to experience the whole extent of dehumanisation under National Socialist tyranny. Soon after his liberation he wrote the book “The Human Race” about it, which today is a classic of coming to terms with the past.

Stefan Hayn already dealt with Antelme in his film “Straub” (2014). Now he examines in more detail a series of texts which contributed to the post-war debate about how to deal with German guilt. Hayn calls his film a “lecture filmée” in the opening credits, a “filmed reading”. It is of crucial importance that the texts (including reflections on a theft of bread among prisoners) are present in the French original, even if recited by German native speakers. Different forms of “reading” that culminate in a sketch-like scenic re-enactment are interlaced with contemporary shots of memorial sites today to form a multi-layered film essay, historical-political in the best sense.

Bert Rebhandl

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Ceuta’s Gate

Documentary Film
2019
19 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Said Hamich, Sophie Penson, Randa Maroufi
Randa Maroufi
Luca Coassin
Ismaël Joffroy Chandoutis
Everything seems tidy at first in Randa Maroufi’s performative reconstruction. Prettily sorted cars queue up, market women tie up their baggage, security officers do press-ups. On the monotonous grey background the scenes appear schematic, like a blueprint where suddenly everything is graphically condensed, though, with the otherwise observant camera drifting disorientedly in the middle. Everyday life at the border between the Spanish exclave of Ceuta and Morocco, which is crossed illegally by all kinds of goods.

André Eckardt

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Next Masters Wettbewerb
Deep Waters Alice Heit

An opulent film essay celebrating autonomous female sexuality. Its attitude and style playfully take up the feminist departure of the 1970s, but are firmly aimed at the present.

Deep Waters

Documentary Film
2019
53 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Alice Heit
Alice Heit
Alice Heit
Alice Heit
Alice Heit
Alice Heit
Alice Heit
Alice Heit
In the early 1970s, countless women in Western Europe and the U.S. fervently set out to explore their own bodies in self-help groups. Alice Heit’s film draws on this historic space of experience, opening on the sound level with personal reports of female sexuality affirming itself. Soon, a wide-ranging visual journey rich in associations develops, exploring and celebrating the physical phenomenon of female ejaculation suppressed in popular images of sexiness. Vulva-shaped sculptures and small statues of ancient mother goddesses lead the way to the spiritual emanations of the sexual and to creation myths in ancient India and Anatolia.

The shimmering Super 8 images, manually developed by the filmmaker (and looking beautifully homemade on all levels!) spread retro feelings on the formal level, too. Stop motion animations of crawling starfish evoke the surrealist film avant-garde. Other ingredients of this sex film of a different kind overflowing with motifs: lots of seawater. Dark snakes on pale skin. Trance-like chanting. And (with a title banner raised by two female divers underwater) perhaps the most poetic opening credits in the history of cinema.

Silvia Hallensleben

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

HanaHana Full Bloom

VR Experience
2019
999 minutes
Credits DOK Leipzig Logo
Mélodie Mousset
Mélodie Mousset
Joe Williams
Christian Heinrichs
Vinicius P. Faria
Thibault Brevet
Mélodie Mousset
Victor Beaupuy, Tom Frackowiak
Jean-Marc Benoit
Marietta Eugster
Odd shapes stand in a desert landscape. At the push of a button, countless hands sprout from the ground. Hands, hands everywhere. Modelled on the Anime character Nico Robin who can make body parts grow anywhere at will, we are asked to contribute our own narratives and physical, intellectual and sensual impressions to this desert. The result is satisfying, in a surprising way.

Lars Rummel, Marie Hinkelmann

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
Heart of Stone Olivier Jobard, Claire Billet

Ghorban, then thirteen, travelled alone from Afghanistan to France. In Paris at last, he hopes to be allowed to go to school. This long-term observation follows him over eight years.

Heart of Stone

Documentary Film
2018
89 minutes
subtitles: 
English
French
Credits DOK Leipzig Logo
Juliette Guigon, Patrick Winocour
Olivier Jobard, Claire Billet
Antoine Léonpaul, Laurent Saligault
Olivier Jobard, Claire Billet
Ronan Sinquin
Olivier Jobard, Claire Billet
Thirteen-year-old Ghorban arrives in Paris after having made the 8,000 kilometre journey from Afghanistan on his own. In France, however, he is faced with an absurd situation: He’s stuck. “There is neither a beginning nor an end”, is his own diagnosis. They can’t just send him to school. One of the reasons is that there is a date that doesn’t exist on his birth certificate: 31 November. Another administrative file to be re-opened.

Claire Billet and Olivier Jobard followed the sensitive boy, whose great goal is to arrive in a society, over eight years. Fixed points are provided not only by Ghorban’s constantly changing hairstyles and his ever improving French, but also by regular conversations with a therapist that provide deeper insights into his mental state. For in addition to the difficulties brought by assimilation, relatives he left behind and is now gradually contacting again are still meandering through the back of Ghorban’s mind. Still, the final chapter of this long-term observation which ends in a return to Afghanistan reveals how deep the chasm has become after a youth spent in France.

Carolin Weidner

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
History of the Revolution Maxime Martinot

An equally intelligent and psychedelic essay trip through the visual and intellectual worlds associated with the word “revolution”: yesterday and today, in success and failure.

