Film Archive

Jahr

Late Harvest
Marona’s Fantastic Tale Anca Damian

Marona-Sara-Ana-the-Ninth is of noble descent, but not a princess. She was given her names by her master and mistress. The modern fairytale about a dog raises questions of identity.

Marona’s Fantastic Tale

Animated Film
Belgium,
France,
Romania
2019
92 minutes
subtitles: 
English
German
Credits DOK Leipzig Logo
Anca Damian
Anca Damian
Pablo Pico
Brecht Evens, Gina Thorstensen, Sarah Mazetti
Boubkar Benzabat
Dan Panaitescu, Chloé Roux, Hefang Wei, Mathieu Labaye, Claudia Ilea
Anghel Damian
Clément Badin
Marona-Sara-Ana-the-Ninth may be of noble descent from her father’s side, graceful and beautiful, but she is no princess. She braves many an adventure in her short life: She learns acrobatics and magic tricks, temporarily ends up on the streets and even becomes a saviour in need. She is a bitch. Her names were given to her by a number of masters and mistresses. Anca Damian tells a touching story with imagination and humour.

An original, surrealist and childlike aesthetics, the combination of different animation techniques, strong stylisation and the gay colour palette make the protagonists particularly expressive. The striking backgrounds resemble witty and artistic wimmelbook pictures. The unusual angles make us discover the urban hustle and bustle from many perspectives simultaneously – with all senses. At the heart of the film, a realistic and critical portrait of urban society emerges that does not shy away from questioning our relationship to animals and thus to our values. Joy and sadness, farewells and beginnings are mutually dependent – even death is sensitively addressed. Damian’s modern fairytale is about identity and belonging. Full of musical and visual poetry and philosophical esprit, it celebrates – equally simply and extravagantly – the complexity of existence and the simplicity of happiness.

Nadja Rademacher

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.

Late Harvest
That Which Does Not Kill Alexe Poukine

An unagitated, performative stocktaking of the subject of rape. Alexe Poukine recovers the offence from the dark zone and lets victims and perpetrators speak.

That Which Does Not Kill

Documentary Film
Belgium,
France
2019
85 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Cyril Bibas (CVB), Cécile Lestrade, Elise Hug (Alter Ego)
Alexe Poukine
Elin Kirschfink
Agnès Bruckert
Ada Leiris
Bruno Schweisguth
Conchita Paz, Epona Guillaume, Aurore Fattier, Marijke Pinoy, Marie Préchac, Sophie Sénécaut, Anne Jacob, Tristan Lamour, Noémie Boes, Maxime Maes, Yves-Marina Gnahoua, Tiphaine Gentilleau, Séverine Degilhage, Laurence Rosier
It’s well-established that the majority of sexualised violence doesn’t take place in the public sphere but in the seemingly protected realm of family, partnership and friends. This is also true of a young woman who was raped by a good friend on a private date. Her report was the occasion and basis of this film which interprets it first performatively, then analytically by women and men playing various roles.

In addition to the act itself, it addresses its consequences and how to deal with feelings of guilt, shame, paralysis and repression – but soon the performers’ own experiences as victims of perpetrators, too. In its directness and detail, speaking out is sometimes agonising for all participants. But talking and listening are the only chance to get hold of the phantoms and demons of the past and thus heal the wounds. Alexe Poukine’s differentiated and multi-faceted approach to an issue usually discussed in sensationalist terms offers us, the audience, a chance to dispassionately re-adjust our perspective on the act of rape.

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.

Tiny Souls

Documentary Film
France,
Jordan,
Lebanon,
Qatar
2019
85 minutes
subtitles: 
English
German
Credits DOK Leipzig Logo
Dina Naser
Dina Naser
Ronald Heu
Dina Naser, Hasan Abu Hammad
Najwa Khachimi, Qutaiba Barhamji
Dina Naser
Antonin Dalmasso
They and all the others will continue to inspire life, Dina Naser writes at the end of her film about three children of war in Syria. They grow up in a refugee camp in Jordan: Marwa is the eldest, then there’s her sister Ayah and finally Mahmoud, the youngest. They have seven other siblings, but the family was torn apart when one brother in Syria no longer wanted to serve in the army and thus the dictator Assad. Marwa is the heroine of the film. She will soon be grown-up or at least considered almost of marriageable age by her parents. Her mother and father now make sure she doesn’t go out any more. But she already has a boyfriend.

Dina Naser follows the three children’s fate and everyday life over an extended period of time, starting in 2014. The filmmaker even hands the camera temporarily over to her protagonists – for the time when she can’t be with them. This can and should be compared to the situation of Palestinian refugees in 1948, among them Dina Naser’s father, whose experiences are referenced by the director. This opens up a larger context for this story which is profoundly and universally human but at the same time linked closely to the complicated Syria and Middle East conflict by its wealth of detail.

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.

Touch Me Not

Documentary Film
Bulgaria,
Czech Republic,
France,
Germany,
Romania
2018
123 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Bianca Oana, Philippe Avril, Adina Pintilie
Adina Pintilie
Ivo Paunov
George Chiper-Lillemark
Adina Pintilie
Adina Pintilie
Veselin Zografov, Dominik Dolejší, Marek Poledna
The Einstürzende Neubauten are playing “Mela-Mela-Melancholia”, questioning the state of the nation. Between the somnambulistic scenes played out in the border area between documentary and fiction, deep-seated intimacies that concern us all are addressed. The project – the winner of this year’s Golden Bear – is experimental: many of the protagonists are “real”, play themselves; others, like Laura Benson and her fellow actor Tómas Lemarquis, pick up on scripted sketches but let their roles come so close that they penetrate their own lives. They talk about and perform sex, about inhibitions and visions, fears and ways to overcome them. Their goal, the goal of this unusual film: (self) liberation.

The director enters the frame occasionally, sits on the couch with Christian Bayerlein, the “kissability” blogger, or with the transsexual Hanna Hofmann, letting us know that she is taking part, looking at things but resisting voyeurism as the camera floats above a group BDSM session or follows a touch therapy workshop, some of whose participants are physically severely disabled, at close range. She speaks, too, about her own boundaries of shame, far removed from the “Likes”-obsessed narcissistic Social Media egos. A transgressive critique of norms, aesthetically and politically correct (which is a good thing). And extremely bold into the bargain.

Barbara Wurm

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.