Programme 2024

Admission €8.50 or by invitation or accreditation
With translation into German sign language
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting

Admission €9 pre-sales / €12 at box office (€9 at box office for people in drag), free admission with accreditation

Admission €8.50 or by invitation or accreditation
With translation into German sign language

It might get a bit cold sitting in the lecture hall, so please bring warm clothes. Blankets can also be borrowed at the event for a deposit – as long as stocks last.
€12, in English

Moderation: Alina Cyranek, filmmaker
Free admission, in English

Free admission, in German

Film curator Afsun Moshiry was fascinated by this phrase from the book “A Sense of Place” by Wim Wenders while she was in Iran, as she wondered how to preserve places within cinematic works and make them eternal. When back in Germany in 2021, together with the Wim Wenders Foundation she started the episodic film project and invited six Iranian filmmakers to embark on this journey between Iran, Germany and France. From the troglodytes in rural Iran to the luxurious buildings of Tehran, from a beach constantly threatened by war to a wandering transit in an airport to a canal in the Paris suburbs where migrants find refuge...
At the 36 FILMFEST DRESDEN films from the project are being shown in one screening at the Schauburg festival cinema, as well as during repeated screenings at the open-air event. These screenings will be accompanied by poetic audio casts, which can be accessed and listened to online. In these audio casts, Wim Wenders introduces “A Sense of Place” edited from his talk to the project participants in 2021. And locals who moved to Dresden from far out places give a glimpse of their interaction in touch with “A Sense of Place”. The locations associated with each audio cast can be visited while letting your thoughts wander with them.
At the open-air event, the films PHOBOS (directed by Mina Keshavarz) and IN TRANSIT (directed by Azin Feizabadi) are being shown repeatedly during the entire festival week, always before the actual film programme. On 16 April 2024, the films are being screened there between 12.00 and 19.00, while on the other days between 10.00 and 14.00.
The following films will be screened on Thu, 18 April at 15:30:
HOLLOW by Mohamadreza Farzad (2023) 15 min
DENSITY OF EMPTINESS by Shirin Barghnavard (2023) 20 min
MALTOURNÉE by Pooya Abbasian (2023) 20 min
You can access the audio casts via the link or by scanning the QR code: https://on.soundcloud.com/6a3TYXRRpUJyLyiC9
Free admission, in English

Speakers:
Afsun Moshiry, producer, curator and part of Sinema Transtopia Berlin
Francisca Khamis Giacoman, artist and filmmaker
Nitzan Rozen, filmmaker
Maike von Harten, freelance worker, Montagscafé Dresden
Moderation: Vincent Förster, member of Berlinale Generation selection committee
Free admission, in English

Discussion panel guests:
Nicolas Khabbaz, Artistic Director Beirut Shorts International Film Festival
Sarnt Utamachote, culture production, film direction and curation
Niv Fux, Festival Director Leiden Shorts Festival
Monica Koshka-Stein, Artistic Director and Programme Director KUKI Berlin
Moderation: Vincent Förster, member of Berlinale Generation selection committee
Free admission, in English

Discussion panel guests:
Prof. Dr. Dagmar Monett Diaz, Professor of Computer Science, HWR Berlin
Robert Seidel, artist and filmmaker
Veneta Androva, artist and filmmaker
Moderation: Yun-hua Chen, freelance film academic, critic and curator
Free admission, in English

Free admission, in German

Admission €12, in German, no dialogue in the films

The first film GAŽ WĚTŠYK DUJO …/AND THE TRUTH STANDS UP… is a documentation from 1984 that sheds light on the life and struggles of the Lower Sorbian poet and journalist Mina Witkojc. Her steadfastness in resisting war and expulsion, as well as her reception of the Soviet liberators are portrayed in this work. The film is being screened in the Lower Sorbian language version, with German translations.
This is followed by the world premiere of SOM DOMA. This documentary short follows the protagonists Luka and Mira during the shooting of the short fiction film PYTAŚ A NAMAKAŚ/SEARCH AND FIND. Doing so, they reflect on their everyday lives and their cultural identity as they are confronted with the challenges of growing up.
In conclusion, PYTAŚ A NAMAKAŚ/SEARCH AND FIND takes us into a world of growing up in a Lower Sorbian context. This short film explores themes of identity, friendship and coming out in a village during a summer adventure. The question of whether a Sorbian and a trans identity are compatible is at the heart of this sensitive film.
Sorbian language passages are subtitled in German.
In addition to the films, the book “Sorbian Film Landscapes” by Grit Lemke and Andy Räder, which is about to be released, will be presented and discussed. The book is being published by the DEFA Foundation and the Sorbian Institute. Cosima Stracke-Nawka is moderating the event.
Following the screenings and film discussions, there will be an opportunity for exchanges and networking at the film association’s get-together with cold drinks and delicious canapés from 18.00 in the beautiful atmosphere of the Sternensaal in Lingnerschloss.
Please register for the event by email to m.mager@filmverband-sachsen.de.
Free admission, in German and Sorbian

Focal area on Wednesday 17.4.: Breaking out of Structures
Free admission, in English