History of the Revolution

Documentary Film
2019
30 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Quentin Brayer
Maxime Martinot
Robin Fresson, Théophile Gay-Mazas
Maxime Martinot
Victor Praud
The history of the revolution – but which one? Or isn’t it rather a history of the term “revolution”, the variety of its meanings and uses in the here and now as well as in history, in words, images and deeds? Maxime Martinot undertakes an equally intelligent and psychedelic essay trip through the visual and mental worlds of transgression, struggle, success and failure of all things revolutionary.

Frederik Lang

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Kids DOK
Home Away 3000 Héloïse Pétel, Philippe Baranzini

The astronaut is stranded on an alien planet far away in outer space. The broken spaceship must be repaired, but his tools are stolen by the only inhabitant of this orb!

Home Away 3000

Animated Film
2018
11 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Bertrand Jeandel, Laure Vignalou
Héloïse Pétel, Philippe Baranzini
Ludovic Maudet
Philippe Baranzini
Ludovic Maudet
Héloïse Pétel
Héloïse Pétel, Philippe Baranzini
Grégoire Chauvot, Mikhael Kurc
The astronaut is stranded on an alien planet far away in outer space. The broken spaceship must be repaired, but his tools are stolen by the only inhabitant of this orb! With only his potted plants and no tools, it looks like he won’t be able to leave the planet. A scouting expedition gives him an idea how he might get home after all.

Marie-Thérèse Antony

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Kids DOK
Home Sweet Home Chaïtane Conversat

Grandmother’s house is full of treasures! Every visit reveals new things to discover and she loves to talk about the adventures she had in search of the shells, buttons and leaves.

Home Sweet Home

Animated Film
2018
13 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Reginald de Guillebon, Florence Adam
Chaïtane Conversat
Patricia Dallio
Nadine Buss, Sara Sponga
Hervé Guichard
Pierre-Luc Granjon, Antoine Lanciaux, Chaïtane Conversat, Marjolaine Parot
Chaïtane Conversat, Pierre-Luc Granjon
Loïc Burkhardt
Grandmother’s house is full of treasures! Every visit reveals new things to discover and she loves to talk about the adventures she had in search of the shells, buttons and leaves. But with every visit there are more crates in the house so that it becomes harder and harder to find grandmother at all. One day she disappears behind her crates. Will her granddaughter manage to free her?

Marie-Thérèse Antony

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
I Invite You to My Execution Nino Kirtadze

The dramatic publication history of Boris Pasternak’s novel “Doctor Zhivago” in the Cold War, when literature could be a danger to the state and its publication life-threatening.

I Invite You to My Execution

Documentary Film
2018
56 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Paul Rozenberg, Céline Nusse
Nino Kirtadze
Siegfried Canto
Cédric Dupire
Christel Aubert
Stephan Bauer
“This summer I committed the greatest crime a Soviet writer could commit. According to Soviet rules here, publication of a book abroad before it comes out in the Soviet Union is an illegal act of which I would severely be punished. I don’t know how.” Since he saw no prospect for his epochal work “Doctor Zhivago” to be published in the Soviet Union, the writer Boris Pasternak smuggled several copies of his manuscript abroad. He had worked on his first and only novel for almost ten years. Rejected as “anti-Soviet” because of its supposedly critical view of the October Revolution, a publication of the work, which had been finished in 1956, in its country of origin had become inconceivable. Pasternak would have stopped at nothing to save the text. “Doctor Zhivago” was first published in 1957 in an Italian translation; its author was awarded the Nobel Prize in Literature in the following year – which had consequences. Using archive documents, interviews and Pasternak’s own notes, the film reconstructs a dramatic story from the Cold War period when literature could be a danger to the state and its publication life-threatening.

Frederik Lang

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Insectopedia

Documentary Film
2018
23 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Victor Candeias (DocNomads), Lucie Rego (Hutong Productions)
Antoine Fontaine
Erwan Evin
Antoine Fontaine
Antoine Fontaine
Antoine Fontaine
Arnout Colaert
Over 36 years, an unmarried surgeon filmed and dissected insects in his Brussels apartment. 600 reels of wonderful, obsessively precise recordings and increasingly confused commentary paint a strange psychological profile. During his research on Dr. Veroft, Antoine Fontaine comes across a species of man whose social behaviour is conspicuously focused on six-legged creatures and who share their habitat with audibly scurrying chitin carapaces and Darth Vader figurines.

André Eckardt

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
L’Ultimu Sognu Lisa Reboulleau

An old man alone in the forest, with a gun, a dog, a torchlight – and the memory of Lucia, the woman who was in touch with the animals. She’s dead, but her voice comes back.

L’Ultimu Sognu

Documentary Film
2019
33 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Eugénie Michel-Villette
Lisa Reboulleau
Pierre Reboulleau, Diana Saliceti
Lisa Reboulleau, Tarek Sami
Elsa Jonquet
Arno Ledoux, Lisa Reboulleau
The woman who was in touch with animals was called Lucia. She is no longer alive, but her voice comes back, bringing images, coarse-grained and analogue, from a time when people still knew that there is a connection between the death of the animals and the death of the people. Today, in the digital present, there is only an old man alone in the forest, with a gun, a dog, a flashlight and the memory of Lucia. What do the sheep dream of, he wonders? And the donkeys?

Lukas Foerster

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.