Looking Back 2022

The 68th International Short Film Festival Oberhausen took place from 30 April to 9 May 2022. First online from 30 April to 3 May, then on site from 4 to 9 May.

Festival impressions

Award Winners

Awards of the International Jury

Grand Prize of the City of Oberhausen
worth 7,000 euros

Weathering Heights
Hannah Wiker Wikström
Sweden 2021, 30', colour

Statement
This film evocatively disrupts the notion of a distinction between science fiction and our lived reality by giving expression to the difficulty of communicating in a world still reeling from the effects of a global pandemic. Weird and discomforting, the film manages to create a sensorial experience that feels sticky in its seepages as it probes through life in rural Sweden.

 

Principal Prize
worth 3,000 euros

YON
(Call me Jonathan)
Bárbara Lago
Argentina 2021, 8'08", colour

Statement
In YON, the director gives an unprocessed take on their family and childhood by casting a totally unsentimental gaze upon home movie footage in which a raw portrait emerges of an uninhibited figure wrestling with their gender identity and squarely refusing to conform to gender stereotypes or repressive social norms. The irreverence of the subject does little to disguise the seriousness of intent at play in a film skilfully edited together to mirror the uncontainable force of childhood energy.

 

Special Mentions

L‘escale
(The Stopover)
Collectif Faire-Part
Belgium/DR Congo 2022, 14', colour

Statement
The jury were struck by this deceptively simple film made by the innovative Collectif Faire-Part which sheds light on the experience of filmmakers Paul Shemisi and Nizar Saleh, who were stopped and held against their will for a week at an airport in Angola on their way from Kinshasa to Frankfurt to present their new film. Accompanying the testimony provided by the filmmakers in the form of voiceover, the fixed image of an airplane window remains on screen throughout lending expression to the illusion of safe/smooth travel so plainly out of reach to the vast majority of non-white passengers.

 

Cadê Heleny?
(Searching Heleny?)
Esther Vital
Spain/Brazil 2022, 29'14", colour/black and white

Statement
The jury awards a special mention to Esther Vital for her film Cadê Heleny? that brings back to surface, the story of Heleny Guariba: a philosopher, professor and theatre director disappeared in 1971 under the Brazilian dictatorship. With its intricate and empathic use of embroidery alongside the weaving in of anecdotal histories the film succeeds in touching similar stories of other similar suppressed histories across the world.

 

Short Film Candidate for the European Film Awards 2022

Sekundenarbeiten
Christiana Perschon
Austria 2021, 14', black and white

Statement
Sekundenarbeiten
defies our expectations of portraiture by being playful with the form and drawing out parallels between the spontaneity of the subject and the camera.

The International Critics’ Prize

FIPRESCI Prize

Weathering Heights
Hannah Wiker Wikström
Sweden 2021, 30', colour

Statement
For its thoughtful way of using a film language to create a deep ontological relationship between nature and human beings and of presenting existence.

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

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

L‘escale
(The Stopover)
Collectif Faire-Part
Belgium/DR Congo 2022, 14', colour

Statement
A journey to a film festival; a view out of the window of a plane. The formal reduction to passing cloud formations. A complementary report of two travellers from off screen. What do the clouds conceal? What do we know about human trafficking and the exploitation of humans for commercial purposes? The Congolese-Belgian film tells a haunting and moving story about the fact that the privilege of personal freedom and physical integrity is closely tied to the origin of the travellers as documented in their passports.

 

Special Mentions

Sekundenarbeiten
Christiana Perschon
Austria 2021, 14', black and white

Statement
„To the last breath.“ Two artists, a shared cinematic space. Working with formal reduction and a separation of the visual and sound levels, this work unfolds the powerful portrait of an encounter between two generations and the materiality of their respective forms of representation.

 

Under the Lake
Thanasis Trouboukis
Greece/Finland 2022, 16'32", colour

Statement
Epic, dream-like shots of nature on 16 mm. Bodies of water flowing and spreading uncontrollably. Powerless faces, marked by time, are watching. The quiet and open narrative style between fiction and observation creates a mesmerizing atmosphere that leaves space for one’s own reflections. Nature is on fire.

Prize of the Ecumenical Jury

Prize of the Ecumenical Jury
worth 1,500 euros

Zouhouron Zarqa’ Aadimat al-ra’iha tastayqizou qabla ’awanaha
(Odorless Blue Flowers Awake Prematurely)
Panos Aprahamian
Lebanon 2021, 6', colour

Statement
If the world that was yours ends, if you cannot even smell the source of life, there isn't much left to say. This short film witnesses that the future seems far away, but hope lies in the image outside the cosmos of those who rule.

The ecumenical jury of the 68th Oberhausen International Short Film Festival awards its prize as the award of the Catholic film work and the Oberhausen Evangelical Church District in cooperation with the world catholic association for communication SIGNIS and the International Church Film Organization INTERFILM.

ZONTA Prize

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

A Camera on my Lap
Shelley Barry
South Africa 2022, 17'57", colour/black and white,                  

Statement
Low sounds of typing, the skeleton of a typewriter. A brittle voice talks about a radically changed life, a rupture. Artistic work is reconfigured out of isolation. The wheelchair becomes a dolly into a world of new interrelations. What can I do here, she says, what window to the world and what screen can I open? And how to celebrate the everyday in a post-apartheid suburb of Cape Town, South Africa?

Awards of the International Online Jury

Grand Online Prize of the City of Oberhausen
worth 5,000 euros

Ava mocoi, os gêmeos
(Ava Mocoi, the Twins)
Luiza Calagian, Vinicius Toro
Brazil/Cuba 2022, 14'44", colour

Statement
The Grand Online Prize of the City of Oberhausen goes to Ava mocoi, os gêmeos (Ava Mocoi, the Twins) by Luiza Calagian and Vinicius Toro for its representation of spirituality and belief in the age of global cynicism.

 

Principal Online Prize
worth 2,000 euros

Punctured Sky
Jon Rafman
USA 2021, 21'14", colour

Statement
The Principal Online Prize goes to Punctured Sky by Jon Rafman for its sophisticated use of cinematic tools to invoke a sense of uneasiness and the uncanny.

 

e-flux Prize
worth 3,000 euros
For an exceptional film and video work which reshapes the poetic and electric potential of moving images in the age of planetary circulation of information.

Feriado
(Holidays)
Azucena Losana
Argentina 2021, 2'06", black and white

Statement:
The e-flux Prize goes to Feriado (Holidays) by Azucena Losana for its hypnotic use of poetics to question established narratives.

 

Special Mention

Inner Outer Space
Laida Lertxundi
Spain 2021, 16'16", colour

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

Online Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia
worth 3,000 euros

Lugar nenhum
(Nowhere)
Pedro Gonçalves Ribeiro
Portugal 2021, 18'50", colour

Statement
The work conveys the filmmaker’s personal recollection of a pop song from the late 1990s to formulate a critique of queer infrastructures in their physical as well as in their digital dimension. We were impressed by the sophisticated interplay between image, text and music. The artist manages to create a considerable emotional impact with very small gestures as well as to stretch the genre boundaries between an essay film and a karaoke video.

 

Special Mention

An Ode to a Time I Loved Bread
Neema Ngelime
Belgium 2021, 10'53", colour/black and white

Prize of the Ecumenical Online Jury

Prize of the Ecumenical Online Jury

73
Meshy Koplevitch
Israel 2021, 13'28", colour

Statement
For combining depth and simplicity, compassion and vision, a film which moves from live action to free-form watercolour animation sees a young woman tell the story of her father's experience during the Yom Kippur War. Blending memory, history, and personal reflection, 73 is a powerful film about death and the life-giving resurrection which occurs through love. The film points to us the need for loving our enemies and thus reveals the reality of a shared humanity restored in the most difficult of times.

 

Special Mention

Blink in the Desert
Shinobu Soejima
Japan 2021, 10'34", colour

Statement
For the film’s inclusive use of animated characters of humans, animals, and insects told through poetic visual composition and sound, with almost no dialogue, Blink in the Desert reflects on human aggression and indifference adopted to destroy what we do not know or understand and giving rise to agony on all sides. The film is an internal call for peace and progress, empathy and compassion, and the accommodation of differences.

Awards of the German Jury

Prize of the German Competition
worth 4,000 euros

ŃEALE AZBUIRĂTOARE
(Flying Sheep)
Alexandra Gulea
Romania/Germany, 2022, 24', colour/black and white

Statement
Alexandra Gulea’s film ŃEALE AZBUIRĂTOARE interweaves visual and acoustic material in a multi-layered tale about a nomadic minority who are a pawn in the hands of the powers surrounding them. Visually powerful, superimposing historical and contemporary material, the work guides the viewers through individual fates without dictating any specific interpretation.

 

3sat Emerging Talent Prize
worth 2,500 euros
In addition the award includes a buying option on the awarded work to be broadcast on 3sat.

ARIBADA
Simon(e) Jaikiriuma Paetau, Natalia Escobar
Germany/Colombia 2022, 30', colour

Statement
Using a highly symbolic and visually condensed approach, Simon(e) Jaikiruma Paetau and Natalia Escobar deliver a moving portrait of the lives of trans women of the indigenous Embera community. Their hopes and dreams are expressed in a mixture of staged images and documentary observation.

 

Special Mention

Muss ja nicht sein, dass es heute ist
(It Doesn’t Have to Be Today)
Sophia Groening
Germany 2021, 7'45", colour

Statement
To the point, funny and authentic, Sophia Groening depicts the realities of the lives of young adults in Cologne Finkenberg, evading all stereotypes.

