„Solidarity as Disruption“, curated by Branka Benčić (Croatia) and Aleksandra Sekulić (Serbia), was conceived as our Theme programme 2020 and had to be cancelled due to Corona. We are now presenting this programme, which is more topical than ever, online. The programme asks how solidarity can be redefined as a political project through cinematic means. Based on a focus on films from the former Yugoslavia since the 1960s, the curators examine the concept and its history in a broader context, from collective film movements to the aesthetics of workers as political subjects.
The works range from masterpieces of the "Black Wave" such as Želimir Žilnik's Nezaposleni ljudi (The Unemployed) from 1968 to more recent works such as Nika Autor's Obzornik 63 - Vlak senc (Newsreel 63 - The Train of Shadows) from 2017, from Jean-Marie Straub and Danièle Huillet's Europa 2005-27 Octobre (2006) to Museum Songspiel 20XX (2011) by the Chto Delat collective from St Petersburg.
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 artistic director at Apoteka Space for Contemporary Art, curated Artists Cinema series at the Museum of Contemporary Art Zagreb, and Cinemaniac Think Film program at the Pula Film Festival. She curated the Croatian Pavilion at the 57th Venice Biennale (2017).
Aleksandra Sekulić is a philologist of general literature and theory of literature, the programme curator at the Center for Cultural Decontamination (CZKD) in Belgrade. 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, Media Archaeology project and the Kosmoplovci collective in Belgrade.
About the Theme programme
Just as important as the competitions and, since the 1990s, a central and successful part of Oberhausen’s profile is the Theme, a comprehensive programme on annually changing issues. Here, the Festival reflects the enormous variety of the short form, whether avant-garde, advertising or scientific film, whether expanded cinema or linear installation excerpt, within thematic contexts, creating a forum for cinematic and social discussions that, starting with the short film, extend far beyond film-related issues and engage in an overarching dialogue on image production in the arts, new technologies and sciences.
Recent Theme programmes
Topics covered in recent years include: "Leaving the Cinema – Knokke, Hamburg, Oberhausen (1967–1971)" (2018), "Social media before the Internet" (2017), "El Pueblo - Searching for Contemporary Latin America" (2016), "The Third Image – 3D Cinema as Experiment" (2015); "Memories Can't Wait - Film without Film"(2014), "Flatness: Cinema After The Internet" (2013), "Provoking reality: Mavericks, MouveMents, Manifestos" (2012), "Shooting Animals. A Brief History of Animal Film" (2011), "From the Deep: The Great Experiment 1898-1918" (2010), "Unreal Asia" (2009), "Bordercrossers and Troublemakers", "Whose History" (2008), "Kinomuseum" and "Don't turn around! Children, Childhood, Cinema" (2007).
The Oberhausen Profiles are traditionally dedicated to the works of outstanding filmmakers, some of whom have dealt with short films for decades. The programmes are always presented personally by the artists or filmmakers*.
Sandor Aguilar (2017), Eija-Lisa Ahtila (2000), Victor Alimpiev/Olga Stolpovskaya (2006), Wojciech Bakowski (2014), Craig Baldwin (2000), Guy Ben-Ner (2007), Majoleine Boonstra (2007), Louise Botkay (2018), Linda Christanell (2012), Raquel Chalfi (2016), Jem Cohen (2001), Josef Dabernig (2016), Kiri Dalena (2019), Amit Dutta (2010), Nicolás Echevarría (2009), Heinz Emigholz (2001), Factory of Found Clothes (2009), Helga Fanderl (2013), Jeanne Faust (2016), Herbert Fritsch (2009), Susannah Gent (2020), Karpo Godina/Želimir Žilnik (2002), Marina Grižnić/Aina Šmid (2003), Bert Haanstra (1998), Anne Haugsgjerd (2016), Stefan Hayn (2005), James Herbert (1999), Yamada Isao (2004), Ito Takashi (2015), Ken Jacobs (1996), Jim Jennings (1998), William E. Jones (2011), Larry Jordan (2001), Aryan Kaganof (2014), Kanai Katsu (2007), Patrice Kirchhofer (2008), Ken Kobland (2007), Eva Könnemann (2018), Andrew Kötting (2008), Petar Krelja, Krsto Papić und Zoran Tadic (2013), Grzegorz Królikiewicz (2011), Mark Lewis (2005), Salomé Lamas (2018), Dušan Makavejev (2003), Mara Mattuschka (2014), John Maybury (2002), Philbert Aimé Mbabazi Sharangabo (2020), Bjørn Melhus (2017), Deimantas Narkevicius (2014), Erkka Nissinen (2015), Matsumotu Toshio (2009), Münchner Gruppe: Klaus Lemke/Rudolf Thome/Max Zihlmann (2003), Gunvor Nelson (2010), Robert Nelson (2006), Vera Neubauer (2012), Ho Tzu Nyen (2013), No Wave (2010), Jayne Parker (2004), Kayako Oki (2019), Miranda Pennell (2006), Ilppo Pohjola (2012), Luther Price (2013), Laure Prouvost (2013), William Raban (2015), Jennifer Reeder (2015), Lis Rhodes (2008), Jósef Robakowski (2005), Roee Rosen (2012), Roter Hahn 1907 (2011), Larissa Sansour (2017), Sarajevo Documentary School (2009), Boris Schafgans (2006), Maya Schweizer (2020), John Smith (2002), Alexander Sokurov (2019), Eva Stefani (2019), Barbara Sternberg (2017), Sun Xun (2016), Jaan Toomik (2017), Robert Van Ackeren (2001), Mona Vătămanu & Florin Tudor (2018), Vipin Vijay (2015), Laura Waddington (2005), Orson Welles (2000), Joyce Wieland (2002), Charles Wilp (2001), John Wood & Paul Harrison (1999), Fred Worden (2010), Nina Yuen (2017) und Akram Zaatari (2008).
