Film Archive

Sections (Film Archive)

International Programme
A Baptism of Fire Jérôme Clément-Wilz

The lives of young war reporters who travel to crisis spots at their own expense and risk their lives to shoot the picture that will change everything. A precarious job.

A Baptism of Fire

Documentary Film
France
2015
58 minutes
subtitles: 
English
French
Credits DOK Leipzig Logo
Jérôme Caza – 2P2L
Jérôme Clément-Wilz
Jérôme Clément-Wilz
Ael Dallier Vega
Jérôme Clément-Wilz
Nowadays countless journalists and photographers are travelling the world to supply us with the latest news and images from conflict regions. Stories of heroic war reporters were often told in the cinema. Jérôme Clément-Wilz takes a different perspective: news journalism is an industry, too. Many freelance photographers, most of them young, travel to hotspots at their own expense – hoping to shoot the life-changing picture at the right place at the right time and sell it for a high price to the leading media or agencies. The film is an intimate observation of the lives of young French reporters that gives them the space to reflect on their work. Their dreams come true in the Arab Spring: their pictures make it to the cover pages of the biggest dailies. And yet Clément-Wilz avoids heroic pathos, concentrating instead on his young protagonists’ spirit of adventure and youthful recklessness on the one hand and on the tough business where there are no safety nets and where the ones who risk their lives most readily have the best chances of survival on the other. War reporter – a precarious job.

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.

Healthy Workplaces Film Award
Automatic Fitness Alejandra Tomei, Alberto Couceiro

Life on an exacting conveyor belt. This detailed puppet animation that sparkles with ideas is a scathing satire on our brave new working world that thinks the term “human resources” through to the end and invents a new running technique in the process.

Automatic Fitness

Animated Film
Germany
2015
21 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Alejandra Tomei
Alejandra Tomei, Alberto Couceiro
Boris Joens, Ole Wulfers
Alejandra Tomei
Dietmar Kraus
Alberto Couceiro
Alejandra Tomei, Alberto Couceiro
Dietrich Körner
Imagine waking up in the morning in your bed, which stands on an assembly line. An automatic wake-up call and a few pills handed to you by robots make you fit for the working day. And so on and so forth at a predetermined speed. Life on an exacting conveyor belt. This detailed puppet animation that sparkles with ideas is a scathing satire on our brave new working world that thinks the term “human resources” through to the end and invents a new running technique in the process.

Lars Meyer



Healthy Worklplaces Film Award 2015

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.

Brumaire

Documentary Film
France
2015
66 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Juan Gordillo, Martine Vidalenc
Joseph Gordillo
Hervé Birolini
Laetitia Giroux
Dominique Petitjean
Cynthia Gonzalez
Sandrine Mercier, Christian Lamalle
When the last French coal mine in Lorraine was closed in 2004, Joseph Gordillo had already gone down many times with the miners to photograph them and capture his own fascination for this underground world in the pictures. He portrays the mine as a living cosmos the workers are part of. Even in individual portraits they stay a part of the whole. Their charisma is visible in their shining eyes, their strength in the group.

In his film Gordillo reworks the photographic material, reconstructing the age of mining through pans, processed images and abstract sound collages. A former miner lends his voice – a vivid field report and flow of thoughts.

But Gordillo’s theme is not work in the past but its social significance. And so he adds a second voice, that of a young woman, a miner’s daughter. She can still be proud of her father but no longer of herself. Her life as a cleaning woman in a town marked by decline is captured in its sterility and lack of perspective. The step away from the solidarity and identity of the miners leads directly into isolation. With noticeable consequences: de-politisation, unemployment, a shift to the right. In suggestive images, the film portrays the autumn of the work society over two generations.

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.