Prizes of the German Online Jury

Prize of the German Online Competition
worth 2,500 euros

Sonne Unter Tage (Sun Under Ground)
Mareike Bernien, Alex Gerbaulet
Germany 2022, 38'37", colour/black and white

Statement:

The film manages to map complex circumstances with quiet precision in a way that makes their various historical, political and ideological readings comprehensible. This analytical examination is constantly referring back to what we really see and hear. Taking a mineral resource as a starting point, we see a story of scientific and economic interdependencies develop, of work and culture, of socialism and radioactivity. The aesthetic form mirrors the variety of the examined contexts by a dynamic polyphony both on the text and the visual level.

 

Special Mention

Saft (Juice)
Mona Keil
Germany 2022, 4'55", colour

Statement:

Employing its tools to great effect, the film sketches a parable on the Anthropocene in which humanity, by its self-righteous treatment of nature, disturbs the global balance. Both the excellent animation and the congenial sound are convincing.

Promotional Prize of the 14th NRW Competition

Prize of the NRW Competition
worth 1,000 euros

Lamarck
Marian Mayland
Germany 2021, 27'20", colour

Statement
The view of a landscape devastated by brown coal opencast mining is the pivotal image. The jagged landscape reveals decades of digging and ravage. The digging continues, stripping away layer by layer and exposing what was hidden. The film that gives us this image examines the model of the family. In this complex arrangement, everyone has a position in space and time, layers are heaped upon layers. Parents and siblings look back, remember and take stock, unfolding a mesh of care and love, of heaviness, coercion and control. The meticulously composed images deepen the space of reflection. The excellent montage tells us only what is absolutely necessary while finding the right rhythm.

Everything refers to the issue of becoming. What is passed on? Which traits are inherited? Which kind of behaviour is reproduction? And what does this mean for one’s own life, education, gender roles and modes of communication?

 

Promotional Prize of the NRW Competition
worth 500 euros

Bruchstücke
(Shards)
Rusudan Gaprindashvili
Germany 2021, 8'17", colour

Statement
A small room, so many removal boxes still unpacked, a bed, a woman who has trouble getting up. So much pain. Before we see her, we hear that someone else is in the room. A little girl in bed. Two maimed souls equal one pain. Spoken words are almost impossible. A children’s song and writing on naked skin. We turn from observers of the intimate scene into fellow sufferers. In one take, no cut. And at the end this little film about a social taboo gives both us and the protagonists new strength and hope for better times together. A bold film with extraordinary acting.

Prize of the WDR Westart Audience Jury

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

Allen Zweifeln zum Trotz
(Against All Odds)
Laurenz Otto
Germany 2022, 14'59", colour

Statement
Subtly and in precisely composed images, Laurenz Otto’s film portrays a relationship of dependence and abuse of power. Feelings of powerlessness and rage lead to an emblematic climactic release which nevertheless lets us feel the longing for human warmth. Excellently directed, the film creates an oppressive atmosphere and develops a suggestive power reinforced above all by the outstanding performance of the two protagonists and absolutely convincing to us.

24. German MuVi Award for the Best German Music Vide

1st Prize
worth 2,000 euros, sponsored by the SAE Institute Bochum

Flourish (Lotic)
Julia Crescitelli
Germany 2021, 3'15", colour

Statement
Julia’s Crescitelli’s Flourish blurs the lines between what is perceived as grotesque and beautiful. Soundtracked by Lotic’s abrasive, metallic productions in HD, the film portrays body horror within the context of the natural world. Each frame flashes with intention and elicits a very physical response from its viewers, who are watching everyday acts of vanity and nature converge at breakneck speed. It’s a vivid work that finds beauty within ugliness, and ugliness within beauty.

 

2nd Prize
worth 1,000 euros, sponsored by the SAE Institute Bochum

Wann hast du das letzte Mal Blumen betrachtet (Günter Reznicek/Nova Huta)
(When Was the Last Time You Looked at Flowers)
Mariola Brillowska
Germany 2022, 2'03", colour

Statement
When Was the Last Time You Looked at Flowers 
is disarming in its simplicity. Mariola Brillowska’s deadpan poetry touches on universal themes of grief, trauma, sexism and everything in between, in a startlingly disassociating tone. When the flower visuals subtly morph into a spider as the narrator’s words turn darker, it’s a perfect depiction of how life – in all its complexity – just happens.

 

MuVi Audience Award
chosen by online vote on muvipreis.de and worth 500 euros, sponsored by the SAE Institute Bochum

Dr. No (Meese X Hell)
Michael Ullrich
Germany 2021, 3'21", colour

The Awards of the 45th International Children’s and Youth Film Competition

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

La Reine des renards
(The Queen of the Foxes)
Marina Rosset
Switzerland 2022, 8'50", colour

Statement
We thought the animation in this film was especially beautifully drawn, and the foxes looked quite real. We also liked it that in the story the foxes brought the people together.

 

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

Zuza v zahradách
(Suzie in the Garden)
Lucie Sunková
Czech Republik/Slovakia 2022, 13'19", colour

Statement
We think this film is very beautiful because there is so much painting and drawing in it. But we also thought the story was very good.

 

Special Mention

Tong Zhuang Xian Nu
(Tank Fairy)
Erich Rettstadt
Taiwan/USA 2021, 9'31", colour

Statement
We thought the film was very very funny. We also loved the music. We liked it that the film shows that you can be whoever you want.

 

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

Genetica
Chen Shahuda
Israel 2021, 15'23", colour

Statement
We thought the storyline of the film was brilliant, and we like the fact that the film addresses the issue of Pride indirectly, focussing more on the protagonist’s hobby. The film takes up many themes and it states its message clearly. In addition, we liked the way the film was made.

 

Special Mention

Hong Se Zang Li
(Red Funeral)
Jane Zhang
China/Macao 2022, 15', colour

Statement
We believe that the subject of the film is very important and will appeal to children and adolescents from the age of 12. We liked the way it was made, since there are many details, metaphors and symbols in it.

 

ECFA Short Film Award
(The award consists of a nomination for the ECFA Short Film Award 2023)

Channidae
Pauline Morel
Belgium 2021, 7', colour

Statement
For the bravery in using different styles of animation to convey a message about how home environment and stereotypes influence children’s space of imagination and their games, blurring the lines between the two realities. The technical mastery of the film along with its brilliant storytelling makes it an exceptional cinematic experience.

 

Certificates of the Ecumenical Jury

Titan
Valéry Carnoy
Belgium/France, 2021,18’56’’, colour

Statement
For its brilliant storytelling, for its powerful portrait of a 13-year-old teenager confronting the violence of a strange initiation ritual, in search of an identity. A touching and realistic chronicle on the body, and on a childhood in turmoil preserved by the unconditional love of a mother. A film that moves both teenagers and adults.

The ecumenical jury of the 68th Oberhausen International Short Film Festival is therefore pleased to make a special recommendation of the Catholic film work and the Oberhausen Evangelical Church District in cooperation with the world catholic association for communication SIGNIS and the International Church Film Organization INTERFILM.

Competition Selection

By countries

Argentina
Feriado,
Azucena Losana, 2021, 2‘08‘‘, International Online Competition
YON (Call me Jonathan), Bárbara Lago, 2021, 8’08’’, International Competition

Armenia
Erb es tkhur em,
Lilit Altunyan, 2021, 6‘40‘‘, Children’s & Youth Film Competition

Austria
Sekundenarbeiten
, Christiana Perschon, 2021, 14‘00‘‘, International Competition

Belgium
An Ode To A Time I Loved Bread,
Neema Ngelime, 2021, 10‘53‘‘, International Online Competition
Channidae, Pauline Morel, 2021, 7‘00‘‘, Children’s & Youth Film Competition

Belgium/ Democratic Republic of the Congo
L’escale
(The Stopover), Collectif Faire-part, 2022, 14’00’’, International Competition

Belgium/ France
Titan,
Valéry Carnoy, 2021, 18’56’’, Children’s & Youth Film Competition

Brazil
Encarnado, Otávio Almeida/ Ana Clara Ribeiro, 2021, 22'03'', International Competition
Solidariedade (Solidarity), Fernanda Pessoa, 2022, 7‘30‘‘, International Competition
Peixes não se afogam, Anna Azevedo, 2021, 17’00’’, Children’s & Youth Film Competition

Brazil/Cuba
Ava mocoi,
os gêmeos,Luiza Calagian/Vinicius Toro, 2022, 14‘44‘‘, International Online Competition

Canada
Tender,
Christine Lucy Latimer, 2021, 3‘04‘‘, International Online Competition
The Decameron I, Kim Kielhofner, 2021, 3’09’’, International Competition

Canada/ Spain
Ainoa,
Jessica Lafrance, 2022, 4’27’’, Children’s & Youth Film Competition

Chile
Agua del arroyo que tiembla
, Javiera Cisterna Cortés, 2021, 9‘38‘‘, International Online Competition

China
2022,
Su Zhong, 2022, 6‘50‘‘, International Competition
zhezhou, Zhang Yui, 2021, 21‘00‘‘, International Online Competition
扎西的羊 (Tashi’s Sheep), Yin Yu, 2021, 26’34’’, International Competition
日出原理 (The Principle of Sunrise) Ye Song, 2021, 4’57’’, Children’s & Youth Film Competition

China/France
Very, Very, Tremendously
, Guangli Liu, 2021, 12‘12‘‘, International Online Competition

