Film Archive

Jahr

Lampedusa in Winter

Documentary Film
Italy,
Austria,
Switzerland
2015
93 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Jakob Brossmann
Jakob Brossmann
Serafin Spitzer, Christian Flatzek
Nela Märki

When the flood of refugees began to cross the Mediterranean, the tiny Italian island of Lampedusa became a projection screen for paranoid xenophobes and a symbol of an inhumane asylum policy. In the winter of 2014, theatre artist and filmmaker Jakob Brossmann travelled to the island to find out what life there is really like. The tourists and media are gone and the inhabitants’ real problems come to the fore: the old ferry, essential for their survival, burnt down and was replaced by an even older one. That’s why the fishermen go on strike. A group of refugees who have been stuck on the island for months want to cross to the mainland. They are on strike in front of the church. Because there’s no ferry, waste is piling up and food is running out. In the midst of this tense situation two women, the mayor and a dedicated lawyer, are fighting for humane solutions out of deep personal conviction. Brossmann’s observations are unobtrusive and precise. He confidently guides us through the events of this crisis while introducing places and people that are linked to the immigrants’ fate. What’s remarkable is that the inhabitants and refugees refuse to be instrumentalised against each other. Both groups are victims of the same cynical policies. Showing this clearly is the great strength of the film. 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.

Die Reise zum sichersten Ort der Erde

Documentary Film
Switzerland
2013
100 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Hercli Bundi
Edgar Hagen
Tomek Kolczynski
Peter Indergand
Paul-Michael Sedlacek, Edgar Hagen
Bruno Conti
Edgar Hagen
Jean-Pierre Gerth
Whereas Edgar Hagen observed psychiatric patients in his last films, he now looks into the abysses of a mentally disturbed society. A society that believes in a technology which has increasingly proved to be uncontrollable and keeps promoting it against its better judgment. Because it supposedly exists, the safest place on earth, where deathly nuclear waste can be stored harmlessly for hundreds of thousands of years.
Playing dumb in the tradition of the medieval fool, Hagen asks to see this place. He travels around the world, from Switzerland to Great Britain, Germany, Sweden, China, Japan, the United States, Australia, and back. He crosses oceans and deserts, hikes through forests and moors, explores the interiors of mountains. The scenery grows more and more unreal, the Grail more and more distant. Hagen meets geologists and nuclear lobbyists, environmental activists, tribal leaders, and local politicians. Some of them convinced of the cause, others doubtful. There is a lot of talk about “proof” and “fundamental feasibility”. But he digs deeper, seemingly naive. This narrative attitude enables him to neatly expose all the justification strategies of the nuclear industry as constructs that have long ago ceased to be concerned with technical feasibility and deal only with selling the impossible. A film about madness.

Grit Lemke

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.