Internationale Kurzfilmtage Oberhausen

Press quotes

Historically, Oberhausen is the most important short film festival in the world.

Alexander Horwath in inquirer.net, Philippines, 23 October 2018

 

… cosmopolitan in the best sense of the word.

FAZ, 11 May 2018

 

The festival offered a remarkably good year this time, partly owing to no less than four new sections.

ray-magazin.at, Austria, May 2018

 

Think tank at the top of the world.

Blickpunkt:Film, Fokus Festivals, May 2018

 

You could literally hear the hunger for avant-garde grumbling in the contemporary programmes, too. The young filmmaker Peter Miller used the simplest of means to reanimate the performative “Expanded Cinema” of the time. His participative cinema, where a film strip was unspooled through the rows of the auditorium or the audience held balloons up into the projector beam was naively, but deeply touching.

Frankfurter Rundschau, 9 May 2018

 

The cinema hall is a space for diversity, […] a fact of which the festival was more than aware in 2018.

standard.at, Austria, 8 May 2018

 

... quixotic, tenacious and stubbornly committed...

Art Monthly, UK, July-August 2018

 

[What you can see here is that] frequently the tension between the small form and the big screen has a positive effect on many works.

FAZ, 11 May 2018

 

The festival’s program is inspiringly inclusive, featuring animation, documentary, narrative, avant-garde films, hybrid performances and installations and it is proponent of challenging work that pushes the boundaries of contemporary cinema.

ATPDiary.com, Italien, 20. May 2018

 

A mecca for filmmakers who present neither superhero nor love stories but depict personal and global crises, play with abstractions and associations, dare to look at society from unfamiliar perspectives and who paid particular attention to investigations of the medium of film this year.

Deutschlandfunk Kultur, Vollbild, 5 May 2018

 

64th festival edition: Oberhausen offers surprises, fun and dummy fascism.

Der Freitag, 9 May 2018

 

Choosing an unusual perspective, turning things upside down and refusing to adapt is what distinguished Oberhausen again this year.

trailer-ruhr.de, 14 May 2018

 

Short film is becoming more narrative, risks dealing with current issues and taking a stand instead of taking refuge in obscurities.

WAZ, 9 May 2018

 

As an industry-relevant think tank, which is developing dynamically and incorporating important impulses of the cinema, the International Short Film Festival Oberhausen is at the forefront of festivals worldwide.

Blickpunkt:Film, Fokus Festivals, May 2018

 

Oberhausen, one of the oldest and most important short film festivals in the world, is quite relaxed and friendly as a place. The festival has avoided over-expansion and remained at just the right size so that people inevitably, but casually, come across each other several times a day around its two or three major meeting points.

ATPDiary.com, Italien, 20. May 2018

 

The excitingly curated side sections like the „Children’s and Youth Cinema“, a showcase of films from Greenland and a homage to the (short film) revolutionaries with the camera (“Leaving the Cinema: Knokke, Hamburg, Oberhausen 1967-1971”) were still worth the trip to Oberhausen.

Filmecho/Filmwoche No. 20/2018

 

 

 

Theme

 

The comprehensive Theme programme also showed the limits of cinema as such, as its capacity of being a cinematographic narrative space was superseded by a documentary look at different lives. This is where the gesture of filming becomes more important than film as a deliberately designed work, when acts of everyday life or art are recorded on 16 mm without pretensions of becoming an artwork.

artechock.de, May 2018

 

The „Leaving the Cinema“ programme was challenging because it shifted the criteria for what’s considered up and down, serious, important, central and urgent.

critic.de, 7 May 2018

 

[A] serious, studious and cinephilic approach to the complex issues surrounding the movements around 1968.

desistfilm.com, Peru, 23. May 2018

 

In view of the present, crushing mediocrity of German film the look at the past reveals a hugely refreshing potential that it can’t be wrong to bring back to mind.

filmdienst.de, May 2018

 

The most important oeuvre, however, was Klaus Wyborny’s, an equally structuralist and essayist filmmaker, gambler and poet, […] whose lack of recognition in France represents one of the black holes of a history still to be uncovered.

Cahiers du Cinéma, June 2018

 

… the program being rich with little jewels of cinema […] that managed to alter ways of seeing and hearing; films of discreet and irreverent beauty that, because of their level of abstraction, brevity and technical ingenuity elude or resist verbalization.

MUBI Notebook, May 2018

 

Even so the processuality of historic events [the year 1968] becomes very tangible in this instance, revealing that a look at events before and after is at least as exciting and enlightening as the celebrated year itself. What also becomes clear is how many different, mutually exclusive subjective perspectives existed, which in retrospect come together to form a fascinating and intertwined kaleidoscope.

filmdienst.de, May 2018

 

 

 

Competitions

 

 

What a strange competition [International Competition], furiously focused on radical, experimental and independent productions. Almost no classic feature films. Works in all formats. A radical and doubtless reflected gesture, since the festival put the line-up together from around 6,000 submissions. As for me, I find this seductive; what an inspiration to see a festival with enough confidence to be able to take such an enormous liberty!

pointdevues.net, Canada, 7 May 2018

 

At the 64th International Short Film Festival Oberhausen, numerous German contributions presented convincing studies of identity and home in the age of turbo-capitalism, re-nationalisation and environmental destruction.

filmdienst.de, May 2018

 

Next to no bad films in the German Competition.

Cargo-Blog, 8 May 2018

 

The German Competition is dominated by experimental works, even in films using genre motifs and strategies.

K.West, May 2018

 

 

Profiles

 

The group of selected filmmaker in the Profile section, Salomé Lamas, Louise Botkay, Mona Vătămanu & Florin Tudor and Eva Könnemann, bring out a desire to expand our worldviews, encompassing the study of life, of our origins, of the evolution of the universe and of the dynamics of social groups throughout history, as well as the invention of new ways of doing politics. These works offer encounters which sustain understanding without asserting rigid explanation, reaffirming the critical, emotional and ethical potential of images as witnesses of reality and windows to the world.

ATPDiary.com, 20. May 2018 

 

Archives

 

… an inspiring carte blanche for the Asian Culture Center in Seoul, which offered an opportunity to discover the experimental Korean cinema of the 1970s.

Cahiers du Cinéma, June 2018