China/ Macau
红色葬礼 HONG SE ZANG LI (Red Funeral),
Jane Zhang, 2022, 15’00’’, Children’s & Youth Film Competition

China/ USA
A Whisper In the Island Of the Heart,
Xiaowen Wang, 2021, 13’01’’, Children’s & Youth Film Competition

Colombia
Abrir Monte,
María Arias Rojas, 2021, 25‘47‘‘, International Online Competition
MONOLOGO DE UN SICARIO (monologue of a hit man), Nadia Granados, 2021, 5’49’’, International Competition

Croatia
3rd Cinematic Nail Factory
, Dalibor Martinis, 2021, 6’55’’, International Competition
Dok smo bili tu (While We Were Here), Sunčica Fradelić, 2021, 15’09’’, International Competition
The Raft, Marko Meštrović, 2021, 13‘46‘‘, International Online Competition

Czech Republic
Can You Still Feel the Butterflies?,
Radek Brousil, 2021, 13‘17‘‘, International Online Competition

Czech Republic/ Slovakia
Zuza v zahradách,
Lucie Sunková, 2022, 13’19’’, Children’s & Youth Film Competition

Denmark
It grew fur again, lost it, developed scales, lost them,
Gitte Villesen, 2021, 23’40’’, International Competition

Egypt
A Missing Storey,
Mohamed A. Gawad, 2022, 9’06’’, International Competition

Finland
Born to Feel,
Matti Harju, 2021, 5‘43‘‘, International Online Competition
Kolme päivää sadetta (Three Days of Rain), Matti Harju, 2021, 09'33'', International Competition

France
13, rue d’Amsterdam,
Olivier Lopes Barros, 2021, 15’58’’, Children’s & Youth Film Competition
A Point, Aurélie Marpeaux, 2021, 20’00’’, Children’s & Youth Film Competition
Les Roses et les bleus, Claudia Lopez Lucia, 2021, 22’31’’, Children’s & Youth Film Competition
RÉPÉTITIONS, Yann les Jours, 2021, 3‘34‘‘, International Online Competition
Tous les fleuves s'appellent le Nil (All Rivers Are Called the Nile), Gustavo de Mattos Jahn, 2021, 08'08'', International Competition
Un corps brûlant, Lauriane Lagarde, 2021, 14’28’’, Children’s & Youth Film Competition

Gabon
La cour du Roi,
Amédée Pacôme Nkoulou, 2021, 25‘21‘‘, International Online Competition

Georgia
Für Lilith / ლილიტს
(For Lilith), Mariam Elene Gomelauri, 2021, 8’59’’, International Competition

Germany
1000 Thomas,
Mare Hakamushi, Rolf Blumig, 2021, 4’12’’, MuVi Award
Allen Zweifeln zum Trotz, Laurenz Otto, 2022, 14‘59‘‘, NRW Competition
Auf dieser Seite der Gleise / De partea asta a șinelor, Zauri Matikashvili, 2021, 31‘20‘‘, NRW Competition
Blind Date, Jan Soldat, 2021, 11‘56‘‘, German Competition on Site
Bruchstücke, Rusudan Gaprindashvili, 2021, 8‘17‘‘, NRW Competition
Cruiser, Felix Bartke/ Nils Ramme, 2022, 22‘15‘‘, NRW Competition
Das Chaos, Motong Huang, 2021, 2’35’’, MuVi Award
Die Hüter des Unrats. Eine kurze Geschichte des Abfalls, Susann Maria Hempel, 2022, 11’05’’, German Competition on Site
Disappoint Me, Chris Imler, Alexander Gheorghiu, Markus S Fiedler, 2022, 3’43’’, MuVi Award
Dr. No, Michael Ullrich, 2021, 3’21’’, MuVi Award
ELLE, Luisa Donschen, 2021, 14’00’’, German Competition on Site
Feel Like Change, Kim Lêa Sakkal, 2021, 5’00’’, MuVi Award
Flourish, Julia Crescitelli, 2021, 3’15’’, MuVi Award
Fulfillmenot, Julia Jesionek, 2021, 3’41’’, NRW Competition
grill&shrill, Blas Lamazares Fraile, 2021, 14’48’’, German Competition on Site
Gute Arbeit, gute Nacht, Michel Wagenschütz, 2021, 15‘03‘‘, German Competition on Site
Handbuch, Pavel Mozhar, 2021, 26‘00‘‘, German Online Competition
Hoamweh Lung, Felix Klee, 2021, 14‘39‘‘, German Online Competition
HOMESICK, Bjørn Melhus, 2022, 14‘00‘‘, German Competition on Site
Lamarck, Marian Mayland, 2021, 27‘20‘‘, NRW Competition
LA Screen Memories (The Download Tunnels), Jan Jelinek, 2022, 9’34’’, MuVi Award
Lovers of all kinds, Christine Gensheimer, 2022, 5’13’’, MuVi Award
Muss ja nicht sein, dass es heute ist, Sophia Groening, 2021, 7’45’’, German Competition on Site
Nothing in this world can take the place of persistence, Silke Schönfeld, 2021, 23’14’’, NRW Competition
Nur weil du mir deine Wunden zeigst, bist du noch lange nicht mein Heiland, Katharina Duve, 2021, 4‘11‘‘, MuVi Award
Oh, Butterfly!, Sylvia Schedelbauer, 2022, 19’00‘‘, German Competition on Site
Saft, Mona Keil, 2022, 4‘55‘‘, German Online Competition
Sonnenland Nr. 62: Videotagebuch VI, Carsten Aschmann, 2022, 24’00’’, German Competition on Site
Sonne Unter Tage, Alex Gerbaulet/Mareike Bernien, 2022, 38‘37‘‘, German Online Competition
Strahlend grüne Wiese, Sophie Hilbert, 2021, 25‘49‘‘, German Online Competition
The Age of Innocence, Maximilian Bungarten, 2022, 22’00’’, German Competition on Site
the mystery, Rainer Knepperges, 2021, 2‘20‘‘, NRW Competition
the rat and the cat, Jasmin Preiß, 2021, 4‘47‘‘, German Online Competition
Theorie und Praxis, Leonie Minor, 2021, 7‘27‘‘, German Online Competition
Unter dem Kiefernbaum, Takashi Kunimoto, 2021, 19‘45‘‘, German Online Competition
Wann hast du das letzte Mal Blumen betrachtet, Mariola Brillowska, 2022, 2‘03‘‘, MuVi Award
you cannot trust the colors, Katrin Winkler, 2021, 15‘53‘‘, German Online Competition

Germany/Argentina
Las Flores,
Miguel Goya/ Tina Wilke, 2021, 18’20’’, German Competition on Site

Germany/Austria
I WOULD LiCK TO BE SOMEONE ELSE,
Yuwol June C., 2021, 8’45’’, German Competition on Site

Germany/Canada
Paper Swallows Rock,
Vanessa Gravenor, 2021, 16‘44‘‘, German Online Competition

Germany/Colombia
ARIBADA,
Simon(e) Jaikiriuma Paetau/ Natalia Escobar, 2022, 30‘00‘‘, German Competition on Site

Germany/France
backflip,
Nikita Diakur, 2022, 12‘30‘‘, German Competition on Site

Germany/Norway
Ich habe keine Angst!
, Marita Mayer, 2022, 7‘00‘‘, Children’s & Youth Film Competition

Germany/Romania
Dancen,
Corina Andrian, 2021, 15‘52‘‘, International Online Competition
ŃEALE AZBUIRĂTOARE, Alexandra Gulea, 2022, 24‘00‘‘, German Competition on Site

Germany, USA, Greece
Neo Biedermeier,
Daniel Brandt, 2022, 7’30‘‘, MuVi Award

Greece
Memoir of a Veering Storm,
Sofia Georgovassili, 2022, 14’02’’, Children’s & Youth Film Competition

Greece/ Austria
Saving Some Random Insignificant Stories,
Anna Vasof, 2022, 13’47’’, International Competition

Greece/Finland
Under the Lake
, Thanasis Trouboukis, 2022, 16'32'', International Competition
 

India
Sarson ka Saag
(Mustard Greens), Karan Suri Talwar, 2021, 9’26’’, International Competition
Walkway, Sudha Padmaja Francis, 2021, 25‘00‘‘, International Online Competition

Israel
73,
Meshy Koplevitch,2021, 13‘28‘‘, International International Online Competition
Girud/ גירוד(Itch), Ma'ayan Rypp, 2021, 8’30’’, Children’s & Youth Film Competition
Genetica, Chen Shahuda, 2021, 15’23’’, Children’s & Youth Film Competition
Hafra'at Hitmotetut Hamoshava (התמוטטות המושבה הפרעת) (Colony Collapse Disorder), Amos Holzman, 2021, 15’40’’, International Competition

Israeal/ UK
שחורה מגלשה  (Black Slide),
Uri Lotan, 2021, 11’12’’, Children’s & Youth Film Competition

Italy
Occupazioni
(Occupations), Daniele Maggioni, 2021, 10‘30‘‘, International Competition

Italy/ Russia
Papa is big, I am small,
Anya Ru/ Masha Rumyantseva, 2021, 3’12’’, Children’s & Youth Film Competition