Focal area on Thursday, 18.4.: Against Forgetting
Free admission, in English

Focal area on Friday, 19.4.: Mental Health
Free admission, in English

Fishbowl event with, among others:
David Campesino, independent filmmaker and visual artist
Luka Golinski, co-director and screenplay PYTAŚ A NAMAKAŚ/VOM SUCHEN UND FINDEN
Laura Brandt-Reichwald, filmmaker
Moderation: Sirkka Möller, festival curator and consultant
With invitation or registration by email to festival@filmfest-dresden.de, in German
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting
The days are getting longer and the air is “as soft as if it were made of down”, as Erich Kästner once wrote, with spring enticing us to take a stroll around the city. If you are a short film fan or would like to become one, or if you just want to pop in for a quick look or get comfy with us, then come and visit us again this year at Schlossplatz for our open-air programme. Drop by and celebrate our mini anniversary with us.
Already for the tenth time FILMFEST DRESDEN is opening up a window to the world in the middle of this imposing ensemble of buildings with its unique atmosphere. As usual, the works being screened include highlights from the festival season: a best-of selection with regional, national and international short films. They enchant us with timeless images of nature or are empathetic, bittersweet and moving, but they are always creative explorations of current issues that move us. Yet again our curatorial team has compiled the usual variety of voices and moods for you – one as varied as the April weather. And of course, there is also a connection with this year’s main theme of the 36th FILMFEST DRESDEN.
Our programme selection shows that acceptance of diversity and other opinions can create a new sense of cohesion. It shows us other potential lifeworlds, inviting us to dream; it explores human potential and presents visions of a “not-impossible”: utopia. Our young audiences do not miss out either. Our ever-popular Family Shorts will delight short film fans of all ages once again. So there is a lot to discover – and a lot to discuss afterwards.
It goes without saying that FILMFEST DRESDEN cannot guarantee stable weather conditions in April. But what we can promise is some of the loveliest big screen entertainment on our high-resolution and daylight-capable LED screen.
We would like to thank the FILM NIGHTS ON THE BANKS OF THE ELBE for their support, which enables us to hold our open-air programme in its usual form and size.
Admission is free, but we are grateful for your support in the form of donations so that our open-air short film programme can continue into the next decade.
Sven Pötting



By accreditation


By accreditation

Moderation: Borjana Gaković, film and media academic
Please register by email to lehmann@filmfest-dresden.de!

By accreditation, in German

Discussion panel guests:
Izabela Plucinska, filmmaker
Ben Galster, filmmaker
Bettina Renner, filmmaker
Moderation: Linda Kujawski, media dramaturge, Selection Committee of the Central German Competition FILMFEST DRESDEN
Free admission, in English

