Film material from the colonial era in Togo is screened in public at the locations where it was shot. What does it tell, what does it conceal? A painful confrontation with German history.
Following in the footsteps of the Hamburg film director Hans Schomburgk who travelled through the German colony of Togo from Lomé to the north with his companion and actress Meg Gehrts in 1913, Jürgen Ellinghaus screens the footage shot then at its locations in modern-day Togo. Schomburgk’s affirmative images show slave labour, humiliation and the arrogance of the colonial power. The material is contrasted by Gehrts’ romanticising diary entries and other colonial reports which often testify to a horrifying coldness.
The screenings of this material, which has never been shown in Togo before, prompt the audiences to reflect on tradition, stereotypes, the “white gaze.” In the villages, the colonial images conjure up memories of handed down stories. In the metropolis of Lomé, young film enthusiasts deplore that these images were kept from them until today and discuss in which contexts they should be screened. But “Togoland Projections” not only shows how much these painful documents and texts are needed in contemporary Togo, because they are part of the country’s history. The film also demonstrates that they are needed in Germany so we can take responsibility for our suppressed history and face our own racism – past and present.
Christoph Terhechte
Credits
Director
Jürgen Ellinghaus
Script
Jürgen Ellinghaus
Cinematographer
Rémi Jennequin
Editor
Nina Khada
Producer
Frédéric Féraud
Co-Producer
Peter Roloff, Madjé Ayité
Sound
Caled Boukari
Sound Design
Anders Wasserfall
World Sales
Stephan Riguet
Commissioning Editor
Rolf Bergmann
Funder
nordmedia Film- und Mediengesellschaft mbH Niedersachsen/Bremen, Centre national du cinéma et de l'image animée
Narrator
Jürgen Ellinghaus
Nominated for:
Goethe-Institut Documentary Film Prize,
Leipziger Ring,
VER.DI Prize for Solidarity, Humanity and Fairness
A radically personal video diary that deals with Cabrera’s fears and joys but always remains universally valid: autobiography, not self-centred but society-centred.
The 1990s were the heyday of the lightweight and affordable Hi8 cameras, a time that brought forth many first-person documentaries. Unlike most of these films, Cabrera’s diary, shot in 1995, is not a purely introspective work. She focuses primarily on the others: her adolescent son, her ex-husband and her new love, her mother and the strangers on the train and in the streets. Her form of autobiography is always collective, social, polyphonic. It is only the other’s gaze, the returned gaze, that makes understanding and insight possible. The camera serves as a catalyst of communication, creating trust and distance at the same time, opening eyes and ears.
Patterns, profiles, letters – the photocell of the film projector translates Moholy-Nagy’s “handwriting in sound” on the optical soundtrack of the film into electronic sounds.
No sooner had optical sound been invented than it was used in other than the intended way. Geometric patterns, intertwined lines, facial profiles and letters instead of voice recordings and music – Moholy-Nagy imaginatively designs the optical soundtrack of the film. The photocell of the film projector then translates his “handwriting in sound” into electronic buzzes and beeps, along and beside the musical scale.
Two friendly cells explore the organism they live in. They grow up together, meet other creatures, until they are separated by an accident. From now on, they will each go their own way.
Two cells observed under the microscope. They grow up together and meet many different creatures on their outings. One day they are separated by an accident and it takes a long time before they find each other again. After the first outburst of joy, they realise that they have changed and no longer fit together. A colourful and profound animation.
Rwanda, 30 years after the genocide. Using an app, viewers vote what happens next, democratically electing the following scene. Every voice matters, both in the cinema and on the screen.
Peeling away layers of pain, layers of perspectives, passing by both trauma and hope, this film dives into Rwanda thirty years after the genocide. Covering such a topic has always presented itself as a challenge to documentarians. While Claude Lanzmann’s “Shoa” (1985) is over nine hours long, “Traces of Responsibility” unfolds its eight potential hours as innumerable 85 to 110-minute screenings. In allowing different viewing experiences, this film does not commit to a single version of Rwanda, but rather accentuates its multifaceted, and, yes, complex history. The audience may vote to visit genocide memorials and hear survivor testimonies or to follow a theatre troupe educating children about tolerance. They might choose to visit a market or an art museum, to go to a karaoke bar or to just go home. “You could a write a 1,000-page book just from our [two] stories,” says Semana Jumapili, a survivor we might encounter. When one considers this, even this film of many paths seems limited. There are countless stories to be told. The genocide in Rwanda was horrifying, and yet there is so much solace in the people we encounter throughout the film. They inspire us to fight injustice and heal wounds which seem too big to overcome.
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Without light, there would be no cinema – and no life. Searching for the origin of images, this film delves into two worlds that explore the magic of light: physics and art.
Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art. An intellectual and poetic ping pong game evolves between researchers from the Max Planck Institute in Erlangen and the “Extreme Light Group” of the University of Glasgow as well as internationally renowned artists such as Ruth Jarman, Joe Gerhardt, Julie Brook, Johannes Brunner and Raimund Ritz. In its course, the various perspectives on light lead to new insights on all sides that would hardly have been achieved without this methodical cross-over: about laser power and colour pigments, about black holes and floating sculptures. In brief moments, the uninitiated may even get some idea of the laws of quantum physics, generally considered impossible to visualise.
Luc-Carolin Ziemann
Credits
Director
Thomas Riedelsheimer
Cinematographer
Thomas Riedelsheimer
Editor
Thomas Riedelsheimer
Producer
Sonja Henrici, Stefan Tolz, Leslie Hills
Sound
Hubertus Rath
Sound Design
Christoph von Schönburg
Score
Fred Frith, gabby fluke-mogul
World Sales
Elina Kewitz
German Distributor
Piffl Medien GmbH
Broadcaster
3sat
Nominated for:
VER.DI Prize for Solidarity, Humanity and Fairness
An essay, a haunting, a cinematic reflection on Europe. The time: now. The places: impossible to localize precisely. Offscreen voices accompany Leroy’s sensory journey.
An added title like a lead weight. Four words from Ingeborg Bachmann’s novel “Malina” set the tone: “There is always war.” Who could ever accept this?! And who hasn’t long since come to terms with it?! “Tremor” is a harsh film in vibrating black-and-white images and a choir of voices from offscreen, as compelling as it is implacable. This continuing meditation on great brutalities, small impositions and omnipresent conflicts takes us to task. But it releases us not into short-lived outrage but into lasting rage. At the end an Afropop song by Jupiter & Okwess International: a song about crying and suffering – and fighting.
A film projection shows a woman sitting by the water. In “her back” is the shadow of a female figure who conjures radiant golden clouds of dots and balls of lines into the frame with her hands.
A film projection shows a woman sitting by the water. In “her back” is the shadow of a female figure who conjures radiant golden clouds of dots and balls of lines into the frame with her hands and is even able to blot it out. The magical trailer for the “Tricky Women” festival was made by manually editing the image and sound sequences recorded by Moïa Jobin-Paré when she was artist-in-residence in Vienna.
Mahardika Yudha, Robin Hartanto Honggare, Perdana Roswaldy
This comprehensive essay, impressively edited from images of the former Dutch colonial power in Indonesia, investigates the plantation as the foundation of colonialism.
Mahardika Yudha, Robin Hartanto Honggare, Perdana Roswaldy
International Competition 2022
Documentary Film
Indonesia,
Netherlands
2022
59 minutes
English
Subtitles: 
English
The semi-autobiographical account of a European plantation manager on Sumatra during Dutch colonial rule becomes a starting point for reflections on the structure of the plantation itself. An essay about local tobacco and rubber cultivation, the construction of skin colour as a social category and the "tropic fever” which rises slowly but inexorably, edited from archive material dating from 1890 to 1930.
Very few films have made use of the extensive material shot by the colonists in the Dutch East Indies, now Indonesia. Those who took up the task, like “Mother Dao” or recently “They Call Me Babu”, did so from a Dutch perspective. “Tropic Fever” is the first feature-length film from Indonesia that appropriates that stock, using photos, documentary silent film footage, home movies and feature films as well as development plans from the archives of the former colonial power, along with the report of a Hungarian who managed a plantation on Sumatra in the 1920s. Mahardika Yudha, Robin Hartanto Honggare and Perdana Roswaldy impressively demonstrate how forests and swamps turned into rigidly organised agricultural areas and how the plantation and its structure became the foundation of the colonial project as such. Suddenly the assumption that “tropic fever” arises from the heat seems doubtful.
Marie Kloos
Credits
Director
Mahardika Yudha, Robin Hartanto Honggare, Perdana Roswaldy
Script
Perdana Roswaldy, Robin Hartanto Honggare
Cinematographer
Mahardika Yudha, Syaiful Anwar
Editor
Mahardika Yudha
Producer
Robin Hartanto Honggare
Sound
Mahardika Yudha
Score
Mahardika Yudha
Key Collaborator
Het Nieuwe Instituut, EYE Filmmuseum, Marinus Plantema Foundation
Nominated for:
Prize of the Interreligious Jury,
FIPRESCI Prize
A dynamic portrait of everyday life in Ibadan: In the hustle and bustle of the Nigerian metropolis, film author Alain Kassanda uses every tool of the cinematic art to take the pulse of this megacity.
While the transaction tax collectors seem to be dancing to jazz music, a pointedly staged text passage by Patrick Chamoiseau lets not only our visual and auditory but also our olfactory senses unfold: The third-largest Nigerian city can be experienced by smell. In this rhythmic portrait of life in Ibadan the urban cinematic poetry is by no means at odds with the profundity with which it captures themes like lack of perspective, globalisation and corruption.
Borjana Gaković
Credits
Director
Alain Kassanda
Script
Alain Kassanda
Cinematographer
Alain Kassanda
Editor
Alain Kassanda
Producer
Alain Kassanda
Sound
Alain Kassanda
Score
Florent Dupuit, Jr EakEe
Winner of:
Golden Dove Short Documentary (International Competition Short Film)
A privately operated spaceport in the desert of New Mexico inspires dreams of tourism to new worlds. In the nearby small town, life plans are more modest.
