Looking Back 2023

The 69th International Short Film Festival Oberhausen took place from 26 April to 1 May 2023.

Festival Impressions

Award Winners

Awards of the International Jury

Grand Prize of the City of Oberhausen
worth 8,000 euros

Chornobyl 22
Oleksiy Radynski
Ukraine 2023, 20', colour

Statement
Chornobyl 22
is an important piece of filmmaking for its documentation of local and global concerns in the region of Chornobyl. The jury recognised Oleksiy Radynski’s ability to create tensions in the retelling of the Russian invasion while bridging histories as well as possible futures without overt aestheticization. The honest and candid interviews in the film make it an important work for today, but also for future generations to look back to. It is communicative and concise, with the possibility to reach a wide audience in different contexts and viewing environments.

 

Principal Prize
worth 4,000 euros

Camino de lava
(Roads of Lava)
Gretel Marín Palacio
Cuba 2022, 27'48", colour

Statement
In Camino de lava the jury recognised the sensitivity of filmmaker Gretel Marín Palacio in the portrayal of the film’s main character and his tender relationship with his parents. The film's dialogue captures important topics that are elaborated with messages of strength from queer and feminist perspectives. The symbolic depiction of interior and exterior space and ideas of the home as a safe space and one of possible structural change are all crafted with confidence. The struggles conveyed by the parent to the child are intimate but also raise awareness of social injustices and racism in Cuba and in other global contexts.

 

Promotional Prize of the International Competition
worth 1,500 euros

Xiuhtecuhtli
Colectivo Los Ingrávidos
Mexico 2023, 15'49", colour / black and white

Statement
The jury recognised the artistry and craft of film as a medium involved in the making of Xiuhtecuhtli. The complexity of the film's editing and the sound were an immense feat, connecting us with the indigenous culture explored by Colectivo Los Ingrávidos. The piece is intense and deep, breaking with experimental film history to propose other film ontologies.

 

European Film Awards Short Film Candidate

I think of silence when I think of you
Jonelle Twum
Sweden 2022, 9', colour

Statement
In nominating I Think of silence when I think of you for the European Film Awards, the jury recognise the importance of Jonelle Twum’s practice in exploring personal histories and archives with the moving image, and its possibility to act as both a tool of self-expression, while also making tangible histories that are little recognised in experiences of Ghanaian migration in Sweden and Europe. The film’s feminist perspective gives a voice to the work's focus while exploring the meaning of silence in an evocative way.

 

Special Mentions

Saya di Sini, Kau di Sana (a Tale of the Crocodile’s Twin)
(I’m Here, You’re There (a Tale of the Crocodile’s Twin))
Taufiqurrahman Kifu
Indonesia 2022, 18'26", colour

Statement
I’m Here, You’re There (a tale of the Crocodile’s Twin)
brings oral history and tradition into the present with an awareness of today's precarious ecological situation. The film looks to the local to talk about wider issues globally in a light-hearted but serious way.

 

Nameless Syndrome
Jeamin Cha
South Korea 2022, 24', colour

Statement
Jeamin Cha developed a delicate and respectful essay on illness with a moving and caring approach to the subject. The way theoretical quotations are integrated into the film is sharp and aesthetically convincing, contributing to the film’s value.

 

Medic
(A Medic)
Alizhan Nasirov
Kyrgysztan 2023, 24', colour

Statement
Medic
is an expertly made portrait with exceptional cinematography. The jury were impressed by the filmmaker's ability to convey the persona of the medic against the vast landscapes depicted in the film.

The International Critics’ Prize

FIPRESCI Prize

2720
Basil da Cunha
Portugal/Switzerland 2023 29'44", colour

Statement
For creating an astonishingly vibrant portrait of a community through the beauty and poetry of masterful narrative storytelling.

Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia

1st Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia
worth 5,000 euros

Untitled
Sweatmother
UK 2022, 8'45", colour

Statement
A person in front of an arrangement of old video equipment. We follow a dialogue with an avatar of stereotypical femininity. Sweatmother confronts attributions of gender identity personally, biographically and poetically. We award a film that opens up questions of identity to the maximum with minimalist means.

 

2nd Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia
worth 3.000 euros

Xiuhtecuhtli
Colectivo Los Ingrávidos
Mexico 2023, 15'49", colour / black and white

Statement
Hypnotic interlacing of sound and image rhythms. Vitalization of cinema into a consciousness-expanding space. Film as a collective, ritual flash.

 

Special Mentions

Lopte
(Balls)
Gorana Jovanović
Serbia/Slowenia 2022, 22'30", colour

Statement
How does a society cope when war and unleashed violence have destroyed peaceful coexistence between neighbours? Using football as an example, Lopte by Gorana Jovanović explores the fine line between playful confrontation and escalating violence with documentary means that are as sober as they are precise.

Prize of the Ecumenical Jury

Prize of the Ecumenical Jury
worth 1,500 euros

Let’s be friends
Arno Coenen, Rodger Werkhoven
Netherlands 2022, 5'26", colour

Statement
This year the Ecumenical Jury decided to recognize the courage and the contribution to the development of a future path for the entire film industry. Our winner movie impressed all of the team members with a relevant topic, meta ironic approach, integrity and completeness of the theme revelation. In an experimental yet persuasive way, the filmmakers managed at the same time to create a statement and argue on it also establishing a vividly impressive visual style. We greatly appreciate the brave gesture and significant input into the discussion of modern technologies (AI) that influence our everyday life more and more, while occasionally leaving us with a feeling of powerlessness.

 

Special Mention

Every Sunday, GrandMa
Laure Prouvost
France/Belgium 2022, 7'17", colour

Statement
We would like award a Special Mention to a film which left an unforgettable impression on the whole female part of our jury and both Christians, too. The representation of a woman of age in such a delightful and playful way sets a new tone for the film industry. Previously unfairly forgotten and now rising again with all the power of beauty, the aging woman becomes a new trend for the youth-obsessed male-perspectived world of cinema. Thank you for your inspiring masterwork, dear Laure Prouvost. Every Sunday, GrandMa should feel same as the protagonist in the nearest bright future.

ZONTA Prize

Zonta Prize
worth 1,000 euros
For a female filmmaker in the International or German Competition

Noita miettin
(Thinking about that)
Mox Mäkelä
Finland 2023, 20'48", colour

Statement
Few plants were trampled in the production of this film. An oral, gutturally spoken waterfall of words that even in the original Finnish – let alone in the English subtitled version – works with absolute overload, with word inventions and leaps of thought: a rant on a world of commercial slime hooks. The film also exceeds all expectations on the visual level.

Awards of the German Jury

Prize of the German Competition
worth 5,000 euros

Turtleneck Phantasies
Gernot Wieland
Germany 2022, 17'46", colour/black and white

Statement
Drawings, diagrams, tattoos, a voice… Using personal memories and individual experiences as a starting point, the film weaves complex narratives into sketches of society. With masterly skill, different media are playfully integrated, while the film is marked by a light wit that is never far from melancholy.

 

Promotional Prize of the German Competition
worth 1,500 euros

SSRC
Yalda Afsah
Germany 2022, 20'09", colour

Statement
Taking the form of a poetic and visually powerful approach to the relationship between humans and animals and characterized by a consistent dramaturgy of suspense and great visual clarity, the film finds a remarkable way to address the relationship between power and submission, care and control.

 

3sat Emerging Talent Prize
worth 2,500 euros
For a contribution with a particularly innovative approach. The prize also includes the option of purchasing the winning entry and presenting it on 3sat.

Sensitive Content
Narges Kalhor
Germany 2022, 8'48", colour

Statement
This film questions how we deal with images that depict the pains of others. Using a simple symbol, the omnipresent images of brutality hidden behind a filter are revealed. Mapping acts of state violence but also solidarity among the people, the film documents the power of the revolution – Jin, Jiyan, Azadî.

 

Special Mention

When He Leaves
Andrea Laušević
Germany 2023, 11'26", colour

Statement
A Special Mention goes to a film that finds haunting images for a mother waiting for the return of her child.

Promotional Prize of the NRW Jury

Prize of the NRW Competition
worth 1,000 euros

Ich darf sie immer alles fragen
((
I may always ask her anything)
Silke Schönfeld
Germany, 2023, 15'09'', colour

Statement
We look into a treetop. We hear bird calls, karabiner clicks, winch sounds and the rustling of leaves in the wind. Tree cuttings lie on the ground and workers are at work with crampons. With the first text tableau, the monstrous, the unspeakable unfolds.

"The garden is freed from the colossus" we will later hear from the mother. It needs space and air to breathe. And the sweet red fruits have long tasted bitter. That cherry blossoms stands for purity, innocence, joy and happiness seems perfidious when we learn that the father planted the tree 50 years ago, for the daughter's subtle and clever cinematic reappraisal makes the wound visible. Trust and security are necessary to reclaim life and healing. We are taken along and understand why the cherry tree forms the starting point of an intimate cinematic dialogue about transgenerational trauma between mother and daughter. With the filmmaker, we look for clues in the photos. Just like the filmmaker, we know that she cannot read what she is looking for in the faces.

It is existential that those affected by sexualised violence and abuse do not have to keep quiet about their painful experiences and can overcome them with support and solidarity. Then it becomes possible that the inconceivable suffering is not passed on to subsequent generations. The mother creates a powerful piece of liberation and coping, the chainsaws are running and the container for the tree cuttings is set up.

The Prize of the NRW Competition goes to a strong and courageous cinematic documentation of the filmmaker’s own family history. Vulnerable and empowering, the fifteen-minute filmic reappraisal reveals many things and at the same time shows the unanswerability of many questions.

 

Promotional Prize of the NRW Competition
worth 500 euros

Everything About a Mutual Acquaintance
Rasam Noori
Germany, 2023, 37'45", colour

Statement
The film shows a landscape, beautiful and barren – frozen, like the feelings of the protagonists. We are taken on a journey. The conversations, the feelings and the places in the solitude are intense and full of tension. Almost breathless, full of suspense, we follow the glances and conversations about something that cannot or must not be spoken about.

