Film Archive

Little Man, Time and the Troubadour

Documentary Film
Belgium,
Netherlands
2019
104 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Jan van der Zanden, Ineke Kanters
Ineke Smits
Walter Hus
Piotr Rosolowski
Katarina Türler
Ineke Smits, Sipa Labakhua
Jeroen Stout
“We didn’t care about nationality,” says an elderly lady. She is showing the house where she lived with her children as a young woman to her friend and the camera crew. The school was right around the corner. Everyone lived harmoniously door to door here: Armenians, Georgians, Abkhazians, Mingrelians. Until the war came. Everyone who could afford it fled. To Russia, to Turkey, to Georgia. Abkhazia, which considers itself a state, lies in the south of the Caucasus and borders on the Black Sea. Under international law the country belongs to Georgia, but has the status of an autonomous region.

The Abkhazian artist Sipa Labakhua has returned home after many years and now tours the country with his autobiographical puppet show. He tells of his own experiences, his flight, his father’s dreams – and collects more stories on his journeys: of Georgian peasants, Orthodox priests, Abkhazian nationalists, Syrian refugees and Russian hippies. The result is the poetic image of a society that couldn’t be more diverse and that is asking itself an essential question that concerns us all: How do you define the national and cultural identity of a country? Sipa Labakhua has a very original answer: He sees himself as a troubadour, his art as his country and his talent as his home.

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.

Mama Mania

Documentary Film
Netherlands
2019
13 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Vincent Sparreboom
Vincent Sparreboom
Joachim Lenting, Vincent Sparreboom
Vincent Sparreboom
Vincent Sparreboom
Erik Langhout, Vincent Sparreboom
“Hey mom, it’s me.” A phone call begins what a short film about a lifelong mother-son-relationship can tell in phone calls, text messages and impressions of the environment: much, all. The dialogue between word and image is sparse, but full of the unspoken. The camera descends from above into two inhabited solitudes: the filmmaker’s and his mother’s. The two discuss the neuroleptic Haldol and a new man in Mom’s life on the phone. Vincent is worried.

Sylvia Görke

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.

Living the Light – Robby Müller

Documentary Film
Germany,
Netherlands
2018
87 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Carolijn Borgdorff, Alexander Wadouh, Sven Sauër
Claire Pijman
SQÜRL (Jim Jarmusch, Carter Logan)
Claire Pijman
Katharina Wartena
Claire Pijman
Robby Müller (1940–2018) was a luminary, but not in the way this term is commonly used. He could easily have played one of the wise and taciturn Indians in Jim Jarmusch’s Acid Western “Dead Man”. But that was impossible because he was the DOP of this film, for which he conjured his special, firm and almost painterly, but also transparent and shimmering light onto the screen, as he did for around 70 other masterpieces of international auteur cinema.

Over decades the cinematographer kept a video diary which the filmmaker Claire Pijman already worked with for the great exhibition “Master of Light” at the Amsterdam EYE Film Museum and which she now uses as the central pool of images for her own film, “Living the Light”. Fellow cinematographer Agnès Godard says about a sequence between Dennis Hopper and Nicholas Ray from Wim Wenders’ “The American Friend” that mastership for her is achieved only when the grandeur of the cinematography makes itself vanish from a scene because it becomes its natural component. Strange that one always feels that one can almost hear Robby Müller’s images. In “Living the Light”, this impression is underlined by delicately improvised soundscapes by Jim Jarmusch and Carter Logan.

Ralph Eue


Nominated for the Goethe-Institut Documentary Film Prize

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.

Western Wild … or How I Found Wanderlust and Met Old Shatterhand

Documentary Film
Netherlands
2018
9 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Martha Colburn
Martha Colburn
Martha Colburn
Martha Colburn
Martha Colburn
Martha Colburn
Martha Colburn
From the narrowness of the Wilhelmian empire, Karl May escaped into the vast expanses of a fantasy world inhabited by Indians. In the strange canyons of May’s life, Martha Colburn follows his tracks with a fantastically twisted collage animation and discovers autobiographical parallels: she grew up in the backwater of Biglerville, population 1,000 – which in 1863 became the secondary theatre of one of the bloodiest battles against the indigenous population and today is famous for donkey basketball.

