Through numerous video essays in film and media theory, Kevin B. Lee has played a key role in developing the form of the so-called desktop film. The elegant meta-staging reflects the fact that his digital desktop is research tool, media archive and distribution channel at the same time. Lee’s first feature-length film in this style dissects a historical work of propaganda: In 2014, the “Islamic State” terror militia, then at the height of its territorial power, published an elaborately produced film entitled “Flames of War”, which many media outlets compared to the aesthetics of Hollywood blockbusters. Lee manages to abstract and defamiliarize the extreme violence of those images, but comes to the realisation that their ideological power cannot be decoded by the tools of film analysis alone. “Afterlives” broadens the perspective and looks for alternative models in dialogue with experts from the arts, political education and terrorism studies: They reconstruct destroyed cultural assets, develop strategies against extremist radicalisation and study what motivates people to leave terrorist groups. In all this, Lee’s intelligent essay never loses sight of the colonialist western image of the Middle East.

Jan-Philipp Kohlmann

What is left when everything fades away? An old photographer tries to reconstruct people and events by means of old photographs, but they keep slipping away from him, vanishing in the dark, washed away by the waves. In his 2D animated film, rendered in black and white, Anton Dyakov not only shows how memories are lost, but also how they sometimes haunt and overwhelm us – for example in the shape of a disturbing archive fragment of blurred war photos. “Black Box” deals with loss and grief from a personal, yet universal perspective, while referencing the culture of remembrance in the digital age which is increasingly managing – or seeking to manage – without the haptic assurance of a printed photo.

Marie Ketzscher

1995. It is the sixth summer since the fall of the Berlin Wall. Artists live, love and work on a farm in East Germany. They film each other with a video camera. They have seen the world, have wondered and learned, became homesick and returned. To where there was space. Fruit hangs from the trees, sparrows chirp, sculptures in the garden. Time and again the camera captures a young woman, her open gaze, her focus. The material which has become fragile today vibrates, gets stuck, freezes. Unperturbed, the narrative evokes the paean of summer, which will not be followed by a seventh for one of them. A white light shines into the present.

Jan Künemund