List of dialogue partners:
- Gabriele Brunnenmeyer (drama expert, project advisor and pitching coach)
- Daniela Adomat (MDR TV broadcaster commissioning editor)
- Josephine Meissner (Creative Europe Desk Berlin-Brandenburg)
- Amos Geva (T-Port, co-founder and head of industry)
- Ivana Kvesić (Festival Director, Fantoche)
- Enrico Vannucci (selection committee Pardi di Domani, Locarno Film Festival)
- Laurence Rilly (ARTE G.E.I.E., Short Film Commissioning Dept.)
Please register and indicate the desired discussion partners by 19 April by email to events@filmfest-dresden.de.
Film curator Afsun Moshiry was fascinated by this phrase from the book “A Sense of Place” by Wim Wenders while she was in Iran, as she wondered how to preserve places within cinematic works and make them eternal. When back in Germany in 2021, together with the Wim Wenders Foundation she started the episodic film project and invited six Iranian filmmakers to embark on this journey between Iran, Germany and France. From the troglodytes in rural Iran to the luxurious buildings of Tehran, from a beach constantly threatened by war to a wandering transit in an airport to a canal in the Paris suburbs where migrants find refuge...
At the 36 FILMFEST DRESDEN films from the project are being shown in one screening at the Schauburg festival cinema, as well as during repeated screenings at the open-air event. These screenings will be accompanied by poetic audio casts, which can be accessed and listened to online. In these audio casts, Wim Wenders introduces “A Sense of Place” edited from his talk to the project participants in 2021. And locals who moved to Dresden from far out places give a glimpse of their interaction in touch with “A Sense of Place”. The locations associated with each audio cast can be visited while letting your thoughts wander with them.
At the open-air event, the films PHOBOS (directed by Mina Keshavarz) and IN TRANSIT (directed by Azin Feizabadi) are being shown repeatedly during the entire festival week, always before the actual film programme. On 16 April 2024, the films are being screened there between 12.00 and 19.00, while on the other days between 10.00 and 14.00.
The following films will be screened on Thu, 18 April at 15:30:
HOLLOW by Mohamadreza Farzad (2023) 15 min
DENSITY OF EMPTINESS by Shirin Barghnavard (2023) 20 min
MALTOURNÉE by Pooya Abbasian (2023) 20 min
You can access the audio casts via the link: https://on.soundcloud.com/6a3TYXRRpUJyLyiC9
Free admission, in English
Filmic narratives – whether short or long – that scratch the surface of this elaborately constructed image have an equally difficult time here. Yet for that, a small but diverse film scene has developed over the years that ruptures the constraints of this restrictive self-portrayal and provides alternative narratives.
In Carmen Tartarotti’s short film KRIBUS KRABUS DOMINE, eight-year-old Lisa is spending her summer holidays on a remote Alpine pasture. While the picturesque hut is the “most beautiful place in the world” for the adults, the Alpine pasture feels like a prison for the girl, enclosed by an imposing yet also threatening natural backdrop. The girl satisfies her longing for the big wide world with letters to an imaginary Persian pen pal.
Lisa could stand symbolically for many filmmakers, because their films, just like the girl's letters, also seem to me to be an attempt to overcome the perceived sense of confinement in this region. With this selection, I would like to provide a small insight into the diversity of the short film oeuvre in this multilingual and contradictory border region, which has much more to offer behind its facade than just images of green Alpine meadows and snow-covered mountain peaks.
Ronny Trocker
Vittorio De Seta is one of the most important exponents of what today is usually called cinema of the real. His anthropological curiosity and aesthetic taste represented a shock in the 1950s: The choice to take the voice off documentary, the will to build narratives from reality were extraordinary innovations and continue to be an inescapable cinematic reference point today. Two authors, Filippo Foscarini and Federico Cammarata, trained in the Sicilian branch of the Centro sperimentale di Cinematografia are aware of this, and in LATE AUGUST they empty Sicily of the many human presences of De Seta’s films and focus on a much lesser known landscape, embodying a gaze that shows the wounds of the destruction of a civilization and makes every camera movement an event, managing to capture in an original way some of the many essences of the island.
The cinema of Daniele Ciprì and Franco Maresco probably constitutes the most luminous and radical example of auteur cinema in Italy from the 1990s to the present: Great experimenters, declared heirs of a tradition that holds together Buñuel and the Marx Brothers, Italian-style comedy and John Ford, in ARRUSO the two pay a very peculiar tribute to director and writer Pier Paolo Pasolini on the occasion of the 25th anniversary of his murder in 1975. It is the dimension of homosexuality that emerges from the interviewees’ accounts, with the ironic and apocalyptic edge that always characterises the work of the Palermo duo. And gender issues also move HIM AND I by Giulia Cosentino who, starting from the story of a woman set in the city of Catania, reworks archival materials to reveal a reflection on gender roles and stereotypes, showing how the personal is always also political.
At the end in the theatre, a bonus for the viewers: A hymn to life in a Mediterranean Sea too often dotted with unacceptable and guilty deaths, following the Siren of HIERÀ in a short film by Emilio Orofino.
Andrea Inzerillo (Sicilia Queer Filmfest)
Not so long ago, a film reel was found in the rubbish that turned out to be the first ever animated film in the history of Chile, if not the whole of South America: In LA TRANSMISIÓN DEL MANDO PRESIDENCIAL from 1921, the directors Alfredo Serey and Nicolás Martínez, who were themselves autodidacts, produced a parody of the nation’s political situation.
The film was restored and screened again 100 years after it first premiered. This unique find, almost bordering on the miraculous, is even more significant in that there has never been an established animation tradition or any important animation schools in Chile from which us contemporary artists could take our own routes.
While there were some exceptional cases in the past, such as Vivienne Barry or Tomás Welss, these are not comparable to the current boom in Chilean animation, which has led to international acclaim and film awards. Yet in a mysterious way, LA TRANSMISIÓN DEL MANDO PRESIDENCIAL anticipated some of the characteristics that we can recognise today in the most striking examples of this emerging generation: On the one hand, a critical view of the political landscape, while on the other, the autodidactic character that obliges the artists to seek out their own paths in animation art, which is experimental and decolonised at one and the same time.
