Film Archive

Bird Island

Documentary Film
Switzerland
2019
60 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Joëlle Bertossa, Flavia Zanon
Maya Kosa, Sergio Da Costa
Sergio Da Costa
Gabriel Gonzalez, Maya Kosa, Sergio Da Costa
Maya Kosa, Sergio Da Costa
Xavier Lavorel
After a long illness and isolation Antonin takes up work in a bird sanctuary. He is still fighting with fatigue, a consequence of his illness. The new colleagues patiently give him time to arrive. In this small cosmos, Antonin gets as much protection as the patients. Some of the wild birds are delivered with serious injuries, some are in shock. They need the absolute dedication of the veterinarian and the nurse – and get it. None of them are unfazed by the loud roaring of the nearby airport.

Antonin reports about the station as an off screen narrator in diary-like entries. In literary language he explains work processes and describes the fates of the swans, eagle owls or crows. The interactions within the team and the treatment of the animals are also shown, in a minimalist way. The film oscillates between stylised artificiality and documentary observation. The warm-hearted story of this wondrous place gently evolves into a fable about rescuing animals – and humans – in need.

Annina Wettstein



Awarded with the Healthy Workplaces Fim 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.

Das Fieber

Documentary Film
Austria,
Germany,
Switzerland
2019
99 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Markus Wailand
Katharina Weingartner
Siri Klug
Andrea Wagner
Toby Cornish
Katharina Weingartner
Patrick Becker, Peter Braeker
The fight won’t end. Malaria still rules large parts of Africa. Every 60 seconds a child south of the Sahara dies of the disease. All in all, it causes around half a million deaths per year. But why is it so impossible to successfully conquer the disease, even though countless relief organisations have been working on a solution for many years?

The reason, of course, is money, global conflicts of interest, the powerful pharmaceutical industry. That’s nothing new. But the Austrian filmmaker Katharina Weingartner produced an enthralling documentary thriller which literally inscribes exciting, context-shifting and -widening lines of connection into the more or less familiar general picture: connections between the parasite and the pharmaceutical industry, between self-determination in East Africa and the richest man in the world. The focus is on three courageous people in Uganda and Kenya who are fighting the disease on the spot and are often more successful with alternative methods than Western medicine is comfortable with. Because after all a solution of their own, without foreign help and technology, without the mercantile and public philanthropic interests of the helpers, would mean independence.

Julia Weigl

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.

Our Lucky Hours

Documentary Film
Belgium,
France,
Switzerland
2019
77 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Alexandre Cornu
Martine Deyres
Olivier Brisson, Nicola Marinoni
Jean-Christophe Beauvallet, Dino Berguglia, Antoine-Marie Meert
Philippe Boucq, Catherine Catella, Martine Deyeres
Martine Deyeres, Anne Paschetta
Olivier Hespel, Marianne Roussy, Olivier Schwob
Between 1939 and 1945, 45,000 patients died in French mental institutions. There was only one place where the patients survived the euthanasia: the hospital in the remote village of Saint-Alban. In addition, the doctors, nursing staff and patients there worked with the residents of the village to hide a number of war refugees, resistance fighters and persecuted Jews and thus save them from certain death.

What made Saint-Alban so exceptional? During her research, director Martine Deyres found photos, home movies and sound recordings in the hospital archives. She uses this material to draw the portrait of an institution that was far ahead of its time. The patients were respected, integrated and individually supported. By working in the household or on the fields, they also contributed, especially during the war, to the fact that no one in Saint-Alban had to go hungry. There was a patient newspaper and various arts and crafts classes. Auguste Forestier’s wooden sculptures even became famous as “art brut”, when the painter Jean Dubuffet discovered the works of the Saint-Alban patient after the war. All this coalesces into a rousing plea for a respectful treatment of the mentally ill, which is more important than ever in an age of economic constrictions and strong normative tendencies.

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.

Taste of Hope

Documentary Film
Germany,
Switzerland
2019
71 minutes
subtitles: 
English
German
Credits DOK Leipzig Logo
Laura Coppens
Laura Coppens
Azadeh Zandieh
Laura Coppens
Angelika Levi, Laura Coppens
Azadeh Zandieh
A spectre is haunting Europe – the spectre of cooperative economy. It spreads fear because it gives the small cogs in the giant economic wheel the power of decision over the sense, purpose and speed of the whole machinery. It is one of the last great emancipation projects: liberation from the frustration of knowing that your destiny lies in the not always skilful hands of strangers. The cooperative tea refinery Scop-TI in Gémenos in southern France, founded in 2016, was created by such an act of liberation: For 1,336 days, the employees occupied the production facilities of the Fralib tea factory to extort a new start under their own management from their “employer” global corporation.

