Film Archive


Late Harvest 2019
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
92 minutes

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

Touch Me Not

Documentary Film
Czech Republic
123 minutes

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