About the Festival

[The audience] like the density of it, the reasonable informality and human reach of the operation, packing product like a camel does water for slow release over barren stretches. And fair enough, really, for, simply put, over six days in May it is the creative and volume focus of the world short film exhibition, tipping the globe in its favour,... Filmwaves, Autumn 2000

However, Gass considers the popular and the traditional short film, which does indeed still exist in Oberhausen, to be equal. Both programme sections complement each other; often enough, it is only their joint presentation which makes aesthetic or social trends visible. FILM Zoom, Switzerland, October 2000

In Oberhausen the short film proved itself to be completely up-to-date: In an age where social and aesthetical ties are lost it is gasping for breath like most of us and keeps finding it again and again. Frankfurter Allgemeine Zeitung, Germany, 16 May 2000

The festival presented approximately 460 short films and videos from all over the world and those who kept their eyes open looking for the subversive avantgarde were able to find it indeed, despite the event-inspired crowds. The short film genre has lost none of its variety, liveliness or high quality. Filmdienst, Germany, June 2000

A rich intellectual menu was offered not only in the competitions; the special programmes in particular offered well-researched viewing material: no less than 11 programmes presented the hardcore-soaked history of the Eastern European avant-garde since 1950 which would have been worth a festival of its own. Filter, Germany, June 2000

... the annual Short Film Festival Oberhausen has devoted more screen-space than ever to the interfaces between pop videos, corporate design, opening credits and the traditional experimental film. The smart decision to show the special programme "Pop Unlimited?", curated by Christian H�ller, may have turned up a few less than exciting films, but the majority of the works were astonishing... Süddeutsche Zeitung, Germany, 17 May 2000

The festival has succeeded in uncovering the interaction between traditional and new formats. [...] turning into a kind of pinball machine where the ball moves between avant-garde and pop. In the majority of cases, you score. Frankfurter Rundschau, Germany, 12 May 2000

Last year the Oberhausen Short Film Festival, by introducing the MuVi-Award for the best German music video, gave a clear signal that it was opening toward new genres and a younger audience. This course of rejuvenation has, at least in terms of audience reponse, proved successful. Filmecho/Filmwoche, Germany, 20 May 2000

The atmosphere is thrilling so far, even if the weather contributes a lot by giving a mediterranean flair to the wonderful open air ensemble at Elsässer Street and Friedensplatz. The street cafés were crowded far into the night during the weekend. Everywhere, you hear the guests praise the festival service. Westdeutsche Alllgemeine Zeitung, Germany, 9 May 2000

Oberhausen probably has the best festival catalogue in the world. Superior knowledge on all the subjects which the programmes work hard to illustrate. Bielefelder Stadtblatt, Germany, 15 May 2000

Six days of short films in Oberhausen, six days full of surprises, discoveries and countless awards at closing night. [...] [Oberhausen] screened primarily high quality films, whether they were documentary or experimental films, traditional narratives or trying out new formal approaches. Stuttgarter Zeitung, Germany, 11 May 2000

This edition of the festival will be remembered for the female directors who delivered a number of high quality films. Oberhausen is an important forum for short film and for discussion on new developments not only in film, popular culture and aesthetics, but also in social-political thinking. Ciné & Média, Belgium, Nr. 4/2000

Oberhausen is one of the top most short film festivals which gained popularity by presenting some extremely important programmes. Time and Tide, India, May 2000

Especially since these two programme sections, "Sex, Rock'n'Roll and History" and "Pop Unlimited?", meshed almost perfectly, offering perhaps a suitable metaphor for the situation in Austria in their inner conflicts. Der Standard, Austria, 11 May 2000

Clever and necessary, the Eastern European counterpoint to Pop Unlimited. It was curated by Slovenian media theorist Marina Grzinic who with great dedication compiled a programme which proved her to be a profound expert on the film industry and history, as well as an outstanding theoretician. Die Wochenzeitung, Switzerland, 18 May 2000

The International Short Film Festival Oberhausen was the first of its kind to recognise the music video as a format worthy of critical attention and to program music videos within a competitive short film festival. Extremely exciting sessions based on this topic included: a selection of German music videos from the 1999 Oberhausen MuVi competition; a selection of international music videos from the 2000 Oberhausen program and a selection of Australian electronic music video clips, screened in competition.

http://www.senseofcinema.com, Australien, Juli 2000