Forty kilometres outside the small town of Truth or Consequences in New Mexico, in the middle of the desert, lies “Spaceport America”, the first private space mission launch centre. People there have been dreaming of tourism in space for the past decade. Hannah Jayanti observes the people of the town who live in the shadow of such great ideas. She tells of tiger bites and scrap collectors, of sparkling stones, of trailer life and how painfully the past still affects the present.
What starts out as a tale about humanity’s great plans gradually turns into one of the dreams and stumbling blocks of human beings. Step by step, the film approaches its characters and unfurls into a reflection of what remains of a life. In addition to documentary and historical footage, the director also uses virtual reality techniques. When the camera travels through 3D simulations of empty streets and houses you feel that something long gone is made tangible again – like an expedition to a ghost town, at a time when the population will have long since left the planet in spaceships. But the created images remain patchy, the objects are captured only in spots, almost as if this was a map of the stars.
Marie Kloos
Credits
Director
Hannah Jayanti
Cinematographer
Hannah Jayanti
Editor
Hannah Jayanti
Producer
Sara Archambault
Sound
Hannah Jayanti, Scott Hirsch
Score
Bill Frisell
Animation
Alexander Porter, Alexander Porter
Nominated for:
Prize of the Interreligious Jury,
FIPRESCI Prize
Sex-positive encounters, post-lockdown. A group of people explore their non-binary lust, find out where their boundaries are, with no erotic zone taken for granted. Care & curiosity, right now.
The camera glides through a nocturnal, inanimate Berlin, documenting disembodied dance floors where the spotlights illuminate emptiness. Tales of longing and desire on the soundtrack. A brief visual reminiscence of lockdowns and retreats into bourgeois privacy, threatening a sex-positive culture that demands the consensual, open encounter of bodies. But people, curiosity and lust reconquer cinema. Exploring softness together, finding out where the bodies lead, allowing skin cells and nerve endings to get to know each other – and asking at every step where the boundaries are. This is the agenda of three couples and a group of sex-positive persons who meet here. “Truth or dare” is played, an age-old excuse to override taboos. What Maja Classen explores with them, without trying to pin it down, is the question of how consensus makes a new sexuality possible. Even the protection from sexually transmitted diseases is part of the game, personal responsibility in the darkrooms, the images of femininity, masculinity and love dragged in from one’s socialisation that need to be defamiliarised again. Nothing we see transgresses boundaries. Nothing that happens happens without consensus. And yet none of it is taken for granted. “The joy of being there – and exactly there.”
A small herring finds himself in a tidal pool and encounters many other, sometimes strange marine creatures. Only by joining forces can they defend themselves against the hungry seagulls.
A shimmering shoal of herrings are swimming through the wide ocean when they are suddenly broken up by seagulls. Separated from the shoal, a small herring ends up all alone in a tidal pool. Looking for a way out, he encounters many other marine creatures. Some scare him. But there’s no time for this now: Only by joining forces can they defend themselves against the hungry seagulls.
The 1937 “Parsley Massacre” in the border region between Haiti and the Dominican Republic has traumatised the islanders. An attempt to come to terms with it by artistic means.
In 1937, Dominican dictator Rafael Leónidas Trujillo ordered the murder of the Haitian population of the Dominican Republic. Tens of thousands were brutally killed. A language test made the difference between life and death: The Creole-speaking Haitians who could not pronounce the Spanish word “perejil” had to die, which is why this genocide went down in history under the innocuous name of “Parsley Massacre.” Until today, the region is marked by deep traumatisation, racism and classism, which are linked to the colonialist past of this two-state island. Haitian filmmaker Pierre Michel Jean approaches this rarely examined subject with great delicacy and succeeds in creating a history lesson that combines different historiographies – from factual research to problematic narrative constructions through to the haunting testimonies of the last survivors – in a kind of montage of knowledge. At the same time, his documentary addresses the complexity of collective guilt and the important question of who can and should say “mea culpa” today, more than eighty years later. A performance workshop organised by theatre director Daphné Ménard, which brings together artists from both states, and the memories of the elderly Henry Noncent form the heart of this filmic monument whose empathy makes it compelling.
Borjana Gaković
Credits
Director
Pierre Michel Jean
Cinematographer
Pierre Michel Jean, Louvenson Saint Just, Réginald Louissaint Jr
Editor
Marie Bottois
Producer
Maud Martin, Lysa Heurtier Manzanares
Sound
Jeannis Bazelais, Macaisse Bellegarde
Sound Design
Brice Kartmann, Marie Moulin
Nominated for:
Prize of the Interreligious Jury,
FIPRESCI Prize,
Leipziger Ring,
Silver Dove
Winner of:
Prize of the Interreligious Jury,
Silver Dove Feature-Length Film (International Competition Documentary Film)