The brilliant acting of the protagonists is evident in the wide range of expressions, as well as in the concentrated reduction. Something fragile develops between them. A relationship that is beautifully translated into aesthetical images. We get to know the protagonists through a virtuoso mise en scène. The depth of emotion, the memories and speechlessness are revealed in the graphic design of the filmic spaces. The next morning, the cinematic narrative takes us back to the starting point and we wonder if it was all just a dream. The fathers who do not speak; the love of two men. What happens to the experiences of war? How do they change us? How are they passed on to the next generation? And what happens to a love that is not lived?

 

Special Mention

Feel What You're Feeling
Ale Bachlechner, Elsa Artmann, Samuel Duvoisin
Deutschland, 2022, 18', Farbe

Statement
Film is movement, film is sound, film is language. The contribution that the jury would like to distinguish with a Special Mention combines all of these in a special and idiosyncratic way. At the centre: bodies, words and sounds, and water. Together, the bodies create new body figures that move through a cool space marked by clarity, but which at the same time seems as convoluted and enigmatic as the body movements. The sounds are visceral and come from the depths of these bodies, the words are the language of a young generation, of a free and associative way of thinking. Neo-liberal sentences of permeability and openness, their own training language, humorously exhibited in their ambivalence. And the water goes its own way; once in the body, however, it can be tamed, can produce sounds and turn powder into a foaming mixture. A total work of art that surprised and fascinated the jury.

Prize of the WDR Westart Audience Jury

Prize of the WDR Westart Audience Jury
worth 750 euros, sponsored by WDR Westart

Members of the Jury
Ralf Bühnen, Heiner Frost, Britta Geschonnek, Ulrike Leggewie-Brohm, Lea Luhn, Christina Menne, Andreas Polka-Radtke, Christian Rychter, Armin Sawicki, Daniela Zalewski-Lange

Everything About a Mutual Acquaintance
Rasam Noori
Germany, 2023, 37'45", colour

Statement
The film tells the story of a chance encounter between two men. An unusual relationship, suspended between affection and suspicion, develops between the two protagonists. The story subtly evolves into a parable on the male image in a patriarchal society. The depth of the film comes from what is implied and unspoken, portrayed brilliantly by the two actors. We were also convinced by the film’s sensitive use of cinematic language, which perfectly supports the stringently told story.

25. German MuVi Award for the Best German Music Vide

1st Prize
worth 2,000 euros

Gravity (Laima Adelaide)
Duc-Thi Bui
Germany 2022, 6‘47‘‘, black and white

Statement
The clip perfectly combines the rhythms of the music and the text. Instead of defining the image landscape for the audience, the director believes in us, the audience, as the creators of our own images, inspired by the music as much as by the words. Therefore Duc-Thi Bui creates a cinema of its own by constructing a sensible visual layout, playing with typography as well as tempo and animated punctuation. The text on screen is both a close-read narration and an open invitation to create your own film.

 

2nd Prize
worth 1,000 euros

Das eigensinnige Kind (Raison)
Schorsch Kamerun
Germany 2022, 4‘51‘‘, colour

Statement
Both the song and the video take us along on an enigmatic journey into the life of the protagonist as well as into a reflection of the society around him. By choosing to act within the limited space of a Kammerspiel, Schorsch Kameruns brutally depicts how alone one can be within society. With a significant shush he makes sure the dark history stays inside without disturbing the world outside. This video plays like a nightmare straight out of One Flew Over the Cuckoo’s Nest.

 

Special Mention

Lamentierendes Schwein (Frau Kraushaar)
Helena Wittmann
Germany 2022, 3‘18‘‘, colour

Statement
We loved the beautiful dynamics of this clip.

 

MuVi Audience Award
chosen by online vote on muvipreis.de and worth 500 euros, sponsored by kultur.west

Maschinenbauergemetzel (Paul Sies)
Julian Paul
Germany 2022, 2‘58‘‘, colour

 

The MuVi Partners 2023
3sat
Byte.FM
Kultur.West
netpoint media
strobo.ruhr

The Awards of the International Children’s and Youth Film Competition

Prize of the Children’s Jury
worth 1,000 euros, sponsored by Wirtschaftsbetriebe Oberhausen (WBO)

L‘Avenir
Santiago Ráfales
Spain 2022, 19'11", colour

Statement
Our winning film is about friendship and love. The boy and the girl are the same age as us. They play games that we would like to join. Sometimes we also feel like the two friends. We liked that it was made with real children, they did a great job acting.

 

Promotional Prize of the Children’s Jury
worth 1,000 euros, sponsored by Energieversorgung Oberhausen AG (evo) 

Siostra
(Sister)
Kasia K. Pierog
Poland 2022,12', colour

Statement
In our winning film, we were taken on a journey by two sisters. We liked that the big sister protects the little sister. The story reminds me a bit of my little brother, whom I always want to protect. The sisters fought but also made up again and stuck together. We think it was very beautifully drawn.

 

Special Mention

La vérité sur Alvert le dernier dodo DEU
(The truth about alvert, the last dodo DEU)
Nathan Clement
Schweiz, 2022, 16'43", colour

Statement
Our Special Mention goes to a film that is sad and funny at the same time. The boy tries to transform a chicken into a magic dodo. This is how he wants to make his sick mother well again. His grandpa helps him. It was funny to see the two of them throwing the shoes in the air and looking for the chicken.

 

Prize of the Youth Jury
worth 1,000 euros, sponsored by the Rotary Club Oberhausen

A menos que bailemos
(Unless We Dance)
Hanz Rippe Gabriele, Fernanda Pineda Palencia
Colombia 2023, 14'34", colour

Statement
We feel that this film is very emotionally charged, especially the dance scenes and the listing of the deceased at the end of the film. Music and dance connect the protagonists and give them a perspective in an environment marked by violence. The film conveys closeness through its unembarrassed and honest portrayal and enables us to comprehend the various issues. The film is thought-provoking and it was easy for us to put ourselves in the characters’ shoes. The visual and sound design are also great.

 

Special Mention

Summer Nights
Virgile Ratelle
Canada 2023, 14'22", colour

Statement
Our Special Mention goes to a film that, for us, above all conveys a sense of freedom. It portrays the relationships of adolescents, documents them while skateboarding and shows their wishes for life. We really liked how it was realized, especially the authentic camera.

Prize of the ECFA Jury

ECFA Short Film Award
The award consists of a nomination for the ECFA Short Film Award 2024

Aaaah !
Osman Cerfon
Frankreich 2023, 4'41", colour

Statement
Our winner is a film that fearlessly and with a fresh approach uncovers the raw emotions that bind us all. This film left us in stitches with its clever and humorous take on uncomfortable moments we can all relate to. Less is more, the director brilliantly weaves different short stories together with a very unique style, using just two letters of the alphabet. The bold visuals capture the essence of the film and have lingered in our minds long after viewing.

Prize of the Ecumenical Jury of the Children’s and Youth Film Competition

Prize of the Ecumenical Jury of the Children’s and Youth Film Competition
worth 1.500 euros

Le Jour de gloire
Romuald Rodrigues Andrade, Ludovic Aklil Piette
Frankreich 2022, 21'46", colour

Begründung
20-year-old Kamel and his friends have a plan: They want to make their city a place worth living in for everybody. But they are faced with the harshness of an adult world where good ideas are not enough to succeed. When they are dismissed as unimportant, they do not lose hope and are determined to fight for a better tomorrow. Le Jour de gloire impressively depicts an obviously relevant issue for children and young people in times of multiple crises: How to participate in society while being marginalized due to their age, their social background, or their lack of political experience? We see how family can be both helpful and destructive at the same time for young people trying to establish themselves – and how solidarity overcomes personal needs. The well-executed script, the outstanding acting, and the ability of telling a universal yet complex story through a seemingly small event convinced the jury as much as young Kamel is convinced of community organizing as a means towards self-efficacy.

Catalogue

The Festival Catalogue 2023 is available as PDF for Download here.

Press review

Here you can find a collection of excerpts from press reviews of our festival.

 

Consistently high quality curation practice.
critic.de, 6 May 2023
https://www.critic.de/special/kurzfilmtage-oberhausen-2023-die-antwort-der-anachronismen-4608/

 

The Festival forces you as a viewer to leave the paths you are used to trotting along after films. They reward this effort with new perspectives on the world.
die tageszeitung, 5 May 2023
https://taz.de/Internationale-Kurzfilmtage-Oberhausen/!5928740&s=kurzfilmtage/

 

In general, collages and hybrid forms dominate the festival in its 69th edition. Digital creations meet the photochemical process. The films noticeably strive towards other media, orienting themselves towards TV shows, poems and paintings.
filmdienst.de, 7 May 2023
https://www.filmdienst.de/artikel/60766/internationale-kurzfilmtage-oberhausen-2023-fazit

 

The heart of the festival is the International Competition. [...] There was a lot of crunching and cracking in the nine carefully compiled programmes. Here fiction met documentary, animation met essay, the experimental met the touching, the incomprehensible met the insightful.
Frankfurter Allgemeine Zeitung, 3 May 2023
https://www.faz.net/aktuell/feuilleton/kino/starke-kurzfilmtage-in-oberhausen-18862921.html?printPagedArticle=true#pageIndex_2

 

At its most successful, […] the program revealed the field of creative possibility opened up to filmmakers by the new affordability of sophisticated recording and editing equipment.
e-flux Criticism, 25 May 2023
https://www.e-flux.com/criticism/541963/69th-international-short-film-festival-oberhausen

 

As usual, the Oberhausen festival offers a colourful programme. At its focus: coping with war and experimental film.
epd film, June 2023

 

[…] The excellence and sophistication of the curation extended far beyond the ‘choosing’; it was the way each program contained films that were in dialogue with each other, that formed a cohesive session, that really impressed.
fipresci.org, May 2023
https://fipresci.org/report/oberhausen-2023-johnson/

 

The size and scope of the program and visiting guests is both incredible and overwhelming.
German Film @Canada, 12 June 2023
https://blog.goethe.de/arthousefilm/archives/1133-LETTER-FROM-OBERHAUSEN-2023,-PART-1.html

 

Oberhausen demonstrated an extraordinary potential to give impulses and provide inspiration in a way that is almost unattainable for a feature-length film festival.
filmfilter.at, 5 May 2023
https://filmfilter.at/themen/features/subversive-spiel-maschinen/

 

Each year, the festival releases a new manifesto in due form, that of a film programme, to remind us that cinema in general and short films in particular can be a space of freedom where it is better to invent new forms than to repeat the same formulas. The programme of the 2023 edition proved this once again.
filmexplorer.ch, May 2023
https://www.filmexplorer.ch/short-pages/internationale-kurzfilmtage-oberhausen-2023/

 

Thematic series and tributes to artists and curators from the Kurzfilmtage’s history feed into a sort of ongoing self-retrospective that make the festival a true goldmine […] A strange yet welcoming grotto, where those eluding straightforward affiliations with the art world or art-house cinema may find refuge.
Spike Art Magazine, June 2023
https://www.spikeartmagazine.com/?q=articles/views-internationale-kurzfilmtage-oberhausen-2023-clara-miranda-scherffig

 

Against Gravity. The Art of Machinima.

