AN INTERVIEW WITH LUCA TÓTH ABOUT ‚LIDÉRC ÚR‘

Let us introduce you to the Hungarian director Luca Tóth, who is participating in this year’s Berlinale Shorts competition.

Born in Hungary in 1989, she studied animation at the Moholy-Nagy University of Art and Design (MOME) in Budapest. Her graduation film, A kíváncsiság kora (The Age of Curious), won an award at Annecy in 2013; her first self-produced film, the Hungarian, Czech and Slovakian co-production Superbia, premiered in the Semaine de la Critique at Cannes where it was the sole animated film in the competition.

LucaTóth1_photo-by-Éva-Szombat
© Éva-Szombat

The nipple is the power button that gets the ‘cinema of the mind’ rolling – or is it in fact a reality? An X-ray reveals it quite clearly: a little man nestled between the rib bones. There he lies and sleeps. The male’s host goes crazy, but it doesn’t help, he falls asleep exhausted. When he wakes up the next morning, he finds a wound where his nipple used to be, and footprints on the floor. The search begins. But the little man refuses to be intimidated or annoyed or fooled. He confidently sets off to find his place in this gay universe. Who actually loves whom here? Surrealistic and absurd settings come up against a real, everyday world. Unfathomable, inexplicable, sensual, feisty, peculiar.

What is your ambition in the film

In this particular film I wanted to show a character that only knows how to love somebody but doesn’t have the tools to understand how he should be loved.

 What do you like about the short form?

I always find it degrading when people only look at the short format as a stepping stone to feature length films. A short film can fill you with questions in a matter of minutes – that would be a challange to answer for days afterwards.

What are your future plans?

After making a film I find it hard to start with a new one for a very long time. That‘ s why I’m so excited to start teaching at university for the first time soon.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

AN INTERVIEW WITH VARUN SASINDRAN ABOUT ‚OMARSKA‘

Let us introduce you to the Indian director Varun Sasindran, who is participating in this year’s Berlinale Shorts competition.

Born in Kerala, India in 1987, he studied electronics and communication engineering and worked as a software engineer for four years. In 2012, inspired by his visits to international film festivals, he quit his job and turned his attentions to film. He studied visual media at the University of Calicut in Kerala and took a master’s degree at the Sarajevo Film Academy where, thanks to a workshop led by director Alain Fleischer, he became aware of Le Fresnoy – Studio National des Arts Contemporains in France and went on to study there.

Portrait_2
© Varun Sasindran

Bosnian War 1992. In the north of Bosnia and Herzegovina lies the concentration camp Omarska, which according to Serbian reports was an assembly point and investigation centre. Between May and August 1992, thousands of people were interned, tortured, raped and murdered there. Now it is a factory site of the Arcelor Mittal Company. So far, those murdered there have yet to be commemorated. The film is based on the agonizing memories of Nusreta Sivac, who served as a judge until the outbreak of the war. She was sent to the Omarska concentration camp and had to work in the kitchen. From there she could observe the atrocities and became a victim of the violence herself. Omarska tries to construct a virtual memorial using archive material, videos and statements by survivors in a 3D animation. As soon as the last witnesses have died, text and image documents will play a central role in the historical reappraisal of the events. Scientists, artists, filmmakers and writers will become interpreters of the past and will have to replace the survivors who were the historians of their own experience.

Still 3 Omarska © Varun Sasindran
© Omarska by Varun Sasindran

What is your ambition in the film?

I hope the voices from Prijedor will be heard more louder especially in those places, where subject matter is not well known. Through this film, my attempt was to construct a memorial (in 3D animation) mainly guided by the memories of the survivors with the help of archive images. I believe this film will open a dialogue on how reckoning the history could play an important role in reconciliation. And I feel Berlinale will play a vital role in reinforcing this aspect.

What do you like about the short form?

I always liked the films that takes their own time to find their rhythm, and this aspect in short form is quite challenging – to get it right could be a nerve racking  experience. For me, I could never predict what would be the end result. Especially with my latest film Omarska, we decided to reject the existing structure and  narration, just two days before we had to finish our edit . With the short format, it could be just a matter of making one bad decision. And we never really know if it is really a bad decision or not. I enjoy this restless situation, which forces you in the end, to purely go with your intuition.