Profiles in retrospect
Here you can find the profiles from the last year.
In 2006 the Festival expanded its market by screenings from the catalogues of selected international distributors of experimental and artistic short films. The success was overwhelming: from the very first day, the halls were fully occupied and the audience showed great interest. In 2021 fourteen international distributors will present their catalogues.
In 2006 Oberhausen introduced this section, thus closing a gap: An international platform for screenings, encounters and expert discussions, specifically tailored to distributors of avant-garde and experimental films, did not exist at the time. The section very quickly developed into the world's largest showcase for art film distributors and is today a permanent fixture in the appointment calendar of professionals interested in short film. Representatives of all distributors are in Oberhausen. This makes this programme series not only a showcase for current international artistic moving images, but also a lively platform for maintaining contacts and exchanging ideas.
Since 2013 the International Short Film Festival Oberhausen has been focusing on an often neglected subject: archiving and restoration of experimental films. International archives are invited to present their collections and their work. From the very beginning, this section has met with great interest and has quickly established itself as one of the most popular parts of the festival, both among the audience and the professionals.
Chaos of the Present: Robert Frank/Visual Studies Workshop
With the photo book "The Americans" (1958), Robert Frank created a milestone in the history of modern photography, only to devote the rest of his life to short film - twice, for The Present and True Story, he was honored with main prizes at the International Short Film Festival Oberhausen. In 1971, he took a teaching position at the newly founded Visual Studies Workshop in Rochester (USA) and gave his six students the task of "describing the chaos of the present". The result is About Us; the Visual Studies Workshop now presents the little-known and rarely shown short film in Oberhausen.
Anniversary for Experiments: Collectif Jeune Cinema
In the early 1970s, the art of film reorganised itself. All over the world, filmmakers, following the example of the New York Filmmakers Coop, joined forces to fight for progressive film. This spirit also gave birth to Collectif Jeune Cinema (CJC), a Parisian distribution cooperative that celebrates its 50th anniversary this year. Founded in the context of the Festival International du Jeune Cinéma of Hyères, the collective now has around 400 members from all parts of the world and distributes more than 1,600 mainly experimental films. The anniversary programme which CJC presents in Oberhausen also comes from this rich archive: Rarely shown films from the French underground scene of the 1970s and 1980s, by filmmakers such as Pierre Bressan and Jean-Pierre Ceton, including Yves-André Delubac's Le chant des Signes, a classic attic find.
Archives invited to date
Academy Film Archive, Los Angeles (2015); ACC Film and Video Archive, Gwangju (2018); BFI National Archive, London (2015); Center for Visual Music, Los Angeles (2016); Centre Georges Pompidou, Paris (2016); Cinémathèque de la Ville de Luxembourg und Centre national de l'audiovisuel, Luxemburg (2018); Cinémathèque Française, Paris (2013); Cinemateca Portugesa, Lissabon (2017); Cyland Video Archive, St. Petersburg (2020); Eye Film, Amsterdam (2014); Filmoteca de Catalunya, Barcelona (2018); Filmoteka Muzeum, Warschau (2014); Fundacja Arton, Warschau (2020); Gosfilmofond, Moskau (2017); Harvard Film Archive, Cambridge (2014); Home Movies - Archivio Nazionale del Film di Famiglia, Bologna (2017); Israel Film Archive, Jerusalem (2019); Österreichisches Filmmuseum, Wien (2015); Národní filmový archiv, Prag (2019); National Film Center, Tokyo (2015); Pacific Film Archive, Berkeley (2013); Slovak Film Institute, Bratislava (2018); Slovenska Kinoteka, Ljubljana (2013), Swedish Film Institute, Stockholm (2017); The Temenos Archive, Zürich (2014); Videokunstarkivet, Oslo (2016); Walker Art Center, Minneapolis (2019).