Factory Complex

Documentary Film
South Korea
2015
95 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Min-kyung Kim
Heung-soon Im
Tae-won Lee
Sun-young Lee, Heung-soon Im, Gil-ja Kim, Yun-jeong Jee
Hak-min Lee
Min-kyung Kim
New hypes regularly make teenagers all over the world queue up for new sneakers. They have no idea that the women who make them can’t afford them. “I want to wear Nike shoes, too”, was the slogan when they started their struggle in the 1980s. The video artist Im Heung-soon, whose mother worked in a textile factory, makes them visible: an army of worker ants who built the foundations of South Korea’s meteoric rise to economic power and who paid for this with their health and often their lives. Im Heung-soon draws a connection to today’s globalised consumer worlds where it’s the women again who keep things going in textile factories, the electronics industry, super markets, call centres or the service industry, who earn a pittance and always wear a friendly smile. He interweaves this ruthless and sober chronicle of exploitation, told in interviews, with surrealist experimental performances which individualise the pain of those who are usually seen as a mass or as human capital first and foremost.

Im Heung-soon won the Silver Lion at the Venice Biennial for his moving work which oscillates between art and documentation. It would be even better to spare a thought for the women from “Factory Complex” before the next mobile phone is purchased. And to question the purchase in the first place.

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.

International Programme
Since the World Was World Günter Schwaiger

Slaughtering, ploughing, harvesting grapes and searching for illegal marihuana plants in the cornfield. Being a farmer in Castile: doggedly traditional in the crisis – a warm-hearted observation.

Since the World Was World

Documentary Film
Austria,
Spain
2015
103 minutes
subtitles: 
German
Credits DOK Leipzig Logo
Günter Schwaiger, Cristina G. Alía
Günter Schwaiger
Bence Boka, Los Linces
Günter Schwaiger
Günter Schwaiger, Martin Eller
Günter Schwaiger
Cristina García Alía
Gonzalo is a farmer of the old school who lives with his family in Castile. To be called an agronomist would probably be an insult to someone like him. His way of managing things is in many ways the opposite of the all-devouring economisation of all areas of life. But he only chose this existence as a resistance fighter half-freely – the other half was forced upon him. First of all by a tradition that’s effectively in his bones. Then by a deep rootedness in the soil that nourishes him. And finally by a sturdy philosophy that makes him say such simple and clear things like: “When everyone was throwing money out of the window and lighting fires with banknotes, our kind was considered outdated and backward. Now that most people have lost everything the others are no better off than us, and we are more or less the same.”

Empathetic “Schadenfreude” und a surrealist sense of humour are essential parts of Gonzalo’s rustic world. Günter Schwaiger’s affectionate long-term observation of this world could also be seen as cinematic medication to strengthen our immune system against the temptations of consumerism and agricultural capitalism – defences our mind urgently needs.

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.

Healthy Workplaces Film Award
Tagelöhner Syndrom Rita Bakacs

Rita Bakacs had to rise early to film her protagonists (all of them male): the vacancies hatch at the Neukölln Job Centre opens at four in the morning. Latecomers could come away empty-handed.

Tagelöhner Syndrom

Documentary Film
Germany
2015
30 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Damian Schipporeit, Rita Bakacs
Rita Bakacs
Rasmus Sievers
Rita Bakacs
Rita Bakacs
Vensan Mazmanyan
Rita Bakacs had to rise early to film her protagonists (all of them male): the vacancies hatch at the Neukölln Job Centre opens at four in the morning. Latecomers could come away empty-handed. Waiting, smoking, drinking coffee. If you’re lucky and own a pair of hard toed boots you may get one of the coveted day jobs – hard work for little money.

In a few precisely observed and edited scenes Bakacs depicts the dead end of precarious work.

Grit Lemke



Healthy Workplaces Film Award 2015

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.

Wie die anderen

Documentary Film
Austria
2015
86 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Johannes Rosenberger
Constantin Wulff
Johannes Hammel
Dieter Pichler
Constantin Wulff
Claus Benischke, Andreas Hamza, Klaus Kellermann
Once psychiatric institutions were regarded as the marginal zones of civilisation where the “deranged” people were excluded (or locked away) from the community of the “healthy”. Today this is considered an untenable stereotype, at least in theory. However, there is a lack of images suitable for internalising such assumptions in practice and permanently. Constantin Wulff, a dedicated representative of Direct Cinema, and his cinematographer Johannes Hammel spent one and a half years at the child and adolescent psychiatry of the hospital of Tulln in Lower Austria, observing the human and institutional processes set in motion when children and adolescents suddenly get off track. How does anyone end up in such an institution? How does one become a “case”? Even if such a “case” can only be worked out in any meaningful way when people look beyond the process and re-focus on the human being.