Japan
7 blinks after a decade
Aki Nakazawa/Shinjiro Maeda/Masakazu Saito/Toshiko Takashi/Noriyuki Kimura/Yasunori Ikeda/Muryo Homma, 2021, 35‘00‘‘, International Online Competition
Blink in the Desert, Shinobu Soejima, 2021, 10‘34‘‘, International Online Competition
Honekami, Honami Yano, 2021, 9’45’’, Children’s & Youth Film Competition
Someone’s Flowers, Hikari Wajima, 2021, 3‘07‘‘, International Competition

Latvia
Čuči čuči,
Māra Liniņa, 2022, 4‘40‘‘, Children’s & Youth Film Competition

Lebanon
زهورٌ زرقاء عَديمَةُ الرّائحة تستيقظ قبل أوانها (Odorless Blue Flowers Awake Prematurely), Panos Aprahamian, 2021, 06'00'', International Competition

Mexico
El nido del Sol
(The Nest of the Sun), Colectivo Los Ingrávidos, 2021, 5’14’’, International Competition

Myanmar
Seeking Wombs for Rebirths
, Lin Htet Aung, 2021, 24‘44‘‘, International Online Competition
Me and My Country Pornography, Lin Htet Aung, 2022, 7’43’’, International Competition

Netherlands
Free as a Bird,
Annelies Kruk, 2021, 15’17’’, Children’s & Youth Film Competition

New Zealand
Whakapapa/Algorithms, Jamie Berry, 2021, 22'01'', International Competition

Norway
BARNA,
Liss-Anett Steinskog, 2021, 10’38‘‘, Children’s & Youth Film Competition
Háldi, Ann Holmgren, 2021, 4‘50‘‘, International Online Competition

Norway/Slovenia/Croatia
Bonding Humanity (Perhaps Manifesto),
Nina Bačun, 2021, 11‘37‘‘, IInternational Online Competition

Peru
La distancia del tiempo,
Carlos Ormeño Palma, 2021, 19‘27‘‘, International Online Competition
SilencioVozRuido, Gonzalo Lugon, 2021, 9’28’’, Children’s & Youth Film Competition

Philippines
Araw na Nakapitapita
(That Day Most Eagerly Awaited), Mark Salvatus, 2021, 22’05’’, International Competition
Days Of The New, Keith Deligero, 2021, 18‘48‘‘, International Online Competition

Poland
Diabeł
(The Devil), Jan Bujnowski, 2022, 18’57’’, International Competition

Portugal
Boa Noite
(Sleep Tight), Catarina Ruivo, 2021, 20'54'', International Competition
Lugar Nenhum, Pedro Gonçalves Ribeiro, 2021, 18‘50‘‘, International Online Competition
Um quarto na cidade,, João Pedro Rodrigues/João Rui Guerra da Mata, 2021, 5‘17‘‘, International Online Competition

Qatar/Sudan
Virtual Voice,
Suzannah Mirghani, 2021, 6‘42‘‘, International Online Competition

Russia
I Had a Dream about the Subway Explosion,
Artem Terent'ev, 2021, 28‘57‘‘, International Online Competition
Звёздный улов (Star catch), Pelageya Generalova, 2021, 4’00’’, Children’s & Youth Film Competition
Бобок (Bobok), Alexandra Karelina/ Ivan Yakushev, 2021, 15’00’’, International Competition

Rwanda
From Here to There,
Remy Ryumugabe, 2021, 3’45’’, International Competition
Muzunga (Vertigo), Ganza Moise, 2021, 16’54‘‘, International Competition
Twin Lakes HAVEN, Mbabazi Sharangabo Philbert Aimé, 2021, 23’45’’, International Competition

South Africa
A camera on my Lap,
Shelley Barry, 2022, 17'57'', International Competition

South Korea
Hwang Ryong San
(Gold Dragon Mountain), Mooyoung Kim, 2021, 18’34’’, International Competition

Sudan
Alfundug,
Mohamed Elmur, 2021, 8’40’’, International Competition

Sweden
En sol i natten,
Desirée Mwepu, 2021, 10‘57‘‘, Children’s & Youth Film Competition
Flyttfåglar, Lisa Meyer, 2021, 14‘40‘‘, Children’s & Youth Film Competition
Mardjuret, Frida E. Elmström, 2021, 8’03’’, Children’s & Youth Film Competition
Nadir, Amin Zouiten, 2022, 13'00'', International Competition
Perforated Realities, Gustaf Broms, 2021, 16’16’’, International Competition
Weathering Heights, Hannah Wiker Wikström, 2021, 30'00'', International Competition x

Switzerland
Dans la nature, Marcel Barelli, 2021, 5’00’’, Children’s & Youth Film Competition
La reine des renards, Marina Rosset, 2022, 8’50’’, Children’s & Youth Film Competition
Lost Brain, Isabelle Favez, 2021, 6’31’’, Children’s & Youth Film Competition
Manchmal weiss ich nicht wo die Sonne (Sometimes i don't know where the sun), Samantha Aquilino, 2021, 03'50'', International Competition
Max et les étranges, Nathan Clement, 2021, 17‘37‘‘, International Online Competition
Sad Cowboy Platonic Love, Ciel Sourdeau, 2021, 16‘45‘‘, International Online Competition

Switzerland/Morocco
On a Beautiful Day,
Elodie Pong, 2021, 6’27’’, International Competition

Spain
Inner Outer Space,
Laida Lertxundi, 2021, 16‘15‘‘, International Online Competition

Spain/Brazil
Cadê Heleny?
(Searching Heleny?), Esther Vital, 2022, 29’14’’, International Competition

Thailand/Sout Korea
Seeing in the Dark
, Taiki Sakpisit, 2021, 29'00'', International Competition

Taiwan/ USA
桶妝仙女 (Tank Fairy),
Erich Rettstadt, 2021, 9’31’’, Children’s & Youth Film Competition

Thailand/UK
Notes from the Periphery,
Tulapop Saenjaroen, 2021, 13‘31‘‘, International Online Competition

Ukraine
The Wind Probably,
Yuri Yefanov, 2021, 10’41’’, International Competition

UK
I am good at karate, Jess Dadds, 2021, 11’13’’, Children’s & Youth Film Competition

UK/ Germany
Aquateque, Einar Fehrholz/ Daria Jelonek/ Perry-James Sugden, 2021, 8‘23‘‘, NRW Competition

United Kingdom/ Mexico/ Kenya/ Germany
Abrekum (Litany for the Complicit Sea),
Philippa Ndisi-Herrmann, 2022, 8’56’’, International Competition

USA
Birds,
Katherine Propper, 2021, 12‘50‘‘, Children’s & Youth Film Competition
Contaminate Me, Steve Reinke/ Jessie Mott, 2021, 3’06’’, International Competition
Grandma's Scissors, Erica Sheu, 2021, 5‘34‘‘, International Online Competition
Laika, Deborah Stratman, 2021, 4’33’’, International Competition
Menagerie, Jack Gray, 2021, 4’26’’, Children’s & Youth Film Competition
Port Saïd, Santa Cruz, Sarmad Kashani, Lior Shamriz, 2022, 14’15’’, International Competition
Punctured Sky, Jon Rafman, 2021, 21‘06‘‘, International Online Competition
THE DRESS, Ken Kobland/EJay Sims, 2021, 14‘00‘‘, International Online Competition

Vietnam
Bóng Xà Bông
(Soapy Faggy), Phạm Nguyễn Anh Tú, 2021, 06'35'', International Competition

