Internationale Kurzfilmtage Oberhausen

Press review

I can report that Oberhausen Kurzfilmtage excels in administration, breadth of programming, parties, and in general openness and sense of community. It has become one of the most important short film festivals in the world, under the direction of Dr. Lars Henrik Gass since 1997.”
Millennium Film Journal, USA, No. 64/2016


… a laboratory for the development of the medium …

Frankfurter Allgemeine Zeitung, Germany, 13 May 2016


The International Short Film Festival Oberhausen is, much like the city it resides in, a secret treat. All in all, the festival is a prevailing certification and a confirmation of brighter days ahead for its unconventional desire to take a closer look at the artistic work that others would never dare to consider displaying.

MUBI Notebook, USA, June 2016


There’s a faith in the illusionist and at the same time illusion-breaking power of cinema that lives in the festival as a whole.

Süddeutsche Zeitung, Germany, 12 May 2016


In its 62nd year the International Short Film Festival Oberhausen has once more proved to be an indispensable platform for experiments – and a lucky bag for the audience.

Der Freitag, Germany, 11 May 2016


Oberhausen is unusual for the extent of its overlap across the art and film worlds. While other film festivals might make overtures toward inclusion, highlighting work by artists in their programming or mounting installations in adjacent exhibition spaces, they rarely question the primacy of cinema as a form and institution. Oberhausen, meanwhile, has put forth the serious consideration that short film today cannot be considered apart from the exhibition and funding structures of the art world.

filmcomment, USA, June 2016


The Oberhausen Short Film Festival is unusual because of its continuing commitment to setting aside intellectual space for a substantial thematic programme. In fact, it has more in common with a visual arts biennale than the standard film festival model.

Art Monthly, UK, June 2016


Over the past few years Oberhausen has positioned itself at the intersection to the visual arts, moving incrementally to the arts side. By now we might say that while the festival used to be the film industry’s window on the art world, it has now become a kind of outpost of the art world from which the latter looks back at cinema.

Frankfurter Rundschau, Germany, 11 May 2016


The different competitions (International, German, Children and Youth, music video, and North-Rhein Westphalia), the theme section, the distributors’ selections, the archive shows, the profiles, and occasional unaligned programs offer enough goods to fuel months of obsessive watching.

Framework, USA, June 2016


The 62nd International Short Film Festival Oberhausen’s most convincing programmes were the exciting special sections that ran parallel to the competitions: for example a retrospective of the Austrian Josef Dabernig’s work or a section on South-American short films.

Der Standard, Austria, 10 May 2016


Much attention has been drawn recently to the developing trends of both visual artists working in film and filmmakers exhibiting and selling work in galleries. If the negotiation between these two worlds needs careful brokering to assure mutually beneficial symbiosis, then the interests of experimental film will find no better representation than that offered by the 2016 Oberhausen Short Film Festival., USA, 20 May 2016


It’s about artists’ films, about the experiments of upcoming talents, about technical and aesthetic innovation, about opening perspectives on the cinematic constructs of other cultures and modes of perception.!5303899/

taz, Germany, 13 May 2016


… the festival that goes against conventions., Germany, 10 May 2016


The festival atmosphere betrayed no signs of old age, aided by the spring-like, almost summery temperatures.

Ray, Austria, May 2016


Cunningly, the festival has avoided over-expansion and remained at just the right size so that people inevitably, but casually, run into each other several times a day around its two or three major meeting points.

CinemaScope, Canada, May 2016


The festival’s program is inspiringly inclusive, featuring animation, documentary, narrative, experimental and avant-garde films – and, of course, works which resist categorization, taking us back to the fundamental question: What is film?, June 2016


An ecstasy of visual languages.

Filmdienst, Germany, 11/2016, 26 May 2016


Every year this festival proves anew that short film can do anything and, moreover, that it has the courage to do so since it was driven from the cinemas and television screens., Germany, 5 May 2016


Supported by warm temperatures the 62nd edition of the festival once more brought a magic southern and international flair to the Oberhausen city centre.

WAZ, Germany, 11 May 2016


No use looking for interchangeable and haphazard stories here; in Oberhausen there’s always a possibility that the films cut close to the bone. Films which may be disconcerting and thought-provoking but also touching by their extraordinary perspective on the world., Germany, 11 May 2016



Josef Dabernig & Sun Xun


Two outstanding positions, somewhere in between art and film, that talked to each other productively – a success in quintessential Oberhausen style.

CinemaScope, Canada, May 2016


Sun and Dabernig’s images are at once autonomous artworks, preparatory works, and remnant artefacts, represented in cinematographic terms, both pre- and post-production. […] In creating an exhibition that explores material that passes into, through, and out of the film gate – the screen – the artists have raised questions about where the process begins or ends: at which point is any sense of the finished work located?, USA, 20 May 2016


My God, this is beautiful. [about Sun Xun’s films]

Cargo Blog, Germany, May 2016




El pueblo


In eight spectacular programmes film scholar Federico Windhausen traced an arc from the historical past of Latin-American cinema to the present day.

Der Freitag, Germany, 11 May 2016


The programme, outstandingly curated by film scholar Federico Windhausen, turned out to be a kind of daily research station which examined the Spanish term “pueblo” – as a place and a region, a community and a people – in the most diverse contexts.

Der Standard, Austria, 10 May 2016


“El pueblo”, the people, as a political concept, physical term and sensibility, was explored by Windhausen in eight experimental set-ups which successfully turned the act of seeing into a kind of forensic search.

Filmbulletin, Switzerland, 21 May 2016



An expertly curated programme of Latin-American shorts that met with great public interest [at the Oberhausen festival].

epd film, Germany, June 2016


It was most encouraging, too, for the festival to devote this much attention to so politically concrete and timely a subject in the face of much theoretical flannelling at comparable events.

Art Monthly, UK, June 2016





The Oberhausen festival shows: after the demise of music television music videos did not simply migrate to the Internet. They are now becoming Internet-shaped.

WOZ, Switzerland, 12 May 2016





An attempt to make urgent discourses and practical issues visible.

Filmbulletin, Switzerland, 21 May 2016