With admirable confidence Wulff balances his film between rash chumminess and cheap distance – always trying to do justice to the very complex interactions playing out in before his lens. Also at the focus: institutional work as a permanent balancing act between gentleness and pressure, routine and emotional involvement, regulations and improvisations.

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.

El Gort

Documentary Film
Tunisia,
United Arab Emirates
2013
87 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Hamza Ouni
Hamza Ouni
Mohamed Hakim Boujomaa, Hatem Nechi
Najwa Khechimi
Hassen Najar
This film vibrates with rage. Nothing was good, is good, will be good. This bitter truth surrounds the lives of Washwasha and Khairi like a wall. Both in their early 20s, dirt poor, no expectations of ever doing anything other than stacking, loading and unloading bales of hay for little money. Jobs? There are none in Tunisia. So they want to leave, go to Europe. But that, too, is only a dream.
“El Gort” traces the years from before the rebellion against Ben Ali to the first free elections, 2007 to 2012. But these events have no real meaning for the two of them. Washwasha was in prison during the revolution, Khairi went pillaging like most of the other residents of the city. Somehow the anger had to be vented. Nothing has changed except for the personnel, who cheat the poor exactly like the old regime. And the Islamic parties? F*** them!
The film translates this rage into a rough, immediate visual language that gives the narrative incredible momentum. Hard, rapid cuts, a restless, moving camera, no shot lingers over the beauty of the moment. Instead there’s a maximum of life which must be lived on and on. And that is the really amazing aspect of this first feature-length film by Hamza Ouni: its protagonists lucidly describe their situation without shirking responsibility for their actions.

Matthias Heeder



Talent Dove in the Young Cinema Competition 2014

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.

Harvest

Documentary Film
France
2014
82 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Didier Creste
Paul Lacoste
Yvan Quehec
Anthony Brining
The scene: a small wine-growing region to the east of Toulouse. The time: mid-September. The cast: a company of about 15 women and men – “short service volunteers” for the few weeks of the wine harvest, armed with shears and buckets. The group has fanned out among the vines of a medium-sized grower in the Gaillac region. The statistics list them as harvest hands; the sociological term for them is “precariously employed”. The protagonists themselves, however, would qualify this imputation. Accepting it would mean handing over a big part of their pride. This attitude may be called unrealistic, but that’s precisely what director Paul Lacoste seems to be interested in: what people do and what they literally embody because of it rather than the opinions they express. The film still demonstrates almost casually how massively the insecurity of such an existence is inscribed into the protagonists’ behaviour. They all feel constrained by the unvoiced pressures of their situation. They may have more or less talent in suppressing such emotional and mental insights – but their objective effects can hardly be denied.

Ralph Eue



Healthy Workplaces Film Award 2014

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
Mar de Fons Bruno López, Florencia Luna

A father, a son, a fishing boat and the polluted coast off Barcelona. The death of a tradition and the disease of civilisation. A short novel with charisma.

Mar de Fons

Documentary Film
Spain
2014
30 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Sergi Casamitjana, Escac Films
Bruno López, Florencia Luna
Julián Sánchez
Florencia Luna, Dídac Sáez
Bruno López, Dídac Sáez
Bruno López, Florencia Luna
Yago Flaquer, Mar Rosselló
“Another bad day!” This is what it sounds like when Catalan fishermen meet. The fish die-off and the pollution in the greater Barcelona area hit them hard. Ramón Costa has seen dramatic changes in his long career. This doesn’t refer to the fact that he made it from rowing boat to motorboat owner – no: Only six of the 100 fishing boats of his native village of Badalona are left. One of them belongs to Ramón. But he, too, is thinking about giving up his small family business, especially since he is worried about his eldest son. Opening a beach bar would be more profitable. The younger son, having at last emerged from adolescence, encourages him, that’s true. But junior is a stubborn smart-aleck.
All these problems accumulate in the narrow space of the fishing boat when father and son go out to sea. The film has all the ingredients of a short novel, telling a story of restless men, the death of tradition and the disease of civilisation and revolving around a charismatic main character: Ramón is a passionate storyteller and a father who makes touching efforts to stay connected to his sons, even if they grew up in a completely different age than he did.
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.