What precisely this management looks like and whether it is capable of translating the revolutionary spirit of machine kidnapping into a working production routine that secures everyone’s livelihood is the basic question of Laura Coppens’ film, which turns it into a kind of statement of accounts – about income and spending, insights and exertions. She sends us on an assembly line through the cooperative daily working routine which requires more maintenance than some people expected. A portrait of Che Guevara is hanging in the manager’s office; a credit application is pending at the bank. The fight continues.

Sylvia Görke

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.

Warum Schnecken keine Beine haben

Animated Film
Switzerland
2019
11 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Michèle Wannaz, Marcel Derek Ramsay
Aline Höchli
Samuel Schranz, Gurpreet Kaur
Marcel Derek Ramsay
Aline Höchli
Aline Höchli
Peter Bräker
Aline Höchli’s drawn animation seems colourful, groovy and light-footed at first. Snails go to the office. The creative, sociable, but slow colleagues are tolerated in that busy-bee working world. But a dip in the capital curve calls for radical measures. At the end the work-life balance is once more righted, albeit with a surprising distribution. A tragicomedy about the economic factor in biological evolution.

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.

Bay of Plenty

Animated Film
Switzerland
2018
12 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Milva Stutz
Milva Stutz
Lucia Cadotsch, Ludwig Wandinger
Milva Stutz, David Schlatter
Milva Stutz, David Schlatter
Milva Stutz
Lucia Cadotsch, Ludwig Wandinger
The tiny island in the ocean becomes a meeting place for two strange yellow figures. They shake their bums and stretch their breasts, sexual characteristics shift, dissolve, re-grow. A continuous transformation that also seems to produce new creatures. Suddenly all are in an ecstasy of love, cuddling and sucking a variety of protuberances, a great amalgamation seems imminent. Equally sexy and bizarre.

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.

Chris the Swiss

Documentary Film
Croatia,
Finland,
Germany,
Switzerland
2018
90 minutes
subtitles: 
English
German
Credits DOK Leipzig Logo
Samir (Dschoint Ventschr), Siniša Juričić (Nukleus Film), Heino Deckert (Ma.ja.de.), Iikka Vehkalahti (IV Films Ltd / p.s.72 productions)
Anja Kofmel
Marcel Vaid
Simon Guy Fässler
Stefan Kälin
Simon Eltz
Anja Kofmel
Daniel Hobi, Marco Teufen, Hrvoje Petek
Christian Würtenberg died in Croatia in 1992. Even though the young Swiss had come as a journalist, he was wearing the uniform of an international militia that fought on the Croatian side in the civil war. Why he took up arms has long remained a mystery. His cousin, the filmmaker Anja Kofmel, has confronted the question.

She interviews companions, complementing the documentary footage with dark, pared-down animated sequences which form the film’s narrative structure. Diving deeply into the political turmoil, the film portrays Chris’s path towards joining a group of nationalist mercenaries supported by Opus Dei. A politically explosive film even today, a visually impressive thriller that shows how quickly a person’s attitude can be devastated by war.

Luc-Carolin Ziemann


Nominated for the Goethe-Institut Documentary Film Prize and the MDR Film Prize; Swiss Film Award 2019: Best Documentary, Best Score, Best Editing

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
Eisenberger – Kunst muss schön sein, sagt der Frosch zur Fliege Hercli Bundi

The Austrian artist Christian Eisenberger has produced around 45,000 artworks so far. A body of work that constitutes a challenge for the artworld.

Eisenberger – Kunst muss schön sein, sagt der Frosch zur Fliege

Documentary Film
Switzerland
2018
94 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Peter Zwierko
Hercli Bundi
Daniel Almada
Adrian Stähli, Aurelio Buchwalder, Christian Eisenberger, Hercli Bundi
Nela Märki
Hercli Bundi
Patrick Becker, Matthias Hefel, Hercli Bundi
“Art is just a social pretext,” says Austrian artist Christian Eisenberger while showing the filmmaker Hercli Bundi his latest series of pictures which is based on porn film sequences. That’s part of the “big circus of humanity,” he says he told an outraged friend.