What are your future plans?

While realizing Omarska, I got to know about Hajra who was detained at Omarska. My urge is to know more about Hajra especially during her end times and I feel an urge to make a film on her. Also, a film about my hometown -Kannur, where political murders have been witnessed from past many years.

Also more importantly, to help the young filmmakers  and artists from my state, in realizing their dreams in whichever way I can, especially who has no academic backgrounds in arts from any privileged institutions. As I feel public funds in India, more opportunities are concentrated on those, who are qualified from elite academies. I strongly feel this eligibility criteria needs to be relooked.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

AN INTERVIEW WITH IRENE MORAY ABOUT ‚SUC DE SÍNDRIA‘

Let us introduce you to the Spanish director Irene Moray, who is participating in this year’s Berlinale Shorts competition.

Born in Barcelona, Spain in 1992, she is a photographer and filmmaker. Moving to Berlin in 2012, she spent three years collaborating with the performance collective the–family, performing across Europe at venues including the Astrup Fearnley Museum in Oslo and the Chisenhale Gallery in London. While in Berlin, she also made her first short film, Bad Lesbian. After four years in Germany, she returned to her hometown and made Suc de síndria (Watermelon Juice). She also works as a photographer for various agencies, producers and publications including i-D, Dream Magazine, Garage Films, Distinto Films and Erika Lust.

2. Photograph of the director - Irene Moray
© Irene Moray

On holiday in Catalonia, Pol and Bàrbara share a house with friends. The pair does what pairs do amidst the heat of summer and alongside the body of another. But something is wrong, and is instantly noticeable. She tries to regain her ability to orgasm, and he helps her. How naturally, effortlessly and adroitly the filmmaker directs this love and this work. It only takes a moment for rape to interfere with an entire lifetime. How much time, effort and dedication does it take to find your way back to your own sexuality? Pol and Bàrbara succeed because haste is suspended and the Suc de síndria, the juice of the watermelon, entices pleasure.

What is your ambition in the film?

My aim with this film is to present an alternative narrative of a woman who overcomes an experience of sexual abuse. When people talk about this reality the focus is always on the trauma instead of in the chance of healing, and I wanted to bring a new perspective on the topic, with more light and hope. Also I wanted to show a healthy relationship between the two protagonists, based on respect, compassion and trust.

What do you like about the short form?

I think it’s really difficult to make a good short film, because you have less time to make the audience engage and empathize with your story and characters. To create that connection in such a short time is pretty challenging. I guess I’m attracted to that and the creative freedom you can have in all the creative process.

What are your future plans?

I’m currently working on a feature film script. I think it’s going to take some time, because so far it has been a really intuitive and delicate process. My perfect plan would be to shoot the movie once the script is finished.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

AN INTERVIEW WITH YEN-CHAO LIN ABOUT ‚THE SPIRIT KEEPERS OF MAKUTA’AY‘

Let us introduce you to the Canadian director Yen-Chao Lin, who is participating in this year’s Berlinale Shorts competition.

Born in Taiwan in 1983, she lives and works in Montreal, Canada. Through intuitive play and experimentation, her visual artworks and films often explore different forms of divination arts and traditional tales, particularly via the angle of folk religion and oral history.

Portrait
© Yen-Chao Lin

Yen-Chao Lin travelled along the east coast of Taiwan – an area characterized by its wild nature, colonization and population exodus. The Amis is the largest of many ethnic minorities in Taiwan officially recognised as indigenous peoples. In search of different spiritual practices belonging to the indigenous people of Makuta’ay, Yen-Chao Lin places the memories of the old Amis spirit keepers on an equal footing with the practices of Daoist rituals and Presbyterian burials, allowing personal prayers to resound and collective resistance to emerge. The Spirit Keepers of Makuta’ay was shot on Super 8 film and developed by the director by hand. The effects created during the development process add an additional layer of spiritual interpretation. A miniature, an essay, an impressionistic painting.

The Spirit Keepers of Makuta'ay_©Yen-Chao Lin_Still5
© The Spirit Keepers of Makuta’ay by Yen-Chao Lin

What is your ambition in the film?