By sections

International Competition

2022, Su Zhong, 2022, 6‘50‘‘, China
3rd Cinematic Nail Factory, Dalibor Martinis, 2021, 6’55’’, Croatia
A camera on my Lap, Shelley Barry, 2022, 17’57’’, South Africa
A Missing Storey, Mohamed A. Gawad, 2022, 9’06’’, Egypt
Abrekum (Litany for the Complicit Sea), Philippa Ndisi-Herrmann, 2022, 8’56’’, UK/ Mexico/ Kenya/ Germany
Alfundug, Mohamed Elmur, 2021, 8’40’’, Sudan
Araw na Nakapitapita (That Day Most Eagerly Awaited), Mark Salvatus, 2021, 22’05’’, Phillipine
Boa Noite (Sleep Tight), Catarina Ruivo, 2021, 20'54'', Portugal
Bóng Xà Bông (Soapy Faggy), Phạm Nguyễn Anh Tú, 2021, 6'35'', Vietnam
Cadê Heleny? (Searching Heleny?), Esther Vital, 2022, 29’14’’, Spain/Brazil
Contaminate Me, Steve Reinke/ Jessie Mott, 2021, 3’06’’, USA
Diabeł (The Devil), Jan Bujnowski, 2022, 18’57’’, Poland
Dok smo bili tu (While We Were Here), Sunčica Fradelić, 2021, 15’09’’, Croatia
El nido del Sol (The Nest of the Sun), Colectivo Los Ingrávidos, 2021, 5’14’’, Mexico
Encarnado, Otávio Almeida/ Ana Clara Ribeiro, 2021, 22'03'', Brazil
From Here to There, Remy Ryumugabe, 2021, 3’45’’, Rwanda
Für Lilith / ლილიტს (For Lilith), Mariam Elene Gomelauri, 2021, 8’59’’, Georgia
Hafra'at Hitmotetut Hamoshava (הפרעת התמוטטות המושבה) (Colony Collapse Disorder), Amos Holzman, 2021, 15’40’’, Israel
Hwang Ryong San (Gold Dragon Mountain), Mooyoung Kim, 2021, 18’34’’, South Korea
It grew fur again, lost it, developed scales, lost them, Gitte Villesen, 2021, 23’40'’, Denmark
Kolme päivää sadetta (Three Days of Rain), Matti Harju, 2021, 9'33'', Finland
Laika, Deborah Stratman, 2021, 4’33’’, USA
L’escale (The Stopover), Collectif Faire-part, 2022, 14’00’’, Belgium/ Democratic Republic of the Congo
Manchmal weiss ich nicht wo die Sonne (Sometimes i dont know where the sun), Samantha Aquilino, 2021, 3‘50‘‘, Switzerland
Me and My Country Pornography, Lin Htet Aung, 2022, 7’43’’ Myanmar
MONOLOGO DE UN SICARIO (monologue of a hit man), Nadia Granados, 2021, 5’49’’, Columbia
Muzunga (Vertigo), Ganza Moise, 2021, 16’54‘‘, Rwanda
Nadir, Amin Zouiten, 2022, 13'00'', Sweden
Occupazioni (Occupations), Daniele Maggioni, 2021, 10‘30‘‘, Italy
On a Beautiful Day, Elodie Pong, 2021, 6’27’’, Switzerland/ Marocco
Perforated Realities, Gustaf Broms, 2021, 16’16’’, Sweden
Port Saïd, Santa Cruz, Sarmad Kashani, Lior Shamriz, 2022, 14’15’’, USA
Sarson ka Saag (Mustard Greens), Karan Suri Talwar, 2021, 9’26’’, India
Saving Some Random Insignificant Stories, Anna Vasof, 2022, 13’47’’, Greece/ Austria
Seeing in the Dark, Taiki Sakpisit, 2021, 29'00'', Thailand/South Korea
Sekundenarbeiten, Christiana Perschon, 2021, 14‘00‘‘, Austria
Solidariedade (Solidarity), Fernanda Pessoa, 2022, 7‘30‘‘, Brazil
Someone’s Flowers, Hikari Wajima,2021, 3‘07‘‘, Japan
The Decameron I, Kim Kielhofner, 2021, 3’09’’, Canada
The Wind Probably, Yuri Yefanov, 2021, 10’41’’, Ukraine
Tous les fleuves s'appellent le Nil (All Rivers Are Called the Nile), Gustavo de Mattos Jahn, 2021, 08'08'', France
Twin Lakes HAVEN, Mbabazi Sharangabo Philbert Aimé, 2021, 23’45’’, Rwanda
Under the Lake, Thanasis Trouboukis, 2022, 16'32'', Greece/Finland
Weathering Heights, Hannah Wiker Wikström, 2021, 30'00'', Sweden
Whakapapa/Algorithms, Jamie Berry, 2021, 22'01'', New Zealand
YON (Call me Jonathan), Bárbara Lago, 2021, 8’08’’ , Argentina
Бобок (Bobok), Alexandra Karelina/ Ivan Yakushev, 2021, 15’00’’, Russia
زهورٌزرقاءعَديمَةُالرّائحةتستيقظقبلأوانها (Odorless Blue Flowers Awake Prematurely), Panos Aprahamian, 2021, 6'00'', Lebanon
扎西的羊 (Tashi’s Sheep), Yin Yu, 2021, 26’34’’, China

International Online Competition

73, Meshy Koplevitch,2021, 13‘28‘‘, Israel
7 blinks after a decade, Aki Nakazawa/Shinjiro Maeda/Masakazu Saito/Toshiko Takashi/Noriyuki Kimura/Yasunori Ikeda/Muryo Homma, 2021, 35‘00‘‘, Japan
Abrir monte, María Arias Rojas, 2021, 25‘47‘‘, Colombia
Agua del arroyo que tiembla, Javiera Cisterna Cortés, 2021, 9‘38‘‘, Chile
An Ode to a Time I Loved Bread, Neema Ngelime, 2021, 10‘53‘‘, Belgium
Ava mocoi, os gêmeos, Luiza Calagian/Vinicius Toro, 2022, 14‘44‘‘, Brazil/Cuba
Blink in the Desert, Shinobu Soejima, 2021, 10‘34‘‘, Japan
Bonding Humanity (Perhaps Manifesto), Nina Bačun, 2021, 11‘37‘‘, Slowenia/Norway/Croatia
Born to Feel, Matti Harju, 2021, 5‘43‘‘, Finland
Can You Still Feel the Butterflies?, Radek Brousil, 2021, 13‘17‘‘, Czech Republic
Dancen, Corina Andrian, 2021, 15‘52‘‘, Romania
Days of the New, Keith Deligero, 2021, 18‘48‘‘, Philippines
Feriado, Azucena Losana, 2021, 2‘08‘‘, Argentinia
Grandma's Scissors, Erica Sheu, 2021, 5‘34‘‘, USA
Háldi, Ann Holmgren, 2021, 4‘50‘‘, Norway
I Had a Dream about the Subway Explosion, Artem Terent'ev, 2021, 28‘57‘‘, Russia
Inner Outer Space, Laida Lertxundi, 2021, 16‘15‘‘, Spain
La cour du Roi, Amédée Pacôme Nkoulou, 2021, 25‘21‘‘, Gabon
La distancia del tiempo, Carlos Ormeño Palma, 2021, 19‘27‘‘, Peru
Lugar nenhum, Pedro Gonçalves Ribeiro, 2021, 18‘50‘‘, Portugal
Max et les étranges, Nathan Clement, 2021, 17‘37‘‘, Switzerland
Notes from the Periphery, Tulapop Saenjaroen, 2021, 13‘31‘‘, Thailand/UK
Punctured Sky, Jon Rafman, 2021, 21‘06‘‘, USA
RÉPÉTITIONS, Yann les Jours, 2021, 3‘34‘‘, France
Sad Cowboy Platonic Love, Ciel Sourdeau, 2021, 16‘45‘‘, Switzerland
Seeking Wombs for Rebirths, Lin Htet Aung, 2021, 24‘44‘‘, Myanmar
Tender, Christine Lucy Latimer, 2021, 3‘04‘‘, Canada
THE DRESS, Ken Kobland/EJay Sims, 2021, 14‘00‘‘, USA
The Raft, Marko Meštrović, 2021, 13‘46‘‘, Croatia
Um quarto na cidade, João Pedro Rodrigues/João Rui Guerra da Mata, 2021, 5‘17‘‘, Portugal
Very, Very, Tremendously, Guangli Liu, 2021, 12‘12‘‘, France/China
Virtual Voice, Suzannah Mirghani, 2021, 6‘42‘‘, Qatar/Sudan
Walkway, Sudha Padmaja Francis, 2021, 25‘00‘‘, India
zhezhou, Zhang Yui, 2021, 21‘00‘‘, China

German Competition

ARIBADA, Simon(e) Jaikiriuma Paetau/ Natalia Escobar, 2022, 30‘00‘‘, Germany/ Colombia
backflip, Nikita Diakur, 2022, 12‘30‘‘, Germany/ France
Blind Date, Jan Soldat, 2021, 11‘56‘‘, Germany
Die Hüter des Unrats. Eine kurze Geschichte des Abfalls, Maria Hempel, 2022, 11’05’’, Germany
ELLE, Luisa Donschen, 2021, 14’00’’, Germany
grill&shrill, Blas Lamazares Fraile, 2021, 14’48’’, Germany
Gute Arbeit, gute Nacht, Michel Wagenschütz, 2021, 15‘03‘‘, Germany
HOMESICK, Bjørn Melhus, 2022, 14‘00‘‘, Germany
I WOULD LiCK TO BE SOMEONE ELSE, Yuwol June C., 2021, 8’45’’, Germany/ Austria
Las Flores, Miguel Goya/ Tina Wilke, 2021, 18’20’’, Germany / Argentina
Muss ja nicht sein, dass es heute ist, Sophia Groening, 2021, 7’45’’, Germany
ŃEALE AZBUIRĂTOARE, Alexandra Gulea, 2022, 24‘00‘‘, Germany/ Romania
Oh, Butterfly!, Sylvia Schedelbauer, 2022, 19’00‘‘, Germany
Sonnenland Nr. 62: Videotagebuch VI, Carsten Aschmann, 2022, 24’00’’, Germany
The Age of Innocence, Maximilian Bungarten, 2022, 22’00’’, Germany

German Online Competition

Handbuch, Pavel Mozhar, 2021, 26‘00‘‘, Germany
Hoamweh Lung, Felix Klee, 2021, 14‘39‘‘, Germany
Paper Swallows Rock, Vanessa Gravenor, 2021, 16‘44‘‘, Germany/Canada
Saft, Mona Keil, 2022, 4‘55‘‘, Germany
Sonne Unter Tage, Alex Gerbaulet/Mareike Bernien, 2022, 38‘37‘‘, Germany
Strahlend grüne Wiese, Sophie Hilbert, 2021, 25‘49‘‘, Germany
the rat and the cat, Jasmin Preiß, 2021, 4‘47‘‘, Germany
Theorie und Praxis, Leonie Minor, 2021, 7‘27‘‘, Germany
Unter dem Kiefernbaum, Takashi Kunimoto, 2021, 19‘45‘‘, Germany
you cannot trust the colors, Katrin Winkler, 2021, 15‘53‘‘, Germany

