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Credits
Producer
Holger Lochau
Director
Jakob Besuch
Music
Oleg Hollmann
Editor
Jakob Besuch
Animation
Jakob Besuch
“His name is Abdullah”, the doctor in the hospital tells the mother whose son just had a psychotic episode. For the first time in his life, Abdullah feels that he is regarded as an autonomous individual. A film about prejudices, narrated by Abdullah himself.
Art War
Marco Wilms
Art as a weapon! Graffiti on Cairo’s walls as a medium of rebellion, Egyptian underground artists as the chroniclers of events. A frenzied trip through colours and rhythms.
Art War
Documentary Film
Germany
2013
87 minutes
Subtitles:
German
English
Credits
Producer
Marlen Burghardt, Marco Wilms
Director
Marco Wilms
Music
Ramy Essam, Bosaina and Wetrobots, Tonbüro Berlin
Cinematographer
Marco Wilms, Abdelrhman Zin Eldin, Emanuele Ira, Bashir Mohamed Wagih, Ali Khaled
Editor
Stephan Talneau
Animation
Mohamed Khaled
Script
Marco Wilms
Art is a weapon! This motto still holds true in Cairo. After 30 years of autocracy, President Mubarak was swept away by his people. Now the street belongs to them, the young rebels and artists. Graffiti sprayers and painters make the walls speak. They recount the days of fighting in blood-smeared portraits, the time of anarchy in wild collages, the attempts of liberation from a suppressed sexuality in obscene pictures. Walls become a chronicle of the rush of events; electro pop and rap supply a thrilling soundtrack. Euphoria is followed by overpainting and destruction. Snipers are at work, aiming at the protesters’ eyes. The revolution is no more romantic than this underground art, whose aim is to provoke and take risks, is accommodating.
In one episode, director Marco Wilms draws a line back to the historic murals of the age of the Pharaohs. In a country with a high illiteracy rate, such traditions become a tried and tested medium of revolt. In a wild tour de force through the past two years of permanent and radical upheavals, “Art War” shows the dangerous dance on the volcano as a trip driven forward by the colours and rhythms of the Egyptian painters and musicians.
Cornelia Klauß
Honorary Mention in the German Competition Documentary Film 2013
In one episode, director Marco Wilms draws a line back to the historic murals of the age of the Pharaohs. In a country with a high illiteracy rate, such traditions become a tried and tested medium of revolt. In a wild tour de force through the past two years of permanent and radical upheavals, “Art War” shows the dangerous dance on the volcano as a trip driven forward by the colours and rhythms of the Egyptian painters and musicians.
Cornelia Klauß
Honorary Mention in the German Competition Documentary Film 2013
Boy
Ginan Seidl, Yalda Afsah
How does a girl escape the restrictions inscribed in the role of females in a traditional society? By becoming a “Boy”. In Afghanistan, “bachaposh” are girls who are raised as boys.
Boy
Documentary Film
Germany
2015
30 minutes
Subtitles:
English
Credits
Producer
Ray Peter Maletzki, Stephan Helmut Beier
Director
Ginan Seidl, Yalda Afsah
Cinematographer
Ginan Seidl
Editor
Ginan Seidl, Yalda Afsah
Sound
Steffen Martin, Manuela Schininá
How does a girl escape the restrictions inscribed in the role of females in a traditional society? By becoming a “Boy”. In Afghanistan, “bachaposh” are girls who are raised as boys. The artist duo Afsah/Seidl follows two girls and their choice of the role they want to take in life, creating a touching study of gender and freedom in dreamlike images and long tracking shots that capture the people in their social environment.
Grit Lemke
Grit Lemke
Das kalte Eisen
Thomas Lauterbach
Weapons in Germany: riflemen and collectors, the parents of the Winnenden victims, a gunsmith with a sense of professional honour. A multi-faceted examination of guilt and responsibility.
Das kalte Eisen
Credits
Producer
Florian Fickel
Director
Thomas Lauterbach
Music
Christian Biegai
Cinematographer
Gunther Merz
Editor
Ana R. Fernandes
Script
Thomas Lauterbach
Sound
Thomas Lauterbach
The volume of arms seized or turned in and annually destroyed by Baden-Württemberg’s arms disposal service is said to be measured in tons. It’s a measure taken to minimize violence, or at least “opportunity” – such as the one taken by a 17-year-old boy in March 2009 when he took his father’s gun to his former school and killed 15 people. Jana Schober and Nina Denise Mayer were among the victims. Jana’s father and Nina’s mother have been actively working to support the destruction of firearms ever since. The amateur shooters, hunters and gun collectors, though, are rather sceptical, sometimes even angry, about this so-called “review of Winnenden”. And then there is the local gunsmith, who makes excellent precision firearms and suffers because nowadays, as he says, his profession is more despised than a prostitute’s. Thomas Lauterbach takes a close look at the personal concerns of his protagonists, giving us extraordinary insights into the different perspectives on the issue. His film examines very diverse facets of the question of guilt and responsibility. But above all, he finds astonishing ways to shake up a specific view of life.
