Film Archive

International Programme
Just a Small Na Kyung Kim

This small story of the tiny eel in the vast ocean probes the eternal cycle of life. The starting point of this contemplative journey is a mosaic painting by Na Kyung Kim.

Just a Small

Animated Film
USA
2019
5 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Na Kyung Kim
Na Kyung Kim
Na Kyung Kim
Na Kyung Kim
Na Kyung Kim
Na Kyung Kim
Aidan Reynolds
An eel faces existential challenges in the blue-black of the sea. Iridescent sea creatures float through the water, occasional predatory fish cross his path. With her small story of a tiny animal in the vastness of the ocean, Na Kyung Kim takes the pulse of the eternal cycle of life. The starting point of this contemplative journey is her mosaic painting of six plates of about one square metre each. The soundtrack by Aidan Reynolds contributes to the atmospheric density.

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.

International Programme
Mate Chaerin Im

A close-up of the powers that influence mating rituals: powers of attraction and repulsion. Copperplate prints, drawings and photos flicker at different points on the screen.

Mate

Animated Film
USA
2019
4 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Chaerin Im
Chaerin Im
Roger Kim
Chaerin Im, Ray Chang
Chaerin Im
Chaerin Im
Shanthal Caba
A close-up of the powers at work in mating rituals: powers of attraction and repulsion. Copperplate prints, drawings and photos flicker at different points on the screen, almost like breathing. Phallic loops of attraction and struggle are choreographed in the abstract by Chaerin Im. The musical accompaniment by Roger Kim follows the multiplying images which sometimes arrange themselves in triptychs.

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.

International Programme
Score for Joanna Kotze Shelly Silver

A space that can be everything. Or nothing. A four-minute essayistic stream of consciousness about the American choreographer Joanna Kotze – and pollution in the Mediterranean.

Score for Joanna Kotze

Documentary Film
Italy,
USA
2019
4 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Shelly Silver
Shelly Silver
Shelly Silver
Shelly Silver
Shelly Silver
Shelly Silver
Maureen McLane
An imaginary space that could be anything. Or nothing. A space that is everything one wants it to be. Dancers co-opt spaces and transform them into an irresistible pull – as does the American choreographer Joanna Kotze, for whom this essayistic score of words and images was written. Shelly Silver created a four-minute associative flow of consciousness that is an indictment of pollution in the Italian Mediterranean, too.

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.

International Programme
América Erick Stoll, Chase Whiteside

The law of responsibility is uncheatable, unquestionable: three brothers from Mexico share the care for their 93-year-old grandmother. A piece of evidence for humanism.

América

Documentary Film
USA
2018
76 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Erick Stoll, Chase Whiteside
Erick Stoll, Chase Whiteside
Erick Stoll
Erick Stoll, Chase Whiteside
Christian Giraud
The outer layer consists of kissing and touching. A film wrapped in tenderness, surrounded by gestures of intimacy, sensitivity and warmth. Diego and his two brothers have returned to Colima in Western Mexico to take care of their 93-year-old grandmother. América is the name of this old woman with dreaming eyes and a warm smile, who is bedded and blanketed by the brothers at night, washed and dressed by them in the morning, cosseted, protected, surrounded by them at noon. The brothers’ father is in prison, their economic situation is precarious and the workload boundless. But human dignity and the law of responsibility are unquestionable, uncheatable. Never – whatever the cost, be it money, time, strength or a brawl – would Diego, Rodrigo and Bruno take their grandmother to a nursing home.

The US directors Erick Stoll and Chase Whiteside followed the family for a period of three years and are now presenting an intimate debut film that is more than a document of the ethics of responsibility. It’s, and this is what one should call it, a piece of evidence for humanism.

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.

Appalachian Holler

Documentary Film
Germany,
USA
2018
29 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Matthias Lawetzky (Hochschule für Gestaltung Offenbach am Main)
Matthias Lawetzky
Matthias Lawetzky
Matthias Lawetzky
Matthias Lawetzky
Matthias Lawetzky
You don’t get rich in the Appalachian Mountains. “They’re trying to get thataway, but they usually die before they do,” they say here. The end of coal mining left the inhabitants with its consequential problems, environmental destruction and unemployment. Making music together – if only with spoons – gives the people in one of the remotest spots of the US something to hold on to and some dignity.

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
Atmahaú Pakmát Cameron Quevedo

A poetic and political film about border demarcations and their consequences, the struggle for survival of adobe brick makers in the Mexican-US border region and the magic of a river.