Collective ventures on celluloid
In this section, our Festival has been presenting concerns and works of international artist labs working with analog film and developing their own collective distribution models since 2018. Labs from around the world are invited to present works that have emerged from current workshops.
Labs: Collective ventures on celluloid
Introduced in 2018, "Labs" is dedicated to the numerous artists' labs that have formed a network and go public with their own events (filmlabs.org). The section thus continues the Festival's preoccupation with alternatives to the domination of the digital. This is about the interaction between celluloid and photochemical processes, as well as collective, independent production and distribution models. The commercial exploitation of analogue film is coming to an end. What perspectives can analogue artistic film and collective working methods have in our post-cinematographic reality? Thus, a discourse on questions of production, distribution, performance as well as aesthetics will be deepened.
Conditional Cinema: Blast of Absence
Conditional Cinema was initially supposed to be an organic three-year cycle of conceptual film programs from 2018 to 2020. Last year the pandemic made us delay the third part for year. Now in the current ever-so-unstable situation we present a thematic interim report dealing with the concept of absence.
This streaming experiment celebrates the absent sector with films on nothing at all, on the absent humans, on clay sculptures, non-places and ghosts.
The program starts with an infection triptych. By documenting a quick human action of sneezing, Edison not only started copyrighted filmmaking, but also predicted pandemic future horrors.
We embrace cinematic works that go against the grain and create a soft void around them – only for the viewer to step in and take it from there. In most cases the human protagonist is absent or at least off-screen.
Manuela de Laborde’s Ficciones has been the core and constant evolving process of Conditional Cinema’s cycle from spring 2018. It follows the organic growing of the actors, the small clay sculptures created by the artist, followed by growing moss, shooting period and ageing. The slow and graceful project is completed now with the premiere of the completed wonderful film.
The Conditional Cinema cycle will be completed in May 2022, back in safe physical cinema conditions.
Conditional Cinema Background
Oberhausen has frequently investigated the space of the cinema and its possibilities in its programmes, exploring modes of presenting films that go beyond pure projection. Mika Taanila’s project for Oberhausen, "Conditional Cinema", is part of this exploration. In three part, it addresses Live Cinema as a means to investigate post-capitalist utopias in art. Taanila, who curated the successful Theme programme "Memories Can’t Wait – Film Without Film" for Oberhausen in 2014, focuses here on how live "films" respond to the decline of manual labour and the problem of the obsolete human.
Conditional Cinema 2019: Das Kino der Worte
Sometimes words speak louder than actions. The second cycle of Conditional Cinema focuses on human presence, voice and language as central cinematic ingredients. The programmes celebrate spoken film and the cinema of words.
The Finnish-German artist collective Speech Karaoke Action Group (SKAG) invites the audience to participate in a real-time collage mix of speeches about cinema. The participants are able to choose their favourite "film speech" from a vast pool and perfor it – just like they would a favourite song at traditional karaoke events. Peter Miller continues his exploration of the cinema space, this time focusing on human presence and manually generated real-time sounds. Mexican filmmaker Manuela de Laborde talks about the second phase of her three-year film project Ficciones. Marguerite Duras' Le Camion is a true manifesto of conditional, extremely imaginary cinema of possibilities: a haunting love story that takes full advantage of the audience's ability to imagine and construct the entire film based on minimal clues.
The three-year project Conditional Cinema maps territories of cinema and cinema culture that can be described as "unfinished scenarios" or "film skeletons". In 2020, the project will come full circle with a focus on the theme of "The Obsolete Man".
Conditional Cinema 1
Film Speeches, Speech Karaoke Action Group/Oliver Kochta-Kalleinen, Finnland, 2019, 90’00”
In speech karaoke – as the name suggests – you choose a speech instead of a song. Under the name The Speech Karaoke Action Group they collectively operate this constantly expanding project. The SKAG does not represent any particular political or ideological conviction.
