Film Archive

Exit

Documentary Film
Germany,
Norway,
Sweden
2018
80 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Eirin Gjørv
Karen Winther
Michel Wenzer
Peter Ask
Robert Stengård
Karen Winther
Yvonne Stenberg, Gisle Tveito
When Karen Winther comes across a few old boxes during a move she finds herself confronted with her past. On top are some swastika stickers, next to a tape labelled “Blitz” and “Hits”, and a lot of stuff decorated with the imperial eagle. Twenty years ago she joined a right-wing extremist organisation in Norway, looking for adventure and like-minded people. “It’s embarrassing to look at,” she comments in the voice over.

“Exit” is her film, her story, and yet the plot soon points in other directions, refuses to be constrained by its own structure. Winther travels to the US to meet women who also used to move in right-wing extremist circles. She sits in the car with a former left-wing extremist activist, talking about a formative encounter many years ago. She meets Ingo Hasselbach, “The Führer of Berlin”, whose career in the East German neo-Nazi scene is the subject of Winfried Bonengel’s film “Führer Ex”. And she meets a former jihadist who served a sentence in a Paris prison. In addition to surprisingly similar motivations and experiences, what they all have in common are the difficulties caused by their “Exits” – feelings of guilt, but also threats from still active members.

Carolin Weidner


Awarded with the Goethe-Institut Documentary Film Prize, the Young Eyes Film Award and the Gedanken-Aufschluss Prize from the Jury of juvenile and yound adult prisoners of JSA Regis-Breitingen

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
Childhood Margreth Olin

A forest idyll – the world of a community of preschool children whose only task is to play. Without commentary and (almost) without adults, Margreth Olin explores a childhood paradise.

Childhood

Documentary Film
Norway
2017
90 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Margreth Olin
Margreth Olin
Rebekka Karijord
Øystein Mamen
Helge Billing, Michal Leszczylowski
Margreth Olin
Andreas Lindberg Svensson
An idyllic place in the forest – the world of a community of children. We even get the brief impression that they are on their own here. But the area is part of a kindergarten that works wholly without the quaint notion of early childhood education. It’s run on the principle that children learn by themselves. Fantastic figures are made, using everything the forest has to offer, stick horses are carved, whole kitchens built. They have no other task but to play – with the others and with nature. Adults appear only marginally. Their role is that of companion. They make suggestions, unobtrusively teach the children how to realise their ideas. There’s a beautiful scene in winter: two kids are sitting peacefully under a bush, eating snow jellybeans, lost in thought and wholly caught up in their pretence. But even the most wonderful time in kindergarten has to end. When school starts they must say goodbye to their forest paradise.

Margreth Olin observed the children aged one to six in their world over one year. In perfect Direct Cinema style she uses no explanatory voice-over or conversations between adults. The film’s story arc is determined only by the children’s play and interactions, following the change of seasons.

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.

Ana Ana (I Am Me)

Documentary Film
Egypt,
Netherlands,
Norway
2013
75 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Corinne van Egeraat
Corinne van Egeraat, Petr Lom
Ryuichi Sakamoto
Petr Lom, Nadine Salib, Sondos Shabayek, Sarah Ibrahim, Wafaa Samir
Petr Lom
Jeroen Goeijers
Where censorship rules, the hour of the metaphor has come. The Arab Spring in Egypt didn’t change much about this. The traditional roles assigned to women are still the same. Four young female artists from Cairo are cautiously exploring this thin line between poetry and prohibition in their works. They still have to hide their longing for creativity and self-realisation as well as their own ideas of sexuality and physicality under headscarves. The film translates this dichotomy between being and appearing into oscillating images that make us feel some of the fear and tension these women experience.
The Czech-born Canadian director Petr Lom and the Dutch filmmaker Corinne van Egeraat met the four theatre, photo and video artists at a workshop. They have been working together on this project since 2011, not just as actors, but also as co-authors. Their artistic objects and performances unfold a kaleidoscope of associations that dominate the film’s visual world. Past master Ryūichi Sakamoto provided the discrete but effective score. Ultimately, “Ana Ana” is a poem that couldn’t be more political.
Cornelia Klauß

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.

