The Europe-wide protests against Chile’s military dictatorship were expressed not only by political activism, but by a host of artistic actions. The colourful aesthetics of the Unidad Popular’s street art, popularised by the Ramona Parra Brigades, became a visual trademark. Based on this model, the Brigada Pablo Neruda, for example, whose members included well-known Chilean artists exiled in Paris like José Balmes, Gracia Barrios and Guillermo Núñez, realised a 60-metre-long mural on the fringes of documenta 6 in Kassel in 1977. Its creation was documented in Franz Lehmkuhl’s film “Chilenische Wandmalerei” (1977–80), screened in Leipzig in 1980. In his agitation film “Chile lebt”, co-produced with Michael Börner, the Chilean journalist and filmmaker Juan Forch uses pictures of the Brigada Pablo Neruda to express what keeps hope in his homeland alive: international solidarity. In 1979, Forch returned to Chile from exile in the GDR.

Florian Wüst

Romantic, mystical, folkloristic: Theodor Kittelsen's (1857–1914) oeuvre as a painter is not just dedicated to nature but also to legends and trolls – and has influenced artists to the present day. Natasha Nikitina for example, whose film takes up Kittelsen's twelve-part series of pictures "Soria Moria Palace" and his eponymous book: The young hero Askeladden sees the golden palace of Soria Moria in the distance and sets out to reach it; an allegory of the golden future that can be earned with a lot of hard work and dedication. In her film, however, Nikitina focuses more on the atmospheric element, letting a troll in a rock wake up and fall asleep again, letting geese and other birds take flight, letting fog and dusk turn into night and back into a glowing morning. A tribute to the artist, but also to the myth-enshrouded Norwegian landscape in general.

Marie Ketzscher

The Chilean folk group Illapu only really became famous under the military dictatorship. The five musicians were allowed to work, but had to “keep a low profile”. When they gradually joined the cultural resistance against the Pinochet regime, they were expelled in 1981. From their French exile, they toured Europe, including East Berlin. This is where Carlos Puccio’s film begins: The Chilean directing student observed Illapu’s rehearsals and concerts for his diploma film project at the Film and Television Academy of the GDR. They talk about their enduring bond with Chile and about what would happen if individual members of the band were given entry permits and Illapu would consequently break up. In 1986, they moved to Mexico together and returned to Chile two years later because of the changing political climate.

Florian Wüst

In the early 2000s, Maria Nikolaidou took a photo on Munich’s “Panzerwiese” (tank meadow): Her son Alexandros and another little boy playing war. A woman with angel’s wings wraps her arms protectively around the two of them. Twenty-three years later, mother and son return to the spot where the black and white photo was taken. Alexandros now uses the same camera to make a photo film about the image and also meets with his former playmate. Their voice-over memories and associations reveal different perspectives and moods. The history and stories behind a photograph are being reconstructed: What was overlooked at the time? Why were Alexandros’ grandparents not allowed to give him a gun? Who is the person on the hill in the background? In the end, a new image emerges.

Anke Leweke

A Slavic legend whose essence can also be found in Tibetan records inspired the two Soviet scientists Mikhail Vasin and Alexander Shcherbakov to formulate their “Hollow Moon” hypothesis in 1970. In this hypnotic film, the Hungarian director, autodidact and graphic designer Sándor Reisenbüchler probes the theory in a highly poetical manner, sending us across the centuries from an imagined past to a distant future. His unmistakeable collages, which he brought to life with meticulous precision working alone at the animation table, combined with experimental moving image material, recall memories of analogue projections and the liquid light shows of the 1960s. Organic shapes and colourful patterns generate a fascinating pull which carries us through a magical portal into a hypothetical space ship inside the moon.

Franka Sachse

The brothers Matheus and José live in Brazil by the rivers of the Kalunga Quilombo, a community of descendants of escaped slaves. The springs and rivers are an important part of their life and they both know how precious and worth protecting these waters are. They love to collect stones there which they use for their artworks. The film follows the brothers on their forays along the water for a bit and tells of their special connection to this place.

Lina Dinkla

During the Unidad Popular election campaign in 1970, the Ramona Parra Brigades mobilised young activists across the country. They painted political messages on facades and walls using brushes and buckets of paint. In “Brigada Ramona Parra” (1970), Álvaro Ramírez – who continued to work as a filmmaker in exile in the GDR – documents the sometimes daring work of one of these groups. Leonardo Céspedes’ “Pintando con el pueblo” in turn shows the new direction of Chilean cultural politics under Salvador Allende. Artists and art students create a huge mural in front of the presidential palace, La Moneda, in Santiago, under the eyes of passers-by. The site becomes a stage for a rally organized by the Unidad Popular.The film ends with a speech by Allende about art as “an art for all the people”. The 16mm distribution print held by the Arsenal archive is probably the only surviving copy of “Pintando con el pueblo”. It was digitised for this retrospective.

Florian Wüst

Paul’s sister is sad: Ever since his little dog passed, her big brother has stopped drawing the fantastic comic adventures in which he and his dog were the heroes. His little sister doggedly insists that he finally complete that one unfinished drawing. And lo and behold, his beloved dog comes back to life in the pictures. Together, the two set out on a last, eventful journey. Maybe this makes it easier for Paul to say farewell. Beautifully drawn in blue and white, the film itself is designed like a comic.

Lina Dinkla