[The Festival], always good at attracting the coolest people possible and the most novel forms of expression and exploration into the programme, [has] thus provided "comic relief" elsewhere: in this year's curatorial focus "Against Gravity. The Art of Machinima".
Junge Welt, 3. Mai 2023
https://www.jungewelt.de/artikel/450038.festivalfilm-die-alten-und-die-jungen.html

 

What is the state of the relationship between technology, man, nature and (film) art? At the 69th Festival, where not only a series of so-called machinima films was shown, but also a film animated and narrated entirely with AI, this relationship was explored and played around with in a variety of ways. What "film" actually is is more open and fluid than ever.
filmdienst.de, 26. April 2023
https://www.filmdienst.de/artikel/60766/internationale-kurzfilmtage-oberhausen-2023-fazit

 

First and foremost, machinima seems perfectly suited to reflect and illuminate the digital worlds we are moving ever further into, and it will be exciting to follow this field as the accompanying technologies keep evolving.
Modern Times Review, 5 June 2023
https://www.moderntimes.review/machinima-oberhausen/?fbclid=IwAR0y9K0kKJGqPSMh59--rHiWEN75SEwwPd_z1W2iK45wm6kd1X9b9N3oA3M

 

A central contradiction inherent in the genre itself, and also addressed by Ebert, is only illustrated rather than reflected by most films: As a format technologically tied to the game industry, machinima films are particularly closely linked to current forms of culture-industrial mass production.
Die Welt, 4. Mai 2023
https://www.welt.de/kultur/article245104062/Machinima-Die-naechste-grosse-Kino-Revolution.html

 

And yet the genre, as presented in Oberhausen, carries with it the forebodings of a new, alien and humanless film world – the possibilities of automatic generation of moving images by artificial intelligence are developing rapidly.
Süddeutsche Zeitung, 27 April 2023

 

The timing for such a retrospective is fitting, because as futuristic as some of the films may seem: we are on the threshold of a far greater film revolution. The first start-ups are already offering AI software that generates films from text descriptions alone within a very short time [...] But one can be sure: Artists will also subversively brush this new tool against the grain.
Stadtrevue Köln, May 2023
https://www.stadtrevue.de/archiv/artikelarchiv/08100-gegen-den-strich/

 

What was interesting with the presentation was the mix of older work with more recent pieces, effectively positioning machinima in a narrative of avant-garde practice and demonstrating experimental applications by artists/filmmakers for an audience that clearly had interest in the work if little experience of machinima or games specifically.
completelymachinima.com, 3 May 2023
https://completelymachinima.com/?s=kurzfilmtage

 

In sum, Oberhausen International Short Film Festival was a fascinating in-depth review of different avant-garde perspectives on machinima. completelymachinima.com, 3 May 2023
completelymachinima.com, 3 May 2023
https://completelymachinima.com/?s=kurzfilmtage

 

Oberhausen’s sold-out programme of films made within video games can be seen as the moment when machinima transcended its gaming subculture, to become a mature artistic medium in mainstream visual storytelling.
The Conversation UK, 16 May 2023
https://theconversation.com/making-movies-in-video-games-why-the-film-world-is-finally-ready-to-take-machinima-seriously-205518

 

Lynne Sachs

... the sensually discursive cinema of the American Lynne Sachs. Against the backdrop of feminist theory, the artist has been developing a cinematic poetry since the 1990s in which words and images gently counteract each other [...] Personal and collective historical experiences are combined in a style of complex lightness, seductive yet disillusioning.
Frankurter Rundschau, 3 May 2023

 

The New York director and poet, born in Memphis, Tennessee, in 1961, pursues an idea of filmmaking that recognises influences on her own work and relies on close collaboration.
Der Tagesspiegel, 29 April 2023.

 

Marcel Broodthaers

Broodthaers' conceptualism was formative for "institution-critical" strands in the visual arts around 1990. But his humorous and nostalgic sides became much clearer now in Oberhausen, as did his approach of moving in the interstices of categories, media and systems of order.
Junge Welt, 3 May 2023
https://www.jungewelt.de/artikel/450038.festivalfilm-die-alten-und-die-jungen.html

Competition Films

By countries

Austria
Bildwerden, Christiana Perschon, 2022, 10’00’’, International Competition
C-TV (Wenn ich Dir sage, ich habe Dich gern…) (C-TV (If I Tell You I Like You...)), Eva Egermann; Cordula Thym, 2023, 30’00’’, International Competition
Garten sprengen, Veronika Eberhart, 2022, 12’00’’, International Competition
gewesen sein wird (will have been), Sasha Pirker, 2022, 16’30’’, International Competition

Austria/Germany
Blind Date 2.0, Jan Soldat, 2022, 8’00’’, German Competition

Argentina
Río (River), Matías Herrera Córdoba, 2023, 16’00’’, Children’s and Youth Film Competition

Argentinia/Germany
Dos amigos vuelven a casa solos de noche (Two Friends Walk Home Alone at Night), Marlon Weber, 2023, 9’00’’, International Competition

Belarus
Мусорная голова (Garbage Head), Yuri Semashko, 2022, 18’08’’, International Competition

Brazil
BARRA NOVA, Diego Maia, 2022, 11’38’’, Children’s and Youth Film Competition

Canada
A Bear Named Jesus, Terril Calder, 2023, 4’56’’, International Competition
Nanitic, Carol Nguyen, 2022, 14’23’’, Children’s and Youth Film Competition
Summer Nights, Virgile Ratelle, 2023, 14’22’’, Children’s and Youth Film Competition

Canada/France
I., Alexandre Larose, 2022, 13’00’’, International Competition

China
Edward, Su Zhong, 2023, 6’47’’, International Competition
上海之春 (Shanghai in the Spring), Xun Sun, 2022, 11’00’’, International Competition
上下 (Up and Down), Lian Yi, 2022, 9’00’’, International Competition

Colombia
A menos que bailemos (Unless we dance), Hanz Rippe Gabriele; Fernanda Pineda Palencia, 2023, 14’34’’, Children’s and Youth Film Competition
Color-ido (Color-less), Estefanía Piñeres, 2022, 12’41’’, Children’s and Youth Film Competition

Croatia
Dohvatiti sunce: El Shatt (Chasing the Sun: El Shatt), Ana Bilankov, 2023, 19’30’’, International Competition
Niska trava (Short Cut Grass), David Gašo, 2023, 25’45’’, Internationale Competition

Cuba
Camino de lava (Roads of lava), Gretel Marin Palacio, 2022, 27’48’’, International Competition

Czech Republic
Kočky jsou tekuté (Cats are liquid), Natálie Durchánková, 2023, 1’11’’, Children’s and Youth Film Competition
Revue Kroky (The Steps Revue), Jiří Havlíček, 2022, 35’00’’, International Competition

Czech Republic/France
The Goose, Jan Mika, 2022, 12’30’’, Children’s and Youth Film Competition

Egypt/United Kingdom
عذر الوزة (The Goose’s Excuse), Mahdy Abo Bahat; Abdo Zin Eldin, 2023, 25’15’’, International Competition

Estonia
2 meest rongis ja keegi veel (Two Men on Train and Someone Else), Jaan Toomik, 2022, 19’57’’, International Competition
NAERIS (The Turnip), Piret Sigus; Silja Saarepuu, 2022, 7’12’’, Children’s and Youth Film Competition

Finland
Ekstaasi (Ecstasy), Matti Harju, 2022, 9’48‘‘, International Competition
History, Eero Tammi, 2022, 6’47’’, International Competition
Noita miettien (Thinking about that), Mox Mäkelä, 2023, 20’48’’, International Competition

France
Aaaah !, Osman Cerfon, 2023, 4’47’’, Children’s and Youth Film Competition
La Poule Noire (The Black Hen), Marion Clauzel, 2022, 13’00’’, Children’s and Youth Film Competition
Le Garçon et l’Eléphant (The Boy and the Elephant), Sonia Gerbeaud, 2022, 6’40’’, Children’s and Youth Film Competition
Le jour commence au bord de la nuit (Days are falling nights), Laura Garcia, 2022, 12’33’’, Children’s and Youth Film Competition
Le Jour de gloire (A Glorious Day), Romuald Rodriguez Andrade; Ludovic Aklil Piette, 2022, 21’46’’, Children’s and Youth Film Competition
Naissance des oasis (Birth of the oases), Marion Jamault, 2022, 9’17’’, Children’s and Youth Film Competition
PLSTC, Laen Sanches, 2022, 1’37’’, Children’s and Youth Film Competition
Suis mes pas (Follow my Steps), Nils Balleydier, 2022, 4’23’’, Children’s and Youth Film Competition

France/Belgium
Every Sunday, GrandMa, Laure Prouvost, 2022, 7’17’’, International Competition

France/Germany
Ora Tutto è Silenzio
(All is silence now), Gustavo de Mattos Jahn, 2022, 10’10‘‘, International Competition

