It looks like business as usual deep in the jungle – until one night a lantern lights up and magically attracts countless insects. They fall into a strange trance; even the bat family wake up. While the adults use the bright commotion to hunt, the young bat saves a glowworm, a fly and a moth. The next night, the dangerous light returns. The small bat is determined to try to save her new friends from its spell. A small adventure about friendship and mutual help.

Lina Dinkla

Light is burning in the old Franciscan church. The guests arrive to warm up and sleep. There is soup and Berliner doughnuts. When everyone has been taken care of, the light goes out again. A voice asks the filmmakers: Do you know Cologne well? A few photographs shown in-between a lot of black screen. People, places, Ingo talks. An alternative city tour from the perspective of persons living in the streets. Interesting even when you can’t make out much – possibly even art. At the end of this documentary miniature the light goes on again. And the protagonist steps out onto the street.

Jan Künemund

Alberte and Nicole are mother and daughter, three decades apart. At 55 and 87, they still live together in a villa by Lake Geneva, having settled into a codependent dynamic: Nicole is reluctant to leave her mother, while Alberte struggles to let her go, fearing living alone. In a house filled with memorabilia, cats, and too many clocks, the familiar feels safe for the mother‑daughter duo who often doze off like synchronised swimmers. However, as time passes, the family grows concerned about Nicole’s autonomy. Nicole is considered neuroatypical, “ambivalent” regarding the perceived condition, and few facilities are equipped to provide adequate support. Nicole’s sister, Danielle, then decides to assist her in a search for a flat and a job. These scenes unfold alongside the family’s daily life and the intimate conversations in front of the camera. Nicole also embarks on a playful creative exercise with her filmmaker niece Lauren, imagining life’s many scenarios.

Sevara Pan

“Still I believe / We are created, free and equal / Now / Now / Now …” US-American singer Lena Horne interpreted the Hebrew song “Hava Nagila” with different lyrics: “Now!” (1963) became an anthem of the civil rights movement in the USA, while Santiago Álvarez’s film of the same name rose to become an agitprop classic. He edited photographs and a few short moving image sequences of racial discrimination, police violence and white terror to the rhythm of Horne’s song. The International Leipzig Documentary and Short Film Week alone screened “Now!” five times in two decades after it had won the Golden Dove in 1965. The presence of Cuban documentary film in Leipzig amounted to a long success story, not least thanks to Álvarez, its best-known exponent. In addition to screenings of his films, he served several times as a member of the International Jury. Even after the controversy surrounding his stance on the Prague Spring 1968, Álvarez continued to be a regular guest.

Florian Wüst

Marta Rodríguez and Jorge Silva made their first appearance in Leipzig in 1972, with “Planas, testimonio de un etnocidio” (1971) in the retrospective “Film in the People’s Struggle for Freedom: Latin America” as well as in the television competition and in the cinema competition with “Chircales” (1972). Both films were awarded Golden Doves, Rodríguez and Silva became instant stars of the festival. In 1975, “Campesinos” brought them back to Leipzig. This film marks the beginning of their exploration of the centuries-old oppression of indigenous communities in the Cauca region in southwestern Colombia and their equally long resistance against colonial exploitation and dispossession. Years later, the theme culminated in “Nuestra voz de tierra, memoria y futuro”, in which they used some shots from “Campesinos”. Rodríguez and Silva document the process of political organisation in the Coconuco community during the land reform movement of the 1970s, with extensive critical collaboration by their protagonists. At the same time, it was an attempt to leave the naturalism of the documentary format behind and approach the subconscious mind of the indigenous culture, “to depict its magical world in all its complexity and beauty”, as Silva put it in a conversation with Peter B. Schumann in the information leaflet of the 1982 Berlinale Forum. The film re-celebrated its world premiere in its restored digital version at the 2019 Forum.

Florian Wüst