Internationale Kurzfilmtage Oberhausen

Press review 2011

 

[...] one of the great achievements of this festival, which has no equal in Germany, is its scope, its ability to bring together seemingly incompatible elements and make them enter into a congenial, never forced dialogue. Rüdiger Suchsland, Frankfurter Allgemeine Zeitung, 12 May 2011


 

The Oberhausen festival might be called the poetry slam among film festivals, and once again, they consistently "it was a fairly good year" disproved every prejudice concerning the shortcomings of the short format. Hans Schifferle, Süddeutsche Zeitung, 12 May 2011

 

 

Oberhausen is not for the faint-hearted. If you're driven by the fear of missing something, you give up in the face of 466 films in five competitions and special programmes. If you just stroll through it, though, you find yourself in a delightful, polyphonic short film landscape in which quite a number of animals were grazing this year. Ulrike Mattern, der Freitag, 12 May 2011

 

 

Oberhausen packs its intensive programmes in a well defined space of one multiplex in the middle of the town, with no specific attractions [...] to compete with. The location and the intensity only add to the central mission of what any festival should be: a treat for the cinephile. Shekhar Deshpande, filmint.nu (Film International), June 2011

 

 


The work ("Along the G-Line" by Marianna Christofides) fits well into the profile of a festival whose best contributions often show social issues reflected in the fate of individuals. The 57th Oberhausen International Short Film Festival’s level of quality is breathtaking. Kristina Tieke, Hannoversche Allgemeine Zeitung, 10 May 2011

 

 

As the oldest short film festival in the world, far from being close to retirement age at 57, Oberhausen is more than ever a meeting point for festival programmers, curators, producers, directors, journalists and short film enthusiasts. Sirkka Moeller, sensesofcinema.com, June 2011

 

 

Oberhausen has evolved into a festival of film education. Daniel Kothenschulte, Frankfurter Rundschau, 11 May 2011

 

 

It was the 57th edition of the Oberhausen festival, this festival which despite its respectable age is still young and very much alive [...]. Frank Olbert, Kölner Stadt-Anzeiger, 9 May 2011

 

 

The festival has a tradition of setting trends. Its mission is to recognise new talent, support the avant-garde in short films and music videos, and nurture the exploration of new digital formats in a broad-minded association of art and short-form video. So conceptual work is often the mainstay of festival content. Anton Burggraaf, Gauteng Film Commission, South Africa, 31 March 2011


 

Self-reflection dominated the traditional short film programmes. Ralf Krämer, spex.de, 16 May 2011


 

No matter whether you watch films in one of the competitions or one of the special programmes: the Oberhausen festival always stands for a different kind of cinema. Gudrun Mattern, Westdeutsche Allgemeine Zeitung, 6 May 2011

 

Brevity and quality are the essential criteria of the 57th edition of this venerable festival, too. Carsten Dilly, Ratgeber am Dienstag, 19 April 2011


 

Under the title "Shooting Animals", biologist Cord Riechelmann and curator Marcel Schwierin compiled an extensive programme of scientific and artistic animal films; it was part of the concept that the boundaries between these two fields often became blurred. Esther Buss, film-dienst No. 9, 2011


 

It's true that it's impossible to distil a coherent history of the relationship between man and animal in the industrial modern age from this massive pile of material "Shooting Animals", which was provisionally divided into eleven chapters. But it's definitely possible to gain an idea of how cinema provided an almost seismographic record of this history. Eckhard Fuhr, Die Welt, 10 May 2011

 

Anyone who expects the kind of cute animal films and entertaining documentaries that are broadcast on television every day has come to the wrong place. Watching the death struggle of a trout, the hunt for and processing of marsupials, or modern forms of killing on screen may well make some members of the audience squirm in their seats. Helen Sibum/Ann-Kathrin Brocks, Neue Ruhr Zeitung, 6 May 2011


 

Amazement is the word which best describes the response to the Oberhausen discoveries concerning animals. Arnold Hohmann, Westdeutsche Allgemeine Zeitung, 4 May 2011


 

Cute family entertainment is not what you should expect from these programmes. Philosopher and biologist Cord Riechelmann and film expert Marcel Schwierin explore the question of why man has filmed animals almost obsessively ever since the invention of cinema. Stefan Keim, Rheinische Post, 4 May 2011


 

Sophisticated, ironic, artful, topical: a look at the variety on offer in the International Competition is worth the effort. Thomas Becker, Neue Rhein Zeitung, 9 May 2011


 

As a film production country, North Rhine-Westphalia boasts a lively and promising talent landscape. The Oberhausen festival has honoured this since 2009 with a competition dedicated specifically to NRW. Martina Schürmann, Westdeutsche Allgemeine Zeitung, 7 May 2011


 

Now in its 13th edition, the award for the best music video is still a godsend for the festival. These are productions removed from a mainstream industry which gears its sounds towards a mass audience. Here, you find space for artistic experiments [...] and lack of courage is definitely the last thing the submissions could be accused of. Dirk Hein, Westdeutsche Allgemeine Zeitung, 9 May 2011


 

The music video award is not representative of the state of this art form in the year of 2011 [...] nor does it want to be. Spex.de, 30 April 2011


 

[About "One Minute Soundsculpture"]: You don't know what it is and what will become of it [...] but it's alive and burrows its way into our memory. Just like the new video clips: after their rebirth, they are more alive and beautiful than ever. Jens Balzer, Berliner Zeitung, 10 May 2011


 

 

Melancholia as a form of resistance, that's how Królikiewicz's late oeuvre could be described [...] a filmmaker who deserves to be studied in more detail. Hans Schifferle, epd film, June 2011

 

 

William E. Jones does not feel bound by any artistic laws of purity. The American's work mixes high culture and gay porn, pop and politics, neo-structuralist experiments and essayist montage films. Stefan Grissemann, Frankfurter Allgemeine Zeitung, 5 May 2011


 

The festival demonstrates that it is possible to inspire children and adolescents with films that do fit into traditional viewing habits. It takes film education seriously. This shows intelligence and foresight, for today's children are tomorrow's film audiences. Ute Schäfer, Minister for Culture of North Rhine-Westphalia, in her opening speech, 5 May 2011


 

Not only does the new portal [Oberhausen Films Online] represent a new form of self-distribution on the Internet, the idea is also for the Oberhausen brand to serve as a seal of quality and orientation aid, helping viewers to navigate the vast profusion of video material on the Internet. Screen Africa, 28 March 2011


 

Short films by Robert Frank, Jan Svankmajer and Jeanne Faust are among the first titles available at Oberhausen Films Online, a new kind of video-on-demand platform launched by the International Short Film Festival Oberhausen. ScreenDaily, USA, 24 March 2011