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
An Unforgettable Farewell Cláudio de Oliveira Marques

Dark thoughts lie over this film like fog over a city. You can’t look through them, you can’t touch them. Suicide and the life that led up to it, the grief that follows and the suicide note read aloud

An Unforgettable Farewell

Documentary Film
Netherlands
2017
23 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Denise van den Hoek, Bente Mars
Cláudio de Oliveira Marques
Maryna Boiko
Michel Rosendaal
Nikki Gorissen
Ruben Dekker, Karlijn Hendriksen
Dark thoughts lie over this film like fog over a city. You can’t look through them, you can’t touch them. Suicide and the life that led up to it, the grief that follows and the suicide note read aloud – in intimate conversations with concerned persons and surviving friends and family members, Cláudio de Oliveira Marques looks for ways to make such extremes communicable. Could they have known? Should they have known? And, most of all: would they have wanted to know?

Lukas Stern

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.

Genderblend

Documentary Film
Netherlands
2017
68 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Olivia Sophie van Leeuwen
Sophie Dros
Reinier van Harten
Boas van Milligen Bielke
Erik ten Brinke
Job Michel, Gijs den Hartogh
Gender benders subvert dual gender images and refuse to be classified by the traditional categories of male and female. Each of the five protagonists in Sophie Dros’s light-footed documentary has already taken the first step out of this convention and all are about to discover their own identity outside the norm. Confronted by reactions varying between incomprehension, interest and open aversion they waver between defiance, doubt and enthusiasm about every step that follows. Finally, each of them manages to come a little closer to themselves. Even when the world around them – despite its curiosity – isn’t always ready to follow.

Sophie Dros asks Lisa, Anne, Dennis, Lashawn and Selm about their experiences and dreams and creates enough space to let their different stories unfold on the narrative and visual level. While the football-playing twins Lisa and Anne seem impressively at ease with themselves, Dennis, Selm and Lashawn have to deal with the fact that other peoples’ perception of them differs from how they perceive themselves. They share these desires and contradictions with us. “Genderblend” celebrates them and their fight for a society in which gender no longer means two juxtaposed ideals but an individual and unique construction that encompasses both.

Luc-Carolin Ziemann


Nominated for Young Eyes Film Award

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.

Greetings from Aleppo

Documentary Film
Netherlands,
Syria
2017
17 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Jos de Putter, Bas Vroege
Issa Touma, Floor van der Meulen, Thomas Vroege
Darius Timmer
Issa Touma
Floor van der Meulen, Thomas Vroege
Tom Jansen
The Syrian photographer Issa Touma travels from Europe to his native city of Aleppo, visiting his family, old friends and students who still live there. It’s a film about the daily life and art of survival in the face of war and destruction, about the tragedy and absurdity of life in an extreme situation. Above all, it brings home with horrifying clarity how little the news images correspond to the real life and goings-on in Aleppo.

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.

International Programme
Melanie Susanne Helmer

The picture of a model wearing a drying hood triggers a search for traces: who was the unknown woman? Research and speculation lead to questions about the representation of reality and fiction.

Melanie

Documentary Film
Netherlands
2016
73 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Susanne Helmer (Shelmerfilm Amsterdam)
Susanne Helmer
Rik Zaal
Susanne Helmer
Susanne Helmer
Susanne Helmer
Susanne Helmer, Wiebe de Boer
“Once upon a time there was this woman whose picture was taken while she was wearing a drying hood.” At a flea market in the Sauerland the German-Dutch filmmaker Susanne Helmer stumbles on the box of a 1970s drying hood. The model pictured there looks young and shy – “not as if it were her aim in life, being a model.” Starting from this accidental encounter she sets out on a quest for the real or possible biography of the unknown woman.

“Melanie” mixes documentary research and a parallel plot of speculations and projections. Family pictures, re-enactments and sound fragments from feature films write a trivial photo and movie novel – with smugness and camp running into each other. Scenes from a marriage or the story of a privileged life as a dropout? In addition to asking about the representation of reality and fiction, the film takes a firmly aesthetic look at the society of the German Federal Republic in the 1970s and 80s: at advertising, living and consumer culture and the gender relations reflected by them.

Esther Buss

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
Bring the Jews Home Eefje Blankevoort, Arnold van Bruggen

When all Jews have returned to Israel the Messiah will come again. At least that’s what the Dutch missionary in Ukraine, Koen, believes. Christian fundamentalism as a whacky psycho trip.