Atmahaú Pakmát

Documentary Film
Mexico,
USA
2017
24 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Cameron Quevedo
Jesús Gerdel
Jim Hickcox
Cameron Quevedo
Will Harrell
Everybody’s talking about the planned wall between the US and Mexico, but what’s often overlooked is that this borderline is in itself a construct. In the mid-19th century, Mexico had to accept a massive loss of territory to its powerful northern neighbour. The demarcation line has followed the Rio Grande ever since. A poetic and political film about border demarcations and their consequences, the struggle for survival of adobe brick makers in the Mexican-US border region and the magic of a river.

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.

International Programme
Mom’s Clothes Jordan Wong

The once docile child has grown out of their mother’s patterned clothes. Now he can navigate between different forms of intimacy and gender – queer and colourful.

Mom’s Clothes

Animated Film
USA
2018
5 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Jordan Wong
Jordan Wong
Jordan Wong
Jordan Wong
Jordan Wong
Jordan Wong
Jordan Wong
Jordan Wong
Navigating between different forms of intimacy and gender took him longer: as a queer and coloured person one stands out even in Jordan Wong’s native city of San Francisco. Wong’s reflections about his and his mother’s life find a visual counterpoint in animated textiles. Soft, scratchy, thin, strong, flowery, plaid or printed with predators – dreams, self-knowledge and questions arise from these clothes.

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.

International Programme
Share Barna Szász, Ellie Wen

Tim is 18 years old and has 3 million followers on Instagram. An attentive look at the identity frame of Generation Z – between YouTube lines, memes and tears.

Share

Documentary Film
USA
2018
13 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Barna Szász, Ellie Wen
Barna Szász, Ellie Wen
Barna Szász, Ellie Wen
Barna Szász, Ellie Wen
Barna Szász, Ellie Wen
Tim is 18 years old, wears sports clothes and has 3 million followers on Instagram. Not only is he a minor celebrity in digital space, he also finds a social stability there that he hasn’t known before. Ellie Wen’s and Barna Szász’s film is a compact interrogation of issues of identity, family and communication – and they understand that on- and offline are not simply a binary opposition but that in either space reality is real and nothing but real.

Lukas Stern


Nominated for the 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.

International Programme
95 and 6 to Go Kimi Takesue

Looking for the title of a script and finding a grandpa. A home movie style, warmhearted and humorous look: at the grandfather, the family history and the ancestors’ landscapes.

95 and 6 to Go

Documentary Film
USA
2016
85 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Kimi Takesue, Richard Beenen
Kimi Takesue
Paul Brill
Kimi Takesue
Kimi Takesue
Jeff Seelye
The filmmaker Kimi Takesue and her widowed grandfather Tom have big plans: first of all, Tom’s house must be cleared out. A lot of things have accumulated here since grandmother died, who didn’t really share Tom’s passion for film and television. Then there’s Kimi’s unfinished script which has been waiting for completion for years and really needs a new title. The spry pensioner comes up with many – sometimes corny – ideas which, unfortunately, do not always meet with much sympathy. And on top of it all his inquisitive granddaughter is trying to unravel her family history with the help of Tom’s memories. This yields insights into the living conditions of their ancestors, who tried to build a life as Japanese immigrants in Hawaii. The grandparents’ love story, too, is very interesting, especially the question how the two actually met and whether it was really love at first sight.

Shot like a home movie and intercut with archive material and shots of the Hawaiian landscape, Takesue takes a loving and humorous look at her grandfather and her roots. She may not get a new title for her script out of this, but it’s an enchanting way to get closer to her grandfather.

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.

Adolescence

Documentary Film
Puerto Rico,
USA
2017
10 minutes
subtitles: 
English
Credits DOK Leipzig Logo
José Fernando Rodríguez, Guillermo Zouain
José Fernando Rodríguez
José Fernando Rodríguez
José Fernando Rodríguez, Guillermo Zouain
José Fernando Rodríguez
Alain Muñiz, José Fernando Rodríguez
A girl in the pool, close to the lens. She’s asking for a towel. White noise. A boy pretending to be a chicken hops through the room, picking at the mattress with his head. José Fernando Rodríguez reconstructs the states of his youth in “Adolescence”, using residual images of past times, hybrid images: excessive hormone boosts and the first fears of death, a girl in the pool and a dry run in the children’s rooms. The images in-between are missing. There’s only white noise.

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.

International Programme
Before the Bridge Lewis Wilcox

Clear views from a driving car of post-apocalyptic scenarios: ruined factory buildings, dilapidated houses, heavy air. A fleeting glance at Trump’s America – and the future of the economy.