Speech Karaoke Action Group are a multidisciplinary group of artists from Helsinki. SKAG has been organising participatory events in Finland and internationally for several years now - with good success. Group members are the artists Frank Brümmel, Krister Gråhn, Tellervo Kalleinen, Oliver Kochta-Kalleinen, Tuomas Aleksander Laitinen, Carl Sebastian Lindberg, Essi Ojanperä, Pilvari Pirtola, Johanna Raekallio, Satu Rautiainen, Pasi Rauhala, Jyrki Riekki, Hanna Saarikoski and Julius Valve.
Conditional Cinema 2
Ficciones (rushes), Manuela de Laborde, Deutschland/Mexiko, 2019, 15’00”
Cycle two of "Ficciones" for Conditional Cinema will show the rushes documenting the mossy sculptures, taken by multiple cameras gridded in a mobile structure, alongside readings from personal notes written with the artist’s left hand.
This Thing Connecting Us, Peter Miller, Deutschland, 2019, 20’00”
... Site-specific sound/light conditional trasition into ...
Frames per Second (performance), Peter Miller, Deutschland, 2019, 15’00”
Conditional Cinema 3
The Better Way Back to the Soil, Youki Hirakawa, Japan, 2017, 7’30”
Le Camion, Marguerite Duras, Frankreich, 1977, 76’00”
"...In Youki Hirakawas mesmerising short film The Better Way Back to the Soil the artist arranges the titles of lost silent films in a discreet composition. On the screen, we see nothing but the film titles, their production years and lots of black. On the soundtrack, the narrator reads the very same information; the combination resembles a poetic mystery tale. It is estimated that approximately 80% of early silent films shown up until the 1930s are lost forever. Hirakawa’s exercise becomes a delicate contemplation of cinema history and time. Marguerite Duras’ 1977 film The Truck is a true manifesto of the conditional, extremely imaginative cinema of the ‘would-be’. It is a feature-length narrative film whose core is the act of reading (not acting!) the hypothetical script of a future film at a table. Only a handful of shots outside the reading room – mostly landscapes next to highways – are seen in the entire film. The narrative itself is a haunting love story, a full exploitation of the viewer’s ability to imagine and construct the whole film with minimal means. Enhancing the tension between reality and fiction, the readers’ parts are played by Duras herself (M. G.) and Gérard Depardieu […]
The confrontation between Hirakawa and Duras highlights the extreme opposites of potential film: Hirakawa worked with hard historical facts and ultra-minimalist rules for his film, while Duras, by contrast, imagined a whole universe for her film that was never even meant to be made. Every story has a beginning, middle and ending. The three-year Conditional Cinema project is now in its middle. This is the annual report. In 2020, things will come full circle with a focus on the theme ‘The Obsolete Human’." (Mika Taanila)
Conditional Cinema 2018: Live Cinema
One key to IKEA’s phenomenal success has been the idea of switching the task of assembling domestic items from factories to sweat-shops at homes. Is it possible to imagine movies that the viewer is asked to assemble? The project Conditional Cinema is an attempt to use the trendy notion of "live cinema" as a tool – IKEA’s hexagonal key – to explore the utopias of art after capitalism. What is the role of cinema and moving image art in post-capitalism? The dark and essentially silent space of cinema is public but still extremely private, close but distant. What if it is the only peaceful and private oasis in our turbulent times? Conditional Cinema will unfold its theme in annual progression from 2018 to 2020. "Conditional" as in dependent on something specific, as in human condition, screening conditions … (Mika Taanila)
Live CinemaThe first edition in 2018 presented works in a traditional cinema setting, but with the proviso that moving image is understood as a fluid art form: live "films" that were generative, improvised, semi-automatic, systematic or austere and "happen right now".
Conditional Cinema 1
This Thing Connecting Us, Peter Miller, Germany, 2018, 20'00''
Set, Peter Miller, Germany, 2016, 09'45''
Stained Glass, Peter Miller, 2016, 10'00''
ST*R, Peter Miller, Germany, 2018
Peter Miller has been working with projection as a performance for a long time. His subtle cinematic works pull the focus from predestined narrative events towards "the now", the lens, the beam, the flicker. Miller’s films are kind and nice at first glance, but drill deep. Once you've seen them live, they keep coming back in the dark hours of the night. The delicate lightness of their execution and the openness of the "content" are the beautiful, restless fuel for the true cinema of everyone's very own imaginary world. We will see a programme of poetic Miller works that revolve around celestial themes. As powerful as these planetary works are in their conceptual thinking and form, they are materialistic, downright down-to-earth, per se.