Bring the Jews Home

Documentary Film
Netherlands
2016
56 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Iris Lammertsma, Boudewijn Koole
Eefje Blankevoort, Arnold van Bruggen
Harry de Wit, Stan Verberkt
Ton Peters
Patrick Schonewille
Alex Tugushin, Mark Glynne
How long must Christians still wait for the Second Coming? How will the prophecy be fulfilled and by whom? For example by Koen Carlier. At least that’s what the Flemish activist firmly believes. After all, the bible supplies precise instructions: Bring the Jews back home and the Messiah will come. So for more than 20 years he has been working in Ukraine on behalf of the Dutch branch of “Christians for Israel” in order to enlighten all the Jews still living there about their right (their duty, actually) to emigrate to Israel. But his life is a rather unglamorous one which resembles that of a commercial traveller. On his tours through underdeveloped regions he meets hospitable but also sceptical people. Some plead high blood pressure; others would rather emigrate to Germany. Carlier keeps preaching with gentle severity and unshakeable enthusiasm: Nobody will be left behind in the Diaspora, whether they like it or not.

Maidan and the outbreak of the Ukrainian conflict constitute a final change in his eyes. All signs and symbols point to Armageddon. This is where the film, too, radically changes direction: from the portrait of a confused family man to a psycho trip, working its way into the dangerous thinking of Christian religious fundamentalism, full visual power ahead.

Lars Meyer

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.

The Chocolate Case

Documentary Film
Netherlands
2016
90 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Barbara Coronel
Benthe Forrer
Kyteman
Maarten Kramer
Ralf Verbeek
Benthe Forrer
Eric Leek
In 2002 the Dutch journalists Teun van de Keuken, Maurice Dekkers and Roland Duong came across a short newspaper item about child slavery in the cocoa harvest. Shocked at the casualness with which such news were reported, they decided to address the issue. Their research revealed fairly quickly that there’s child labour in every chocolate product – with or without a Fairtrade seal – and that big corporations like Nestlé neither wish to deny it nor do anything about it. In order to get more attention, Teun van de Keuken hit upon the idea of suing himself, as a consumer of chocolate, for complicity in child slavery. The case really made it to court and three years later a verdict was passed. In the meantime, however, the journalists took matters into their own hands and became confectionery producers who launched the world’s first 100% slave-free chocolate – Tony’s Chocolonely – on the market.

Benthe Forrers equally moving and entertaining film is captivating through the sheer volume of archive material, compiled over more than a decade, documenting the research, trial and founding of the company down to the smallest detail. And the good news last: yes, we can change things if we want to. And yes, it’s tough. But that’s for later. You have to start somewhere, after all.

Lina Dinkla

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
Voices of Finance Clara van Gool

In a Guardian blog running in 2012/13 statements about and self-assessments of managers working in the global finance industry were collected and published under the title “Voices of Finance”.

Voices of Finance

Documentary Film
Netherlands
2015
35 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Hanneke Niens, Hans de Wolf (KeyFilm), Joost van Krieken (NTR)
Clara van Gool
Nils Post
Kevin Whelan
Clara van Gool
Alex Booy
In a Guardian blog running in 2012/13 statements and self-assessments of managers working in the global finance industry were collected and published under the title “Voices of Finance”. Clara van Gools converts ten of these voices into brilliant performances: in extremely stylised choreographies the voices from this social milieu join in a grand dance around the Golden Calf, performed in the real environment of the international financial centre of London.

Ralph Eue

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
9 Days – From My Window in Aleppo Thomas Vroege, Floor van der Meulen

The photographer Issa Touma can’t leave is flat in Aleppo – there’s a fierce battle raging on his doorstep: Assad’s army against the insurgents, and then the IS enters the fray.

9 Days – From My Window in Aleppo

Documentary Film
Netherlands,
Syria
2015
13 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Jos de Putter
Thomas Vroege, Floor van der Meulen
Issa Touma
Thomas Vroege, Floor van der Meulen
Issa Touma
Tom Jansen
The photographer Issa Touma can’t leave is flat in Aleppo – there’s a fierce battle raging on his doorstep: Assad’s army against the insurgents, and then the IS enters the fray. Issa points his camera at himself and, through the lowered blinds, out of the window, producing an authentic image that may seem familiar to people from conflict regions: televised news images, the sounds of real fighting outside and the “normality” of everyday life – the perversions of war.

Zaza Rusadze

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
Between the Devil and the Deep Heinrich Dahms

South African fishermen struggling to survive in the face of an official ban on fishing. Black fishing, drugs, family dramas, a love that falls apart, and always the sea.

