[Eigenwerbung für das Bezirksfilmstudio Leipzig]
This commercial was to be screened before the amateur film programmes presented by Leipzig’s “Casino” arthouse cinema on special occasions.
A
Film Archive
[Eigenwerbung für das Bezirksfilmstudio Leipzig]
Credits
Bezirksfilmstudio Leipzig
This commercial was to be screened before the amateur film programmes presented by Leipzig’s “Casino” arthouse cinema on special occasions.
Stefan Gööck
Stefan Gööck
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.
#47
José Miguel Biscaya
Landscape painting with creative pixel glitches. José Miguel Biscaya explores a nature scene with the camera and rediscovers it through manipulated MPEG algorithms and deliberate encoding errors.
#47
Animated Film
2014
11 minutes
subtitles:
_without dialogue / subtitles
Landscape painting with creative pixel glitches. José Miguel Biscaya explores a nature scene with the camera and rediscovers it through manipulated MPEG algorithms and deliberate encoding errors. Familiar natural phenomena liquefy into surprising shapes and colours straight from the hidden recesses of perception.
Ines Seifert
Ines Seifert
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.
#resistayol
Rüzgâr Buşki
In the summer of 2013, Rüzgâr Buşki was on his way to Istanbul to make a documentary about his close friend Şevval, a trans-LGBTI activist.
#resistayol
Documentary Film
2016
56 minutes
subtitles:
English
In the summer of 2013, Rüzgâr Buşki was on his way to Istanbul to make a documentary about his close friend Şevval, a trans-LGBTI activist. What he didn’t realise was that his visit coincided with the Gezi Park protests, one of the biggest demonstrations in Turkish history. Inevitably, the focus of the documentary shifted in light of these events and we, just like Şevval, participate in this turning point. High spirited and whimsical, “#resistayol” shows us a magical moment in the lives of thousands of people and gives us a better sense of the contribution of the LGBTI community to the human rights movement in Turkey.
Özge Calafato
Özge Calafato
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.
#uploading_holocaust
Sagi Bornstein, Udi Nir
Young Israelis performing a rite of initiation, the “Journey to Poland”: seven days, three mass graves, four concentration camps, and cameras running all the time. An exercise in identity made up of YouTube videos – horror 2.0.
#uploading_holocaust
It’s like an initiation ritual. Every year 25,000 Israeli pupils and students go on a trip to Poland, visiting four concentration camps, three mass graves and two ghettos in seven days. It’s a journey to the dead, their roots, and themselves: as Jews and citizens of Israel. They document everything on their smartphones: hotel rooms, barracks, shooting ranges, themselves, their friends. The material shared on YouTube is the basis of this film – and it’s revealing. The two Israeli directors Sagi Bornstein and Udi Nir set contemporary recordings against videotapes from the 1980s. How will the memory change when there are no more contemporary witnesses? What can the crumbling sites still reveal? When will the rituals become hollow?
The Holocaust is the narrative of Israel, the constituent element of the state, even more than Zionism. That’s what the young people are taught to believe. The concept is historical imagination and immersion. They are supposed to feel the squeeze of the cattle wagons, the hardness of the narrow pallets and the oppression of the gas chambers. Horror 2.0. The video material also shows, however, how much smarter the young people are. There are no stupid questions, documentary filmmaker Marcel Ophüls once said, only stupid answers.
Cornelia Klauß
Nominated for Young Eyes Film Award
The Holocaust is the narrative of Israel, the constituent element of the state, even more than Zionism. That’s what the young people are taught to believe. The concept is historical imagination and immersion. They are supposed to feel the squeeze of the cattle wagons, the hardness of the narrow pallets and the oppression of the gas chambers. Horror 2.0. The video material also shows, however, how much smarter the young people are. There are no stupid questions, documentary filmmaker Marcel Ophüls once said, only stupid answers.
Cornelia Klauß
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.
1165/1965 – Mein Leipzig lob ich mir … weil wir die Hausherren sind [Ausschnitt]
Herbert Kasinski, Karl-Heinz Naumann, Werner Wienhold
Three film lovers work for the 800th anniversary celebrations of their hometown.
1165/1965 – Mein Leipzig lob ich mir … weil wir die Hausherren sind [Ausschnitt]
Credits
Herbert Kasinski, Karl-Heinz Naumann, Werner Wienhold
Three film lovers work for the 800th anniversary celebrations of their hometown: directed by a shoe salesman, the film section of the Cabinet for Cultural Work and a photographer document the grand parade on Leipziger Ring, whose hackneyed agitation is swept away in a symbolic clean sweep and last dance.
