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Dämmerung – Ostberliner Bohème der 50er Jahre

Documentary Film
Germany
1993
98 minutes
Credits DOK Leipzig Logo
Rainer Ackermann, Brandenburger Filmbetrieb, DEFA-Studio für Dokumentarfilme GmbH, MDR, SFB
Peter Voigt
Olivier Messiaen
Christian Lehmann
Peter Voigt
Peter Voigt
THE LANDSCAPE WAS BLEAK. THE PEOPLE WERE OPTIMISTIC. THE SCHNAPPS WAS GOOD.

In an age that’s about to throw off everything old, on the backdrop of a Berlin of dug-up streets, in a dilapidated ruin that used to be the legendary “Ganymed”, once more at the bar: the actors Rolf Ludwig, Stefan Lisewski and Ekkehard Schall, Barbara Brecht-Schall, the sculptor Werner Stötzer, Karl-Eduard von Schnitzler, Jutta Voigt and other in-crowd celebrities of the past. The glitzy life of an avant-garde who, as the “emergency association of work-shy intellectuals”, occasionally bought up all the schnapps at the Konsum shop to prepare for the 17 June revolt.
“Peter Voigt edited and mixed the elements of life, the images and sounds, in a way that makes his memories seem to float in the air. He compressed life to the core that cannot be explained or interpreted. There are people who took third, fourth and fifth paths when there seemed to be only two main streets. Paradise is not what will be but what used to be. Three times Knaup tells the story of the Australian who was locked up in an asylum. He had bought a new boomerang and wanted to throw the old one away.” (Fritz-Jochen Kopka)

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Der Ort Die Zeit Der Tod – Ein Heimatfilm Peter Voigt

Lake Tollense in Mecklenburg, a landscape powdered with snow that looks delicate, Far Eastern. A landscape marked by death: mass suicide, euthanasia, prison camps ...

Der Ort Die Zeit Der Tod – Ein Heimatfilm

Documentary Film
Germany
1994
42 minutes
Credits DOK Leipzig Logo
Peter Voigt
Christian Lehmann
Thomas Malz
Karl Burmeister, Alexander Lang
Lake Tollense in Mecklenburg, a landscape powdered with snow that looks delicate, Far Eastern. A landscape marked by death: mass suicide, euthanasia, prison camps, German Wehrmacht, SS, weapons testing bases, NPA bunkers. THOSE BODIES OF FÜNFEICHEN … A video collage of local studies texts and elegiac images into which blurred, “taste-less” ones are dropped, of Japanese music and typographic inserts of pre-Christian Greek sepulchral steles, of beauty and horror.

HOW OFTEN HAVE I DIED, BUT NEVER LIKE THIS.

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Episches Theater Peter Voigt

At Bertolt Brecht’s request, a performance of his production of J. M. R. Lenz’s “The Tutor” at the Berliner Ensemble in 1951 was filmed in a static long shot, in single frames and with intervals ...

Episches Theater

Documentary Film
Germany
1996
18 minutes
Credits DOK Leipzig Logo
Peter Voigt
Wolfgang Hieb
Hermann Beyer, Dieter Knaup, Martin Wuttke
At Bertolt Brecht’s request, a performance of his production of J. M. R. Lenz’s “The Tutor” at the Berliner Ensemble in 1951 was filmed in a static long shot, in single frames and with intervals. The untouched reels were discovered in the Bertolt Brecht Archive in 1992. Voigt reconstructs seven scenes of the performance from the material and intercuts them with director’s notes Brecht had written for a planned “Tutor” model. A “film sketch” (P. V.) with an aura.

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Heiner Müller: Kentauren Peter Voigt

THE STATE IS A MILL THAT MUST GRIND. THE STATE NEEDS ENEMIES AS THE MILL NEEDS CORN. THE STATE THAT HAS NO ENEMY CEASES TO BE A STATE. A KINGDOM FOR A PUBLIC ENEMY ...

Heiner Müller: Kentauren

Documentary Film
GDR
1988
10 minutes
Credits DOK Leipzig Logo
Peter Voigt
Heiner Müller
THE STATE IS A MILL THAT MUST GRIND. THE STATE NEEDS ENEMIES AS THE MILL NEEDS CORN. THE STATE THAT HAS NO ENEMY CEASES TO BE A STATE. A KINGDOM FOR A PUBLIC ENEMY.

A montage of: “Wolokolamsker Chaussee IV”, written and recited by Heiner Müller, graphics from the Duden German-Russian dictionary, “My Medusa” by Konrad Klapheck, the “Basics of civil defence” wall chart, prints from Goya’s “Proverbios”, “Assyrian Divine Creature”, “Skeletons” and bone studies by Battista Franco as well as Arnold Böcklin’s “Battle of the Centaurs”.

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Ich bin Ernst Busch Peter Voigt

Peter Voigt met the singer and actor Ernst Busch at the Berliner Ensemble in 1953 and was to become part of Konrad Wolf’s crew for the latter’s cycle “Busch Sings”. Here he supplements the gaps in this work: Busch’s rebellious character, which was tolerated only when it was directed against the class enemy ...