I hope to bring more awareness to Indigenous issues and the consequences of colonization in Taiwan and elsewhere. Here in Canada, The Truth and Reconciliation Commission has triggered a lot of decolonizing movements in the arts and in the broader society. I hope people in a privileged position can use their privilege to enact change because every little thing one does contributes to the collective change.​

What do you like about the short form?

I come from a DIY background and I’m a perfectionist. I like to be able to do things myself, or to work very closely with my collaborators.

What are your future plans?

As a Canadian artist, I live in the art eco system: production – dissemination – seek funding for new projects.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

Still wanna know more? There’s a Q&A with Yen-Chao Lin on The New Current, too.

AN INTERVIEW WITH TAN WEI KEONG ABOUT ‚KINGDOM‘

Let us introduce you to the Singaporean director Tan Wei Keong, who is participating in this year’s Berlinale Shorts competition.

Born in Singapore in 1984, he studied animation at the island city-state’s Nanyang Technological University. In his films he animates fantasy worlds in which he explores his gay identity through personal storytelling. He also works as a media artist and was artist-in-residence at the Djerassi Resident Artists Program and co-artist at the Headlands Center for the Arts, both in California, USA.

Wei_Keong_TAN_1
©Tan Wei Keong

A forest, a man, a suitcase. To walk, to hatch, to transform oneself. A discovery, discovering oneself? By combining various cinematic techniques, animation artist Tan Wei Keong creates a universe with a minimum of gestures in order to describe the complexity of a search. The repetition of gestures holds a magic of its own, and the exploration of space and ego is surprisingly reflected in the sound track and in the nakedness of the man. Freedom lies in the gaze itself.

kingdom_still_2
©Kingdom by Tan Wei Keong

What is your ambition in the film?

To match the equal amounts of hope and despair.  The search for the idea of home and belonging is a cyclical struggle, and I want to tell this story that weaves in between fiction and personal history, and form a conversation with which people could empathise.

What do you like about the short form?

That there are no checklist that must be fulfilled – it is free-form and can give sound to a voice that might otherwise be inaudible.

What are your future plans?

I am researching for an early draft of a story that has been swimming in my mind for the longest time. In addition to films, I am continuing to develop and expand an ongoing new media art project called Foundin, a public art installation relying on human interactions.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

Still wanna know more? There’s a Q&A with Tan Wei Keong on The New Current, too.

AN INTERVIEW WITH VICTORIA GIESEN CARVAJAL ABOUT ‚HÉCTOR‘

Let us introduce you to the Chilean director Victoria Giesen Carvajal, who is participating in this year’s Berlinale Shorts competition.

Born in Santiago de Chile in 1987, she pursued dance, drawing and music from an early age. She has a degree in image and sound design from the University of Buenos Aires in Argentina.

VictoriaGiesen2
© Victoria Giesen Carvajal

A fishing cove on an island fallen out of time and space, almost like the rocky island in Michelangelo Antonionis L’Avventura (1960). Nature is not merely decoration, but an active force of events. Ships appear in the distance, but do not dock. Here is where Gabriel works with a small group of young men. They amuse themselves in an age-appropriate way, but also talk frequently of the devil and are magically drawn to a cave. Out of nowhere, an androgynous creature appears called Héctor. Gabriel instantly falls in love. The birth of a love that Gabriel tries to decipher. But the enigmatic girl disappears. The other men burn her tent and clothes at night. A visually bewitching and disturbing film poem, which remains reserved and vague, constituting its fascination and magic.

What is your ambition in the film?

This is the first short film that I premiered in my life, it is the first time that I share something of mine that has a life of its own! It will be beautiful if its images and sounds cause some new idea or feeling in others and that these readings will be also new to me. Honestly, I do not expect a specific type of discussion, I just hope there can be one.

What do you like about the short form?

It’s not something I’ve really thought about. I think that the short length has the advantage of a more easily dispensing with a strong „hook“. Maybe that’s why it’s a good space for narrative exploration.

What are your future plans?

I want to do many things. I want to do classes, I want to migrate again, I want to work with children, to participate in an artistic residence. In creative terms, I have a couple of long-term projects that I want to develop during this year, one is a documentary in the south of Chile and the other is a project that in the first instance will be an audiovisual blog and then see what springs from there.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

Still wanna know more? There’s a Q&A with Victoria Giesen Carvajal on The New Current, too.

