SUBVERTING THE HISTORY: PROGRAMME 1 - MEMORIES OF HISTORY, STRUCTURES OF VIOLENCE

Beschreibungen ähnliche Filme wie "SUBVERTING THE HISTORY: PROGRAMME 1 - MEMORIES OF HISTORY, STRUCTURES OF VIOLENCE"

• SUBVERTING THE HISTORY: PROGRAMME 2 - SENSORY VISIONS, MICRO-HISTORIES

  These recent experimental films from Ukraine and Belarus address an experience of history on the level of phenomena and their sensuous qualities: light, textures, sounds. By giving voice to atmospheric occurrences and their micro-environments, they dissolve binary identities and construct new, entangled phenomena: Habitual perception is suspended, things become uncanny, translucent and dreamlike. “History” is dissected into multiple micro-histories: patriarchal relationships narrated through a parcel of ties; fascist discourses dissected on the operating table of a desktop archive. (Text: Elena Vogman) Alina Kleytman: Responsibility, 2017, 5’46’’, no dialog This video shows a distressing process of inmost growth. A girl wearing a ridiculous masquerade meant to show how people wear the other people’s expectations about them like dresses. The suit fits her no more, she’s now more herself than ever before. Ugly and awkward, the rags distort and misrepresent her, but she hasn’t got anything else to put on. She keeps walking, fighting her shame. The bags taken from a low-cost shop symbolize the scantness of means at her disposal, be it material ones or whatever else. The bags containing her goals, wishes, and dreams, are somewhat heavy for her to carry. With great effort, she bears them into uncertainty. There’s no one waiting for her ahead, She keeps walking on her own, overcoming her fear. She walks because she can’t stay. Never will she do the same things to herself again. Pride. Zoya Laktionova, Territory of Empty Windows, Ukraine, 2020, 10’30’’, OVP+ENGsub Life flows in its everyday reality, but then suddenly something elusive changes its course. All that is left is the chance to plunge into memories where everything is preserved, as if in a museum. Yan Bachynsky: Non-Binary, 2020, Ukraine, 5’45, no dialog A bodily choreography of unlearning. What the enlightenment taugt us about human existence, the basis of binary condition is overthrown here by the use of body, a body exceeding two feet. Yan Bachynsky: My Grandfather’s Skin, 2020, Ukraine, 4’45, English This video uses an inductive method, which means that it starts reasoning from an individual experience and then tries to reach a collective one. The family story perhaps is a best material for such a research. Olia Sosnovskaya and A. Z. H.: F-Word, 2020, Ukraine, 12’09, OVP+EngSub The video refers to the current protests in Belarus, political struggle and state violence through the discourse of fascism. The topic of fascism and victory over it has for a long time been central to the contemporary state ideology of Belarus. Since the start of the uprising after the 2020 presidential elections, both the state and the protestors accuse each other of fascism. In turn, these positions are criticized by the academic community for historical untruths. The video trace this symbolic struggle and the political, social, affective and symbolic effects it produces. Dana Kavelina: Letter to a Turtledove, 2020, Ukraine, 20’, OVP+EngSub In her film, Dana Kavelina, juxtaposes historical footage of coal mining in Donbas region with her own graphic work, poetry and found footage of the Russian military invasion into Donetsk and Luhansk in 2014. The film constructs an argument for a tragic intimacy between the body of earth and human subjectivity, it shows a continuity existing between extractivism and militarism. Kavelina's film-poem is not a plea for peace, but for love, which cannot be realized without the body that has been taken away and torn apart by war.

• SUBVERTING THE HISTORY: PROGRAMME 3 - CIRCULATIONS

  Infrastructures are there to support, they deliver, grant access and facilitate social metabolism. Roads, bridges and utilities are part of the urban geography and choreograph the way bodies and things move. A bridge - is it a symbol of modernisation or a tool of colonisation? Does the bridge connect, or does it actually divide? People's dependence on the material and virtual networks in daily life makes infrastructures a political site. (Text: Mikhail Lylov) Anna Engelhardt “Adversarial Infrastructure”, UK 2020, 10 min, OVP+ENGSub Adversarial Infrastructure is an investigation into the history of the occupation of Crimean. Dissecting the Crimean Bridge, the crystallised artefact of Russian colonial violence, this project aims to assemble the new image of logistical infrastructures as a type of hybrid warfare. Oleksiy Radynskiy “The Film Of Kiev. Episode One.”, Ukraine 2018, 8 min, OVP+ENGSub Podilsky Bridge in Kyiv is one of the world’s largest abandoned construction sites. The locals have adapted the uncompleted bridge to their own needs — from sports and leisure to risky parcour-style attempts at getting from one river bank to another. In the meantime, Kyiv’s mayor Vitaliy Klitschko is trying to figure out a way to complete the unfortunate project — with a little help from German politicians… Oleksiy Radynskiy “Circulation” (2020), 11 min, no dialog Camera observes the Kyiv’s moving landscape by becoming a part of the city’s circulation. Behind a train window pass roads, bridges, passageways, stations and industry. Focusing on the city’s infrastructure, the film brings to attention what typically stays in the background. Ekaterina Selenkina “Detours” Russia (2021), 73 min, OVP+ENGSub A sprawling meditation on the choreography of bodies in Moscow's urban landscape, Detours depicts a new way of dealing illicit drugs via the dark web, the layering of physical and virtual realities, as well as a reflection on the poetics and politics of space.