Stefan Gööck
Stefan Gööck
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 subway station is going crazy. The call box wants to bring about world peace like the Dalai Lama, the construction area light is heartbroken and the newspaper vending machines belt out a hit song from the eighties. A street filled with rhythm and passion.
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.
21 x New York
Piotr Stasik
Scared and wide-awake, enlightened and confused, horny and satisfied: people in NYC. The A-train provides the narrative pattern for fast-paced image flows and meditative passages. A pop pearl.
21 x New York
Documentary Film
2016
70 minutes
subtitles:
English
Credits
Agnieszka Wasiak
Piotr Stasik
Piotr Stasik
Dorota Wardęszkiewicz, Tomasz Wolski, Piotr Stasik
Michał Fojcik
Maybe 21 is a random number: portraits of 21 people who together are supposed to represent the totality of the more than eight million inhabitants of New York City? Not a valid number, every statistician would say, and be right. But cinema, thank God, is only marginally concerned with statistics – if at all.
“21 x New York” opens with a picture of the A-train approaching in a subway tunnel, thus creating the pattern for its own narrative by this confident allusion to one of the greatest pieces of 20th century jazz music. What we see next: scared and cheerful people, enlightened and confused ones, horny passers-by and satisfied couples. Extremely rapid switches between them, not so much contrasting as kaleidoscopic. The fast-paced flow of images is frequently interrupted by meditative passages and overlaid by some of the protagonists’ tales or reasoning, like voices from the memory of an artificial neural network, rising from this exciting bubble. It’s almost as if Baudelaire had risen again, changed time, place and medium and started a new series of lyrical tableaux. The result would not be the “Tableaux Parisiens” but “Tableaux New Yorkaises” – or “21 x New York”.
Ralph Eue
Nominated for MDR Film Prize
“21 x New York” opens with a picture of the A-train approaching in a subway tunnel, thus creating the pattern for its own narrative by this confident allusion to one of the greatest pieces of 20th century jazz music. What we see next: scared and cheerful people, enlightened and confused ones, horny passers-by and satisfied couples. Extremely rapid switches between them, not so much contrasting as kaleidoscopic. The fast-paced flow of images is frequently interrupted by meditative passages and overlaid by some of the protagonists’ tales or reasoning, like voices from the memory of an artificial neural network, rising from this exciting bubble. It’s almost as if Baudelaire had risen again, changed time, place and medium and started a new series of lyrical tableaux. The result would not be the “Tableaux Parisiens” but “Tableaux New Yorkaises” – or “21 x New York”.
Ralph Eue
Nominated for MDR Film Prize
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.
32 Souls
Say Naw Kham
There’s a belief in Myanmar that every person has 32 souls, but that we must call them back time and again.
32 Souls
There’s a belief in Myanmar that every person has 32 souls, but that we must call them back time and again. This film is both the portrait of a woman nearing the end of her life who lives alone in a humble cabin in the forest, and an invocation of the spirits of the past of a country devastated by war and loss. The observant, poetic flow of images is frequently interrupted by a ghostlike subjective camera – representing the wandering souls.
Lars Meyer
Lars Meyer
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 Few Stories About a Man
Bogdan Dziworski
Even without arms the hero of this film is a passionate skier and high board diver – and a brilliant painter, too.
A Few Stories About a Man
Documentary Film
1983
20 minutes
subtitles:
_without dialogue / subtitles
Even without arms the hero of this film is a passionate skier and high board diver – and a brilliant painter, too. An unfettered camera assists him in overcoming seemingly inhuman obstacles, transforming this portrait of a total optimist into pure cinema magic.
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 Hole in the Head
Robert Kirchhoff
They survived the Nazi’s killing machine and are forced to fight for their existence and civil rights today. Europe and the Roma – a search for clues that’s full of sadness and absurd humour.
A Hole in the Head
A small art gallery somewhere in Serbia which exhibits only works by Roma. Is Clinton not Roma, too? The gallery owner isn’t certain. But Antonio Banderas is Roma, and Yul Brynner. They just don’t have the courage to admit it. This touching scene of cultural self-assurance is part of a narrative about the Roma Holocaust which has been almost completely erased from European memory and whose traces the director follows meticulously. A film against forgetting.