Germany
… und der Sünder bereut (Heimatfilm),  Marion Kellmann, 2023, 16’24’’, NRW Competition
Almost Puppet, Maxim Franks, 2022, 5’16’’, German MuVi Award
An Apple From a Tree, Tina Daurova, 2023, 26’42’’, German Competition
Anima Overdrive, Stefan Panhans; Andrea Winkler, 2022, 4’18’’, German MuVi Award
Auch im Bentley wird geweint (People cry in the Bentley too), Timo Schierhorn ; Uwe, 2023, 3’15’’, German MuVi Award
Body Image, Fee Fuchs, 2023, 1’30’’, Children’s and Youth Film Competition
Das eigensinnige Kind, Schorsch Kamerun, 2022, 4’51’’, German MuVi Award
Der Stoff aus dem Legenden sind, Kay Otto, 2022, 4’00’’, German MuVi Award
Everything About a Mutual Acquaintance, Rasam Noori, 2023, 37’45’’, NRW Competition
Feel What You’re Feeling, Ale Bachlechner; Elsa Artmann; Samuel Duvoisin, 2022, 18’00’’, NRW Competition
Frau Michels dreht die Zeit zurück, Sophia Groening, 2023, 12’00’’, German Competition
Gravity, Duc-Thi Bui, 2022, 6’47’’, German MuVi Award
Herkules (Hercules), Felix Bartke; Nils Ramme, 2023, 23’11’’, NRW Competition
In the Dark, Markus Wambsganss, 2022, 5’00’’, German MuVi Award
KANAL 82 - Pazar Sabah Kuşağı (KANAL 82 - Sunday Morning Program),Zeynep Tuna;  Nino Klingler, 2022, 10’15’’, German Competition
La Vita, Oliver Pietsch, 2023, 5’04’’, German MuVi Award
Lamentierendes Schwein, Helena Wittmann, 2022, 3’19’’, German MuVi Award
Letzte Nacht (Last Night),Nicola Gördes, Stella Rossié, 2023, 10’24’’, German Competition
Maschinenbauergemetzel, Julian Paul, 2022, 2’58’’, German MuVi Award
Métisse, Odessa Choi, 2023, 7’52’’, Children’s and Youth Film Competition
Mourning Stage, Simon(e) Jaikiriuma Paetau, Carlos Motta, 2022, 16’29’’, German Competition
Muttitelefon (Mom Telephone), Dagie Brundert, 2022, 5’12’’, German Competition
Olive Planet كوكب الزيتون, Shehab Fatoum, 2022, 14’00’’, NRW Competition
Paddled Pandemic Paradise, Lisa Domin-Alouane, 2023, 14’00’’, NRW Competition
RESOLUTION, Bjørn Melhus, 2023, 18’48’’, German Competition
Schleudergang (spin cycle), Gurli Bachmann, 2022, 7’11’’, Children’s and Youth Film Competition
Sensitive Content, Narges Kalhor, 2022, 8’03’’, German Competition
SOMNI, Sonja Rohleder, 2023, 3’07’’, Children’s and Youth Film Competition
sounds for a wounded landscape - Activities on the Ground, Oliver Gather; Frauke Berg, 2023, 10’50’’, NRW Competition
SSRC, Yalda Afsah, 2022, 20’09’’, German Competition
St. Mickeyland, Ulu Braun, 2023, 12’45’’, German Competition
Time Travellers, Christine Gensheimer, 2023, 7’00’’, German MuVi Award
The Last Hit!, Adrien Lamande, 2022, 32’15’’, German Competition
The Severed Tail, Marianna Simnett, 2022, 21’53’’, German Competition
trovare (find me), Jeanne Faust, 2022, 15’00’’, German Competition
Turtleneck Phantasies, Gernot Wieland, 2022, 17’36’’, German Competition
Was du gesehen haben wirst (What you will have seen), Katia Sophia Ditzler, 2022, 3’00’’, German MuVi Award
When He Leaves, Andrea Laušević, 2022, 10’07’’, German Competition

Germany/Columbia/USA
Mourning Stage, Simon(e) Jaikiriuma Paetau; Carlos Motta, 2022, 16’29’’, German Competition

Germany/Israel
Zwei Stunden pro Tag (Two Hours a Day), Maya Klar, 2023, 12’00’’, German Competition

Germany/Netherlands
Ich darf sie immer alles fragen (I may always ask her anything), Silke Schönfeld, 2023, 15’00’’, NRW Competition

India
डोंगराच्या कुशीत (In the Lap of the Mountain), Adhiraj Kashyap, 2022, 19’58’’, International Competition

Indonesia
Saya di Sini, Kau di Sana (a Tale of the Crocodile’s Twin) (I’m Here, You’re There (a Tale of the Crocodile’s Twin)), Taufiqurrahman Kifu, 2022, 18’26‘‘, International Competition

Israel
בגוף ראשון (Blueprint), Dan Robert Lahiani, 2022, 11’13’’, International Competition
Zwei Stunden pro Tag, Maya Klar, 2023, 12’00’’, German Competition

Italy
Tangerine Jam, Anya Ru, 2022, 3’35’’, Children’s and Youth Film Competition

Japan
“ CEREMONY “ by ATARASHII GAKKO!, Yoshihiro Haku; Sachiko Hiraoka, 2022, 7’35’’, Children’s and Youth Film Competition
INSIDE, Ryoji Yamada, 2022, 03’06’’, Children’s and Youth Film Competition
Yomoyama tanpen shū (Yomoyama Short Stories), Fuka Katayama, 2022, 3’43’’, Children’s and Youth Film Competition
眼球の人 (The Eyeball Person), Yuri Muraoka, 2023, 11’42’’, International Competition
よもやま短編集, Fuka Katayama, 2022, 3’43’’, Children’s and Youth Film Competition

Kazakhstan
AI Realism. Qantar 2022, Almagul Menlibayeva, 2022, 25’00’’, International Competition

Kyrgyzstan
Медик (A Medic), Alizhan Nasirov, 2023, 24’00’’, International Competition

Myanmar
ဘုရားစင် (The Altar), Moe Myat May Zarchi, 2022, 10’10’’, International Competition

Mexico
Flora, Nicolás Pereda, 2022, 10’36‘‘, International Competition
Xiuhtecuhtli, Colectivo Los Ingrávidos, 2023, 15’49’’, International Competition

Netherlands
Let’s be friends, Arno Coenen, Rodger Werkhoven, 2022, 5’26’’, International Competition
Magma, Luca Meisters, 2023, 14’45’’, Children’s and Youth Film Competition
Vacht (Fur), Madeleine Homan, 2022, 5’21’’, Children’s and Youth Film Competition

New Zealand
Tulouna le Lagi, Pati Tyrell, 2022, 5’00’’, International Competition

Poland
Siostra (Sister), Kasia K. Pierog, 2022, 12’00’’, Children’s and Youth Film Competition

Portugal
Ana Morphose, João Rodrigues, 2023, 9’47’’, Children’s and Youth Film Competition

Portugal/Switzerland
2720, Basil da Cunha, 2023, 24’44’’, International Competition

Serbia/Slovenia
Lopte (Balls), Gorana Jovanović, 2022, 22’30’’, International Competition

Singapore
Every Floor Looks the Same, Gladys Ng, 2022, 22’22’’, Children’s and Youth Film Competition

South Africa
Ghosts, Teboho Edkins, 2023, 7’30’’, International Competition

South Africa/Ecuador
What the Soil Remembers, José Cardoso, 2022, 29’53’’, International Competition

South Korea
Nameless Syndrome, Jeamin Cha, 2022, 24’00’’, International Competition

Spain
L’avenir (The things to come), Santiago Ráfales, 2022, 19’00’’, Children’s and Youth Film Competition

Sweden
I think of silence when I think of you, Jonelle Twum, 2022, 9’00’’, International Competition

Switzerland
CRUSHED, Ella Rocca, 2022, 8’00’’, Children’s and Youth Film Competition
La vérité sur Alvert le dernier dodo, Nathan Clement, 2022, 16’29’’, Children’s and Youth Film Competition
Motër (Sister), Dorentina Imeri, 2022, 12’58’’, Children’s and Youth Film Competition

Taiwan
Wǎng shén zhī yè (A Night With Moosina), Shiu-Cheng Tsai, 2022, 25’48’’, Children’s and Youth Film Competition

Tanzania
Apostles of Cinema, Darragh Amelia, Gertrude Malizana, Jesse Gerard Mpango, Cece Mlay, 2022, 16’20’’, International Competition

Ukraine
Чорнобиль 22 (Chernobyl 22), Oleksiy Radynski, 2023, 20’00’’, International Competition

United Kingdom
Return Belong Prosper, Katie Davies, 2023, 34’32’’, International Competition
Secondary Action, Jayne Parker, 2023, 16’38’’, International Competition
Untitled, Sweatmother, 2022, 8’45’’, International Competition

USA
Alma, Nina Yuen, 2023, 7’36’’, International Competition
and so it came about (A Tale of Consequential Dormancy), Charlotte Pryce, 2023, 13’00’’, International Competition
Goldilocks, Meryl Jones, 2023, 20’09’’, Children’s and Youth Film Competition
Patient, Lori Felker, 2022, 19’50’’, International Competition
Swerve, Lynne Sachs, 2022, 8’01’’, International Competition

