Flesh
Camila Kater
A vivid, beautiful and hauntingly animated documentary by and about five women. Their own physicality and a multi-perspective view of femininity play the main roles.
A
Film Archive
Flesh
Animated Film
2019
12 minutes
subtitles:
English
Credits
Chelo Loureiro, Livia Perez
Camila Kater
Sofia Oriana Infante, Julia Teles
Samuel Mariani
Samuel Mariani
Camila Kater, Giovana Affonso, Flavia Godoy, Cassandra Reis, Leila Monsegur
Camila Kater, Ana Julia Carvalheiro
Xabier Ferreiro, Julia Teles, Luis Felipe Labaki
An animated documentary in five chapters by and about five female personalities. In the leading roles are their own physicality and a multi-perspective view of femininity. Because origin, environment and socialisation – with their occasionally perverted and compulsive side-effects – have a weight of their own. These autobiographical reflections gain depth of focus and impact through the choice of different haptic animation techniques. Vivid, haunting, beautiful.
Nadja Rademacher
Nadja Rademacher
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.
Matilda
Irene Iborra Rizo, Eduard Puertas Anfruns
Who wants to sleep when there’s so much to discover by torch light in the room?
Matilda
At night, when little Matilda’s room gets dark, the great adventures begin: Who wants to sleep when there’s so much to discover by torch light in the room? In the play of light and shadow, she sees her toys from a very different angle. This puppet animation shows how Matilda overcomes her fear of the dark and gives free rein to her creativity.
Marie-Thérèse Antony
Marie-Thérèse Antony
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.
This Film Is About Me
Alexis Delgado Búrdalo
Who is Renata? A charismatic woman behind bars, the femme fatale of a film noir? A lesson about the limits of the depictability of human nature and its secrets.
This Film Is About Me
Documentary Film
2019
61 minutes
subtitles:
English
“Who has no house now will not build him one. Who is alone now will be long alone, will waken, read, and write long letters and through the barren pathways up and down restlessly wander when dead leaves are blown.” Renata’s story begins with a recital of Rainer Maria Rilke’s poem “Autumn Day”. Even in this first shot it’s hard to ignore her charisma and the mental cinema begins when the film arrives at the prison. Who is she? What did she do? Did she kill someone? Why? Does she repent? Renata seems too much like the femme fatale of a classic film noir and her restlessness and forlornness are already reflected in the poet’s verses.
In conversations with the director and flirtatious, direct looks into the camera, Renata almost seems to want to be perceived like a film character. Bit by bit, we learn more about this woman and her personality, and about her counterpart who asks the questions. It is a double portrait of the filmmaker and his protagonist, even though the latter will probably never be captured entirely. A lesson about the limits of the depictability of human nature, its games and secrets.
Frederik Lang
In conversations with the director and flirtatious, direct looks into the camera, Renata almost seems to want to be perceived like a film character. Bit by bit, we learn more about this woman and her personality, and about her counterpart who asks the questions. It is a double portrait of the filmmaker and his protagonist, even though the latter will probably never be captured entirely. A lesson about the limits of the depictability of human nature, its games and secrets.
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.
A Mythology of Pleasure
Lara Rodríguez Cruz
Genesis as a pantheistic orgy in gorgeous colours and audacious words, which helps get over the fact that all this bubbling and melting ultimately results only in artificial paradises.
A Mythology of Pleasure
Documentary Film
2017
6 minutes
subtitles:
English
Really, there used to be a lot more action back then! And even more before that. And at the beginning of time? One dares not imagine what was happening then. Filmmaker Lara Rodríguez Cruz and her camerawoman and co-writer Jule Katinka Cramer have imagined it anyway, and done so in the brightest colours and finest words. It’s a matter of speculation whether our Lord Almighty, had he known how much fun his heathen ancestors had at work, would have been just a tiny bit envious.
Ralph Eue
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.
BiBiCi Story
Carlos Durán
Eight lessons in a language course, including: various forms of political oppression, sexual freedom, Vietnam and a cinephiliac homage.
Eight lessons in a language course, including: various forms of political oppression, sexual freedom, Vietnam and a cinephiliac homage.
Ralph Eue
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.
Decorado
Alberto Vázquez
Arnold occasionally wonders whether the world he lives in is really real and whether his life is really his. What if the world is just a stage setting?
Decorado
Arnold occasionally wonders whether the world he lives in is really real and whether his life is really his. But in this pitch-black comedy, no one but Arnold seems to notice that existence is played out in episodes, infiltrated by product placement and interrupted by cliff hangers. What if the world is just a stage setting?