We meet people from France, Serbia, Germany, the Czech Republic and Poland who got caught up in the Nazi murder machine as children. Rita was less than three weeks old when SS doctors performed horrible experiments on her in a Würzburg hospital. Her twin sister died, she survived with a “hole in the head”. Raymond, 90 years old, an extremely alert Roma, reminds us that it was the French Gendarmerie who herded them together, not the Germans. Today, the same police enter his caravan without a search warrant to arrest three of his sons because they came to his aid. So what has changed? A question that arises at every stop of this commemorative journey and forces us to take a stand and get rid of ideological garbage.
Matthias Heeder
Nominated for MDR Film Prize
We meet people from France, Serbia, Germany, the Czech Republic and Poland who got caught up in the Nazi murder machine as children. Rita was less than three weeks old when SS doctors performed horrible experiments on her in a Würzburg hospital. Her twin sister died, she survived with a “hole in the head”. Raymond, 90 years old, an extremely alert Roma, reminds us that it was the French Gendarmerie who herded them together, not the Germans. Today, the same police enter his caravan without a search warrant to arrest three of his sons because they came to his aid. So what has changed? A question that arises at every stop of this commemorative journey and forces us to take a stand and get rid of ideological garbage.
Matthias Heeder
Nominated for MDR Film Prize
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 Story of a Man Who Filled 552% of the Quota
Wojciech Wiszniewski
With his shovel-like hands the Silesian miner Bernard Bugdoł became a working class hero and the great white hope of the new socialist Poland of the 1950s.
A Story of a Man Who Filled 552% of the Quota
Credits
Telewizja Polska
Wojciech Wiszniewski
Witold Stok, Tomasz Tarasin, Cesary Makowski, Wojciech Kozłowski
Stanisław Pieniak
Janusz Retzer
With his shovel-like hands the Silesian miner Bernard Bugdoł became a working class hero and the great white hope of the new socialist Poland of the 1950s. Two decades later, cinema rebel Wojciech Wiszniewski compares Bugdoł the man and his legend. A tragicomic look behind the myth.
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 Young Girl in Her Nineties
Valeria Bruni Tedeschi, Yann Coridian
Blanche is vegetating in a nursing home, a victim of Alzheimer’s disease – until the choreographer Thierry Thieû Niang wakes this sleeping beauty through dance and she falls in love … enchanting and tender.
A Young Girl in Her Nineties
Documentary Film
2016
85 minutes
subtitles:
English
Credits
Marie Balducchi
Valeria Bruni Tedeschi, Yann Coridian
Hélène Louvart, Yann Coridian
Anne Weil
François Waledisch
Like many old people in nursing homes she seems to have drawn a curtain between herself and the world. Without relatives, in the company of other Alzheimer patients, she hardly remembers her melodious name: Blanche Moreau. But then choreographer Thierry Thieû Niang arrives at the hospital. Thierry incorporates the patients’ movements, gestures and words in his dance and doubly animates them: their bodies and their souls. Among the murmurs of French chansons which, of course, talk of the adventure of love, Blanche awakes from her enchanted sleep. And more than that. “Parlez-moi d’amour” and the handsome, attentive stranger open a space for her in which she can once more get lost – or find herself – in the ecstasy of being in love. For Thierry, visibly moved by this development, the task is to create the right balance through dance.
Holding and trusting each other – that also describes the careful attitude of the director towards the dancers: a successful actress and feature film director, Valeria Bruni Tedeschi, in collaboration with Yann Coridian, now delivers a sensitive debut documentary. We learn only what is revealed by the place and situation about the patients’ lives. But in any case the film makes us sense that memories are less about one’s CV than about a reservoir of emotions.
Lars Meyer
Prize of the Fédération Internationale de la Presse Cinématographique 2016
Holding and trusting each other – that also describes the careful attitude of the director towards the dancers: a successful actress and feature film director, Valeria Bruni Tedeschi, in collaboration with Yann Coridian, now delivers a sensitive debut documentary. We learn only what is revealed by the place and situation about the patients’ lives. But in any case the film makes us sense that memories are less about one’s CV than about a reservoir of emotions.
Lars Meyer
Prize of the Fédération Internationale de la Presse Cinématographique 2016
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.
A157
Behrouz Nouranipour
Three Yezidi girls are cowering in the UNHCR tent A157 at the Turkish-Syrian border: escaped from Isis, raped, violated, pregnant. An attempt to cope.