By sections

International Competition
2 meest rongis ja keegi veel 
(Two Men on Train and Someone Else), Jaan Toomik, 2022, 19’57’’, Estonia
2720, Basil da Cunha, 2023, 24’44’’, Portugal, Switzerland
A Bear Named Jesus, Terril Calder, 2023, 4’56’’, Canada
Alma, Nina Yuen, 2023, 7’36’’, USA
AI Realism. Qantar 2022, Almagul Menlibayeva, 2022, 25’00’’, Kazakhstan
and so it came about (A Tale of Consequential Dormancy), Charlotte Pryce, 2023, 13’00’’, USA
Apostles of Cinema, Darragh Amelia, Gertrude Malizana, Jesse Gerard Mpango, Cece Mlay, 2022, 16’20’’, Tanzania
בגוף ראשון (Blueprint), Dan Robert Lahiani, 2022, 11’13’’, Israel
Bildwerden, Christiana Perschon, 2022, 10’00’’, Austria
C-TV (Wenn ich Dir sage, ich habe Dich gern…) (C-TV (If I Tell You I Like You...)), Eva Egermann; Cordula Thym, 2023, 30’00’’, Austria
Camino de lava (Roads of lava), Gretel Marin Palacio, 2022, 27’48’’, Cuba
Dohvatiti sunce: El Shatt (Chasing the Sun: El Shatt), Ana Bilankov, 2023, 19’30’’, Croatia
Dos amigos vuelven a casa solos de noche (Two Friends Walk Home Alone at Night), Marlon Weber, 2023, 9’00’’, Argentina, Germany
Edward, Su Zhong, 2023, 6’47’’, China
Ekstaasi (Ecstasy), Matti Harju, 2022, 9’48‘‘, Finland
Every Sunday, GrandMa, Laure Prouvost, 2022, 7’17’’, France, Belgium
Flora, Nicolás Pereda, 2022, 10’36‘‘, Mexico
Garten sprengen, Veronika Eberhart, 2022, 12’00’’, Austria
gewesen sein wird (will have been), Sasha Pirker, 2022, 16’30’’, Austria
Ghosts, Teboho Edkins, 2023, 7’30’’, South Africa
History, Eero Tammi, 2022, 6’47’’, Finland
I., Alexandre Larose, 2022, 13’00’’, Canada, France
I think of silence when I think of you, Jonelle Twum, 2022, 9’00’’, Sweden
Let’s be friends, Arno Coenen; Rodger Werkhoven, 2022, 5’26’’, Netherlands
Lopte (Balls), Gorana Jovanović, 2022, 22’30’’, Serbia, Slovenia
Медик (Medic, A Medic), Alizhan Nasirov, 2023, 24’00’’, Kyrgyzstan
Мусорная голова (Musornaya Golova, Garbage Head), Yuri Semashko, 2022, 18’08’’, Belarus
Nameless Syndrome, Jeamin Cha, 2022, 24’00’’, South Korea
Niska trava (Short Cut Grass), David Gašo, 2023, 25’45’’, Croatia
Noita miettien (Thinking about that), Mox Mäkelä, 2023, 20’48’’, Finland
Ora Tutto è Silenzio (All is silence now), Gustavo de Mattos Jahn, 2022, 10’10‘‘, France, Germany
Patient, Lori Felker, 2022, 19’50’’, USA
Return Belong Prosper, Katie Davies, 2023, 34’31’’, United Kingdom
Revue Kroky (The Steps Revue), Jiří Havlíček, 2022, 35’00’’, Czech Republic
Saya di Sini, Kau di Sana (a Tale of the Crocodile's Twin) (I’m Here, You’re There (a Tale of the Crocodile’s Twin), Taufiqurrahman Kifu, 2022, 18’27‘‘, Indonesia
Secondary Action, Jayne Parker, 2023, 16’38’’, United Kingdom
Swerve, Lynne Sachs, 2022, 8’01’’, USA
Tulouna le Lagi, Pati Tyrell, 2022, 5’00’’, New Zealand
Untitled, Sweatmother, 2022, 8’45’’, United Kingdom
What the Soil Remembers, José Cardoso, 2022, 29’53’’, South Africa, Ecuador
Xiuhtecuhtli, Colectivo Los Ingrávidos, 2023, 15’49’’, Mexico
上海之春 (Shanghai in the Spring), Xun Sun, 2022, 11’00’’, China
डोंगराच्या कुशीत (Dongarachy Kushit, In the Lap of the Mountain), Adhiraj Kashyap, 2022, 19’58’’, India
ဘုရားစင် (Pha-Yar-Sin, The Altar), Moe Myat May Zarchi, 2022, 10’10’’, Myanmar
上下 (Up and Down), Lian Yi, 2022, 9’00’’, China
眼球の人 (Gankyu no Hito, The Eyeball Person), Yuri Muraoka, 2023, 11’42’’, Japan
Чорнобиль 22 (Chernobyl 22), Oleksiy Radynski, 2023, 20’00’’, Ukraine
عذر الوزة (Ozr el wezzah, The Goose’s Excuse), Mahdy Abo Bahat; Abdo Zin Eldin, 2023, 25’15’’, Ägypten, Vereinigtes Königreich


German Competition
An Apple From a Tree,
Tina Daurova, 2023, 26’42’’, Germany
Blind Date 2.0, Jan Soldat, 2023, 8’00’’, Austria, Germany
Frau Michels dreht die Zeit zurück, Sophie Groening, 2023, 12’00’’, Germany
KANAL 82 - Pazar Sabah Kuşağı (KANAL 82 - Sunday Morning Program), Zeynep Tuna; Nino Klingler, 2022, 10’15’’, Germany
Letzte Nacht (Last Night), Nicola Gördes; Stella Rossié, 2023, 10’24’’, Germany
Mourning Stage, Simon(e) Jaikiriuma Paetau; Carlos Motta, 2022, 16’29’’, Germany, Columbia, USA
Muttitelefon (Mom Telephone), Dagie Brundert, 2022, 5’12’’, Germany
RESOLUTION, Bjørn Melhus, 2023, 18’48’’, Germany
Sensitive Content, Narges Kalhor, 2022, 8’03’’, Germany
SSRC, Yalda Afsah, 2022, 20’09’’, Germany
St. Mickeyland, Ulu Braun, 2023, 12’45’’, Germany
The Last Hit!, Adrien Lamande, 2022, 32’15’’, Germany
The Severed Tail, Marianna Simnett, 2022, 21’53’’, Germany
trovare (find me), Jeanne Faust, 2022, 15’00’’, Germany
Turtleneck Phantasies, Gernot Wieland, 2022, 17’36’’, Germany
When He Leaves, Andrea Laušević, 2022, 10’07’’, Germany
Zwei Stunden pro Tag (Two Hours a Day), Maya Klar, 2023, 12’00’’, Germany, Israel


NRW Competition
… und der Sünder bereut
(Heimatfilm)Marion Kellmann, 2023, 16’24’’, Germany
Everything About a Mutual Acquaintance, Rasam Noori, 2023, 37’45’’, Germany
Feel What You’re Feeling, Ale Bachlechner; Elsa Artmann; Samuel Duvoisin, 2022, 18’00’’, Germany
Herkules (Hercules), Felix Bartke; Nils Ramme, 2023, 23’11’’, Germany
Ich darf sie immer alles fragen (I may always ask her anything), Silke Schönfeld, 2023, 15’00’’, Netherlands, Germany
Olive Planet كوكب الزيتون, Shehab Fatoum, 2022, 14’00’’, Germany
Paddled Pandemic Paradise, Lisa Domin-Alouane, 2023, 14’00’’, Germany
sounds for a wounded landscape - Activities on the Ground, Oliver Gather; Frauke Berg, 2023, 10’50’’, Germany


Children's and Youth Film Competition
“ CEREMONY “ by ATARASHII GAKKO!
, Yoshihiro Haku; Sachiko Hiraoka, 2022, 7’35’’, Japan
A menos que bailemos (Unless we dance), Hanz Rippe Gabriele; Fernanda Pineda Palencia, 2023, 14’34’’, Colombia
Aaaah !, Osman Cerfon, 2023, 4’47’’, France
Ana Morphose, João Rodrigues, 2023, 9’47’’, Portugal
BARRA NOVA, Diego Maia, 2022, 11’38’’, Brazil
Body Image, Fee Fuchs, 2023, 1’30’’, Germany
Color-ido (Color-less), Estefanía Piñeres, 2022, 12’41’’, Colombia
CRUSHED, Ella Rocca, 2022, 8’00’’, Switzerland
Every Floor Looks the Same, Gladys Ng, 2022, 22’22’’, Singapore
Goldilocks, Meryl Jones, 2023, 20’09’’, USA
INSIDE, Ryoji Yamada, 2022, 03’06’’, Japan
Kočky jsou tekuté (Cats are liquid), Natálie Durchánková, 2023, 1’11’’, Czech Republic
L’avenir (The things to come), Santiago Ráfales, 2022, 19’00’’, Spain
La Poule Noire (The Black Hen), Marion Clauzel, 2022, 13’00’’, France
La vérité sur Alvert le dernier dodo (The truth about alvert, the last dodo), Nathan Clement, 2022, 16’29’’, Switzerland
Le Garçon et l’Eléphant (The Boy and the Elephant), Sonia Gerbeaud, 2022, 6’40’’, France
Le jour commence au bord de la nuit (Days are falling nights), Laura Garcia, 2022, 12’33’’, France
Le Jour de gloire (A Glorious Day), Romuald Rodriguez Andrade; Ludovic Aklil Piette, 2022, 21’46’’, France
Magma, Luca Meisters, 2023, 14’45’’, Netherlands
Métisse, Odessa Choi, 2023, 7’52’’, Germany
Motër (Sister), Dorentina Imeri, 2022, 12’58’’, Switzerland
NAERIS (The Turnip), Piret Sigus; Silja Saarepuu, 2022, 7’12’’, Estonia
Naissance des oasis (Birth of the oases), Marion Jamault, 2022, 9’17’’, France
Nanitic, Carol Nguyen, 2022, 14’23’’, Canada
PLSTC, Laen Sanches, 2022, 1’37’’, France
Río (River), Matías Herrera Córdoba, 2023, 16’00’’, Argentina
Schleudergang (spin cycle), Gurli Bachmann, 2022, 7’11’’, Germany
Siostra (Sister), Kasia K. Pierog, 2022, 12’00’’, Poland
SOMNI, Sonja Rohleder, 2023, 3’07’’, Germany
Suis mes pas (Follow my Steps), Nils Balleydier, 2022, 4’23’’, France
Summer Nights, Virgile Ratelle, 2023, 14’22’’, Canada
Tangerine Jam, Anya Ru, 2022, 3’35’’, Italy
The Goose, Jan Mika, 2022, 12’30’’, Czech Republic, France
Vacht (Fur), Madeleine Homan, 2022, 5’21’’, Netherlands
Wǎng shén zhī yè (A Night With Moosina), Shiu-Cheng Tsai, 2022, 25’48’’, Taiwan
Yomoyama tanpen shū (Yomoyama Short Stories), Fuka Katayama, 2022, 3’43’’, Japan


German MuVi Award
Almost Puppet
, Maxim Franks, 2022, 5’16’’, Germany
Anima Overdrive, Stefan Panhans; Andrea Winkler, 2022, 4’18’’, Germany
Auch im Bentley wird geweint (People cry in the Bentley too), Timo Schierhorn ; Uwe, 2023, 3’15’’, Germany
Das eigensinnige Kind, Schorsch Kamerun, 2022, 4’51’’, Germany
Der Stoff aus dem Legenden sind, Kay Otto, 2022, 4’00’’, Germany
Gravity, Duc-Thi Bui, 2022, 6’47’’, Germany
In the Dark, Markus Wambsganss, 2022, 5’00’’, Germany
La Vita, Oliver Pietsch, 2023, 5’04’’, Germany
Lamentierendes Schwein, Helena Wittmann, 2022, 3’19’’, Germany
Maschinenbauergemetzel, Julian Paul, 2022, 2’58’’, Germany
Time Travellers, Christine Gensheimer, 2023, 7’00’’, Germany
Was du gesehen haben wirst (What you will have seen), Katia Sophia Ditzler, 2022, 3’00’’, Germany

Other programmes

Theme

Since the 1990s, a central and successful part of our profile has been the Theme, an extensive programme on annually changing issues.