Chile is a country that is regularly shaken up by both earthquakes and political violence, resulting in a telluric reality of life between constant destruction and semi-reconstruction. And these animated contributions mirror this. They present reflections on the language of animation, sketches, failed attempts, monstrosities and “dirty” results: “animaciones bastardos”.
Joaquín Cociña and Cristóbal León
Digital precarity extends far beyond the gig economy. In VO, the veil is lifted on autonomous driving. An investigation into the role of human workers in training autonomous vehicles challenges us to rethink what “autonomous” truly means. And what about the systems built on this precarious foundation?
ML_CRSH exposes their inherent instability. Algorithms aiming to mimic flawless results generate unpredictable digital debris. The quest for control echoes within a dystopian landscape.
In RANDOM ACCESS, China’s “Big Data Valley” Guiyang becomes a haunted backdrop for resilience. Here, malfunctions are not errors, but acts of resistance. Lost memories emerge from digital cracks. Humans and AI alike confront the consequences of a past ruthlessly overwritten in the name of seamless progress.
A stage for uprisings is provided by THETA with SimBeijing, a testing ground for automated technology. A self-driving car questions constructed perfection and challenges us to extend our empathy beyond the familiar. Under the gaze of omnipresent surveillance, it becomes clear that questions of autonomy and resistance transcend any simple distinction between the human and the artificial.
Veneta Androva
THE FUTURE AHEAD WILL BE WEIRD AF (THE ULTIMATE AI CORECORE EXPERIENCE) PART ONE from Silvia Dal Dosso aka Hawaidolphino takes us at full speed into the wonderfully disruptive world of digital misinformation. BATRACHIA by the Giungla collective continues this tour de force in an enchanting way: with neuroses blooming next to toadstools between the assets of a generically repeated digital world.
The journey continues with a multilayered drive past the overripe blossoms of late capitalism: In EVERYTHING BUT THE WORLD, the DIS collective queers digital narratives with black humour, posing the question: What do the ideas of finiteness and infiniteness mean after the end of history?
THE GRANNIES then sweep us away to an unexpected neverland: A group of female players explore infinity in the “beyond” of the walk-in world from a video game and discover a surprisingly poetic space of yearning there. A peaceful utopia located between pixels and polygons – so peaceful that in Antoine Chapon’s MY OWN LANDSCAPES it can even comfort the frayed nerves of a soldier traumatised by war. Who would have thought it? The wonderful and sublime lurking, hidden within the blind spots of a digital world dominated by war and capitalism.
Total Refusal
Afrofuturism was born outside of the African continent. It has been infused with nostalgia for the motherland and determination to liberate the Black experience. Through access to technology, dreams and a life finally lived in freedom. A struggle and a quest for liberation that is still relevant (and necessary) to this day.
“Afro Visions of the Future(s), Memories and Liberation” is an ensemble of films that explore the journey of several womxn filmmakers and/or womxn protagonists from the continent or its diaspora, informing us about the current struggles of those who are fighting every day for liberation from a violent patriarchal, capitalistic and, still to this day, colonial system. A dream towards new futures and a drive towards change that resonate with the original birth of Afrofuturism, but reactualises the thematics to address the current Afro Visions of our new Futures.
We start with Ghanaian filmmaker Nuotama Frances Bodomo that takes a look into a past future. And tells us about Matha, the main protagonist of AFRONAUTS, who is training to participate in the race to space, and manages to break one of the many glass ceilings.
We then dive into two filmic objects by visionary Afro-Brazilian-French musician, composer, illustrator and visual artist Gystère. Firstly, WOMXN, THE NIGHTMARE OF YOU KNOW WHO, co-directed by multidisciplinary artist Eden Tinto Collins, where a superheroine is summoned from outer space by a dolphin to put an end to police violence. Secondly, in WOMXN: TIME MACHINE, Gystère and his brother Anthony Peskine challenge the violence a patriarchal society generates against any bodies that differ from the dominant (white cis-male) narrative.
Then, Nigerian filmmaker Olive Nwosus’ short film MASQUERADE immerses us in a meditation on home, memory and identity through the journey of Salewa our lead character, who meets an important person from her past at a funeral back home, and is forced to set out in search of her own peace.
Another journey awaits with SO WHAT IF THE GOATS DIE, where our main character is a young man, but the voice of Moroccan filmmaker Sofia Alaoui reveals itself strongly in this supernatural, slow, meditative film. And the director addresses issues like religion, philosophy and belief: What happens when all what we took for certain – our place in the universe – is suddenly challenged? A vertiginous and elegant allegory that will send shivers down our spine.
Finally, TERRA MATER by Rwandan filmmaker Kantarama Gahigiri closes the programme by bringing us to question our link to the earth, to the soil, and addresses the circle of what is being extracted and what is being brought back to the land. The audio-visual litany exposes the ties between capitalism and eco-responsibility, denouncing a system that is violently neo-colonial. And demands the need for respect and change, in order to find healing in the future.
At the end of the journey, we realise that there are as many New Visions of the Afro Future(s) as there are filmmakers. And what could be observed here is a common ground, inherited from culture and ancestral memories, that nourishes the notions of today’s Black identity, agency and freedom through art, creative works and the need for activism: Visions of liberated futures for Black life.
Kantarama Gahigiri
Repeatedly, cinema is even referred to as a dream factory, through which is has the unique power to create not only vanishing points into nostalgic and other fantasy worlds, but also into positive alternatives to the present: with ideas of how we shall live in the near future – and also want to dwell there. Thus, it is time to dream!