Duscha Kistler
Duscha Kistler
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.
Good Morning Spain
Sara Pisos, Carlos Reyes, Irati Cano Alkain, María Barceló
The choreographed glorification of the past by a group of former Foreign Legionnaires in Catalonia who neatly dig their own hole with their talk.
Good Morning Spain
Credits
UAB - Master's Degree in Theory and Practice of Creative Documentary Making
Sara Pisos, Carlos Reyes, Irati Cano Alkain, María Barceló
Sara Pisos, Carlos Reyes, María Barceló
Diana Toucedo
Irati Cano Alkain
A group of former Spanish Foreign Legionnaires meet every week in a Barcelona suburb to parade and exercise and remember the good old days. In view of this excessive display of pride and patriotism the film crew concentrate on a few clear issues, small gestures and nuances – thus revealing much about the protagonists’ nostalgia for a heroic yesterday, much preferred to the unpleasantly complex and diverse today.
Luc-Carolin Ziemann
Luc-Carolin Ziemann
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.
Las del diente
Ana Pérez López
Three women ponder the female body. Wanting to have children is tricky. Have a career first and postpone the decision, thanks to social freezing?
Las del diente
Animated Film
2018
6 minutes
subtitles:
English
Nowadays, wanting to have children is tricky. Do I want children? And if so, when? Reproductive medicine even allows us to choose the “right” time. Have a career first and postpone the decision, thanks to social freezing? Three women over thirty ponder the female body and find warm words for their uterus, accompanied by Flamenco music – the pulse of life.
Annina Wettstein
Annina Wettstein
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.
Ojo Guareña
Edurne Rubio
If you set foot in the giant Ojo Guareña Caves in northern Spain, you also set foot on the moon, only on earth. A place of human abysses and dreams that enthrals the senses.
Ojo Guareña
Documentary Film
2018
55 minutes
subtitles:
English
There is a giant cave system with impressive subterranean rock galleries, lakes and crawls in Cantabria in northern Spain. Edurne Rubio responds to this place in truly cinematographic, sensual dimensions. She relies on the voices of the speleologists she accompanies and the light of their headlamps as she advances curiously into the unknown. In the great and impenetrable darkness she relies on distant dancing dots of light, light cones sliding tentatively over rock formations and the sounds of dripping that give the caves acoustic contours. Delicate, restless threads and pearls of water shine like silver on the walls and form an incredible starry sky deep underground. While Neil Armstrong saw only his own footprints on the moon in 1969, the young speleologists in Ojo Guareña come across 17,000 year old footprints – speleology is a journey through space and time after all. And the branching subterranean spaces also play an important role in their own biographies, the voices of the explorers of the deep report. If eyes (“ojos”) are the windows to the soul, this place revealed the human abyss of Spain’s recent history to them and at the same time offered them a refuge from a repressive life and a place to dream of the future.
André Eckardt
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.
The Sleeping Land
José Bautista, Alfons Rodríguez
This journey with the Trans-Siberian sounds like a concept album, a driving, sometimes raw mixture of sounds and songs, carried by a frozen soil and those who walk on it.
The Sleeping Land
This land can be heard before it is seen, approaching by taps and hums, announcing itself in harsh rhythms and tinny sounds. A journey with the Trans-Siberian Railway, a distance of 10,000 kilometres, is also a musical one. The passengers meet singing women who dream of living in Manhattan, sharing their secrets with Demi Moore and acting in a Tarkovsky film. They meet a guitar player with a mouth full of gold teeth who believes that he sees a light behind his feverish delirium. The images are colourless but very close, faces are there to be explored, colours and patterns of the iris, lips, teeth, the texture of skin. What is the meaning of calm? Everybody has a different answer to this question. At the same time the film itself refuses to calm down, does not permit itself any rest. It doesn’t rush either but rather surrenders to a groove that takes it from city to city where it meets the local artists, musicians and failures. “The Sleeping Land” is a jam session taking us through a frozen but far from paralysed Russia.
Carolin Weidner
Carolin Weidner
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.
3 Stolen Cameras
RåFILM Filmmakers Collective, Equipe Media
For years, activists of the Equipe Media group have been the only ones who covertly film rallies, police brutality and human rights violations in Western Sahara and smuggle the material abroad.