Diary From the Revolution

Documentary Film
Norway
2012
79 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Kristine Ann Skaret, Geir Bølstad
Nizam Najjar
John Birger Wormdahl, Bjarne Larsen
Khalifa Elfetory, Sadoon Alamlas, Blade Kushba
Torkel Gjørv
Nizam Najar
Bernt Syvertsen
The first image: a reminiscence of Western movies – the director Nizam Najjar in a dusty landscape. But he can’t keep up this kind of cool for long; in Tripoli he is not deceived by the paroxysms of joy. Parts of the country are still occupied by Gaddafi’s troops; the front lines in Libya are confusing. He has spent the last ten years in the safety of exile in Oslo. Now that his country is in upheaval, nothing will keep him there. “Armed” with his camera he joins the rebels at Misrata, not concealing his fear. He is allowed to live among the irregular troops lead by Haj Siddiq as “one of them” for more than a year. He records skirmishes, problems with arms supplies and the provisional camp life in a video diary. His observations of the Al Gabra Brigade themselves are equally enlightening. What is its structure, how do the characters change? Even though they might die as heroes, all these young rebels have plans for a life on earth. The call for a “martyr’s death” sounds more and more like a hollow phrase. The charismatic figure of Haj Siddiq is at the centre of the filmmaker’s focus. Like a patriarch the former developer has gathered his family and former employees around him and made them his loyal followers. His smug style of leadership already contains calculations for the assumption of power after victory.

Cornelia Klauß

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.

My Stolen Revolution

Documentary Film
Norway,
Sweden
2013
75 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Nahid Persson Sarvestani
Nahid Persson Sarvestani
Adam Norden
Nicklas Karpaty, Makan
Emil Engerdahl, Nahid Persson Sarvestani
The archive material in the opening sequence evokes life in Iran in the 1970s. Many people managed to “lead a normal life”, while the oppositional groups still fought the Shah side by side. The Shah was thrown over, “but the Islamists were better organised than us”. Nahid Persson Sarvestani was a leftist activist at the time. She escaped brutal detention, which meant torture, rape and mass executions, only by great luck and her brother Rostam’s help. Rostam himself was killed.
A stubborn feeling of guilt makes Nahid Persson Sarvestani bring some of the few survivors of the former movement together many years later. The suggestive power of the objects and works of art created in and through prison and the five women’s harrowing memories of a regime that is still in power today are juxtaposed with a very personal approach and a discourse reflecting private thoughts and questions. More than that, the director manages to depict a profound feeling of fellowship by confronting us with the moving stories of strong personalities who shook off the chador not only symbolically.

Claudia Lehmann



Film Prize "Leipziger Ring" 2013

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
When Bubbles Burst Hans Petter Moland

Three representatives of a bankrupt Norwegian community interview the great gurus of global economy at the sites of the financial crisis: where has our money gone?

When Bubbles Burst

Documentary Film
Norway
2012
90 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Odd Arvid Strømstad, Eyeworks Dinamo AS
Hans Petter Moland
Ginge
Philip Øgaard
Torkel Gjørv
Petter Skavlan
Gisle Tveito
If you believe the polls, the Norwegians were the happiest nation on earth in 2008. After all, they not only lived in the most liveable country on earth, no, in Vik (population 2,800) they also boasted the town with the healthiest economy and highest quality of life. But all this is past, because today the vultures are circling over this picturesque spot. So what is rotten in the state of, well, not Denmark, but certainly not just Norway either? – In Hans Petter Moland’s film two representatives of Vik embark on a journey that ends in a better understanding of what holds the complex mechanics of a global economy between real and financial economy, bubble and crash, toxic assets and asset backed securities together. The story is told through visits to various sites of the latest global financial crisis and succinct explanations given by a dozen or so of the top actors and observers of current events, including Carlota Perez (“Technological Revolutions and Financial Capital”, Bill Janeway (broker), Joseph Stiglitz (Nobel Prize for economics 2001) and Michael Lewis (“The Big Short: Inside the Doomsday Machine”).
– 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.

When Hari Got Married

Documentary Film
India,
Norway,
UK,
USA
2012
75 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Ritu Sarin, White Crane Films
Ritu Sarin, Tenzing Sonam
Arjun Sen
Tenzing Sonam
Tenzing Sonam
Tenzing Sonam
Saying “I love you” on the phone presupposes a personal history. But Hari has never met his future bride Suman, with whom he exchanges these tender words daily over the phone while driving his taxi over the bumpy streets of his Indian hometown at the foot of the Himalaya Mountains. It’s an arranged wedding, its history the thousand-year-old tradition behind it. Hari’s father won’t rest until his youngest son, who is already 30 after all, is finally married. He invests all his money in this project, for one thing is certain: the wedding will be colourful and expensive.
Who wants to make their father unhappy? And yet Hari has found a way to soften the tradition a bit: his mobile phone. “When you talk on the phone every day you would even fall in love with a stone”, he says in his inimitable and practical way. The usually cheerful young man’s straightforwardness is a constant surprise. And yet the closer the wedding approaches the more thoughtful and withdrawn the young man seems to be. Because he knows that Suman is not a stone and there’s a real concern that she won’t be able to handle the separation from her family. This unusual love must still pass its acid test – at the end of a long ceremony on which the bridal couple have the least influence. The story of this traditional wedding comes alive with its small signs of cautious modernisation to which Hari makes his modest contribution.
– 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.