Claudia Lehmann
Claudia Lehmann
Déjà-moo
Stefan Müller
What do a hysterical mother, two paramedics and a crazy cow have in common? They guarantee ...
Déjà-moo
Credits
Producer
Stefan Müller
Director
Stefan Müller
Music
Ralf Merten, Steffen Winkler, Frank Nachtigall, Ignacio Viano
Cinematographer
Stefan Müller
Editor
Stefan Müller
Animation
Stefan Müller
Script
Stefan Müller
Sound
Stefan Müller
What do a hysterical mother, two paramedics and a crazy cow have in common? They guarantee chaos in the Alps, which could be so idyllic otherwise. Through an unfortunate series of accidents and misunderstandings a young man from Berlin ends up in hospital. A surreal nightmare begins which staggers from Kafkaesque to psychedelic.
Der Kuaför aus der Keupstraße
Andreas Maus
The NSU nail bomb attack that injured 22 people in Cologne in 2004, where only the victims were suspected later. Complex reconstruction of a scandal.
Der Kuaför aus der Keupstraße
Credits
Producer
Herbert Schwering, Christine Kiauk
Director
Andreas Maus
Music
Maciej Sledziecki
Cinematographer
Hajo Schomerus
Editor
Rolf Mertler
Script
Maik Baumgärtner, Andreas Maus
Sound
Ralf Weber
Wednesday afternoon was deliberately chosen. There were a lot of customers in front of and in the brothers Özcan and Hasan Yildirim’s barbershop on 9 June 2004, when 700 three-inch carpenters’ nails turned into projectiles with a 250 metre range. 22 people were injured. The attack was infamous; the course of the investigations was equally scandalous: the victims were suspected. CCTV material was not analysed and Federal Minister of the Interior Otto Schily decisively ruled out a right wing background. It was only in 2001 that this crime was solved in the course of the revelations concerning the right wing extremist terrorist “National Socialist Underground” group. The trial continues until the present day.
Ten years after the Cologne nail bomb attack, director Andreas Maus focuses on giving a voice to those whom nobody wanted to hear for a long time. He deploys narrative strategies to establish a distance in order to expose how systematically matters were hushed up, suppressed and denied. Documentary and re-enacted material are interwoven, actors perform next to affected persons, spaces are reconstructed. Maus overwrites the hackneyed televised images with his own visual inventions. The camera stops, the look at the audience freezes. One is tempted to ask what exactly is supposed to come after the “culture of welcome”?
Cornelia Klauß
Ten years after the Cologne nail bomb attack, director Andreas Maus focuses on giving a voice to those whom nobody wanted to hear for a long time. He deploys narrative strategies to establish a distance in order to expose how systematically matters were hushed up, suppressed and denied. Documentary and re-enacted material are interwoven, actors perform next to affected persons, spaces are reconstructed. Maus overwrites the hackneyed televised images with his own visual inventions. The camera stops, the look at the audience freezes. One is tempted to ask what exactly is supposed to come after the “culture of welcome”?
Cornelia Klauß
Die Angst des Wolfs vor dem Wolf
Juliane Jaschnow
A howl in the wilderness. A shape moves back and forth in the bloody red flickering light of a double fight – against the wolf, but even more against the fear of the wolf. No escape, the razor’s edge – powerfully eloquent.
Die Angst des Wolfs vor dem Wolf
Credits
Producer
Ostpol e.V.
Director
Juliane Jaschnow
Cinematographer
Juliane Jaschnow
Editor
Juliane Jaschnow
Animation
Juliane Jaschnow
Script
Stefan Petermann
Sound
Juliane Jaschnow, Stefan Petermann
A howl in the wilderness. A shape moves back and forth in the bloody red flickering light of a double fight – against the wolf, but even more against the fear of the wolf. No escape, the razor’s edge – powerfully eloquent. An equally minimalist and gripping film poem by filmmaker Juliane Jaschnow and writer Stefan Petermann about the dialectics of becoming a victim or a perpetrator. Whatever side you’re on: you’ll lose if you stay as you are.
Nadja Rademacher
Nadja Rademacher
Himmelverbot
Andrei Schwartz
Hrib, who protested his innocence for more than 20 years, is released from a prison near Bucharest. A painful rehabilitation and growing doubts: Is it all a lie?