3 Stolen Cameras
Documentary Film
2017
17 minutes
subtitles:
English
We don’t see or hear much coming out of Western Sahara. The region was annexed by Morocco in 1979 and the Moroccan occupiers were able to impose an almost complete media blockade since then. For years, activists of the Equipe Media group have been the only ones who covertly film rallies, police brutality and human rights violations and smuggle the material abroad, while they themselves frequently get in the line of fire of the occupation forces.
Ralph Eue
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.
Memory of the Land
Samira Badran
In this collage film, the Palestinian artist Samira Badran demonstrates vividly what it means to be confronted by an Israeli checkpoint.
Memory of the Land
Animated Film
2017
13 minutes
subtitles:
English
In this collage film, the Palestinian artist Samira Badran demonstrates vividly what it means to be confronted by an Israeli checkpoint. A breathtaking accumulation of chains of command, claustrophobic architecture, constant surveillance and the guards’ arbitrariness demonstrates how structural and physical violence combine to become a spiral of aggression. A disconcerting animation, oppressive in its abstraction.
Luc-Carolin Ziemann
Luc-Carolin Ziemann
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.
Morning Cowboy
Fernando Pomares
A cowboy and a female astronaut meet in a bar … It starts like a joke but turns out to be the story of a man who hopes to get more out of life than just ordinary routine.
Morning Cowboy
Animated Film
2016
15 minutes
subtitles:
_without dialogue / subtitles
A cowboy and a female astronaut meet in a bar … It starts like a joke but turns out to be the story of a man who hopes to get more out of life than just ordinary routine. An unimposing office clerk is looking for a new reality in the cowboy life – a sheriff’s star instead of a tie, a horse instead of a crowded public service bus, a wooden cabin in the prairie instead of endless skyscraper canyons. After some initial difficulties it becomes clear that this is the only life for him. Childhood dreams come true in the light, dreamy pencil sketches of this animation. A final farewell to the daily grind: Yee-haw!
Kim Busch
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.
Password: Fajara
Séverine Sajous, Patricia Sánchez Mora
Infrared images of the Jungle near Calais. This is where refugees are waiting in the hope of reaching Great Britain through the Eurotunnel one day.
Password: Fajara
Abstract phantoms of trucks cross the screen – we see them moving as bands of light across the top edge the frame. Infrared images of the Jungle near Calais. This is where refugees are waiting in the hope of reaching Great Britain through the Eurotunnel one day. “Fajara” is the Arab word for explosion. But in the Jungle it was a word for: getting through, making it to the other side, arriving. The images become abstract, semantics dissolve. A haunting film about the phantoms of meaning (of words).
Lukas Stern
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.
The Other Side of the Wall
Pau Ortiz
The touching portrait of two adolescents in Mexico. At the height of puberty they are forced to replace their parents for their younger siblings while their mother is in prison.
The Other Side of the Wall
Documentary Film
2017
68 minutes
subtitles:
English
Sometimes 13-year-old Rocío suddenly becomes an adult woman worried about the future. This is mostly due to the fact that, together with her 18-year-old brother Alejandro, she has to take care of two younger siblings while their mother is in prison. It’s been more than two years that the teenagers have been holding the family together. But the extreme situation is wearing them out and they quarrel more and more frequently. The battles they fight are both copies of classic arguments between couples (“I’m the only one who tidies the house here!”) and expressions of their inner conflicts. Both want to be capable of handling difficult situations and “carry their own weight”. But especially pubescent Rocío feels, that “my relationship with myself”, as she puts it, has been less than perfect for a while.
This detailed filmic observation shows a family microcosm marked by overextension, but also by great warmth. Both Rocío and Ale use the conversations on camera as moments of reflection – both analysing their own situation with breathtaking precision and realism. This film is also an emphatic declaration of love by director Paul Ortiz to his young protagonists that will stay with the viewer for a long time.
Luc-Carolin Ziemann
Nominated for Young Eyes Film Award
This detailed filmic observation shows a family microcosm marked by overextension, but also by great warmth. Both Rocío and Ale use the conversations on camera as moments of reflection – both analysing their own situation with breathtaking precision and realism. This film is also an emphatic declaration of love by director Paul Ortiz to his young protagonists that will stay with the viewer for a long time.
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.
Zepo
César Díaz Meléndez
She just wanted to collect firewood. But then this dark sand animation throws the little girl into the cruel abysses of mankind.
Zepo
Animated Film
2014
3 minutes
subtitles:
_without dialogue / subtitles
She just wanted to collect firewood. But then this dark sand animation throws the little girl into the cruel abysses of mankind.
Franziska Bruckner
Franziska Bruckner
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.