NRW Competition

Allen Zweifeln Zum Trotz, Laurenz Otto, 2022, 14‘59‘‘, Germany
Aquateque, Einar Fehrholz/ Daria Jelonek/ Perry-James Sugden, 2021, 8‘23‘‘, UK/ Germany
Auf dieser Seite der Gleise/ De partea asta a șinelor, Zauri Matikashvili, 2021, 31‘20‘‘, Germany
Bruchstücke, Rusudan Gaprindashvili, 2021, 8‘17‘‘, Germany
Cruiser, Felix Bartke/ Nils Ramme, 2022, 22‘15‘‘, Germany
Fulfillmenot, Julia Jesionek, 2021, 3’41’’, Germany
Lamarck, Marian Mayland, 2021, 27‘20‘‘, Germany
Nothing in this world can take the place of persistence, Silke Schönfeld, 2021, 23’14’’, Germany
the mystery, Rainer Knepperges, 2021, 2‘20‘‘, Germany

Children’s & Youth Film Competition

13, rue d’Amsterdam, Olivier Lopes Barros, 2021, 15’58’’, France
A Point, Aurélie Marpeaux, 2021, 20’00’’, France
A Whisper In the Island Of the Heart, Xiaowen Wang, 2021, 13’01’’, China/ USA
Ainoa, Jessica Lafrance, 2022, 4’27’’, Canada/ Spain
BARNA, Liss-Anett Steinskog, 2021, 10’38‘‘, Norway
Birds, Katherine Propper, 2021, 12‘50‘‘, USA
Channidae, Pauline Morel, 2021, 7‘00‘‘, Belgium
Čuči čuči, Māra Liniņa, 2022, 4‘40‘‘, Latvia
Dans la nature, Marcel Barelli, 2021, 5’00’’, Swiss
En sol i natten, Desirée Mwepu, 2021, 10‘57‘‘, Sweden
Erb es tkhur em, Lilit Altunyan, 2021, 6‘40‘‘, Armenia
Flyttfåglar, Lisa Meyer, 2021, 14‘40‘‘, Sweden
Free as a Bird, Annelies Kruk, 2021, 15’17’’, Netherlands
Genetica, Chen Shahuda, 2021, 15’23’’, Israel
Girud/ גירוד (Itch), Ma'ayan Rypp, 2021, 8’30’’, Israel
Honekami, Honami Yano, 2021, 9’45’’, Japan
I am good at karate, Jess Dadds, 2021, 11’13’’, UK
Ich habe keine Angst!, Marita Mayer, 2022, 7‘00‘‘, Germany/ Norway
La reine des renards, Marina Rosset, 2022, 8’50’’, Swiss
Les Roses et les bleus, Claudia Lopez Lucia, 2021, 22’31’’, France
Lost Brain, Isabelle Favez, 2021, 6’31’’, Swiss
Mardjuret, Frida E. Elmström, 2021, 8’03’’, Sweden
Memoir of a Veering Storm, Sofia Georgovassili, 2022, 14’02’’, Greece
Menagerie, Jack Gray, 2021, 4’26’’, USA
Papa is big, I am small, Anya Ru/ Masha Rumyantseva, 2021, 3’12’’, Italy/ Russia
Peixes não se afogam, Anna Azevedo, 2021, 17’00’’, Brasil
SilencioVozRuido, Gonzalo Lugon, 2021, 9’28’’, Peru
Titan, Valéry Carnoy, 2021, 18’56’’, Belgium/ France
Un corps brûlant, Lauriane Lagarde, 2021, 14’28’’, France
Zuza v zahradách, Lucie Sunková, 2022, 13’19’’, Czech Republic/ Slovakia
שחורהמגלשה (Black Slide), Uri Lotan, 2021, 11’12’’, Isreal/ UK
红色葬礼 HONG SE ZANG LI (Red Funeral), Jane Zhang, 2022, 15’00’’, China/ Macau
Звёздный улов (Star catch), Pelageya Generalova, 2021, 4’00’’, Russia
桶妝仙女 (Tank Fairy), Erich Rettstadt, 2021, 9’31’’, Taiwan/ USA
日出原理 (The Principle of Sunrise) Ye Song, 2021, 4’57’’, China

German MuVi Award

1000 Thomas, Mare Hakamushi, Rolf Blumig, 2021, 4’12’’, Germany
Das Chaos, Motong Huang, 2021, 2’35’’, Germany
Disappoint Me, Chris Imler, Alexander Gheorghiu, Markus S Fiedler, 2022, 3’43’’, Germany
Dr. No, Michael Ullrich, 2021, 3’21’’, Germany
Feel Like Change, Kim Lêa Sakkal, 2021, 5’00’’, Germany
Flourish, Julia Crescitelli, 2021, 3’15’’, Germany
LA Screen Memories (The Download Tunnels), Jan Jelinek, 2022, 9’34’’, Germany
Lovers of all kinds, Christine Gensheimer, 2022, 5’13’’, Germany
Neo Biedermeier, Daniel Brandt, 2022, 7’30‘‘, Germany, USA, Greece
Nur weil du mir deine Wunden zeigst, bist du noch lange nicht mein Heiland, Katharina Duve, 2021, 4‘11‘‘, Germany
Wann hast du das letzte Mal Blumen betrachtet, Mariola Brillowska, 2022, 2‘03‘‘, Germany

MuVi-Online

Selection 2022

1000 Thomas (Rolf Blumig),
Mare Hakamushi, Rolf Blumig,
4'0"

More

Das Chaos (motong Huang),
motong Huang,
2'30"

More

Disappoint Me (Chris Imler),
Markus S Fiedler, Alexander Gheorghiu, Chris Imler,
3'30"

More

Dr. No (Meese X Hell),
Michael Ullrich,
3'30"

More

Feel Like Change (Wolfgang Pérez),
Kim Lêa Sakkal,
5'0"

More

Flourish (Lotic),
Julia Crescitelli,
3'30"

More

LA Screen Memories (The Downtown Tunnels),
Jan Jelinek,
9'30"

More

Neo Biedermeier (Paul Frick & Daniel Brandt),
Daniel Brandt,
7'30"

More

Nur weil du mir deine Wunden zeigst, bist du noch lange nicht mein Heiland (School of Zuversicht),
Katharina Duve,
4'0"

More

Wann hast du das letzte Mal Blumen betrachtet (Günter Reznicek/Nova Huta),
Mariola Brillowska,
2'0"

More

MuVi Audience Award

MuVi Audience Award
chosen by online vote on muvipreis.de and worth 500 euros, sponsored by the SAE Institute Bochum

Dr. No (Meese X Hell)
Michael Ullrich
Germany 2021, 3'21", colour

Dr. No (Meese X Hell)
Michael Ullrich

2021, 3'30"

Catalogue

The Festival Catalogue 2022 is available as PDF for Download here.

Trailer

Press review

Every year there are reports about our festival. Here you can finde a collection of opinions about our festival.

2022

Festival

After the confinement of the pandemic, the festival remains a meeting place for curators, programmers, artists, filmmakers and the general public from around the world, as well as a thermometer of current trends in the format.
Desistfilm, Peru, May 2022

desistfilm.com/oberhausen-2022-gypsies-in-duisburg-de-rainer-komers/

It isn’t easy to get into, but this German festival does everything right if you do.
MovieMaker, USA, Spring 2022

www.moviemaker.com/50-film-festival-worth-the-entry-fee-in-2022/

The 68th Oberhausen Festival once more presented experimental works that elude the grasp of summaries, search engines and interpretation.
FAZ, 11 May 2022

There’s hardly any festival where diversity is lived as much as in Oberhausen, despite or precisely because the festival dispenses with any public commitment to diversity.
critic.de, 12 May 2022

The intensity of the short film was palpable in the urgency to tell something, sometimes with humour, sometimes with anguish, sometimes with poetry, but always with dramatic intensity. These are hard times and there is a lot to say.
La Soga, Spain, 13 June 2022

lasoga.org/el-mundo-del-cortometraje-la-enormidad-de-lo-breve/

The delights of overabundance.
die tageszeitung, 11 May 2022

taz.de/68-Kurzfilmtage-Oberhausen/!5850788&s=kurzfilmtage/

Kurzfilmtage Oberhausen marked a moment of emancipation […], where shared experience replaced loneliness, a wealth of material presence celebrated in person and onscreen.
Senses of Cinema, Australia, May 2022

www.sensesofcinema.com/2022/festival-reports/absence-and-presence-at-internationale-kurzfilmtage-oberhausen-68/

The size and scope is simultaneously incredible and overwhelming.
Goethe Institut Toronto Blog, 25 May 2022

blog.goethe.de/arthousefilm/archives/1058-Letter-from-Oberhausen,-part-1.html

Retelling impossible.
FAZ, 11 May 2022

If there's one thing that permeates the Oberhausen festival above all else, it's probably the approach to film itself, and more than the individual works, I take away its probing and exploratory attitude. Where professionalism mixes with amateurism; rigid form work with experimentation and improvisation; theoretical grappling with light-hearted humour; computer programming with hand-made analogue film. Here, film is so much more than the finished work; it is process, context, conversation. The fact that the festival manages to fill the auditoriums with enthusiastic audiences without much hype or marketing is a testament to both a solid body of work and a strong love of film.
FLM, Sweden, 16 June 2022
https://flm.nu/2022/06/befriande-och-utforskande-attityd-till-filmkonsten-i-oberhausen/

Disturbing images of the times set the tone at the 68th Oberhausen festival.
Frankfurter Rundschau, 9 May 2022

www.fr.de/kultur/tv-kino/kurzfilmtage-oberhausen-die-wunden-der-zeit-91534417.html