Before the Bridge

Documentary Film
USA
2017
18 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Savannah Mark
Lewis Wilcox
Arthur King & The Night Sea
Lewis Wilcox
Lewis Wilcox
David Carson
Jesse Herrera
Clear views from a driving car of post-apocalyptic scenarios: ruined factory buildings, dilapidated houses, heavy air. Then: dust-free shots of huge storehouses, robot arms, forklifts. A catalogue of disaster images meets a science fiction fantasy. No Hollywood superlativism but the effects of the automation and robotisation of the working world. The example: Indiana. A fleeting glance at Trump’s America – and the future of the economy.

Lukas Stern



Healthy Workplaces Film Award 2017

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.

Bohemia, IA

Documentary Film
Germany,
USA
2017
30 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Angelo Wemmje (Kunsthochschule für Medien Köln)
Angelo Wemmje
Angelo Wemmje
Angelo Wemmje
Angelo Wemmje
90 per cent of the “Corn State” Iowa are used for agriculture. But this doesn’t necessarily mean that the “natives” this film focuses on are naive hillbillies. They make music and take Polaroid pictures, watch lectures on quantum physics on YouTube or discuss whether Elvis or Picasso is more “goth”. Buddy Holly’s “Listen to Me” drifts over from a cornfield – and Iowa’s other attribute of “Swing State” suddenly takes on a different meaning.

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.

Clean Hands

Documentary Film
USA
2016
9 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Katherine Gorringe, Allison Kelley
Lauren DeFilippo
Hector Laguna
Lauren DeFilippo
Lauren DeFilippo
Josh Berger
Clean hands, clean engine hoods, clean-cut lawns. Everything is clean in this drive-in church in Daytona Beach, Florida. Christ’s blood is handed out ready-bottled at the gate, the priest’s appeal to Become Human! is received on 88.5 FM, collections are paid as easily as toll fees. It’s almost as if the cars themselves were praying in this motorist’s church – perhaps for a take-away absolution of their diesel sins.

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.

International Programme
Dina Dan Sickles, Antonio Santini

It’s time to move in together if you belong together. Dina lives an “ordinary” love story – normal in carnal as well as pyjamas-related terms. An irresistible statement about the joys of the ordinary.

Dina

Documentary Film
USA
2017
101 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Dan Sickles, Antonio Santini
Dan Sickles, Antonio Santini
Michael Cera
Adam Uhl
Sofía Subercaseaux
Where can a film lead that begins with a visit to the dentist? First of all to a declaration of principle: she’s just afraid of the unexpected. Dina tells the dentist’s assistant whom she makes hold her hand. That’s not a phrase. The next shot, filmed from above at an angle, catches Dina, who is in her late forties, crossing a street: look left, look right, look left, look right, still no car in sight, nowhere. All the more surprising then that she moves forward rather boldly when it comes to love – to the wedding, to the shared flat. But she read about it in preparation …

One must imagine Dina as the better, no, weightier half of a double pack. Not because she is a few pounds overweight, but because, even sitting down, she seems to set the speed at which Scott gets to accompany her through life. Presumably she was the one who allowed Daniel Sickles and Antonio Santini access to this sometimes clumsy, almost childlike intimacy. Even at the risk of looking funny. The filmmakers follow the lovers through the couch and easy chair landscapes of the US suburban lifestyle – in a quirky and laconic documentary romance about the ordinary and how hard it is to achieve sometimes.

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.

Drift

Documentary Film
USA
2016
21 minutes
subtitles: 
No
Credits DOK Leipzig Logo
Chris Ward
Chris Ward
Jay Purdy, Chris Ward
Chris Ward
Chris Ward
Cheng Zheng
A workshop, its windows sealed with duct tape. An old man solders and turns screws, eats lunch out of plastic containers, crawls into a sleeping bag at night. In 1973 Tom Ward and eleven other men set sail from the coast of Ecuador to Australia – on wooden rafts. Today he lives a retired life. At the time, Ward recorded stunning images of the expedition: the ocean sloshing over the raft, cloudy red skies. Now they are back on the screen – in his son Chris’s film.

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.

Joe Boots

Documentary Film
Germany,
USA
2017
29 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Florian Baron
Florian Baron
Fatima Camara, Jana Irmert
Johannes Waltermann
Maja Tennstedt
Florian Baron
Jana Irmert, Linus Nickl, Nils Vogel-Bartling
Joe leaves high school to join the army. The terrorist attacks of September 11th have created new bogeymen and military equipment is extremely fascinating. He is not yet 20 when he goes to war in Iraq and realises that this is not a game. The film finds images for Joe’s inner states after his return: with no contact with his environment or himself his experiences never lose their hold on him. The power of his stories makes the futility of all those war operations tangible.

Leopold Grün

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.