• SUBVERTING THE HISTORY: PROGRAMME 4 - ON A STREET OF DIFFERENT MEMORY

  If the history of the dissident movement and the history of the Gulag were taught in Russian schools, Russia might not be where it is now. If Ukrainian, Chechen, Georgian, Armenian, Belarusian, Tajik and Uzbek, Baltic, Finnish and Uralic languages were taught in Russian schools, Russia might not be where it is now. If feminist politicians dominated public thinking, we wouldn't think about politics in terms of conflicts of interest between states or in terms of imperialist invasions. We might not even have war crimes, we would not be promoting fascism and discrimination. Is it a coincidence that the hope of the broad anti-war protests in Russia now rests on the mobilisation of the mother of future conscripts? (Text: Mikhail Lylov + Mariya Dmitrieva) Tatjana Efrussi Street of our Memory, Russia 2019, 23min, OVP+ENGsub “The film documents a performative event organized in December 2019 in Norilsk, Russia. Its central element was the guided bus tour around one of the streets of the city - Sevastopolskaya. In the 1940s Sevastopolskaya was designed and built up by the GULAG’s political prisoners who were the main population of the Arctic camp-city. By the 1980s, a significant part of the original structures decayed and was demolished. The demolition provoked intense protest and debate among the Norilsk public.” (Tatjana Efrussi) Anya Tsyrlina All Other Things Equal, Russia 2020, 20min, no dialog The film consists entirely of re-edited found footage, specifically government-issued portraits intended to create the female ideal of the time. The ideology of the images is self-evident through the visual coding of the source material, but by extracting them from their original context through montage, Tsyrlina suggests a different reading. The film doesn’t deny or reject the original intentionality but gently subverts it. On the one hand one can read the film as a deconstruction of Soviet ideology, but on the other hand, it is worth considering how this Soviet interpretation of the role of women compares to that of present-day Russia.? Vladlena Sandu Holy God, Russia 2020, 25min, OVP+ENGsub "Self-portrait. In 1998 our family came under armed attack. We were able to escape and we fled Grozny. We have been silent about it since." Vladlena Sandu tells an incisive and dignified story about herself, her mother and grandmother, the physical and psychological trauma and the ordinary existence of a refugee, including dog food, homelessness and intensive care. On New Year’s Day Putin pays tribute to the soldiers who are “fighting terrorism”.

• TURNER & CONSTABLE

  Dieser unumgängliche neue Dokumentarfilm, der den 250. Geburtstag feiert, erkundet das miteinander verflochtene Leben und Vermächtnisse von Turner und Constable neben der bahnbrechenden Tate-Ausstellung. Zwei der größten Maler Großbritanniens, J.M.W. Turner und John Constable waren auch die größten Rivalen. Geboren innerhalb eines Jahres, nutzten beide Landschaftsmalerei, um die sich verändernde Welt um sie herum zu reflektieren. Die Tate Britain bringt diese beiden Größen für eine bahnbrechende Ausstellung in London von November 2025 bis April 2026 zusammen, und Exhibition on Screen hat wieder exklusiven und privilegierten Zugang, um ihre außergewöhnlichen Kunst und bemerkenswerten Geschichten im Februar auf die große Leinwand zu bringen, damit Sie sowohl Film als auch Ausstellung zusammen genießen können. Entdecken Sie unerwartete Seiten beider Künstler mit intimen Ansichten von Skizzenbüchern und persönlichen Gegenständen und Einblicken von führenden Experten. Turners flammende Sonnenuntergänge und erhabene Szenen aus seinen Reisen und Constables idealisierten Darstellungen geliebter Orte von zu Hause aus peitschten das Publikum der Zeit in einen Rausch der Begeisterung. Constable repräsentiert das Beste der alten Schule des Realismus und der pastoralen Nostalgie; Turner, eine aufregende neue Art, Emotionen und traumhafte Eindrücke darzustellen. Kritiker verglichen ihre stark unterschiedlichen Stile mit einem Zusammenprall von "Feuer und Wasser". Verpassen Sie nicht diese Gelegenheit, diese Größen nebeneinander zu sehen, wie sie so oft im Leben waren, zum ersten Mal auf der großen Leinwand.