Oberhausen is spirit is community is safe space for questioning the order of things.
critic.de, 12 May 2022
These screenings are emblematic of the Oberhausen Festival's approach, which honours films and authors who divert, search, experiment or invent, and who have in common that they distance themselves from a current production that is mainly centred on questions of narrative and commercial exploitation.
Écran noir, 16 May 2022

www.ecrannoir.fr/2022/05/16/a-oberhausen-le-cinema-deborde-lecran/

In addition to the various media expansions such as projections on objects or performative settings, which have always featured prominently in Oberhausen, the echoes of older traditions can still be recognised in the programmes. That which questions medial presuppositions or is fascinated by the glow and the machine-like mobility of moving images and is still called "experimental".
Junge Welt, 10 May 2022

www.jungewelt.de/artikel/426246.festivalfilm-mediale-voraussetzungen.html

A yearning towards freedom and peace was the common theme of this festival edition: freedom to create short films the way the festival has advocated for 68 years, or freedom of thought and expression, especially in countries where a basic right like this cannot be taken for granted.
fipresci.org, June 2022

fipresci.org/report/oberhausen-2022-fathy/

Short does not equal small, which is what the festival has been documenting since it was founded as “West German Cultural Film Festival” in 1954.
Kulturkenner, 28 April 2022

After two years of online festivals, life has finally returned to the Oberhausen city pedestrian zone in the first week of May 2022.
aufdengrund.de, 13 May 2022

aufdengrund.com/2022/05/13/68-oberhausener-kurzfilmtage/

In the big wide world of moving image art, short film is still the ultimate underdog: Far removed from Hollywood glamour, directors tell thrilling stories – in a fraction of the time it takes a feature-length film to do so. Once a year, short film gets the attention it deserves: at the International Short Film Festival Oberhausen.
Byte.fm, 5 April 2022

www.byte.fm/blog/news/muvi-online-publikumspreis-2022-121395/

Kudos to the Oberhausen team for pulling off the first in-person festival in three years and re-igniting our passions for short films, deep connections and engaged viewing.
Goethe Institut Toronto Blog, 27 May 2022
https://blog.goethe.de/arthousefilm/archives/1059-Letter-from-Oberhausen,-part-2.html

In the International Online Competition with a wealth of 34 titles, the range of subjects is almost bigger than that of the countries of origin from Scandinavia to Oceania, from North America to Central Africa.
WAZ, 3 May 2022

Conditional Cinema

The idea of condition is understood here as "something that depends on the present cinematic conditions", leaving a vast field for the exciting game of "what if...?
Écran noir, 16 May 2022

www.ecrannoir.fr/2022/05/16/a-oberhausen-le-cinema-deborde-lecran/

MuVi Award

[…] What makes a good music video in the first place? The Oberhausen festival has been investigating this question since 1999, when they presented the world’s first festival prize for music videos.
Kulturwest, 5 April 2022

www.kulturwest.de/inhalt/musik-in-bildern/

The MuVi Award for the best German music video is something like the rock star of the International Short Film Festival Oberhausen.
WAZ, 9 May 2022

Rainer Komers

A moment of glory in the festival was the retrospective dedicated to the Mülheim-based documentary filmmaker Rainer Komers.
Frankfurter Rundschau, 9 May 2022

www.fr.de/kultur/tv-kino/kurzfilmtage-oberhausen-die-wunden-der-zeit-91534417.html

Even within a festival edition constituted by a tapestry of titles – delineated into competitive sections, individual profiles and thematic curation – marked by a distinct disregard for custom, Komers’ films stand out as the most radical expression of this ambition.
Senses of Cinema, Australia, May 2022

www.sensesofcinema.com/2022/festival-reports/from-within-the-umbra-of-history-a-few-things-about-the-films-of-rainer-komers-sohrab-hura-and-sylvia-schedelbauer/

One of the most independent voices in artistic documentary filmmaking.
Stadtrevue Köln, May 2022

Sylvia Schedelbauer

Her greatest accomplishment, however, is in how she harnesses this essential, almost animist energy present in nature to illuminate an archive of human gestures, actions, rituals and sensations. In this, she causes a collapse of homocentrism, and instead engineers a restitution of the human being back to the universe.
Senses of Cinema, Australia, May 2022

www.sensesofcinema.com/2022/festival-reports/from-within-the-umbra-of-history-a-few-things-about-the-films-of-rainer-komers-sohrab-hura-and-sylvia-schedelbauer/

Images that flood our consciousness and make us seek rescue, safe ground. Sylvia Schedelbauer lays hands on our mind.
Kultur.West, May 2022

www.kulturwest.de/inhalt/bilder-die-sos-rufen/

Sohrab Hura

While Hura remains a conjurer of incredible single images – his aesthetic is located in the transept between a Nike commercial and David Lynch – he remains hesitant to implant these with a voice, a conscious purpose, personal resonance and most significantly, with his own being. As such, the films become examples of camera with the autonomous click.
Senses of Cinema, Australia, May 2022

www.sensesofcinema.com/2022/festival-reports/from-within-the-umbra-of-history-a-few-things-about-the-films-of-rainer-komers-sohrab-hura-and-sylvia-schedelbauer/

Theme

Memory, cultural and personal, defined by the extent of its volition and presence, threaded through much of the programme, as did questions of agency and power, circling identity, authenticity and the politics of intercession: how cultural memory is produced, who enjoys the agency to produce it, how it relates to official historiography and, ultimately, who has the authority to speak on behalf of whom.
Art Monthly, UK, No. 457, June 2022

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.

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.

Podium

The Podium series forms an ideal complement to the competition discussions, spontaneous conversations and Q&As at the Festival, offering a place where scholars, artists, curators and authors can come together 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.

Distributors

The distribution screenings at Oberhausen are a showcase for international distributors of experimental films, who present new works from their catalogues here. In the online edition in 2020, too, the following distributors each presented a selection of their works.

Archives

The section Archives was launched in 2013 to bring some attention to an often neglected subject: archiving and restoring experimental films.

2022

In 2022, three archives presented their work online.

Lumiton, Argentina
Both museum and archive, the Lumiton holds the material of the iconic Lumiton-Studios, which were among the most successful South American production companies from 1932 to 1952. In addition to the popular Lumiton productions and memorabilia, the archive, which is part of the eponymous museum founded in 2004, also preserves a variety of documentary, institutional and experimental films. Today, Lumiton is a dynamic space for education, exhibitions and media production. We presented a selection of experimental short films from the Lumiton archive.

Cinenova, UK
Cinenova, founded in 1991, is dedicated to preserving and distributing the work of feminist film and video makers. Created from a merger of two feminist film and video distributors, Circles and Cinema of Women, Cinenova currently holds more than 300 titles that include artists’ moving images, experimental and feature films and educational films. The oldest works were made in the 1910s. Cinenova offers access to these titles and advice relating to moving image work directed by makers who identify as womxn, transgender, gender non-conforming and gender non–binary. In 2022, Oberhausen presented a selection of works from the archive.

ZKM, Germany
The Center for Art and Media Karlsruhe, founded in 1989, is dedicated to both spatial arts such as painting, photography and sculpture and time-based arts such as film, video, media art, music, dance, theatre and performance. Its archival activities focus on the electronic arts. From this rich collection, Oberhausen presented a selection of 1970s video works from various archives within the ZKM. This also highlights the work of the ZKM-based Laboratory for Antiquated Video Systems, which makes these works accessible in the first place.

Labs

Collective endeavours in celluloid
This section, dedicated to the international community of artist-run labs, began last year and will continue with a strong focus on the interaction between the celluloid, photochemical procedures and collective, independent forms of production and distribution. While the commercial utilization of analogue film reaches an end the practice of such groups, scattered around the world, becomes more relevant than ever. What perspectives of artistic work on celluloid and what collective ways of working can be found in this post-cinematic reality?

2022

Launched in 2018 and dedicated to analogue film labs across the world, our Labs section had to pause during our online editions and resumed at the 2022 Festival. Under the overall title “Workshop Stories”, we presented the works of around 18 labs in three programmes, with a focus on Canadian labs, including the Canadian Film Farm, who also held a workshop during the Festival.

The programmes were completed by lecture-performances by Karan Talwar of the Mumbai/Berlin-based Harkat Studios and by filmmakers Maximilian Le Cain (Ireland) and Lea Lanoë (France).

Conditional Cinema

Mika Taanila’s project for Oberhausen is an investigation of "live cinema" as a tool to explore the utopias of art after Capitalism. Taking up some of the strands Taanila addressed in his hugely successful 2014 "Memories Can’t Wait – Film Without Film" programme for Oberhausen, "Conditional Cinema" puts the emphasis on the idea of live "films" and how they respond to the decline of manual labour and the problem of obsolete humans. "Conditional Cinema" is designed as a three-year project.

Find more information on the project here.

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.

2022

Launched in 2018, re-selected uses the Oberhausen Archive as a material starting point for research and curated programmes. At the 68th Festival, four re-selected programmes again highlighted the archive as a contemporary actor, focusing on documentary filmmaker Peter Nestler, a revision of the Oberhausen 1993 project “Confrontation of Cultures” and on Yugoslavian films, for which the Oberhausen Archive has become a kind of exile.

Due to the decades-long political bridging function of the Short Film Festival, the film country Yugoslavia is particularly well represented in the archive. Between 1958 and 1992, around 100 film prints from there remained in the prize collection in Oberhausen. A selection curated by Petra Belc and Aleksandra Miljković shed a critical light on this “Archive in Exile” and its artistic and historical relevance – and on the now provocative anachronism of the name “Yugoslavia” under which these works are archived.

