Film Archive

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Re-Visionen 2018
Don’t Get Me Wrong Adina Pintilie

The protagonists or rather heroes of this first film by Adina Pintilie are inhabitants of a psychiatric home in Romania.

Don’t Get Me Wrong

Documentary Film
Romania
2007
50 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Dan Nutu (Aristoteles Workshop)
Adina Pintilie
Sorin Gociu
Ligia Smarandache
Adina Pintilie
Tudor Petre
The protagonists or rather heroes of this first film by Adina Pintilie are inhabitants of a psychiatric home in Romania. It’s taken for granted that God speaks here, and the “lunatics” very politely discuss who rules the rain. This debut film was celebrated all over the world as a poetical and political masterpiece and won the DOK Leipzig Golden Dove in 2007.

Ralph Eue

Palace for the People

Documentary Film
Bulgaria,
Germany,
Romania
2018
76 minutes
subtitles: 
English
German

Credits DOK Leipzig Logo

Martichka Bozhilova, Thomas Tielsch, Velvet Moraru
Boris Missirkov, Georgi Bogdanov
Boris Missirkov, Georgi Bogdanov
Ema Konstantinova
Boris Missirkov, Georgi Bogdanov
Momchil Bozhkov
Today we see them with a tourist’s eye – or we don’t see them at all, like the Palace of the Republic in Berlin. “Palace for the People” visits five emblematic buildings of the socialist era: massive stone bodies, whose facades and interiors, configuration of rooms and furniture, decor and functionality invariably aimed for the representation of political systems and values. Superlative power buildings – some shooting up high like the Lomonosov University in Moscow, some sprawling like Ceauşescu’s palace in Bucharest.

Guided tours are always a form of return, a kind of retrospective, the affective connection to what is gone. With a sharp eye for historic architectural quirks and characteristic features, Georgi Bogdanov and Boris Missirkov take us to places that are, however historical they may seem, still haunted by the ghosts of the visions they were once built for. Places soaked with futures that never materialised or materialised quite differently from what was envisioned.

Lukas Stern


Nominated for the Goethe-Institut Documentary Film Prize and the MDR Film Prize


The screening on 31 October, 17:00, is a special screening supported by MDR.

International Programme 2018
The Call Anca Damian

Her son’s daily phone call and regular baths are among the elderly woman’s favourite pastimes. Immersing herself in the water she finds lightness.

The Call

Animated Film
Romania
2018
10 minutes
subtitles: 
English

Credits DOK Leipzig Logo

Anca Damian
Anca Damian
Ciprian Cimpoi
Sergiu Negulici, Ioana Laura Nicoară
Anca Damian
Clément Badin, Lionel Guenoun
Her son’s daily phone call and taking regular baths are among an elderly woman’s favourite pastimes. She finds lightness by immersing herself in the water. The memories weighing her down disappear. Will she resurface to answer her son’s phone call? A creative short film full of powerful images that dives into the spheres of different animation techniques – and of existence. A poetic stream of thoughts about transience.

Annina Wettstein

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