A157
Documentary Film
2015
70 minutes
subtitles:
English
Credits
Behrouz Nouranipour (Soureh Documentary Centre)
Behrouz Nouranipour
Mehdi Azadi
Behrouz Nooranipour, Kamran Jahedi
Behnam Sheikhahmadi
One of the most horrifying Isis operations was the physical and cultural genocide of the Yezidi Kurds in Iraq. After conquering the Shingal region west of Mossul the terrorist militia began to systematically kill the male population while thousands of children, girls and women were kidnapped, enslaved, forced into marriage or raped. Very few of them managed to escape and the survivors are marked for the rest of their lives. Like the sister Hailin and Roken and their friend Soolaf who live in a refugee camp on the Turkish-Syrian border in the UNHCR tent number 157. A miserable place, cold, rainy and oppressive, like the suffering etched deeply into the girls’ faces.
Iranian filmmaker Behrouz Nouranipour approaches the fate of his protagonists by reducing the visual level almost exclusively to the interior of the tent. This is where the girls huddle day after day, without expectations, alone, without protection. Their memories of the old life and its dreams, of parents and siblings who are lost or dead, and the depictions of the atrocities inflicted on them by the Jihadists evoke an image of dehumanisation that’s deeply harrowing. Who could close their heart to this suffering?
Matthias Heeder
Nominated for Young Eyes Film Award
Iranian filmmaker Behrouz Nouranipour approaches the fate of his protagonists by reducing the visual level almost exclusively to the interior of the tent. This is where the girls huddle day after day, without expectations, alone, without protection. Their memories of the old life and its dreams, of parents and siblings who are lost or dead, and the depictions of the atrocities inflicted on them by the Jihadists evoke an image of dehumanisation that’s deeply harrowing. Who could close their heart to this suffering?
Matthias Heeder
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.
Ada for Mayor
Pau Faus
Campaigning in Barcelona: political activist Ada is the left party’s top candidate and must learn to be glib and authentic at the same time. A balancing act and strenuous effort full of suspense and drive.
Ada for Mayor
Documentary Film
2016
90 minutes
subtitles:
English
Ada Colau is an activist of the movement for affordable rents in Barcelona. When the fragmented left of the city needs to be united to enter practical municipal politics and, ideally, supply the next head of the city, she qualifies as front-runner for the collective platform “Barcelona en Comú”.
Over a period of nine months, director Pau Faus observes a process that could be called a “basic democracy workshop”. Faus claims that it’s neither intentional nor coincidental that his film has also, to a large extent, become a participant observation of the top candidate’s life, but inevitable. He confidently avoids raising any suspicion that this is the finished, valid and undoubted image of a politician. Instead he reflects on how these images are produced while the engine is running. At the end of the film Ada Colau will have become a different person AND remained the same – an impossible feat she is forced to pull off by her character and the political ethics she feels bound to. The motto that Ada Colau had inscribed on the door of the council chamber as a universal reminder after she became mayor in May 2015 was: “Let us never forget who we are or why we are here.”
Ralph Eue
Over a period of nine months, director Pau Faus observes a process that could be called a “basic democracy workshop”. Faus claims that it’s neither intentional nor coincidental that his film has also, to a large extent, become a participant observation of the top candidate’s life, but inevitable. He confidently avoids raising any suspicion that this is the finished, valid and undoubted image of a politician. Instead he reflects on how these images are produced while the engine is running. At the end of the film Ada Colau will have become a different person AND remained the same – an impossible feat she is forced to pull off by her character and the political ethics she feels bound to. The motto that Ada Colau had inscribed on the door of the council chamber as a universal reminder after she became mayor in May 2015 was: “Let us never forget who we are or why we are here.”
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.
Alltag und Krieg. Die Frauen [Ausschnitt]
Credits
Peter Glaß
Holm-Henning Freier
Roland Worel, Holger Jahn
Erhardt Dormeyer
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.
Anal Juke. Anal Juice
Sawako Kabuki
Fukushima and a broken heart lead to a meltdown of body and mind.
Anal Juke. Anal Juice
Fukushima and a broken heart lead to a meltdown of body and mind. Using colour and speed to maximum effect, Sawaku Kabuki gives her female protagonist extravagant acrobatic skills and lets her get even with her ex boyfriend. Fuck him!
Ines Seifert
Ines Seifert
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.