Marmato

Documentary Film
Colombia,
USA
2014
88 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Stuart Reid, Mark Grieco
Mark Grieco
Todd Boekelheide
Mark Grieco
Ricardo Acosta, Mark Grieco
Noah Conti
Mark Grieco, Stuart Reid
Bob Edwards
Every day Dumar says goodbye to his wife and kids in a long ceremony of kisses and blessings as if it was the last time. Equipped with the spiritual protection of his family and the religious protection of the statue of a Jesus with outstretched arms that looks over the green mountains of Colombia from the town of Marmato, he enters the gold mine. For over 500 years, the locals have been digging and blasting narrow tunnels into a mountain that threatens to collapse any minute. But the miners have nothing but gold, even though they are the ones who profit least from it. There has been an international gold rush going on here since the government opened the gates to foreign corporations in 2006. It’s to be the end of the ancient methods. A Canadian company wants to strip-mine the mountain, allegedly in a socially and ecologically sustainable manner. But what will become of Marmato? The battle for one of the biggest gold deposits in the world has begun.
Mark Grieco followed the complex disputes surrounding the exploitation of the mountain, the existence and identity of the natives for six years in a film that has already garnered a number of awards. As tightly plotted as a suspense novel – and with fairly novelistic characters – he tells a tale of growing resistance against globalisation. The current gold rate, burned into the tunnel walls, delivers the comment on the various situations and an old balladeer in a cowboy hat picks his ironic songs on his guitar.
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.

Rules of the Game

Documentary Film
France
2014
106 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Muriel Meynard, Patrick Sobelman
Claudine Bories, Patrice Chagnard
Patrice Chagnard
Stéphanie Goldschmidt
Claudine Bories, Patrice Chagnard
Benjamin van de Vielle
There’s a rumour that the employment market is looking for bold individualists. Within limits, of course. The reality is: if it doesn’t fit, it’s made to fit – or rejected.
Lolita does not smile readily. Kevin doesn’t know how to sell himself. Hamid can’t abide bosses. They are twenty. They have no qualifications. They are looking for work and will be trained by a consulting agency over six months to learn the behaviour and forms of expression today’s employment market demands.
The consultants’ motives are more than honest: to enable young people to lead a decent life in the existing system. The kids see a new and strange world open up before their eyes. Both sides practice the best intentions, but now and then there are still glitches and sometimes there’s even the risk of a crash.
We’ve seen films about the admission process of acting schools (“Addicted to Acting”, et al.). But such situations, though exciting, are child’s play compared to the roles Lolita, Kevin and Hamid must learn to play if they want a part in the performance that is called “living (and surviving) in capitalism today”.

Ralph Eue



Golden Dove in the International Competition Documentary Film 2014

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 Last Limousine

Documentary Film
Germany,
Russia
2013
79 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Marina Razbezhkina, Heino Deckert
Daria Khlestkina
Anton Silaev
Anna Dashina, Evgeniy Kurbatov
Daria Khlestkina, Mieneke Kramer
Daria Khlestkina
Sergey Ovcharenko, Maria Ushenina
They were not just the pride of the nation, but the symbol of a public display of power that gradually turned into an empty pose. The equally feudal and well-designed limousines that lead the Soviet military parades on Red Square demanded awe and respect in the East and West. They were manufactured by hand at the Moscow ZIL car factory until the collapse in 1990, when the production line stopped. The cause could not have been a lack of dictators or desire to display one’s power. Perhaps the open limousines became too risky? In short: suddenly an order bursts in on the almost phased out factory. The state wants three cars. The spirit of the old collective awakens, the machines are powered up again and the production director sternly inspects the giant halls where the cats have long made their home. Director Daria Khlestkino records this last gasp of a giant with precision and gives us insights – not without wistfulness – into the remains of a former socialist industrial structure where patience and the art of improvisation were the real capital.
Cornelia Klauß