Between the Devil and the Deep

Documentary Film
Netherlands
2015
98 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Michele Aime
Heinrich Dahms
Johan Bosgraaf
Heinrich Dahms
Heinrich Dahms
Peter Suyderhoud
There may be quite a few arguments in favour of protecting the endangered species of the abalone. Sold as an aphrodisiac in Asia, they are worth a lot of money and therefore almost extinct off the coast of South Africa. But the government’s ban on catching them primarily affects the fishermen, the weakest link in the production chain. What to do when there’s no other source of income? They dive for abalones illegally, which triggers a new cycle of violence and counter-violence, criminalisation and justice. Which is what the Dutch filmmaker Heinrich Dahms’s film portrays, exemplified by a small fishing village near Kapstadt. The stories of three families who are victims of the fishing ban coalesce into the portrait of a community crushed between the daily struggle for survival and the pitfalls of a corrupt and violent law enforcement system. The director creates impressive insights into the dangers (and beauty) of fishing as well as the lives and problems of his protagonists: a drowned son and the fight against the investigating authorities, the father of a family persecuted by the police, a meth-addicted small-time crook about to lose his wife’s love. Life in the new South Africa, as the film also shows, is full of disappointments.

Matthias Heeder

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.

Erbarme Dich: Matthäus Passion Stories

Documentary Film
Netherlands
2015
99 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Sylvia Baan, Hans de Wolf, Janneke Doolaard, Hanneke Niens
Ramón Gieling
Goert Giltay
Barbara Hin
Wouter Veldhuis
Johann Sebastian Bach’s Matthew Passion is more than 250 years old and has kept moving and engaging its audiences deeply until today. Powerfully narrated and directed, the film is dedicated to this phenomenon in which an ensemble of characters are each linked by fate to the passion of Christ. Jesus’ life and death are not isolated but interwoven with the sufferings of humanity. Staged like a play, the painter, the dancer, the soprano and others talk about their first encounters with this work, their relationship with God, grief and guilt. All this is embedded in vibrant musical and scenic performances of the compositions. In addition to the interviews and the music, harsh lighting, changing perspectives and a gloomy visual language form the third, no less powerful element of the film. Highly symbolically, the extremely professional musicians are faced by a choir of homeless people who observe their performances and comment on them by their silent presence. What everyone shares in is the redeeming element of the music – a music that has mercy on them and lets them find their own passion.

Kim Busch

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
Pekka – Inside the Mind of a School Shooter Alexander Oey

The reconstruction of a killing spree in Finland and the gripping psychological profile of the 18-year-old gunman: inconspicuous, sensitive, sheltered, cold-blooded. An in-depth look behind well-groomed suburban facades.

Pekka – Inside the Mind of a School Shooter

Documentary Film
Netherlands
2014
85 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Femke Wolting, Bruno Felix
Alexander Oey
Alexander Oey
Jackó van 't Hof
Chris van Oers
Alexander Oey
Rasmus Bruun

“Humanity is overrated”, one of many hate-filled messages published on the Internet by the 18-year-old Pekka which nobody takes seriously. Once he simply films his school without a comment, like a crime scene. Then we see him fire his revolver at an apple. The next day he kills several of his fellow students, the headmaster and himself. “Pekka” reconstructs a massacre in the Finnish town of Jokela, a quiet and family-friendly suburb of Helsinki, in 2007. Enough time has passed to interview teachers, classmates, the staff of the gun shop, but also Pekka’s parents, and compile a general picture from their assessments. The film is a matter-of-fact journey into the world of the killer, an ordinary, sensitive boy who had no friends and was sheltered by his parents. And yet we see that he left clues pointing to his later acts everywhere. But the film isn’t satisfied with providing a criminal profile. Slow travellings that, not coincidentally, evoke Gus Van Sant’s feature film “Elephant”, convey a visual idea of the territory. The film draws our attention to the interiors of flats, shows an arrangement of bags on a dust-free shelf or bugs on tree bark in the well-kept parks and gardens, unfolding the microcosm of a deeply homogenous place where reflections on the case were quickly stifled after the crime. Lars Meyer


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.

Supporting Film

Animadoc
Netherlands
2015
12 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Bart Jansen
Douwe Dijkstra
Rob Peters
Douwe Dijkstra
Douwe Dijkstra
Douwe Dijkstra
Douwe Dijkstra
Rob Peters
Watch out, directors: don’t take the audience for fools, even if they expect very different things from a visit to the cinema. The sound of a thrush in the tidelands can spoil the film for an ornithologist; the line “dramatic music” may do the same to a hearing-impaired viewer. In his animadoc film Douwe Dijkstra culls the essence from conversations with the audience and translates it into absurd and playful visual worlds that ironically re-create the cosmos of cinema. The perfect supporting film.

Lars Meyer

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.