Ich bin Ernst Busch

Documentary Film
Germany
2000
58 minutes
Credits DOK Leipzig Logo
Peter Voigt
Christian Lehmann
Peter Voigt
Klaus Löwitsch
Peter Voigt met the singer and actor Ernst Busch at the Berliner Ensemble in 1953 and was to become part of Konrad Wolf’s crew for the latter’s cycle “Busch Sings”. Here he supplements the gaps in this work: Busch’s rebellious character, which was tolerated only when it was directed against the class enemy and which gradually drove the artist into isolation even among his comrades. ERNST BUSCH NOR GALILEI EITHER HAVE EVER KNEELED IN FRONT OF A POPE. Voigt edits reports, diary entries, songs, documents, score sheets on the backdrop of a repeated sequence showing the Pergamon Altar. Fragmentary, elliptic, painful.
“A film of such relentlessness, absolute integrity and factuality and yet great aesthetic beauty can only be made by someone whose love of the subject, Ernst Busch, merges with own experiences. There is no bitterness, but a lot of rage.” (Renate Stinn)

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Knabenjahre Peter Voigt

Two men in front of a mirror wall, talking about their youth in Hitler’s Germany. In this pared-down setting the words become powerful ...

Knabenjahre

Documentary Film
GDR
1989
65 minutes
Credits DOK Leipzig Logo
Peter Voigt
Carl Orff
Winfried Goldner, Christian Lehmann
Peter Voigt
Christian Lehmann, Peter Voigt
Two men in front of a mirror wall, talking about their youth in Hitler’s Germany. In this pared-down setting the words become powerful. Some are picked out and repeated in typographic inserts: GERMAN FOREST. WE ARE DIFFERENT. FOREIGN WORKERS. LATENT KNOWLEDGE. DEATH SQUAD. In between, goldfish in an aquarium, serene, reassuring.
Men of a specific generation, all of them from the GDR, talk about being raised to be tough and disciplined, dutiful and ready to become part of a group. A taboo was broken in their terrifying normality: a German youth.
“An interior journey, into the hidden mirror hall of our consciousness.” (Hans-Jörg Rother)

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Martha Lehmann Peter Voigt

In a crossing keeper’s hut near Leipzig, Martha Lehmann notes her thoughts on tiny scraps of paper, the backs of train or lottery tickets ...

Martha Lehmann

Documentary Film
GDR
1972
14 minutes
Credits DOK Leipzig Logo
Peter Voigt
Winfried Goldner
Ilse Radtke
Peter Voigt
7 JULY, 1952 / POST 46, TAUCHA / VERY HOT WEATHER FOR A FEW DAYS. / RASPBERRIES, STRAWBERRIES, DELIGHTFUL! / 7 OF THE 12 CHICKS ARE COCKS. / HOPEFULLY THERE WILL BE NO 3RD WAR.

In a crossing keeper’s hut near Leipzig, Martha Lehmann notes her thoughts on tiny scraps of paper, the backs of train or lottery tickets. Voigt reconstructs a model biography from these finds – his variation of Brecht’s “unworthy old woman”.

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Stein schleift Schere Peter Voigt

A city in present-day Poland. The “Polack city” six-year-old Voigt moved to in 1939. EVERY GERMAN BOY HAS A PICTURE OF THE FÜHRER IN HIS ROOM ...

Stein schleift Schere

Documentary Film
GDR
1986
20 minutes
Credits DOK Leipzig Logo
Peter Voigt
Winfried Goldner
Peter Voigt
A city in present-day Poland. The “Polack city” six-year-old Voigt moved to in 1939. EVERY GERMAN BOY HAS A PICTURE OF THE FÜHRER IN HIS ROOM. “Reichsdeutsche” (Germans living in the “Reich”) and “Volksdeutsche” (ethnic Germans living outside its borders). “Jungvolk” (German Youth). The bad guy: the Jew. HE DID NOT ENCOUNTER ANY POLISH. Photos, fragments of phrases, a rolling train, counting rhymes. TINKER, TAYLOR, SOLDIER, SAILOR. The men with the rolling camera, again and again. The images are work, like remembrance. EVERYTHING WAS SO NORMAL.

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Homage Peter Voigt
Wieland Förster – Protokoll einer Gefangenschaft. Teil 1: Die Begnadigung Peter Voigt

At the age of 16, Dresden-based sculptor Wieland Förster was sentenced to ten years hard labour by a Soviet Military Court for alleged possession of weapons, a sentence which was commuted to seven and a half years

Wieland Förster – Protokoll einer Gefangenschaft. Teil 1: Die Begnadigung

Documentary Film
Germany
1991
45 minutes
Credits DOK Leipzig Logo
Peter Voigt
Christian Lehmann
At the age of 16, Dresden-based sculptor Wieland Förster was sentenced to ten years hard labour by a Soviet Military Court for alleged possession of weapons, a sentence which was commuted to seven and a half years. At his request, Peter Voigt and Christian Lehmann join him on a walk through the building – which houses the Technische Universität Dresden today – in which he was detained for months and subjected to nightly interrogations.
“Förster, on the other hand, enters as a solo character, most closely resembling the subject of a traditional documentary film; and yet it’s different, a rhapsodic recital and nothing else, uninterrupted, no landscape, no music, nothing is done to make the character ‘approachable’. The term ‘records’ is executed with a salute, saluting in the sense of a genre.” (P. V.)

---Grit Lemke

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.