Himmelverbot
Credits
Producer
Gerd Haag
Director
Andrei Schwartz
Cinematographer
Bernd Meiners, Susanne Schüle, Andrei Schwartz
Editor
Heidrun Schweitzer
Script
Andrei Schwartz
Sound
Marin Cazacu, Dinu Constantin, Severin Renke
Romanian-born director Andrei Schwartz met Gavril Hrib, who had been sentenced to life for murdering a public prosecutor, in 2002, when he was shooting his film “Jailbirds” at the high security prison of Rahova near Bucharest. After more than 20 years Hrib is finally released on probation, into a country he knows only from the Ceauşescu era. Romania, now a part of the European Union, has changed, including a new jurisdiction that allows early releases. Hrib, a lanky guy with a kippah under his baseball cap, knows how to win hearts with his sly wit and gawky helplessness. He worked hard to earn respect inside; outside he comes up against nothing but rejection and closed doors. Andrei Schwartz traces this painful attempt at rehabilitation over several years. What becomes manifest is that neither society nor Gavril Hrib are ready and that everything ultimately leads back to the starting point: the actual crime.
Cornelia Klauß
Cornelia Klauß
Jedes Bild ist ein leeres Bild
Christoph Faulhaber
The artist’s alter ego, his video game avatar, explores public space. Virtual reality, surveillance, video clip, document, fiction, and a wild ride.
Jedes Bild ist ein leeres Bild
Credits
Producer
Protostyle Pictures
Director
Christoph Faulhaber
Music
Pawel Wieleba, Otto Bode, John Francis, The Superpowers, The Embassadors, Harmony Hopper, Oliver Samlaus, Skuzzle Buzz, Giacomo Puccini, Christoph Faulhaber, Frank Müller et al.
Cinematographer
Lukasz Chrobok, Christoph Faulhaber, Daniel Matzke, Jayson Haedrich, Gregor Gärtner, Jens Apitz
Editor
Maren Großmann, Anna Werner, Wolfgang Lehmann, Ramon Urselmann, Jonathan Miske
Script
Thorsten Ernst, Christoph Faulhaber
Sound
Pawel Wieleba, Modo Bierkamp
There is the idea that public space is an actuality without prerequisites, which has evolved around us without alternative. For quite a while now, Christoph Faulhaber has countered such ideas with apparently naive questions. He simply re-dedicates intimidations and prohibitions and uses them as material for his equally subversive and meaningful statements.
Faulhaber has clear ideas of what the “venue” of art should be. His performances neither take shape in a safe studio nor are they presented exclusively behind the well cleaned windows of galleries. He prefers to stage his experiments against the order of the ruling systems right in the midst of society. After he was prohibited from taking photos of a US embassy, for example, he simply turned the tables and guarded the embassy so it wouldn’t be photographed by the public. This action in turn was documented on photographs that he then exhibited at documenta 12 – without an official invitation, of course –, which was promptly terminated. When he tried to enter the US as a German scholarship holder with a legal visa later, he was interrogated and urged to leave the country.
What this film teaches us in the most inspiring manner: the negotiation of power and the part images play in this process.
Ralph Eue
Faulhaber has clear ideas of what the “venue” of art should be. His performances neither take shape in a safe studio nor are they presented exclusively behind the well cleaned windows of galleries. He prefers to stage his experiments against the order of the ruling systems right in the midst of society. After he was prohibited from taking photos of a US embassy, for example, he simply turned the tables and guarded the embassy so it wouldn’t be photographed by the public. This action in turn was documented on photographs that he then exhibited at documenta 12 – without an official invitation, of course –, which was promptly terminated. When he tried to enter the US as a German scholarship holder with a legal visa later, he was interrogated and urged to leave the country.
What this film teaches us in the most inspiring manner: the negotiation of power and the part images play in this process.
Ralph Eue
Patch
Gerd Gockell
An experimental animated short film using abstract painting to explore the tension field between abstraction and recognisability.
Patch
Animated Film
Germany,
Switzerland
2014
3 minutes
Subtitles:
_without dialogue / subtitles
Credits
Producer
Gerd Gockell
Director
Gerd Gockell
Music
Phil McCammon
Cinematographer
Gerd Gockell
Editor
Gerd Gockell
Animation
Gerd Gockell, Ute Heuer
Script
Ute Heuer
Sound
Thomas Gassmann
An experimental animated short film using abstract painting to explore the tension field between abstraction and recognisability.
Striche ziehen.
Gerd Kroske
Punk in Weimar, two brothers and a betrayal, prison, departure and action art at the Berlin wall. GDR archaeology bursting with cheerful, noisy anarchy and lines that extend to the present day.
Striche ziehen.