 

AN INTERVIEW WITH SAMIR KARAHODA ABOUT ‚NË MES‘

Let us introduce you to director Samir Karahoda from Kosovo, who is participating in this year’s Berlinale Shorts competition — with the first Kosovar film at Berlinale Shorts ever!

Born in Prizren, Kosovo in 1977, he began to working as a photographer in 1992. In 2003 he completed a photography degree at the Mimar Sinan Fine Arts University in Istanbul, where he is currently a postgraduate student. Alongside his work as a photographer, he is also a cinematographer and lecturer and curates the short film programme at the DokuFest International Documentary Film Festival in Prizren. Në Mes (In Between) is his directorial debut.

SKarahoda
© Samir Karahoda

In the age of globalisation, digitalisation and over 68 million refugees worldwide, questions arise. What, where and when is homeland? What is ‘Leitkultur’ (‘defining culture’)? A leading German politician even advocated the establishment of a ‘Heimat’ (‘homeland’) ministry. Në Mes examines traditional family and patriarchal values and ideas. In rural Kosovo, fathers build identical houses for their sons. These sons live all over the place, anywhere except Kosovo. The houses embody the love, longing and hope of those who stayed at home for those who went to work abroad that they will one day return and settle here again. In practise however, they only ever come back for family celebrations and funerals. Although they feel connected to the homeland and culture of their childhood and youth, they also feel alienated. Do they even want to return? So while the houses are symbols of family equality and unity, they are also castles in the air.

Still3
© Samir Karahoda

What is your ambition in the film?

The filmmaking style reflects my process of understanding this phenomena allowing me to try and reflect this to others through careful observational portraiture of the families as well as my inner reflections of the vision I’d been seeing for a long time — houses all in a row, all of them exactly the same, all of them sitting empty. Other topics began to emerge that further explained this curious occurrence. Film is strongly concentrated on the visual image, mainly through static images of the houses, details of construction, portraits of fathers and brothers and the geographical position of the whereabouts of houses.

What do you like about the short form?

It’s a nice step to test personal creative boundaries and in the other side it’s a form that gives the filmmaker a chance to share its story faster and cheaper to the audience!

 What are your future plans?

I’m „In between“ so still couldn’t decide what I’m going to do in the future…  Whatever I work on in the future, I will be shooting and framing it myself, it’s a nice experience.

Ne Mes.Still2
© Samir Karahoda

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

Still wanna know more? There’s a Q&A with Samir Karahoda on The New Current, too.

AN INTERVIEW WITH FLÓRA ANNA BUDA ABOUT ‚ENTROPIA‘

Let us introduce you to the Hungarian director Flóra Anna Buda, who is participating in this year’s Berlinale Shorts competition.

Born in Budapest, Hungary in 1991, after graduating with a degree in animation Flóra Anna Buda worked as a director and illustrator in animated film. One of her chief goals is to seek out new ways to tell stories and to connect her interests in science and the interpretation of dreams with her personal experience. She is currently participating in the European Union-funded Animation Sans Frontières training programme where she is developing new projects.

Flora Anna 2
© Flóra Anna Buda

Three women, three lives in parallel worlds, until the moment a fly causes a bug in the system. The universe collapses, sex is in the air, bras are overrated and the stars twinkle! In the animated film Entropia by Flóra Anna Buda, colours explode and sensually unleash new possibilities: Thanks to the fly, all that is abstract comes to life and sexuality plays an integral role. While there are echoes of the sci-fi series Black Mirror, the colours make everything more vibrant. The doe by the river is a nod towards Hungarian animation artist Réka Bucsi, whose work has equally opened up more creative narrative strategies in animated film. Buda’s graduation film heralds a new generation of animation artists from Hungary.

What is your ambition in the film?

My ambition was to create a story where I can define myself in the most honest way as a young woman.

What do you like about the short form?

I like it because it’s a challenge. You have to express yourself in a very simple way to be able to keep it short. Because of that you must compress your message by using symbols or parallel cuts for example. The options are endless but at the end you need to define your film based on your values to make it work.

What are your future plans?