THE VEILED CITY by Natalie Cubides-Brady interweaves a science-fiction narrative with documentary archive images from the past to create a reflection on current environmental issues. THE VEILED CITY is the projection of a “future as catastrophe” (Eva Horn) – yet the catastrophe has not yet occurred and can still be averted. So there is still hope.
Camille Authouart’s THE GREAT ARC is an ode to the Parisian district of La Défense. The hand-drawn animated film also asks how much utopia still exists in the monuments of architecture that were once created there as a field of experimentation for a new model of the city and as a “vision for tomorrow”.
In his film IN THE FUTURE..., Juan Rmzv presents urban spaces and urban dreams. Places where the plannable and the unplannable become assembled, representing a highly complex network of relationships, in which different cultures and lifestyles collide, come together and interweave with each other.
In this plea for the feasibility of utopias, Sasha Pirker and Michael Klein’s film 60 ELEPHANTS. EPISODES OF A THEORY. portrays the ideas of architect Yona Friedman, which are based on principles such as co-determination and openness.
RESOLUTION, a critical summation of humanity since the beginning of the Anthropocene, is a further speculative science-fiction work. Bjørn Melhus takes as his basis a scene from Richard Fleischer’s genre classic SOYLENT GREEN (1973), “overwrites” it and brings this early eco-dystopia to a happy ending. THE VEILED CITY and RESOLUTION thus form cinematic counterparts within this programme intended to inspire the exchanging of thoughts and ideas.
Sven Pötting
THE HOUSE IS BLACK: In this Iranian film from 1962 portraying the suffering and daily life in a leper colony in Tabriz, the Iranian poet and film director Forough shows us how beauty can be discovered in the seemingly ugly. With her poetic black and white images, she invites us into a utopian world where you can find healing in illness and richness in poverty. Perhaps utopia should be understood so that, as André Gide explained, its meaning lies in what we see.
MEZOSTAJUN (2019) is an experimental documentary that explores the ever-changing relationship between time, space and public life in a Mediterranean city. Through the subtle cinematic merging of elements from moments in the summer and winter, it invites viewers to reflect upon a new existential realm called “Mezostajun”.
The film PARADISE EUROPE (2023) reveals encounters that are riddled with subtle prejudices and criticisms of identity, combining them with scenes depicting protests against exploding rents. This narrative exposes Berlin’s unfriendly attitude towards outsiders and those in need of protection, painting a poignant picture of the city’s social challenges.
REQUIEM FOR SOMETHING WHICH IS VERY SMALL (1997) shows a complex web of power dynamics, provocations and sexuality, with Esther trapped in her single-family house together with her husband Michael. The cinematic narrative reaches its climax through the merging of various expressive means and differing genres. Director Isabelle Stever recognised the ultimate way out of what looks like a “dead end”: hope. For the house is bright.
Hoda Taheri, Boris Hadžija, Sven Pötting
The unnatural relationship that has arisen between humans and animals in the Anthropocene is also exposed by the NEOZOON collective, which was founded in 2009. The female artists in the collective first became known for their street art actions in public spaces, where they attached recycled material – cut-up remnants of fur coats – to house walls as silhouettes of animals.
NEOZOON have also applied the recycling notion to their cinematic works, with the inexhaustible archives of the internet serving as their source here. In the digital public spaces of YouTube, they find material from others that they transform. They render visible repetitive patterns of behaviour, basic structures of human behaviour, and compact them – “the copy of the copy of the copy” (Romano) – via complex cinematic montages into theses. They reflect on how humans define themselves through the conceptual pairing of nature and culture, or on the ambivalent relationship between modern humans and animals, which is torn between utopia and obsession, cruelty and love, recognition and denial of the differences between the species. They demonstrate the frequent and even seemingly absurd way in which non-human animals – as a result of over-identification – function as a projection screen for humans.
Other works from their oeuvre unearth post-colonial traces, while revealing neoliberal and consumer-oriented thinking and action in all areas of life within our capitalist modern age. Their films are an inventory of the present time as they address existential human insecurity in the Anthropocene era when facing rising temperatures and natural disasters.
Their films are activist, yet do not lecture. They have humour, yet do not expose. Instead, they hold up a mirror to us who are – at one and the same time – both “perpetrators” and “victims of larger narratives” (Dennis Vetter), and thus enable us to gain new perspectives on ourselves and our behaviour.
The tribute is providing an in-depth insight into NEOZOON’s extensive creative range. In addition, the tribute is linked to this year’s masterclass.
Sven Pötting
Unfortunately, only a few of the works by these young directing talents, including May Spils, Ulrich Schamoni or Klaus Lemke, made it into the national cinematic canon. Yet for that, they convey a surprising freshness and playful lightness, standing for imaginative curiosity and often possessing an ambiguous or anarchic humour that, amazingly, seem to have aged very little even today. And these films are worth rediscovering.
For which reason in this year’s retrospective, we are presenting two gems from this short-lived genre: SO WHAT…? (from Marquard Bohm and Helmut Herbst, 1967/68), in which Marquard Bohm plays an irreverent idler and likeable oddball, as well as a rarely screened work by Marran Gosov, whose title even reads like a description of its contents: MEETING MY BROTHER FROM BULGARIA AGAIN AFTER MANY YEARS DURING A SHORT STOPOVER IN MUNICH (1973). The multi-talented Bulgarian Gosov, who during his time in exile in Germany was a formative part of the then extremely lively Munich artist and film scene, represents the dreams, wishes and utopias of the so-called guest workers in his enigmatic film.
At around the same time in East German GDR, the socialism of the new millennium was being planned for the cinema. In 1971, the DEFA Studio artistic working group called “futurum” began their work. Science fiction films and fictional documentations were produced, intended to be enlightening, instructive and entertaining, and from a technological view to be understood especially as social projections of the future.