2022

Synchronize. Pan-African Film Networks

In most parts of the world, cinema is based on networks; that goes for the production and distribution of films as well as for the organisation of festivals, workshops, screenings or other platforms. This is all the more true of African/diasporic cinema, which, since its beginnings in the 1960s, has been a domain where filmmakers have over decades developed innovative infrastructures, formed polycentric pan-African networks, and invented new, flexible working models. What was long considered unstable and incompatible with the market is increasingly turning out to be a pioneering working model when it comes to future strategies of cinema as a whole.

In film programmes and a Podium discussion and with numerous guests, this year’s Theme programme "Synchronize. Pan-African Film Networks" took a look at these structures and contexts. It took as its starting points places which temporarily become hubs and magnetic fields in the polycentric pan-African network. This might be the Ouagadougou Pan-African Film and Television Festival (FESPACO) which, ever since its foundation in 1969, has become an indispensable bi-annual meeting point for the film industry of the continent and the diaspora as well as the audiences, where debates, the latest rumours and (film) politics are regularly synchronized. Or it might be the Journées Cinématographiques de Carthage, initiated in 1966 and profoundly shaped by the film critic Tahar Cheriaa, who from Tunisia chose not to look towards the north, but systematically to the south. Huge pan-African cultural festivals such as PACF in Algier (1969) or FESTAC in Lagos (1977) each mobilized, condensed and celebrated all creative forces for a few weeks. Their catalysing impact had long-term effects and has become a subject of artistic research today, while these festivals also resonated in Milan, London, Tashkent, Moscow, Toronto, New York and other places, developed their own momentum and opened windows to parallel festival, film and production histories.

The Theme programme "Synchronize. Pan-African Film Networks" has not merely presented this history but took it a little step further. With a younger generation of filmmakers from Berlin, London, Paris, Tunis, Yaoundé, Dakar, Nouakchott and Cairo present, Oberhausen offered for a few days an opportunity to synchronize, learn from each other and extend one’s networks.

The curators:
Curated by Marie-Hélène Gutberlet, film professor at the HG Offenbach and curator, and Annett Busch, curator and writer (both Women on Aeroplanes, Frankfurt/Main & Trondheim), in collaboration with DOX BOX Berlin. The programme is supported by funds from the Artists’ Contacts programme of the Institut für Auslandsbeziehungen, ifa, Stuttgart.

Solidarity As Disruption – Epilogue

The Theme programme "Solidarity as Disruption" has gone through a number of transformations in the course of past three years, from the initial project, conceived for the cinema in 2020 and postponed, then reshaped for the 2021 online festival edition, to the return to the cinemas in 2022 with an "Epilogue" consisting of screenings and discursive formats.

Curated by Branka Benčić and Aleksandra Sekulić, this epilogue revisited the potentiality of (political) emancipation, poetry, social imagination, liberation, translation, struggles of decolonialization, gestures and lessons of (un)learning through the destabilization of the petrified frameworks of the dominant systems of society, power structures, art or institutions, with works by Vlado Kristl, Dušan Makavejev, Zoran Popović, Jean-Marie Straub and Danièle Huillet, Cecilia Vicuna, Katarina Zdjelar and others.

The programme also acted as a loose conclusion and homage to the cinema and films that found their home in Oberhausen over the past 68 years, reflecting lessons and messages embedded in a social form transposed into digital space for the (past?) two pandemic years.

The curators
Branka Benčić is a curator and art historian, director of the Museum of Modern and Contemporary Art in Rijeka, Croatia. She has curated exhibitions and screenings in Croatia and internationally. She served as co-founder and artistic director at Apoteka Space for Contemporary Art; the Cinemaniac Think Film programme at the Pula Film Festival, and curated the Artists’ Cinema series at the Museum of Contemporary Art Zagreb. She curated the Croatian Pavilion at the 57th Venice Biennale (2017). Recently she has co-curated the video retrospective “Make Up Make Down” by Sanja Iveković at MMSU / MoMCA, Rijeka (2021-2022).

Aleksandra Sekulić is a philologist of general literature and theory of literature, the programme curator at the Center for Cultural Decontamination (CZKD) in Belgrade and editor at Beton magazine for culture and politics. In the 2000s, she was programme curator and film producer at the Academic Film Center in Belgrade and a member of the Low-Fi Video movement, the Media Archaeology project and the Kosmoplovci collective in Belgrade.

Together and individually they have curated exhibitions and discussions and published essays on the heritage of experimental cinema, early video production and films clubs in former Yugoslavia.

Against Gravity. The Art of Machinima

Machinima is defined as the “art of making animated films within a real-time virtual 3D environment”, such as computer games. While using a number of media — film, documentary, videogame, performance, theatre, puppetry – the works are always based on a computer game engine or a live 3D animation software. Oberhausen is the first major film festival to show a large-scale overview of a constantly evolving format, curated by Vladimir Nadein and Dmitry Frolov. In eight film programmes and a Podium discussion, “Against Gravity” will take a closer look at the aesthetic and artistic potential offered by machinima.

Having emerged in a grassroots gaming community, machinima has become a more and more attractive medium for contemporary artists and experimental filmmakers. Especially today, when so many people are constantly absorbed by ubiquitous screens, it is seen as a fruitful instrument to represent the virtual experience. The Academy of Machinima Arts & Sciences, founded in 2002, has organised several festivals between 2002 and 2008, specialised festivals like the Milan Machinima Festival have followed.

Featuring works by Alice Bucknell (UK), IP Yuk-Yiu (Hong Kong), Jamie Janković (UK), Federica Di Pietrantonio (Italy), Total Refusal (Austria), Harun Farocki (Germany), Phil Solomon (USA), Jacky Connoly (USA) and many others working in the field today. A Podium discussion on the origins and future of machinimaking will complement the film programmes.

The Curators
Vladimir Nadein
 (b. 1993, Moscow) is a curator, artist and film producer based in Taipei, Taiwan. His works were presented at the solo exhibition Deep Play, VT Artsalon and Greater Taipei Biennale. He produced an award-winning film Detours, supported by Hubert Bals Fund, received the Eurimages Lab Project Award at Les Arcs Film Festival and was shown at Venice Critics' Week, Viennale, Thessaloniki IFF, Berlin Critics' Week, FICUNAM, Jeonju IFF, IndieLisboa, Beldocs, FILMADRID, Camden IFF, TFAI, Barbican Centre among others. In 2016, Nadein co-founded the Moscow International Experimental Film Festival and directed it for five editions. He curated special programmes and screenings for the 17th Venice Architecture Biennale, Hamburg Short Film Festival, Moscow International Biennale for Young Art, Garage Museum, University of California, Los Angeles and other venues. Nadein tutored at the Moscow School of New Cinema and is a member of the filmmaking duo together with Dina Karaman.

Dmitry Frolov (b. 1988, Kaliningrad) is an art and film curator and researcher based in Izmir, Turkey. He holds a BA in Сultural Studies from the Russian State University for the Humanities and an MA in Film Programming and Curating from Birkbeck, University of London. He has curated a variety of screenings, panels, performances and exhibitions dedicated to such artists as Maya Deren, Chris Marker, Tony Conrad, Vladimir Kobrin, Yoko Ono, Michael Snow, Annabel Nicholson, James Benning, Alain Cavalier, Aura Satz, Cao Fei, Ana Vaz, Cyprien Gaillard, etc. His texts have been published in Iskusstvo Kino, Spectate, Colta.ru, Syg.ma and other media. Since 2017, he has been working as a curator at the Moscow International Experimental Film Festival (MIEFF). Currently, he is also working as a film curator at Pushkin House, London.

Profiles

The Oberhausen Profiles are traditionally dedicated to the works of outstanding filmmakers, some of whom have dealt with short films for decades.

2022

Morgan Fisher

In two programmes, Oberhausen is presented selected works by Morgan Fisher, one of the great North American experimental filmmakers. Fisher studied Art History and Film in the 1960s and began making films in 1968. His focus is on the means and methods of moving image production, often conceived as expanded cinema works. “One thing my films tend to do is examine a property or quality of a film,” Fisher himself commented. Among his best-known works is the 35-minute Standard Gauge from 1984, which also supplied the title of the 2005 exhibition of Fisher’s works at the Whitney Museum of American Art. In the 1990s, Fisher turned more towards painting, drawing and spatial works, but returned to filmmaking in 2003 with () (Parenthesis).

Oberhausen has repeatedly shown Fisher’s works since the 1970s; in 2007, he produced a version of his Screening Room for the Festival. His works were exhibited in museums and galleries across the globe, in Germany in Frankfurt, Cologne and Mönchengladbach, internationally in New York, London, Vienna, Basel and many other places.

Sohrab Hura

The Indian Magnum photographer and filmmaker works at the intersection of film, photography, sound and text, combining in his experimental works journal-like approaches with questioning a constantly shifting work. In Oberhausen, he won the 2018 Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia for The Lost Head & the Bird and was awarded the Main Prize of the International Jury for Bittersweet in 2020.

Hura’s works have been screened at numerous film festivals and presented at exhibitions including the Liverpool Biennial 2021, the Videonale and the Cincinnati Art Museum. They are in the collections of the MoMA, the Ishara Art Foundation and the Cincinnati Art Museum. Hura has also self-published five books under the imprint “Ugly Dog”, including “The Coast”, for which he won the Aperture – Paris PhotoBook of the Year Award in 2019. Sohrab Hura lives and works in New Delhi. In 2022, Oberhausen is presented an overview of his film work.

Rainer Komers

With Rainer Komers, Oberhausen honoured one of the most important German documentary filmmakers. Three programmes in Oberhausen and additional programmes at the Cologne Filmhaus in the run-up to the Festival offered a survey of the oeuvre of the multiple award-winning director, who has been distinguished with, among others, the Ruhr Prize for Art and Science, the Film Prize of the State of Hesse and the German Film Prize.