A look into Eisenberger’s studio shows a – to the beholder – hopelessly tangled pile of works in different stages. The carton figures he started with “were for many years just thrown away.” Today Eisenberger is glad when he can send a bunch of artworks off to his gallerist and make room in his studio. His oeuvre is estimated to comprise around 45,000 works. Eisenberger acknowledges the artworld with its galleries, fairs and museums with a shrug, but also with a certain talent for self-marketing. As long as he can continue, whether at the studio or in an enamel factory. “Do not put your hands into the machine while it is operating!” a yellowed sign on his workshop wall says. That probably goes for the artist, too.

Fabian Tietke

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
Immer und Ewig Fanny Bräuning

A couple, both in their late sixties, who travel through Europe in a caravan refurbished as a mobile nursing home room. Director Fanny Bräuning has devoted a deeply intimate film to her parents.

Immer und Ewig

Documentary Film
Switzerland
2018
85 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Thomas Thümena
Fanny Bräuning
Olivia Pedroli
Pierre Mennel
Catrin Vogt
Fanny Bräuning
Patrick Becker, Jean-Pierre Gerth
“Only” a love story. “Only” a film about attachment, entwinement, reliability, trust. A couple, both in their late 60s, who travel Europe in a caravan refurbished as a mobile nursing room despite the fact that the woman has MS. He, a former photographer who gave up his job because it was incompatible with taking care of his wife. She, a former painter and graphic designer who returned to life from a coma, albeit paralysed from the neck down.

Her face is radiant as she talks about how much she loves looking out of the window on their drives, even if there’s nothing but the highway outside. He demonstrates with restrained admiration for the technical innovations how the built-in hospital bed can be adjusted to several sleeping positions. Dreamy pragmatism, compatible with daily life – everything, always, regardless. Director Fanny Bräuning has dedicated a deeply intimate film to her parents. In conversations with them she tells the story of a love that weathered all crises.

Fabian Tietke

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 Apollo of Gaza

Documentary Film
Canada,
Switzerland
2018
78 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Philippe Coeytaux, Colette Loumède
Nicolas Wadimoff
Claude Fradette
Franck Rabel
Christine Hoffet
Nicolas Wadimoff, Béatrice Guelpa
Carlos Ibañez Diaz
In August 2013, a more than 2,000 year old bronze statue of Apollo turned up in Gaza. A Palestinian fisherman is said to have discovered the 750 kg statue on the ocean floor and, with a lot of effort, recovered it. Photos showing the well-preserved, greenishly shimmering god of light, the arts, medicine and oracles lying on a cloth with a Smurf pattern began to circulate. Though only a few saw the “Apollo of Gaza” with their own eyes, it instantly became an object of mercantile and geopolitical interests and speculations. There were offers and bids, negotiations with museums, suspicions and wild rumours. Then the statue suddenly disappeared, seized by the Hamas government – that’s what people say before they add that they’re not at liberty to discuss the matter.

“The Apollo of Gaza” traces the story of a spectacular find of, if nothing else, some symbolic political weight in a mixture of mystery and investigative research. What’s left at the end are the hopes of a region marked by war and blockades that expects the beautiful bronze god to enable them to reconnect with a buried cultural past.

Esther Buss

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.

Greater Than

Animated Film
Germany,
Switzerland
2017
9 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Roland Fischer
Kate Haase, Sebastian Hühnel
Verena Marisa
Sebastian Hühnel
Kate Haase
Kate Haase, Sebastian Hühnel
Kate Haase, Sebastian Hühnel
Lukas Fuchs
You take a risk when you leave your sheltering cocoon to step into the glaring light of the outside world. Especially when this world is made of long, stele-like white forms which move in unpredictable ways and threaten to grasp you. Herma meets a far bigger creature that speaks her language here. Each of them manages to climb a stele. Can their peculiar dialogue be continued despite the distance? A stylised puppet animation about self-liberation and its limits.

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.

Köhlernächte

Documentary Film
Switzerland
2017
92 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Carola Kutzner
Robert Müller
Fritz Hauser
Pio Corradi, Luzius Wespe, Robert Müller
Kathrin Plüss, Mirella Nüesch
Robert Müller
Guido Keller, Thomas Gassmann, Simon Graf, Salome Wüllner
Fränz Röösli keeps cursing out loud. The fire has eaten a hole in his charcoal kiln, it’s the middle of the night and he is trying to contain the damage, making the embers, smoke and fire glow, smoke and burn as they should with a few stabs of his stick. Fränz Röösli is a master of fire, a vanquisher of fire – almost the only expressions that will do justice to the archaic beauty of his trade. The only commercially operated charcoal kilns in Western Europe today are found in Entlebuch in the canton of Lucerne. It takes about five weeks until a kiln is stacked and burnt and the charcoal is shovelled into bags and loaded on trucks to be sold.