Recently I am participating on an international workshop called ASF (Animation Sans Frontiére), where I have the chance to develop a next short film. At the moment I am working on the treatment and searching for the visuals. In the future I would like to experiment with live action and VR too.

24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award, endowed with 20,000 euros, and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

Still wanna know more? There’s a Q&A with Flóra Anna Buda on The New Current, too.

STATEMENT BY MAIKE MIA HÖHNE: BERLINALE SHORTS 2019

The selection of the Berlinale Shorts 2019 is an essence of current contemporary filmmaking. Power, visibility and knowledge have a significant influence on the possibility of participation. This year, our Berlinale Shorts‘ selection will take a close look at these integral elements, searching for new ways to create a worthwhile future together. You’re very welcome to watch the statement by Maike Mia Höhne, curator of Berlinale Shorts, and check all details regarding programmes, dates and times via the Berlinale website.

ONE YEAR AFTER THE AWARDS: A QUICK CHAT WITH RÉKA BUCSI, AUDI SHORT FILM AWARD 2018

We are almost there! Another year has gone by and the 69th Berlin International Film Festival is about to start. Before we begin sharing more details concerning the contributions of 2019 with you, we want to know how the winners of last year’s competition have been spending the time after their success in 2018. Check out the interview with Réka Bucsi, who won the Audi Short Film Award 2018 with Solar Walk.

We can’t wait to see her again in February: Don’t miss Réka Bucsis talk with Jeffrey Bowers, Senior Curator at Vimeo and part of the International Short Film Jury 2019. Meet them on February 10 at the Audi Berlinale Lounge, Marlene-Dietrich-Platz – just next to the Red Carpet. The panel is for free and open for everyone. 4:00 – 5:00 PM.

rekabucsi_2017
© Réka Bucsi

How has life been since last year’s Berlinale Shorts?

Life has been busy and exciting, I have been traveling almost all year. I took on some small animation projects, but I also had the opportunity to start focusing on my new personal film, which would not have been possible without winning the Audi Short Film Award last year. Winning an award at a festival like Berlinale as an animation filmmaker has been pretty special as it turns out.

What did winning the award mean to you personally?

The night I won the award, was very emotional for me. I never felt this much appreciation and love coming at me for my work all at once. It was very direct from many wonderful people, who’s work I admire and respect. It felt real and very surreal at the same time, and I got so much energy out of that night for a long time after. It also inspired me to take on a bigger project in the future and be confident about what I want to say and how I want to do that.

What are your plans for 2019?

My plans are to finish the preparations for my upcoming new film, and not take on smaller projects on the side. I am pretty excited about this year, and I would like to use my time and focus and just enjoy the freedom of writing and drawing my personal film as long as I have the opportunity to do that. I am also going to teach a little bit at Calarts, which is going to be a first for me, so that’s also something I am looking forward to.

At the 2019 edition of Berlinale Shorts, 24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award (endowed with 20,000 euros) and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

ONE YEAR AFTER THE AWARDS: A QUICK CHAT WITH SAMUEL ISHIMWE, SILVER BEAR 2018

We are almost there! Another year has gone by and the 69th Berlin International Film Festival is about to start. Before we begin sharing more details concerning the contributions of 2019 with you, we want to know how the winners of last year’s competition have been spending the time after their success in 2018.

Check out the interview with Samuel Ishimwe, who won the Silver Bear Jury Prize (Short Film) 2018 with Imfura.

ishimwe_samuel

How has life been since last year’s Berlinale Shorts?

Life has been great career-wise, the Berlinale really shed a light on my film, after I travelled to multiple good festivals, and got to see how it interacts with different audiences.

What did winning the award mean to you personally?

It gave me a great feeling of acceptance and uplifted my confidence to continue shape my own cinematic accent.

What are your plans for 2019?

I want to end this year with a new film, a feature film – if it all goes as planned.

At the 2019 edition of Berlinale Shorts, 24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award (endowed with 20,000 euros) and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

ONE YEAR AFTER THE AWARDS: A QUICK CHAT WITH INES MOLDAVSKY, GOLDEN BEAR 2018

We are almost there! Another year has gone by and the 69th Berlin International Film Festival is about to start. Before we begin sharing more details concerning the contributions of 2019 with you, we want to know how the winners of last year’s competition have been spending the time after their success in 2018.