Born in 1944, Komers, who studied film at the Düsseldorf Art Academy and photography at the Essen Folkwang School, lives in Mülheim/Ruhr and Berlin today. Film projects took him to all continents. His film poems derive their strength from a visual fascination with the modern age and its industrial and urban aesthetics, which he re-contextualizes by taking close looks at the manifold mutual interdependencies between humanity and nature. The three programmes in Oberhausen ranged from his very early We Will Buy (1975) to B 224 (1999), with a focus on early works in which he explored the region. The accompanying programmes in Cologne will presented additional works from all stages of his film career.

Shalimar Preuss

Summer, nature, coming-of-age; these are topics that are tightly woven into Shalimar Preuss’s œuvre. The Canadian-French filmmaker Preuss, born in 1980, studied film from 2004 until 2006, both in the US as well as in France at the renowned Le Fresnoy studio. Her films have won multiple awards and have been screened in Oberhausen as well as in Rotterdam and Clermont-Ferrand, among others.

Two of her short films were in our International Competitions: Rendez-vous à Stella-Plage in 2010, for which she received a Special Mention from the Jury of the Minister President of North Rhine-Westphalia and which was also nominated for the 2010 European Film Awards, and Étrange dit l’ange in 2017. Her first feature-length film Ma belle gosse was released in 2012 and was awarded Best French Film at Belfort. We presented a comprehensive overview of her short film oeuvre.

Sylvia Schedelbauer

“Sylvia Schedelbauer is easily one of the most impressive moving-picture artists to emerge in the past decade.” (Artforum). Her films negotiate the space between historical narrative and personal, psychological realms through poetic manipulations of found and archival footage. Born in Tokyo in 1973, Schedelbauer has lived in Berlin since 1993, where she studied at the University of Arts with Katharina Sieverding.

Oberhausen has repeatedly screened her works, most recently Labor of Love in 2020. Her films have also been screened at the Berlinale, the Toronto International Film Festival or the London Film Festival. Her numerous awards include the VG Bildkunst Award, the German Film Critics’ Award and the Gus Van Sant Award for Best Experimental Film. Schedelbauer was a 2019/2020 arts fellow at the Harvard Radcliffe Institute.

From 2013 to 2017, Schedelbauer was also a member of the selection committee for the International Competition at Oberhausen.

Eszter Szabó

Eszter Szabó studied at the Hungarian University of Fine Arts and the French Le Fresnoy École des Arts Contemporains. Today she combines painting, 2D and 3D animation and video in her practice, the latter often as animated versions of her paintings. Her focus is on manifestations of social processes in the mundane world; vulnerability, inertia or unfulfilled longings are among her themes. Her works have been presented in solo and group shows in, among others, Budapest, Paris, New York, Barcelona. She won the Leopold Bloom Art Award in 2021. Also in 2021, Oberhausen screened her work Széphercegnő (Princess Beauty) in its International Online Competition.

Eszter Szabó personally presented a selection of her works at the 68th Festival.

Marcel Broodthaers

Marcel Broodthaers (1924-1976) is considered one of the seminal artists of the 1980s and '90s. He was one of the first to address, often subversively, the institutional and economic contexts of art in his installations and artworks. Film was one of the fundamental means of artistic expression for him and he left behind a cinematic oeuvre of around 50 short films, in which he also explored the history, technology and conventions of cinema. In 2008, Oberhausen showed his work Figures of Wax in its thematic program "Whose History?". Now the festival presents a selection of Broodthaers' short films in an extensive Profile.

Teboho Edkins

Born in 1980 in the USA and raised in Lesotho and South Africa, his central theme is life in South Africa after the end of apartheid. He has been making films since 2004; the first of his works screened in the International Competition in Oberhausen was Kinshasa 2.0 in 2008. His films have been shown worldwide at film festivals and in art contexts, in Oberhausen he won the Principal Prize of the International Jury in 2013 for Gangster Backstage, and the First Prize of the Jury of the Ministry of Culture and Science NRW and the Prize of the Ecumenical Jury in 2020 for Shepherds. The Profile will offer an overview of his short film works.

Alexandra Gulea

Presenting a rare opportunity to discover Alexandra Gulea's short films: Born in Romania, Gulea studied art in Bucharest and Paris and film in Munich. She has been making short and feature-length films since 2000 – documentary and experimental works about the country of her birth, about memory and history, visually powerful and complex. Oberhausen screened her first film Anonym in 2001, and she has twice won the Prize of the German Competition: in 2018 for VALEA JIULUI - NOTES, in 2022 for ŃEALE AZBUIRĂTOARE (FLYING SHEEP). This Profile will present the artist's complete body of short film work.

Lynne Sachs

The New York experimental filmmaker and poet has been making films for nearly 40 years. Her work is feminist, subjective, addressing political and social issues and weaving archival footage, photographs, poetry and music, image and sound into complex and poetic films. Her films have repeatedly been screened at our festival and in 2020 she won the Grand Prize of the City of Oberhausen for A Month of Single Frames. In 2023, we are presenting an overview of Sachs' oeuvre.

Yamashiro Chikako

In 2018, she won the Zonta Prize at Oberhausen for her film Tsuchi no hito - 2017 gekijyoban (Mud Man – 2017 Film Ver.), and in 2020, Chinbin Western was screened in the International Competition. The Japanese artist and filmmaker's subject matter is the history, politics and culture of her native Okinawa, with a particular focus on the consequences of World War II. She has had a number of exhibitions in her homeland and won the Asian Art Award in 2017, but in Europe Yamashiro's work remains to be discovered. Oberhausen is presenting a selection of her work.

Podium & Talks

Podium and Talks offers scholars, artists, curators and authors the opportunity to discuss current issues relevant to the short form, whether aesthetic, economic, political or technologica.

2022

In 2022, we had a series of four live on-site panels, including “Western Canons and Local Legacies. Do Our Oceans Meet?”, moderated by Harkat Studios (see also Labs), and “Larger Than Screens. The Many African Cinemas You Only Think You Know”, which took the Theme programme “Synchronize. Pan-African Film Networks” as a starting point for a closer look at African expanded cinema and was moderated by curators Annett Busch and Marie-Hélène Gutberlet.

Additional panels focused on collecting and archiving analogue film today and, on the 20th anniversary of AG Kurzfilm, the German short film association, on film education and short film.

The Soul of the Festival

How are film festivals working now; who is included and who is excluded? What are the responsibilities of film festivals facing post-COVID audience decline, funding costs and a cost of living crisis and how do they maintain their relevance and integrity? Together we will think out aloud about the current state of things and consider who takes care of the festival’s soul.

Moderated by Ben Cook (LUX)

25 years of MuVi Awards: Saving Pop Culture

Taking stock and looking towards the future potential of music videos: videomakers, writers, labels and musicians in discussion on the occasion of the 25th MuVi Award.

Moderated by: Liz Remter, ByteFM

Hosted by ByteFM

Between Cinema and Video Games: Exploring the Elusive Medium of Machinima

A discussion of the relationship between video games and cinema. Particular attention will be paid to the origins, challenges and opportunities, as well as the uniqueness of an art form that’s essentially interdisciplinary.

With: Alice Bucknell (artist and writer, London), Ip Yuk-Yiu (filmmaker, media artist, art educator and curator, Hong Kong), Gemma Fantacci (curator, Milan Machinima Festival), Tracy Harwood (Professor of Digital Culture, De Montfort University, Leicester).

Moderated by curators Vladimir Nadein and Dmitry Frolov

Seminar

In 2023, our Festival, together with the The Flaherty (New York), LUX (London) and Doc's Kingdom (Lisboa) is organising the Oberhausen Seminar for the ninth time.

Seminar leader Salla Tykkä

Salla Tykkä lives and works in Helsinki, Finland.  She did her MFA in Academy of Fine Arts Helsinki 1995-2003. During her studies she focused on photography and moving image as her main medium. In her video and film works Tykkä have utilized different formal strategies from short fiction to experimental feature long documentary. Her practise is rooted in the female experience especially in the act of looking and becoming to see and seen. Disassembling, reframing and rethinking images and scenes of images Tykkä unveils their connections with the political and structural power often hidden in everyday visual narratives. She is interested how through creative processes emotional, fragile, and personal can fuel political and critical stance to life and work.

Since 2017 Tykkä works as Professor for Moving Image and Contemporary Arts in the University of Arts, Academy of Arts, in Helsinki.

Distributors

The distribution screenings at Oberhausen are a showcase for international distributors of experimental films, who present new works from their catalogues here.

In 2023, the following distributors will present their catalogues:
ARGOS centre for audiovisual arts (Belgium)
Arsenal – Institut für Film und Videokunst e. V. (Germany) 
AV-arkki – The Centre for Finnish Media Art (Finland) 
Canadian Filmmakers Distribution Centre (Canada)
CIRCUIT Artist Film and Video Aotearoa New Zealand (New Zealand) 
EYE Film Institute (Netherlands)
Filmform – The Art Film & Video Archive (Sweden)
HAMACA (Spain)
Light Cone (France)
LUX (UK)
sixpackfilm (Austria)
VDB (USA)
Vtape (Canada)

Archive

Seit 2013 rücken die Kurzfilmtage in der Sektion Archive ein oft vernachlässigtes Thema in den Vordergrund: die Archivierung und Restaurierung von experimentellen Filmen.

2022

2022 präsentierten drei Archive ihre Arbeit vor Ort.

Lumiton, Argentinien
Sowohl Museum als auch Archiv, bewahrt die Lumiton das Material des ikonischen Lumiton-Studios, das von 1932 bis 1952 zu den erfolgreichsten Produzenten in Südamerika zählte. Neben den populären Lumiton-Produktionen und Memorabilien bewahrt das Archiv, das zum 2004 gegründeten gleichnamigen Museum gehört, die verschiedensten dokumentarischen, institutionellen und experimentellen Filme. Heute ist Lumiton auch ein dynamischer Ort der Bildung, für Ausstellungen und Medienproduktion. Gezeigt wird eine Auswahl von experimentellen Kurzfilmen aus dem Lumiton-Archiv.