But of course, under no circumstances should these “controlled utopias” offer alternative lifestyles to real existing socialism, as it was termed. The future films proved to be a short intermezzo and entertaining curiosities within the history of film in East Germany, as Joachim Hellwig’s LOVE 2002 from 1972 shows.
The programme is being rounded off with IKARUS – SHE KILL THE LAUGH. The film was made in 1989 for Wolfgang Engel’s legendary Faust I and II theatre productions, in which the equally legendary Friends of the Italian Opera collaborated.
Sven Pötting
The sound design of films is created for cinema auditoria, and this is where films should be screened and received, ideally. And of course, our pre-jury and jury members were able to view the films there. By awarding the Golden Horseman Sound Design, Joh Nico Pavlovic, Wannanelly and Moritz Lobeck are honouring an outstanding artistic achievement, as well as creativity and the highest quality in the film auditory area. At the screening for the Golden Horseman Sound Design, up to ten films are being shown to the public that were selected from all of the competition entries as being the most interesting in terms of their soundscapes by a pre-jury consisting of up-and-coming musicians. Come along and enjoy a programme that is truly “sound breaking”!
Sven Pötting
In this regard, LUCA is setting a clear example for the acceptance of all genders and sexual orientations, against sexism and all forms of discrimination. The commitment demonstrated here in this form is virtually unique within the festival scene, and especially in the short film area. The nominated films visualise differing ways of living and loving, show the strength of love, acceptance and solidarity, and advocate living self-determined lives. At the same time, stereotyping and various experiences of violence that women* and men* have had, as well as the experiences of people with multiple sexual identities are also thematised.
Representatives from the Saxon Gender Competence Centre, the LAG Jungen- und Männerarbeit Sachsen e. V. boys and men’s advocacy association in Saxony and the LAG Queeres Netzwerk Sachsen e. V. queer Saxon network have acted as a pre-jury and selected the films. They are attending the film discussion after the screening together with the main jury of the LUCA GenderDiversity Film Award and are happy to answer any questions from the audience.
Sophie Koch, Thomas Qiu Hönel and Lei Meng
In this way, “fully political” accords consideration to current developments that reveal in numerous places: Politics makes waves, is life, is daily routine. For which reason, political education and information about political systems and developments are required more than ever across broad areas and in numerous – even entertaining – formats. The “‘fully political’ – Short Film Award for Democratic Culture” provides the space and framing required here.
For the second time, the Saxon State Ministry of Justice and for Democracy, Europe and Gender Equality is sponsoring the award. In this way, the democracy ministry is continuing the prize that the Saxon State Centre for Political Education (SLpB) developed and first awarded four years ago.
Five players from the political education and culture field were involved in the viewing and evaluation of the short films. They undertook a preselection of the most interesting films politically speaking from all the competition entries at FILMFEST DRESDEN.
The programme will be followed by a film discussion with filmmakers and members of the preliminary jury, inviting the audience to join in the discussion.
Christina Wittich
SHORT TIGER NEXT GENERATION 2024 consists of a selection of the eleven best productions from German film schools and young directors. The jury members Sophie Linnenbaum (director of THE ORDINARIES (2023), winner of the 2017 SHORT TIGER), Alexandra Gramatke (managing director of the Kurzfilm Agentur Hamburg short film agency) and Christian Bräuer (managing director, Yorck-Kino GmbH cinema group) decided on which works to include in this year’s selection.
The aim of the initiative is to strengthen the perception of short film within the public sphere. The filmmakers receive a platform to present their films throughout the year in cinemas here in Germany, as well as at media industry events abroad. We are delighted that numerous filmmakers are attending the screening.
After the premiere, GERMAN FILMS is sending the films on an international tour, with the first stop-off being the Cannes Film Festival in May 2024. The five FFA Short Tiger winners can be booked by German cinemas via the Kurzfilm Agentur Hamburg short film agency.
Sandra Hoff
5 to 8 years old, German OV/no dialogue
8 to 11 years old, OV with German live voice-over
10 to 13 years old, OV with German live voice-over
13 to 16 years old, OV with German live voice-over
From 16 years old, OV with English ST
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
In this tumultuous social and political landscape dominated by pain, despair, rage and frustration, the role and relevance of film festivals is under scrutiny: Can a festival truly make a meaningful impact in times of such profound suffering, and for whom? Is our celebration of art(ists) an act of solidarity in the face of global crises or merely a distraction from possible complicity in systems of oppression?
These pressingly troublesome questions demand a courageous confrontation. They compel us as mainly white programmers and festival-makers in Germany to interrogate our own positions of power, to explore the perspectives of others, to engage and to empathise with them. It is our responsibility to not only face the uncomfortable reality that our actions can perpetuate injustice, but to also speak out on and help dismantle oppressive structures.
The films selected represent one of the starting points for this enquiry. They serve as both a reflection on and a refraction of reality, capturing the complexities, contradictions and nuances of human existence. As they propel us to collectively rethink the ways in which we have always done things, “what can be” becomes not necessarily an idea of the future in a temporal sense, but relates to the possibility of seeing things differently, forging new connections and opening up unfamiliar realms of making sense of the world.
In this spirit, we aim to embrace this moment as a coming-of-age in which long-held truths are surpassed, and we hope to offer a kind of sanctuary – a space to grapple with uncertainty and seek courage in shared experiences.