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 Shelter

Documentary Film
Switzerland
2014
101 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Fernand Melgar
Fernand Melgar
Fernand Melgar
Karine Sudan
Elise Shubs
Every winter evening tumultuous scenes take place in front of the bunker: the employees of the municipal doss house may let in precisely 50 homeless people – the number is raised only in exceptional cases. A crucial test for both sides, for those who were rejected will find hardly any spots in the spanking clean Swiss city of Lausanne where they can spend the night without trouble with the police and protected from the cold.
Fernand Melgar reports a new kind of poverty that hits not only Romanian Roma families, but also the former middle classes and African migrants from the crisis-shaken parts of Europe. And he relates how the rich part of Europe deals with it. He keeps filming the routines in the shelter and offices over the course of a season. He follows those who were rejected into the night and stays with them as they – in our midst, but practically invisible – pass their days in the streets and public institutions. He watches them keep up appearances while their lives collapse. But he also shows how social workers daily try to fight the misery and only manage to administer it, while their humanity quite often brings them into conflict with their regulations or their boss.
By highlighting all sides, Melgar delivers more than a social study. It’s the nightmarish analysis of a system that can’t be repaired by merciful donations.
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.

C(us)todians

Documentary Film
Brazil
2013
89 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Antônio Jr.
Aly Muritiba
Elisandro Dalcin
João Menna Barreto, Aly Muritiba
Aly Muritiba
Alexandre Rogoski, João Menna Barreto
Jefferson Walkiu is the new chief superintendent of the “Alpha Team” of a Brazilian prison housing more than 900 inmates. Quite a dangerous job, for criminal organisations are active outside and inside the prison walls and the guards are badly equipped. Walkiu sets out with a lot of resolutions to professionalise his department. But the prison dynamics work against him.
The fact that there is only one nurse and three working handcuffs for all prisoners is only one of many challenges. Every day Walkiu has discussions with prisoners, employees and superiors who don’t feel bound by any rules. But even his permanent crisis management cannot avoid mishaps. All the more surprising is his apparently fulfilling double life as the minister of a small community. This is where the man who strives for constant control lets off emotional steam.
Daily life in prison from the guards’ perspective and the portrait of a man who wants to do it right and comes up against walls. Director Aly Muritiba worked in the Alpha Team for a long time and visibly knows his way around the high, narrow prison corridors. The long shots and systematic changes of perspective in his film create the impression of an increasing loss of control.

Lars Meyer



Healthy Workplaces Film Award 2013

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.

Men at Work

Documentary Film
Nepal
2013
66 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Kesang Tseten
Kesang Tseten
Arjun Sen
Gairik Sarkar, Kesang Tseten
Sankha Biswajit, Kesang Tseten
Kesang Tseten
Sukanto Majumdar
Kesang Tseten, a documentary filmmaker from Nepal who had two films at DOK Leipzig before, has united several films in one this time. In four stylistically and dramatically diverse episodes, he examines everyday life and work processes. They revolve around the theme of “Men at Work” in a mixture of meditation, interview, observation, and investigation.
There’s an observation of a boy on a terrace who is dedicatedly washing laundry while he frequently casts curious glances at a few other boys who are playing football. The next location is a garage where old car bodies that have really seen better days are welded together and polished with stoic patience. Kesang Tseten takes us to a priests’ school next, to which mostly boys from poor families are sent to prepare for their lives as priests. Hard work and suppressed tears are their daily bread.
Last in this round is a look at a post-colonial relic, the Ghurkha. Many young Nepalese men still regard it as the highest honour to be recruited as a soldier of the British armed forces: not just a job, a mission.

Lina Dinkla

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.