Cinenova, UK
Cinenova, gegründet 1991, widmet sich dem Erhalt und Vertrieb von Arbeiten feministischer Filmemacher*innen. Entstanden aus dem Zusammenschluss von Circles und Cinema of Women, hat Cinenova heute über 300 Titel im Programm, von künstlerischen Bewegtbildern über Experimental- und Spielfilme bis zu Lehrfilmen. Die ältesten Arbeiten stammen aus den frühen 1910er Jahren. Cinenova macht diese Titel zugänglich und berät zu Arbeiten von Frauen, transgender-, gendervarianten und nicht-binären Autor*innen. Die Kurzfilmtage 2022 präsentieren eine Auswahl von Arbeiten aus dem Archiv.

ZKM, Deutschland
Das Zentrum für Kunst und Medien in Karlsruhe, gegründet 1989, widmet sich sowohl raumbasierten Künsten wie Malerei, Fotografie und Skulptur als auch zeitbasierten Künsten wie Film, Video, Medienkunst, Musik, Tanz, Theater und Performance. In seiner Archivarbeit konzentriert sich das ZKM auf elektronische Künste. Aus dem breiten Bestand zeigen die Kurzfilmtage eine Auswahl von Videoarbeiten aus unterschiedlichen Archiven der 1970er Jahre, die das ZKM bewahrt. Damit präsentieren sie auch die Arbeit des Labors für antiquierte Videosysteme im ZKM, das diese Arbeiten erst zugänglich macht.

Labs

Collective endeavours in celluloid
Introduced in 2018, "Labs" is dedicated to the numerous artists' labs that have formed a network and go public with their own events (filmlabs.org). The section thus continues the Festival's preoccupation with alternatives to the domination of the digital. This is about the interaction between celluloid and photochemical processes, as well as collective, independent production and distribution models. The commercial exploitation of analogue film is coming to an end. What perspectives can analogue artistic film and collective working methods have in our post-cinematographic reality? Thus, a discourse on questions of production, distribution, performance as well as aesthetics will be deepened.

This year our Labs series continues with the ArkFilmLab (Italy), Laboratoire L’Argent (France), Laboratório da Torre (Portugal), LEC (Laboratorio Experimental de Cine, Mexico), and Polar Film Lab (Norway).

re-selected

Instead of propagating the digital "rescue" of a cinematic work as an ideal, the project is interested precisely in the unique characteristics of a print, which are as a rule obliterated during digitisation. This leads to questions and insights connected with a print’s concrete history, specific target publics and historical configurations. Where and when was a film shown at all? Who saw it, in what version and within which structure?

Prints differ from one another; their specific impact histories take different courses and cannot simply be boiled down to the history of a particular film. Every print is an original – and not just when it turns out to be the only remaining print of a film, which is ever more frequently the case as negatives become lost and analogue media are withdrawn from service.

re-selected is a joint project headed by Tobias Hering and run by Oberhausen and Arsenal – Institute for Film and Video Art as part of "Archive außer sich" in cooperation with the Haus der Kulturen der Welt, supported by the BKM within the framework of "Das Neue Alphabet", based on a resolution of the German Bundestag.

Four new programmes in our series which uses the Oberhausen archive as its starting point, curated by Tobias Hering. We continue to examine the 1993 Oberhausen “Confrontation of Cultures” theme, two programmes explore gestures of solidarity with the so-called “Third World” made by our festival in the 1970s, and Scott Miller Berry co-presents “Foster Films”, an eclectic set of films stranded in festival archives.

"re-selected" examines film history as the history of individual film copies and is dedicated to selected films from the archive of the International Short Film Festival Oberhausen.

Expanded: SPECTRAL, part 1

Against the tyranny of content streams and for the communal cinematic experience: Oberhausen continues its focus on expanded and analogue cinema. Following the hugely successful Celluloid Expanded shows in 2022, a new three-part series featuring SPECTRAL labs will be launched in 2023. SPECTRAL (Spatial Performative & Expanded Cinematics – Transnational Research at Artist-run Labs) is a partnership of six European artist-run film labs – Baltic Analog Lab (Riga), Laia/Torre (Porto), Crater-Lab (Barcelona), Mire (Nantes), Filmwerkplaats (Rotterdam) and LaborBerlin (Berlin) – whose goal is to support the creation of new works of live analogue cinema. Every year, two of the SPECTRAL labs will select and present pieces of expanded cinema art in Oberhausen, starting with LaborBerlin and Filmwerkplaats in 2023.

SPECTRAL is co-funded by the Creative Europe program of the European Commission.

to be continued

Eine Auswahl von Works-in-Progress von Regisseur*innen aus den Wettbewerben 2022, die Programmacher*innen und Kurator*innen einen ersten Blick auf kommende Kurzfilme gibt sowie den Filmemacher*innen die Gelegenheit, ihre Arbeiten zu testen.

Country Focus Basque Country

A look at the rich diversity of recent short film production in the Basque country, curated by Vanesa Fernández Guerra, director of the ZINEBI festival (Bilbao).

In the Country Focus, the International Short Film Festival will present the latest short film production of a European country every year, compiled by a curator from the respective country.

Individual consultation with Filmbüro NW for filmmakers from NRW

A free offer to all filmmakers from NRW who can consult members of the Filmbüro NW on all questions of production, funding and festival placement of short films. Prior registration required!

More

Here you can find a colourful mix of fixed programme elements that have become indispensable to our festival, but also always new and diverse interesting offers.

MuVi International

Since 1998, the International Short Film Festival Oberhausen shows a selection of trend-setting international music videos and formally exceptional works - a showcase of current developments in the music video genre.

MuVi 14+

A programme of international music videos for kids aged 14 and older. MuVi 14+ is a rich and varied cross section of recent video clips ranging from handmade to computer-generated. 

MuVi Retro

Celebrating the 25th anniversary of the MuVi Award with a screening of all 1st Prize winners since 1999 – fast forward through 25 years of German music video history

Award Winners of Other Festivals

On its first day, Oberhausen traditionally shows short films that have received awards at other festivals. A cross-section of the past festival season.

The Team Favourites 2023

To mark the conclusion of the festival, the Oberhausen team will personally introduce their favourites from this year’s competitions.

Highlights 2022

Get into the festival spirit with a look at some highlights from last year’s competitions.

Filmgeflacker

Oberhausen’s Filmgeflacker art collective presented films from this year’s competitions, and the filmmakers will be invited to discuss their works with the audience.

The One Minutes

In cooperation with the One Minutes Foundation, Oberhausen presented one-minute films in two series curated for the festival.

The One Minutes Jr.

42 one-minute films from Europe, made by and for young people.

Careof

The Milan-based organisation has been producing, exhibiting, cataloguing, preserving and promoting film and media art since 1987. Marta Bianchi presents a selection.

ESFAA Shorts

Nine audience award winners from other European short film festivals demonstrate the creative diversity of European cinema in two programmes.

Kinemathek im Ruhrgebiet

The Kinemathek im Ruhrgebiet/FilmArchiv has been collecting and restoring historical film material from the former coal-mining area for more than 40 years. In Oberhausen, the initiative will once again show highlights from its holdings, this year including works on the occupation of the Ruhr in 1923 and the diversion of the lower reaches of the Emscher in the late 1940s. Presented and introduced by its director, Paul Hofmann.

NRW in person

Filmmakers from North Rhine-Westphalia get carte blanche for a programme of their own films and formative works by other filmmakers. This year by and with Miriam Gossing and Lina Sieckmann from Cologne.

Thema „Against Gravity“ 14+

A special selection of films from our Theme programme on machinima for people from the age of 14.

Station Wunderland 6+

A journey through more than 100 years of film history for everyone from the age of six, from the first film ever screened to the public to dancing robots.

Unseen Paths – Hommage à Jean-Marie Straub (1933-2022)

A biased selection from the last works of Jean-Marie Straub and a tribute to a passionate and rebellious cineaste and frequent guest in Oberhausen.

For Angela Haardt – The Beauty of Remaining Enigmas

A personal selection by former festival director Angela Haardt on the occasion of her 80th birthday with films by Ruchir Joshi, Walid Ra’ad, Toshio Matsumoto a.o.

Analogue Imagination – Selected Works from School Friedl Kubelka

Analogue films from the School Friedl Kubelka in Vienna, curated by Philipp Fleischmann and presented as a cooperation of the ESFN.

The Independent Archive: Argentina

Drei argentinische Projekte widmen sich den Super-8-Filmen von Narcisa Hirsch, Marie Louise Alemann und Sergio Levin, jeweils mit dem Ziel, ein Archiv zu etablieren. Federico Windhausen (Filmhistoriker, Kurator und Autor) stellt die unterschiedlichen Herangehensweisen vor und zeigt digitalisierte Filmbeispiele.

MuVi-Online

Nominated Films 2023

Almost Puppet (Puppet Ginger),
Maxim Franks,
5'21"

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Anima Overdrive (Gregor Heinze + Luke Huelsmann),
Stefan Panhans, Andrea Winkler,
4'20"

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Auch im Bentley wird geweint (Deichkind & Clueso),
Timo Schierhorn, Uwe,
3'21"

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Das eigensinnige Kind (Raison),
Schorsch Kamerun,
5'8"

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Der Stoff aus dem Legenden sind (Bobby Fletcher & Koljah),
Kay Otto,
4'0"

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Gravity (Laima Adelaide),
Duc-Thi Bui,
6'53"

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In The Dark (Frank Bretschneider & Giorgio Li Calzi),
Markus Wambsganss,
5'0"

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La Vita (Beverly Glenn-Copeland),
Oliver Pietsch,
5'9"

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Maschinenbauergemetzel (Paul Sies),
Julian Paul,
3'5"

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Time Travellers (The Bomb (Jaakko Eino Kalevi)),
Christine Gensheimer,
7'0"

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Was du gesehen haben wirst (Katia Sophia Ditzler),
Katia Sophia Ditzler,
3'4"

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MuVi Audience Award

chosen by online vote on muvipreis.de and worth 500 euros, sponsored by kultur.west

Maschinenbauergemetzel (Paul Sies)
Julian Paul
Deutschland 2022, 2‘58‘‘, Farbe

Maschinenbauergemetzel (Paul Sies)
Julian Paul

2022, 3'5"

Programme

Trailer

Festival Magazine

The Festival Catalogue is available here as a scrollable PDF (German only).

The separate programme information is available here as a scrollable PDF.