We don’t have all the answers; yet for that, we invite you to join us in shaping this space for dialogue that, based on active listening and critical reflection, sustains dissent; a space that embraces imperfection and perhaps, hopefully, generates moments of genuine human connection that kindle solidarity and imagine a way forward.
Vincent Förster on behalf of the Selection Committee for the International Competition
Eventually, we extracted 23 short filmic treasures, including 12 animated contributions, consisting of narrative, experimental and hybrid formats. In these works, the local German filmmakers address current social themes, such as war, flight and displacement, migration and the search for identity, as indeed global protests against oppression, often providing surprising new perspectives in the never-ending search for a possible utopia. At the same time, they sweep us away into fantastic worlds of images, rekindling our enthusiasm for visual cinematic storytelling time and again. And this array of national filmmaking is also reflected in the four short film blocks in this year’s National Competition programme.
Compressed into just a few minutes, with a maximum of emotions and yearnings, precise but dreamy, at times quiet, at other times loud, yet with great courage in terms of their content and creative design: This represents the essence of our programme for the 36 FILMFEST DRESDEN, to which we would as always like to warmly invite you from the bottom of our hearts. Your National Competition Selection Committee.
Christian Hempel on behalf of the National Competition Selection Committee
Eventually, we extracted 23 short filmic treasures, including 12 animated contributions, consisting of narrative, experimental and hybrid formats. In these works, the local German filmmakers address current social themes, such as war, flight and displacement, migration and the search for identity, as indeed global protests against oppression, often providing surprising new perspectives in the never-ending search for a possible utopia. At the same time, they sweep us away into fantastic worlds of images, rekindling our enthusiasm for visual cinematic storytelling time and again. And this array of national filmmaking is also reflected in the four short film blocks in this year’s National Competition programme.
Compressed into just a few minutes, with a maximum of emotions and yearnings, precise but dreamy, at times quiet, at other times loud, yet with great courage in terms of their content and creative design: This represents the essence of our programme for the 36 FILMFEST DRESDEN, to which we would as always like to warmly invite you from the bottom of our hearts. Your National Competition Selection Committee.
Christian Hempel on behalf of the National Competition Selection Committee
Eventually, we extracted 23 short filmic treasures, including 12 animated contributions, consisting of narrative, experimental and hybrid formats. In these works, the local German filmmakers address current social themes, such as war, flight and displacement, migration and the search for identity, as indeed global protests against oppression, often providing surprising new perspectives in the never-ending search for a possible utopia. At the same time, they sweep us away into fantastic worlds of images, rekindling our enthusiasm for visual cinematic storytelling time and again. And this array of national filmmaking is also reflected in the four short film blocks in this year’s National Competition programme.
Compressed into just a few minutes, with a maximum of emotions and yearnings, precise but dreamy, at times quiet, at other times loud, yet with great courage in terms of their content and creative design: This represents the essence of our programme for the 36 FILMFEST DRESDEN, to which we would as always like to warmly invite you from the bottom of our hearts. Your National Competition Selection Committee.
Christian Hempel on behalf of the National Competition Selection Committee
Eventually, we extracted 23 short filmic treasures, including 12 animated contributions, consisting of narrative, experimental and hybrid formats. In these works, the local German filmmakers address current social themes, such as war, flight and displacement, migration and the search for identity, as indeed global protests against oppression, often providing surprising new perspectives in the never-ending search for a possible utopia. At the same time, they sweep us away into fantastic worlds of images, rekindling our enthusiasm for visual cinematic storytelling time and again. And this array of national filmmaking is also reflected in the four short film blocks in this year’s National Competition programme.
Compressed into just a few minutes, with a maximum of emotions and yearnings, precise but dreamy, at times quiet, at other times loud, yet with great courage in terms of their content and creative design: This represents the essence of our programme for the 36 FILMFEST DRESDEN, to which we would as always like to warmly invite you from the bottom of our hearts. Your National Competition Selection Committee.
Christian Hempel on behalf of the National Competition Selection Committee
As the artist and filmmaker Hito Steyerl writes in her book “The Colour of Truth”, “documentary works” are “palaces of memory that, unlike archives, organise documents not only in space but also in time”. In accordance with this, short and feature-length documentaries thus create the widest possible variety of contexts from a collection of images and sounds. Following Hito Steyerl's concept of the truth in documentaries, the artist, author and director Anna Zett has combined and interwoven various sources and documents in her current film AFRAID DOESN’T EXIST to create a poetic composition that is both affective as indeed informative in character. Doing so, she is drawing our attention to an act of political self-empowerment that is barely known today – the activism by parts of the East German population shortly before the end of the GDR – and providing rarely seen insights into the political mood during the chaotic period of upheaval shortly before German reunification.
Constanze Wolpers takes a more investigative documentary approach when she returns to her home in northern Germany to investigate – in a mixture of anger and discomfort – the murder of 15-year-old Êzîden Arkan Hussein Khalaf. During the process, she learns a lot about socially entrenched racism, institutional ignorance and the gaps in her own knowledge.
Jonas Erler’s THE BOY WITH THE PEARL EARRING is a quiet and subtle film about the search for identity and the realisation of subjective utopias. In his colourful animation NOTHING TO EXPECT, aesthetically inspired by videogames from the 1990s, Franz Impler deals in a cheerfully anarchic way with the isolation caused by corona and neoliberal lifeworlds.