• INTERFILM 2025: EUROPEAN SHORT FILM AUDIENCE AWARD – ESFAA EURO 01

  8 Kurzfilme, 8 Festivals, 8 Votes und 1 Award für den besten europäischen Kurzfilm. Das Publikum hat ihre nationalen Kurzfilm-Lieblinge ausgewählt und in die nächste Runde geschickt. Für sie geht es wieder ein Jahr auf Tour durch Europa. Nächster Halt: INTERFILM. Die acht Filme im Wettbewerb sind die Gewinnerfilme von Clermont-Ferrand (Frankreich), Tampere FF (Finnland), Go Short (Niederlande), Brussels Short Film Festival (Belgien), Curtas Vila do Conde (Portugal), Alcine (Spanien), INTERFILM Berlin (Deutschland) und Short Waves (Polen). Für welchen Film wird das Berliner Publikum wohl abstimmen? 8 shorts, 8 festivals, 8 votes – and 1 award for the best European short film. Eight festival audiences have chosen their favourite short films, one a piece, and sent them on to compete in the next round, as they undertake a customary year-long tour of Europe. Next stop: INTERFILM. The competition features the winning films from Clermont-Ferrand (France), Tampere FF (Finland), Go Short (the Netherlands), Brussels Short Film Festival (Belgium), Curtas Vila do Conde (Portugal), Alcine (Spain), INTERFILM Berlin (Germany) and Short Waves (Poland). Which one of them will win over the audience in Berlin?

• INTERFILM 2025: DEUTSCHER WETTBEWERB GC 02: NAHE FREMDE

  Nähe und Fremde liegen oft nah beieinander: Wann wird das Fremde nah und wie nähern wir uns dem Fremden? Manchmal liegt uns das Fremde näher als wir glauben: Das exotische Saarland trägt ferne Kriegsnarben in seinen Wäldern und die entfremdete Mutter und Tochter finden vielleicht wieder zueinander. Befremdliche Körpernormen entlarven den starren Gehorsam und das kichernde Bunny durchlebt einen zerstörerischen Kreislauf aus fremdbestimmter Gewalt. Ein Telefonat mit dem entfremdeten Vater und Land versucht, Gräben zwischen Generationen und Werten zu überbrücken, und trotz der Nähe zweier Zwillingsbrüder bleiben einige Träume unerzählt und fern. Quite often, not much separates the familiar and the strange: When does the strange become familiar, and how do we become closer, more familiar with the foreign or strange? Sometimes the strange is closer to us than we believe: The exotic Saarland bears the scars of a bygone war within its forests, and an estranged mother and daughter may yet find their way back to one another. Bizarre body standards expose rigid obedience, and a giggling bunny experiences a destructive cycle of externally imposed violence. A telephone call with an estranged father and a country left behind attempts to bridge the gap between generations and values, and, in spite of two twin brothers' closeness, some dreams remain unspoken and distant.

• INTERFILM 2025: DEUTSCHER WETTBEWERB GC 03: ERZÄHL DICH!

  Geschichten gehören denen, die sie erzählen – und zurückerobern! In Erzähl Dich bringen uns mythische Wesen in den afrofuturistischen Weltraum und Aktivist*in Xenia zwischen hörender und gehörloser Welt. Zwei Freund*innen teilen sich einen virtuellen Körper, um sich einst verlassene Orte anzueignen und die Grenzen zwischen Fiktion und Realität verschwimmen während der Regie eines Liebesfilms. Ein Planet mit wachsender Population entscheidet selbstbestimmt über die Zukunft der Bewohner*innen und eine kasachische Drag-Queen erzählt davon, wie sich Brücken zwischen strikten Normen, ambivalenten Gefühlen der Mutter und einer empowernden Community schlagen lassen. Stories belong to those who tell them – and reclaim them! In Reclaim Your Story, mythical creatures take us out into Afro-futuristic space and we accompany activist Xenia in her journeys back and forth between the worlds of the hearing and the deaf. Two friends share a virtual body in an attempt to reappropriate once abandoned places, while the lines between fiction and reality become blurred during the filming of a love story. A planet with a growing population decides independently on the future of its inhabitants, and a Kazakh drag queen relates how bridges can be built between strict norms, a mother's ambivalent feelings and an empowering community.

• INTERFILM 2025: INTERNATIONALER WETTBEWERB IC 03: LOOK FOR... EXISTENTIAL REALITIES

  Äußere Umstände und sozialer Druck formen, bedrohen gar die Lebenswelten der Charaktere von Look For… Existential Realities: sei es die Angst um die Familie, der Verlust von Anerkennung oder das drohende Unheil der Welt. In Haiti warten Eltern sehnsüchtig auf einen Anruf aus den USA, während Menschen im Zug ihre tiefsten Ängste skizzieren und in einem libanesischen Haus der Luftangriff droht. Zwischen persönlichen Krisen und gesellschaftlicher Unsicherheit navigieren sie durch starke Emotionen, Verluste, Sehnsüchte und existenzielle Risiken. External circumstances and social pressures shape and even threaten the lives of the characters in Look For… Existential Realities: whether it is deep concern for their families, loss of approval or the looming calamities of our world. In Haiti, two parents anxiously await a phone call from the USA, while passengers on a train sketch their deepest fears and a Lebanese household prepares for the worst, as an airstrike appears imminent. Amid personal crises and social uncertainty, they navigate their way through strong emotions, loss, longing and existential risks.