DOK LEIPZIG 28. OKTOBER – 3. NOVEMBER 2019
62. Internationales Leipziger Festival für Dokumentar- und Animationsfilm
DOK Leipzig 28 October – 3 November 2019
62nd International Leipzig Festival for Documentary and Animated Film
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Meet the Filmmakers

Meet the Filmmakers

Sometimes post-screening Q&As aren’t long enough to cover all the thought-provoking themes that the films from our Official Selection might bring up. Discover more about the works and get the chance to discuss them with the artists behind our festival films.

 

Language

English

 

Access

Everybody welcome 


   

WHICH PASSPORT FOR A FILM?

 

From an economic perspective, that is, thinking in terms of ownership and rights, this may be a simple question, and indeed it doesn’t require a complex answer: Whoever has the money calls the shots and determines the nationality. A certificate of origin is what this is called! And even in situations involving multiple citizenship, definite answers can be given in this area. A film is to a major extent a production from country X because lots of money comes from there, and it’s to a minor extent a production from country Y because less money comes from there, et cetera, et cetera — just follow the money, stupid!

 

However, just one step away from this flow of money, the reality appears — thank God — to be more varied. Beneath, beside or beyond the economic and legal coordinates, there are in fact realities that determine the nature and guise of a documentary film.

 

Which country, for example, should designate a Luxembourgian production developed by an Egyptian filmmaker which is to be shot in Taiwan? This idea can be illustrated using lots of further examples, and the problem soon becomes clear: Which passport does a film receive, and on what basis? A discussion with filmmakers who are forced to deal with this question.

 

When

Wed 30 Oct

11:30–13:00

 

Where

MdbK, Festival Centre, Basement Floor

 

Language

English

 

Access

Everybody welcome

 

Moderator

Djamila Grandits, Curator, Wien

 

panelists

TBA

 

 

Contact


DOK Industry

Brigid O´Shea

oshea [at] dok-leipzig.de

+49 (0) 341 30864-1082



  

AESTHETIC INTERVENTIONS - DOCUMENTARY PRACTICES IN CONTEMPORARY CROATIAN CINEMA

 

The current documentary film scene in Croatia is notable for its diverse aesthetic approaches, ranges of topics, and independent as well as large-scale productions. Since the 1990s, this small country has seen the development of large-scale and internationally significant documentary film initiatives, festivals and productions that, while keeping pace with the times, have taken a strong position in negotiating societal realities.

But how does the search for truth in documentary films evolve? How does cinematic reality negotiate the world around us, and how can documentary cinematography actively engage with societal circumstances? We discuss these and other topics with prominent representatives of the Croatian documentary film scene — from the university to directors, producers, documentary film festivals and film associations — and get a glimpse that will expand the programme of films in our Country Focus: a glimpse of the flourishing documentary film scene in the latest country to join the EU.

 

When

Wed 30 Oct

16:00–17:30

 

Where

MdbK, Festival Centre, Basement Floor

 

Language

English

 

Access

Everybody welcome

 

Moderator

Borjana Gaković, Curator Country Focus DOK Leipzig 2019

 

panelists

 

Goran Dević, Filmmaker, Zagreb

Katarina Zrinka Matijević, Filmmaker, Zagreb

Lidija Špegar, Filmmaker, Zagreb

Nenad Puhovski, Filmmaker, Producer and Festival Director, FACTUM, Zagreb DOX, Zagreb

Oliver Sertić, Producer, Restart, Zagreb

 


 

 

In cooperation with the Croatian Audiovisual Centre

 


   

SLOW CINEMA IN IRANIAN FILM

 

An astonishing discovery made during this year’s encounter with Iranian documentary films: to someone with a European upbringing, they often seem longer than they are. Again and again they put one’s impatience to the test. The strange thing is that for the most part they don’t explicitly aim to be sluggish or to slow down time. Still, the seconds and minutes flow differently. For the viewer, time does not proceed uniformly, linearly and unambiguously; instead, it is filled in qualitatively varied ways — sometimes densely, sometimes loosely, sometimes piecemeal, sometimes in big chunks. And when it’s all over, you look at the clock in disbelief: oh, that was only 90 minutes! And rarely is disappointment heard, because the time spent can, in effect, always be considered a productive endeavour.

 

Are we dealing with a particular idiom in current Iranian documentary film? Or a secret? Or quite simply with dramaturgy and technique?

 

When

Thu 31 Oct

11:30–13:00

 

Where

MdbK, Festival Centre, Basement Floor

 

Language

English

 

Access

Everybody welcome

 

Moderator

Niloufar Taghizadeh, Windcatcher Films, Scriptwriter and Director, Heidelberg

  

panelists

TBA

Iranian Filmmakers

 


 

DEFINITELY HYBRID? Hybrid forms and their narrative strategies

 

Authentic but staged nonetheless? Time and again, hybrid films in documentary cinematography raise controversy among audiences as well as among funding and selection committees. What constitutes a hybrid form? On the basis of the invited films, a discussion will be held with filmmakers about narrative strategies and challenges along the boundary between documentary and fiction.

 

When

Sat 2 Nov

11:00–12:30

 

Where

MdbK, Festival Centre, Basement Floor

 

Language

English

 

Access

Everybody welcome

 

MODERATORS

Annina Wettstein, Selection Committee DOK Leipzig

André Eckardt, Selection Committee DOK Leipzig

 

FILMMAKERS

TBA 

Filmmakers working with hybrid forms