The art of the documentary portrait is to introduce an individual to the audience within a short period of time while going beyond a collection of biographical facts and capturing what actually defines this person. “Open Game” succeeds by showing its young protagonist Amir as someone who seems permanently on the move. First, he mastered the unsafe route from Afghanistan to Germany, now he constantly moves between school, job, and chessboard. He finds rest only when he moves his pieces on the 64 squares of the board, when he delves into a world where every move must be considered and where strategy, not luck, determine the outcome. In chess, Amir knows all the rules and can determine the course of the game – from the cleverly chosen opening move to the end, planned move by move.
“Open Game” structures its material along the phases of a chess match and portrays Amir as a person whose life was exposed to chance. Those who have to hope for luck too often appreciate a controlled environment.

Like many artists of his time, Walter Ruttmann discovered film as a medium of experimentation with revolutionary forms of expression. He gave up easel painting in 1918 and acquired the first German patent for an animation stand in 1920, thus creating the technical prerequisites for his “Opus” series: abstract elements of painterly gestures and cardboard moved by stop-motion.

A huge, cheeky rat has moved in with the little man. It whistles to the music from the radio, helps itself from the fridge without asking, splashes in the bathtub and is simply everywhere – loud, annoying, just too much. When it suddenly disappears, the little man realises that the apartment has never been so quiet – and so empty. A heart-warming adaptation of Nadia Budde’s eponymous picture book.