The second animation in the programme, the enchanting cinematic lullaby SOMNI by Sonja Rohleder, is consciously quieter. DEATH ROW, on the other hand, wakes us up again. In his homage, the director Jan Soldat has compiled film excerpts from the cult actor Danny Trejo. This American actor of Mexican origin has elevated cinematic dying to a great art – and when he dies, he never dies quietly. This tongue-in-cheek, yet always affectionate insight into genre films, B-movies and action cinema concludes our programme that is starting with the refreshingly carefree prelude to summer entitled BALCONIA from Finn Ole Weigt and Paula Milena Weise.
Sven Pötting for the Selection Committee of the Central German Competition
An apparent idyll between mountains and valleys, medieval time travellers on a flying visit to the present future, the story of a flight and the search for one’s own identity as a dance choreography, as well as the subtle chirping of an invisible digit – the filmic discoveries in the national Panorama audio-visualise light and sound into an irresistible visual and auditory pleasure.
Christian Hempel on behalf of the National Competition Selection Committee
In these films, Quebec landscapes often serve as a backdrop, only turning out to be starting points to venture way further beyond. Nature walks, diaries, trances, meditations, mirages: These brief travels not only inquire the notion of space – tangible, corporeal, mental, metaphysical – as they investigate possible ways to navigate it, but also raise the question of what cinema can be.
Refreshing, efficient, poetic, visceral, boundary-pushing – these intimate yet vibrant shorts cultivate wonder in their purposeful attention to language and their organic use of cinema as a playground, from creative process to finished work. Most of all, these artists are generous with the room, trust and freedom they give to their audience – humbly seeking to share new experiences and sensations with them through form; to move something inside of them.
In the end, I realise these films all manifest an ideal that reminds me of what made me fall in love with short film in the first place. In their commitment to medium-specificity, novelty and sensibility, they embody the purest essence of what I believe short film should be and continue to be and, as earnest as it may sound, they make me hopeful about what is to come for our cinema.
Tam Dan Vu
In their works, these two Dresden-based filmmakers documented the realities of the post-reunification years by translating them into cinematic art. One primarily in short films, the other in longer formats. What resulted from this were no high-end film productions, with their being only of limited value as film festival fodder. These were works that would probably not be shown by public TV broadcasters until well after midnight – and yet they are important contemporary testimonies, as mirrors of this city of Dresden, of an era and of an attitude to life.
As in previous years, the Saxony Film Association and the Saxon State Library – Dresden State and University Library (SLUB) are screening excerpts from their joint “Securing the Audio-Visual Heritage in Saxony” (SAVE) federal state digitisation programme in the festival’s Regional Focus section. This time around, the focus is not on private and documentary footage, but on these two filmic artists’ works that, on the one hand, have a historical value in and of themselves for the images they show and, on the other hand, are absolutely worth preserving as an expression of a (filmic) artistic niche in a certain place and at a certain time.
A reception for the event is being held in Lingnerschloss on 17 April 2024, to which everyone is warmly invited.
André Hennig
Our programme consists of an invitation to travel: firstly to Detroit. Detroit has always been a city of utopias, not only in terms of technological progress, but also musically. The film LO-TECH REALITY was created in collaboration with the “underground Resistance Collective”, headed by Detroit techno pioneers Jeff Mills and Mike Banks. Their specific sound design evolves into “sonic fiction” (Kodwo Eshun), which refers to a society that has detached itself from capitalism. For the “Underground Resistance Collective”, this represents a hopeful future.
The journey continues to New York, where Viktoria Schmid shows us analogue, hypnotic images of New York in NYC RGB, in which different time levels become combined and merge into a harmonious whole.
In their multimedia project THE CURRENCY – SENSING 1 AGBOGBLOSHIE, Elom 20ce, Musquiqui Chihying and Gregor Kasper question capitalist logics, exploitation and power structures by tracing the global cycles of raw materials and electronic devices, making them visible and audible. To this end, they travel to the “toxic city” of Agbogbloshie, where the remnants of the dreams of prosperity from rich countries are recycled and have become nightmares for the local population due to the resulting high environmental pollution.
Max Hattler’s O/S is inspired by experiments from avantgarde movements in the 20th century. These incorporated their present into the future and formed alignments vis-a-vis the formulating of political and aesthetic convictions in the relationship between art, politics and society.
In their photo film enhanced with modern technology, Gusztáv Hámos and Katja Pratschke question the political utopia of communism and tell the story of the life of an artist who finds himself in an “interim world” in so-called real socialist Hungary during the Cold War, and whose world becomes disjointed and reconstructed.
These border-crossings expand the viewers’ fields of vision as they explore new possibilities, challenging them to “think further”. Crossing borders thus always provides space for utopian constellations.
Sven Pötting
In this special programme highlighting some of our favourite queer horror films, you will see shorts overflowing with queer creativity. Dystopian group dynamics, body dysphoria, transgressive creatures, dangerous, sexy relationships – get ready for a thrilling and subversive selection that upends the norm!
Sara Neidorf, Eli Lewy
Penicillin, LSD and Viagra may all have been invented by accident, but most accidents in science and technology are decidedly less happy. Take for example the unfortunate experiments in this programme: a series of ambitious high-wire dreams of a better future backfiring gloriously badly. It seemed like a good idea at the time… Remember what the doctor said: This will only hurt a little bit – and only sting for a moment. Caution: The content’s potential side effects include shock, disgust, hysteria and laughter.
Christoffer Ode