Credits
Producer
Gerd Kroske
Director
Gerd Kroske
Music
Klaus Janek, Die Madmans, KG Rest
Cinematographer
Anne Misselwitz
Editor
Karin Gerda Schöning
Script
Gerd Kroske
Sound
Mark Meusinger, Sylvia Grabe, Helge Haack
“The White Stripe” was the name of an art project in which five GDR citizens from the Weimar punk and underground scene who had left the GDR in 1986 wanted to paint a line around the Western side of the Berlin wall. On the second day, GDR border guards ambushed them and one of the friends ended up in Bautzen prison. Only after years in the West did they find out that in the GDR one of them had reported their activities – and about his brother.
Gerd Kroske plumbs the depths of betrayal, suppression and forgiveness in interviews with the protagonists, including a brash (and not unsympathetic) border guard, supported by a wealth of archive material with the scratchy, anarchic charm of Super 8 and ORWO. He insists without discrediting. The deeper he delves into the past, the more it recedes in favour of the question how both sides continued to live with the betrayal. The topicality of this story emerges in the great final showdown between the brothers as well as in the recurring images of the wall between Israel and Palestine. It’s not that easy to paint lines even today. Especially if it’s the line you want to draw under something.
Grit Lemke
Gerd Kroske plumbs the depths of betrayal, suppression and forgiveness in interviews with the protagonists, including a brash (and not unsympathetic) border guard, supported by a wealth of archive material with the scratchy, anarchic charm of Super 8 and ORWO. He insists without discrediting. The deeper he delves into the past, the more it recedes in favour of the question how both sides continued to live with the betrayal. The topicality of this story emerges in the great final showdown between the brothers as well as in the recurring images of the wall between Israel and Palestine. It’s not that easy to paint lines even today. Especially if it’s the line you want to draw under something.
Grit Lemke
Valentina, 26
Alexander Riedel
She came from Kosovo at the age of four and has finally arrived after years of “temporary admission”. An example of successful integration, but mainly the fun portrait of a wild chick.
Valentina, 26
Documentary Film
Germany
2015
45 minutes
Subtitles:
German
Credits
Producer
Bettina Timm
Director
Alexander Riedel
Cinematographer
Michael Leuthner
Editor
Ulrike Tortora
Sound
Björn Rothe
In 2007 we met Valentina in Leipzig as the protagonist of Alexander Riedel’s film “Run Out”. Her unrestrained vitality and aggression in the midst of the agony of a Munich home for asylum seekers left a lasting impression – even though no one believed that she would easily make it in this Germany which even then was not waiting for someone like her – from Kosovo, an “economic refugee”!
1. Valentina herself never saw the film completely or at least can’t remember whether she did, as she makes clear today, eight years later – in her inimitable way which, thank God, hasn’t changed. And, 2., no she didn’t make it easily. But she did, very impressively.
Isn’t this boring – a film about a successful integration? Where is the much quoted height of the dramatic hero’s fall? Okay folks, look at Valentina! She definitely doesn’t fit the mould of the “positive heroine”. When we see her speed through Munich with a patient (attention: she’s working as a nurse!), slouched on the wheelchair’s arm rest, a cigarette dangling from her mouth, we realise: the sponti slogan of the past, “Don’t leave us alone with these Germans!” was answered. We can never have enough people like Valentina.
Grit Lemke
1. Valentina herself never saw the film completely or at least can’t remember whether she did, as she makes clear today, eight years later – in her inimitable way which, thank God, hasn’t changed. And, 2., no she didn’t make it easily. But she did, very impressively.
Isn’t this boring – a film about a successful integration? Where is the much quoted height of the dramatic hero’s fall? Okay folks, look at Valentina! She definitely doesn’t fit the mould of the “positive heroine”. When we see her speed through Munich with a patient (attention: she’s working as a nurse!), slouched on the wheelchair’s arm rest, a cigarette dangling from her mouth, we realise: the sponti slogan of the past, “Don’t leave us alone with these Germans!” was answered. We can never have enough people like Valentina.
Grit Lemke
Virtuos Virtuell
Thomas Stellmach, Maja Oschmann
Handmade ink drawings inspired by the music are the basis of this film. They develop into ...
Virtuos Virtuell
Animated Film
Germany
2013
8 minutes
Subtitles:
_without dialogue / subtitles
Credits
Producer
Thomas Stellmach
Director
Thomas Stellmach, Maja Oschmann
Music
Louis Spohr, Till Mertens
Editor
Thomas Stellmach
Animation
Maja Oschmann, Thomas Stellmach
Handmade ink drawings inspired by the music are the basis of this film. They develop into different characters whose story is told in the interplay of careful movement and dynamic chase, dancers’ grace and confrontation.
Honorary Mention in the International Competition Animated Film 2013
Honorary Mention in the International Competition Animated Film 2013