Let’s start with Ines Moldavsky, who won the Golden Bear for the Best Short Film 2018 with The Men Behind the Wall.

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© Heinrich Völkel

How has life been since last year’s Berlinale Shorts?

I got to travel to many festivals all around the world to screen the film, and received great feedback from different audiences, of all ages, genders and nationalities. The film touched many people. It is highly exciting for me, to see how people who never lived the local political reality in Israel can still understand the film and identify with it; it seems the film actually deals with universal subjects which are very much on today’s agenda. I have also started running workshops at different art institutions where I got to present my earlier films. It is very encouraging to see how recognition of one of my films creates a new opportunity for earlier works, which haven’t got much attention until that moment.

What did winning the award mean to you personally?

After so many years of being a starving-independent-subversive-experimental-struggling artist, it’s great to know that people can actually relate to my crazy ideas. There are soooooo many points during the process of making a film you say to yourself „I am fucking crazy. Why am I doing this? No one will ever get it“. So it’s great to know that people got it, it gives power to keep on going, to proceed with my artistic journey. Although I am still a struggling artist. Because art is always a struggle – both emotionally, because you are constantly analyzing yourself and your surroundings, and economically,  because there is never enough funding. Especially today, especially in Israel, especially with the current Minister of Culture, it is practically impossible to get funding for the type of films I make. But luckily enough, I have a very ascetic type of personality, so I am willing to keep struggling, and will continue in pursuing my creative ideas, even if everyone thinks I’m crazy, like they did in Israel when I was making this film.

What are your plans for 2019?

I am working simultaneously on another experimental documentary film and on a script for a fiction feature film. The documentary deals with gender roles in contemporary psychoanalysis and psychiatry, examining the diagnosis called Borderline Personality Disorder and its similarities to the fabled female hysteria. Yes, this one doesn’t deal with the Palestinian-Israeli conflict, but like in my previous film it deals with power relations between both genders, trying to expose injustices in current society, and once again using my own autobiographic story and persona. The feature film is a long-term project, and it deals with a young Israeli woman who wants to immigrate away from Israel because she is sick of the political reality, but doesn’t seem to succeed in getting a European passport, so in the meantime she drowns her sorrow in compulsive binge-eating and casual sexual encounters with the different macho types present in contemporary Israeli society, in which the gender roles are highly influenced by militarism.

At the 2019 edition of Berlinale Shorts, 24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award (endowed with 20,000 euros) and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

 

 

BERLINALE SHORTS PARTY & FAREWELL MAIKE MIA HÖHNE

kohlberger party shorts
© It has to be lived once and dreamed twice – Rainer Kohlberger

We’re throwing a party to celebrate the best short films of the 69th Berlin International Film Festival 2019!

Let’s say goodbye to Maike Mia Höhne who has been the curator and head of Berlinale Shorts since the summer of 2007. From March 2019, she will be the artistic director of Hamburg International Short Film Festival.

Dance your feet off until the queen leaves the building!

DJs and friends behind the decks:
Chalafel
The Sorry Entertainer
Tropeninstitut / Bassito
Pet Shop Bears
Yeşim
Robert Beatz

Where: Säälchen, Holzmarktstr. 25, 10243 Berlin
When: Wednesday, February 13, 2019
Doors: 11pm
Entrance: 8€

Find us on facebook!

BERLINALE SHORTS: PROGRAMME COMPLETE FOR 2019

rise
Dynesti Williams. Rise. Regie/directors: Bárbara Wagner, Benjamin de Burca. Foto/photo: © Bárbara Wagner, Benjamin de Burca

At the 2019 edition of Berlinale Shorts, 24 films from 17 countries will be competing for the Golden and Silver Bear, the Audi Short Film Award (endowed with 20,000 euros) and a nomination as “Berlin Short Film Candidate for the European Film Awards 2019”.

This year’s competition includes works by Bárbara Wagner & Benjamin de Burca, Martín Rejtman, Luca Tóth, Rainer Kohlberger, Eva Könnemann, Flóra Anna Buda and Manuel Abramovich, among others. Al Mahatta by Eltayeb Mahdi and Crvene gumene čizme by Jasmila Žbanić will also be screened out of competition.