In two film programmes, re-selected will, after almost 30 years, take up the Oberhausen programme “Confrontation of Cultures” from 1993, a comprehensive show of works by Black authors from Great Britain, North America and the Caribbean which even then constituted an attempt to “de-colonize our view” (Angela Haardt). Artist and scholar Karina Griffith sketches the speculative place of Black German authorship in the early 1990s; film scholar Merv Espina examines the role of the Goethe Institute film workshops as laboratories of mutual influence between local filmmakers and German “instructors”.

Peter Nestler and the Oberhausen Festival share a long and eventful history. In 1966, the Oberhausen scandal around his lucid film From Greece became one of the triggers that lead to his emigration to Sweden. Nonetheless, Nestler maintained ties with the Festival, became its informal advisor and consultant for the Swedish film selections and served as a member of the International Jury twice, in 1975 and 1990. In the presence of Nestler the program makes an associative arc from one of his first films, Essays, to the most recent Picasso in Vallauris, which was shown as a cinema premiere.

Celluloid Expanded

Featuring a series of live performances divided over two programs, Celluloid Expanded presented the first large-scale overview of the rich and diverse landscape of Canadian artist run film labs and collectives to Europe, with a focus on Canadian expanded cinema, in the programmes and an artist talk.

Under the title “Flesh of the World”, artists' manipulation and re-interpretation of the tools and materials of cinema were highlighted, including performances by Alex MacKenzie (Iris Film Collective, Cineworks), Lindsay McIntyre (EMO Collective, Cineworks, FAVA) and Heidi Phillips & Ian Campbell (Winnipeg Film Group, Saskatchewan Filmpool). “Looking Out Looking In” highlighted documentary and diaristic approaches to photochemical cinema, including a performance by John Price (Liaison of Independent Filmmakers of Toronto, Niagara Custom Lab).

In addition to the two performance programmes, Celluloid Expanded presented a panel discussion featuring all of the artists, moderated by Erin Weisgerber.

Goethe-Institut Tokyo 2022

In 2022, the Goethe-Institut Tokyo celebrates its 60th birthday. The start of the institute’s activities in German-Japanese cultural exchange in 1962 falls in a period, when structures of the political, social and cultural realm started to waver, that had been solidifying in both countries after WWII. In the field of the Arts aesthetic norms as well as production structures were radically questioned and re-defined.

Under the title “unrest 62|22” the Goethe-Institut Tokyo reflects this period of productive unrest from a contemporary point of view in an interdisciplinary event series. The opening marked the premiere of two commissioned works by Kaori Oda and Sylvia Schedelbauer, which was held simultaneously in Oberhausen and Tokyo. In their new works, the two filmmakers refer to the film avant-garde of the 1960s from a contemporary perspective and counter the male-dominated cultural scene of that time with alternative views that fantasize about the role of women in the past and present. After the film premiere, the venues in Oberhausen and Tokyo were connected and the two filmmakers entered into dialogue.

Country Focus

A look at the rich diversity of Lithuanian short film production over the past 10 years in three programmes curated by Deimantas Narkevičius continues the Country Focus series launched in 2021.

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. See the programme below.

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.

Festival Highlights

The best of the best: To mark the conclusion of the festival, the Oberhausen team will show their personal favourite films from the 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.

EFA Shorts

Three programmes with interesting European short films, all nominated for the European Short Film Award of the previous year.

Open Screening

For the first time, the 2009 Festival presented a programme made only by the short filmmakers themselves: the Open Screening. Here everyone who submitted a work for the competitions but was not selected, and whose film does not exceed a length of 15 minutes, has the chance to present their work at the festival after all.

Four Perspectives: Movement

The member festivals of the Euroean Short Film Network present four programmes on the subject of movement: Oberhausen (Germany), Go Short (Netherlands), Vienna Shorts (Austria) and Short Waves (Poland).

Seminar & Workshops

Oberhausen Seminar

The Oberhausen Seminar is an experimental course designed to explore contemporary artists' moving image practice in the context of a renowned international film festival. International practitioners from various fields - artists and filmmakers, curators and researchers - will use our Festival as a laboratory to discuss ideas in the curation of contemporary moving image media, the infrastructures which allow them to circulate, and the critical frames used to analyse them.

In 2022, our Festival, together with the Robert Flaherty Film Seminar (New York) and LUX (London), organised the Oberhausen Seminar for the eighth time. The seminar leader was Ruth Noack.

Workshop 1 - Analoge Filmtechnik: Vorführungspraxis

The technical challenges of projecting analogue archive copies as well as setting up installations and performances that use analogue film technology are growing continuously. The workshop aimed to establish quality standards and integrate them into the curatorial practice of a film festival. Experienced film technicians will share their knowledge of the material and its projection technologies as well as their practical implementation in dialogue with filmmakers and artists.

Directed by: Lena Martin (Frankfurt/Main)

Workshop 2 - Process Cinema: Film Farm in Oberhausen

A hands-on workshop of Film Farm (Canada) for filmmakers who work or want to work with 16mm. With 16mm film as guide medium and using a process built with ecological materials such as wildflowers and seawater, it explored the technical and creative processes of working in an open context – a unique experience in collaboration with one of the most important film collectives working in independent film today. The results of the workshop were presented during the Festival.

Directed by: Philip Hoffmann, Scott Miller Berry, Terra Jean Long, Rob Butterworth, Deirdre Logue (Film Farm)

Workshop 3 - The Living Image: An analogue film workshop for children

The materiality of an analogue film strip can make many aspects of the moving image tangible and comprehensible, especially for children. In this workshop children worked with film material, shooting and developing their own analogue film. The workshop introduced environmental issues by dealing with the recycling of material or ecologically compatible photochemical development methods. The children presented their workshop results in the form of an Expanded cinema performance during the Festival. A video documentation was produced for subsequent use in educational institutions.

Directed by: Christopher Gorski and Oliver Bassemir (Analogfilmwerke e.V., Hamburg), Stefanie Schlüter (film agent, Berlin)

Workshop 4 - Identity Politics in Film: A Stocktaking

The identity politics paradigm has arrived in the cultural industry and is causing a restructuring of its institutions and relations. Feminist critiques of the classic film canon, debates about casting policies and in the course of this the founding of new initiatives such as "Diversity in Film", diversity checklists, training, conferences and guidelines (e.g. at Amazon & Co. ), internal university discussions around intersectionality, the revival of certain film studies theorems such as that of the "Male Gaze", new job descriptions such as "Sensitivity Reader" or further training courses such as "Diversity Management", public appeals for an ethically based cinephilia that sees itself as "part of a larger cultural-activist project" as well as a number of films with an openly identity-political agenda are just a few signs of this comprehensive reformatting of the film business, which is taking effect at all levels of production and reception. Whether we as filmmakers are faced with the question of which slogans to write into funding applications, as curators mediating aesthetic and moral criteria with each other on a daily basis, or as teachers confronted with new ethics of aesthetics - we are all challenged in our work in one way or another to find a stance on the matter. Yet the economic preconditions of this new paradigm and the relationships between conditions of production, aesthetic positions and contexts of evaluation and reception are rather rarely illuminated in the heated public debates. Instead, we increasingly find ourselves in positioning constraints. We took this common situation as a starting point in Oberhausen, the place for film policy debates, in order to enter into conversation with each other. The aim of the working meeting was to formulate a common research interest on the basis of an exchange of experiences and, if necessary, to develop suitable formats to pursue this further.

Inclusive children's cinema: Seeing together

We invited to an inclusive film programme for all children from the age of six. We showedcurrent works and highlights from past programmes of the children's programmes of the children's film competition a colourful mix of stories, themes and  themes and forms. All films were without dialogue. To ensure that everyone could understand everything, the moderator, who guided the audience through the programme, was translated by a sign language interpreter.
Sincere thanks to Aktion Mensch for their support! 

Film education

Since 1978, ambitious short films for children and young people have had a permanent place in Oberhausen. In 2022, curated programmes will again be shown alongside the international children's and youth film competition, as well as workshops and seminars.

You can find more information here:

Short film inclusive: subtitles and workshops
Kindergarten programme
Educators

Partner school project

Since 2009, the annually changing partner schools have been actively involved in shaping the programmes of the Children's and Youth Cinema. A secondary school and a primary school from Oberhausen nominate groups of schoolchildren who gain insight into the festival through various tasks.

The partner schools of the International Short Film Festival Oberhausen 2022 were the Concordiaschule and the Freiherr-vom-Stein-Gymnasium.

The children's jury consisted of Aylin Sacirovic, Haley Brans, Solin Suleman, Zeynep Gökdemir and Feras Ismaeil from the Concordiaschule; the youth jury consisted of Ella Holl, Lea Uthmann, Lara Wolf, Eliana Starke from the Freiherr-vom-Stein-Gymnasium.

Trailer

By Einar Fehrholz and Simon Mellnich in cooperation with the children of the partner schools 2022.
Concordiaschule: Lava Al Hussein, Hasanah Fatma Syed, Daniel Bibo
Freiherr-vom-Stein-Gymnasium: Katharina Bode, Paula Johanna Opgen-Rhein, Nika Godder

THIS IS SHORT

THIS IS SHORT, the joint short film platform of the four festivals of the European Short Film Network ESFN (Kurzfilmtage, Go Short, Vienna Shorts and Short Waves), is open until 30 June to anyone with an Oberhausen festival pass. Hundreds of the best current short films, handpicked by the festivals, await those interested.