With a mimetic interest in the temporalities and rhythms, the cyclical work processes and eternally repeated movements of the charcoal burning trade, Swiss director Robert Müller shows us how wood is transformed into charcoal – step by step, layer by layer, shovelful by shovelful, curse by curse. Having watched this film it’s easy to understand why this remote craft has no recruitment problems.

Lukas Stern


Nominated for Healthy Workplaces 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.

Appunti del passaggio

Documentary Film
Belgium,
Italy,
Switzerland
2016
44 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Maria Iorio, Le Souvenir du Présent
Maria Iorio, Raphaël Cuomo
Alessandra Eramo
Gilles Aubry
“I have no visual memory. I remember emotions.” In their remarkably artistically dense documentary Maria Iorio and Raphaël Cuomo combine various statements of contemporary witnesses into the personal report of an Italian who entered Switzerland in 1965 as a migrant labourer. At the core of this representative of many economic refugees from Southern Europe of the time lies the feeling that she is an “outlaw working body”. She feels humiliated and controlled by procedures at the “border health check”, by massive underpay, dangerous working conditions, psychological pressure in the factory and openly expressed, wounding resentment against the foreigners.

The film is a collage of memories given a voice by a female narrator and kept deliberately vague on the visual level. Vague, but extremely effective and openly sceptical about the reality promised by visual evidence. Besides distorted details and negatives of a few surviving photos it’s the restful contemporary video recordings, for example of an abandoned building with all the traces of use, which offer a suitable poetic space to the narrator’s audio report and a voice performance.

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.

International Programme
Immersion Lalita Brunner

An indoor pool means fun in the water. But only after one has undressed, and this is where things get complicated. In the end Tommy is gliding through the water – which comes as a surprise.

Immersion

Animated Film
Switzerland
2016
3 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Jürgen Haas
Lalita Brunner
Moritz Widrig
Lalita Brunner
Lalita Brunner
Lalita Brunner
Thomas Gassmann, Hannes Oehen, Markus Graf
An indoor pool means fun in the water. But only after one has undressed, and this is where things get complicated. In the end Tommy is gliding through the water – which comes as a surprise. In contrasting colours, sophisticated split screens and geometric plays of forms Lalita Brunner finds an astonishing design language that allows her to delve deep into Tommy’s physical being.

André Eckardt


Nominated for mephisto 97.6 Audience 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.

The Lives of Mecca

Documentary Film
Italy,
Switzerland
2015
54 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Nicola Genni, Domenico Lucchini, Enrica Viola
Stefano Etter
Mariangela Marletta
Amos Pellegrinelli
Nick Bedo
This Mecca is in the West, on Coney Island Beach, Brooklyn. This is the place to which the maestros of pleasurable idling have for years made their pilgrimage to indulge in a shared passion: American handball. The men, most of them freaks of rather advanced age, take turns as players or spectators. In one scene two protagonists are arguing about the right title for the film they are part of. It should be about handball, says the first, who takes the game seriously and believes that its spirit is sacred. The second wants it to be about the fauna of characters that grows like weed around the game: the lives of Mecca.

That’s Patrick, the second one, something of a serene pantheist philosopher. Sometimes he dictates the music that booms from an old ghetto blaster, and he serves as the therapist to this friendly little spot, seconded by the boasters and the taciturn ones, children and old people, the perturbed and the unperturbed. Each of them is a gifted performer of their own story/ies. What this is really about: the diversity of the margins. The chaos of everyday life. The full energy of the sport. And the total relaxedness of this neighbourly get-together.

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.

Grozny Blues

Documentary Film
Switzerland
2015
104 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Frank Matter
Nicola Bellucci
Blues Brothers Cafe Band
Simon Guy Fässler
Anja Bombelli
Nicola Bellucci, Lucia Sgueglia
Nicola Bellucci
The images of war seem forgotten – Chechnya has vanished long ago from the headlines of the Western press. The traces of the years of military conflict with Russia have all but disappeared in the capital of Grozny, which boasts new promenades, modern high-rises and blinding street lights. The surface is shiny, but pain is still rooted deep in the people’s souls. A country that’s about to forget its past and that’s full of monuments to its President Kadyrov and, next to him, Vladimir Putin. Four women who have fought for human rights for years are trying to preserve the collective memories. They have been collecting stories on video ever since the war began in the 1990s, documenting the horrors of war and its consequences which nobody in official Chechnya wants to see. The film ingeniously juxtaposes images from their archive and images of Grozny today. The history of the war of independence and a forgotten genocide lies between them.

Zaza Rusadze

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.