The films of the 2019 edition of the Berlinale Shorts’ international competition treat diverse aspects of power, visibility and knowledge, as integral elements in the section’s overarching examination of the nature of participation. “We need new role models and a multitude of stories if we are to create a viable future for all of us,” states curator Maike Mia Höhne, who has served as section head for Berlinale Shortssince 2007 and will be assuming the role of artistic director of the Hamburg International Short Film Festival from March 2019.

Rise by Wagner & de Burca, whose work will be featured at the Brazilian pavilion of this year’s Venice Biennale, documents POC artists with post-migrant backgrounds engaged in an act of self-empowerment through music and spoken word performance in Toronto’s underground scene. In Rainer Kohlberger’s dystopian experimental work It has to be lived once and dreamed twice, the voice of Annika Henderson awakens into the role of a new species after the extinction of humanity, while Flóra Anna Buda’s animated characters manage to liberate themselves from both capitalist and hetero-normative coercion in Entropia. Louis Fried’s Flexible Bodies tackles dreams of careerism and self-optimisation, and Manuel Abramovich also reveals aspects of the wider job world at Berlinale Shorts 2019 in Blue Boy– which features conversations with men earning a living as sex workers in Berlin. The three films Crvene gumene čizmeOmarska and Can’t You See Them? – Repeat. on the other hand focus on the post-war zone of Bosnia and Herzegovina. This latter part of the programme serves as a departure point for an examination of remembrance culture and the dynamics of participation in the writing of history.

The International Short Film Jury for 2019 is composed of US-American Jeffrey Bowers, Senior Curator at Vimeo, Croatia’s Vanja Kaludjercic, Director of Acquisitions at MUBI, and Koyo Kouoh, founder and artistic director of RAW Material Company from Senegal.

Films at Berlinale Shorts 2019:

All on a Mardi Gras Day, Michal Pietrzyk, USA, 22’ (IP)
Al Mahatta, Eltayeb Mahdi, Sudan, 16’, 1989 (out of competition)
Blue Boy, Manuel Abramovich, Argentina, Germany, 19’ (WP)
Can’t You See Them? – Repeat., Clarissa Thieme, Germany, Bosnia and Herzegovina, 9’ (WP)
Crvene gumene čizme, Jasmila Žbanić, Bosnia and Herzegovina, 18’, 2000 (out of competition)
Entropia, Flóra Anna Buda, Hungary, 10’ (WP)
Flexible Bodies, Louis Fried, Germany, 19’ (WP)
Héctor, Victoria Giesen Carvajal, Chile, 19’ (WP)
How to Breathe in Kern County, Chris Filippone, USA, 9’ (WP)
It has to be lived once and dreamed twice, Rainer Kohlberger, Germany, Austria, 28’ (WP)
Kingdom, Tan Wei Keong, Singapore, 5’ (IP)
Leyenda dorada, Chema García Ibarra, Ion de Sosa, Spain, 11’ (WP)
Lidérc úr, Luca Tóth, Hungary, France, 19’ (WP)
Mot Khu Dat Tot, Pham Ngoc Lan, Vietnam, 19’ (WP)
Në Mes, Samir Karahoda, Kosovo, 15’ (WP)
Omarska, Varun Sasindran, France, 19’ (WP)
Past Perfect, Jorge Jácome, Portugal, 23’ (WP)
Prendre feu, Michaël Soyez, France, 26’ (WP)
Rang Mahal, Prantik Basu, India, 27’ (IP)
Rise, Bárbara Wagner, Benjamin de Burca, Brazil, Canada, USA, 20’ (IP)here
Shakti, Martín Rejtman, Argentina, Chile, 19’ (WP)
The Spirit Keepers of Makuta’ay, Yen-Chao Lin, Canada, 11’ (WP)
Splash, Shen Jie, China, 9’ (WP)
Suc de síndria, Irene Moray, Spain, 22’ (WP)
Umbra, Florian Fischer, Johannes Krell, Germany, 20’ (WP)
Welt an Bord, Eva Könnemann, Germany, 29’ (WP)

You can find the german version of our press release here