Conditional Cinema 2
The Filmers' Almanac, Owen O'Toole, USA, 1988, 180'00''
The Filmers’ Almanac was a collaborative Super 8 venture, masterminded by mail-artist and cine-activist Owen O’Toole from his Somerville, Maine HQ in 1988. Inspired by Hollis Frampton’s unfinished calendrical film cycle "Magellan", the serial omnibus piece features over 200 contributions, miniature films from artists, film-makers and cine-hobbyists around the world, with the formal idea of each member shooting one standard S-8 reel or less (max. 50 feet) on one specifically determined day of the calendar in 1988 and then mailing it to O’Toole, who would complete the montage, without leaving anything out. With this global film initiative O’Toole attempted to blur the role of the single author and to avoid subjective taste and obsessive control over "quality": "I seek to measure my own capacities and those of the open community of exchange available thru the post. We hope to assemble a massive collective vision of the passage of time, possibly a method of measurements for the dimensions of our planet."
The project is a fascinating period piece, a peek into the heydays of artistic Super 8 film-making and the pre-internet networking culture of moving image in total. All correspondence between O’Toole and his web of fellow artists was done via mail. The screenings of the work were different every time and improvised according to the technical limitations of the venue and the attention span of its audience. Between 1989 and 1991 the work was screened a few dozen times at various small film festivals and art events across the US. In Europe it was shown in places like Braunschweig, Bielefeld, Bonn, Paris and Helsinki, as O’Toole travelled with the film reels in his hand luggage. Finally, in 1999, MoMA in New York and San Francisco Cinematheque screened The Filmers’ Almanac as part of their extensive "Big As Life" programmes dedicated to the art of Super 8 film-making. In Oberhausen we are proud to present the work in its original glory, on celluloid and using a variety of different audio sources, colour gels, a "lazy Susan", mood curves and other enigmatic screening instructions. The screening of The Filmers’ Almanac on its 30th anniversary in Oberhausen is a tribute to Owen O’Toole, who passed away after a long illness last July.
Conditional Cinema 3
Ficciones, Manuela de Laborde, Mexico, 2018, 30'00''
Manuela de Laborde's work Ficciones (2018), a collaboration with sound artist David Goldberg for Conditional Cinema will be a three-year film cycle, a process that develops with time. A series of clay sculptures resembling the plant form were developed to explore the "movies" around living objects. These sculptures are the ensemble of performers in her film, organic live cinema in the form of gardening and caring. In the first part of the cycle the characters will be ‘planted’ and contemplated bare as they are before growth surrounds them in the form of a performance. The procedural work might trigger memory flashbacks to the use of time in the history of moving image, from Warhol’s silent "Screen Test" series (1964–66) to Richard Linklater’s "Boyhood" (2014), as the video signal of the subtle presence of greens will be projected on the screen lifting its reality to cinematic fiction.
Literal Transition, Anton Nikkilä, Finnland, 2018, 30'00''
Anton Nikkilä is a composer and translator. In his basement studio, time has stood still in 2015 according to the museum gift shop calendar on the wall. While staring at "Suprematism" by Kazimir Malevich, 1915, reproduced on the last page of the calendar, Nikkilä has dreamt up an impossible project: it’s time to somehow transcode and re-assemble the aesthetic ideals of historical Russian avant-garde art using the basic building blocks of today’s electronic music. But how to do it, if there is no revolution to electrify and animate these constructions? And why? Nikkilä doesn’t have an answer, but proceeds without paying dues to any historical or ideological correctness, using old cryptic paintings and theoretical texts as his semi-procedural instruction manual for composing. Literal Translations (2018) is a film-without-film performance, with computer music for a vertically mounted quadraphonic anti-immersive 2D sound system, intertitles and cinema subtitles hovering in space.
Mika Taanila is a filmmaker and visual artist based in Helsinki. His works have been shown, among others, at the Venice Biennale (2017), Aichi Triennale (2013) and Documenta (2012). Solo shows include Padiglione de l’Esprit Nouveau Bologna (2020), STUK Leuven (2018), Kiasma Helsinki (2013/14), CAM St. Louis (2013) and TENT Rotterdam (2013). In 2014, he curated the “Memories Can’t Wait – Film without Film” programme in Oberhausen.
The project "re-selected", curated by Tobias Hering, examines film history as the history of individual film prints and is dedicated to selected films from the archive of the International Short Film Festival Oberhausen. In its third edition, "re-selected", curated by Tobias Hering, continues its investigation in 2021.
Even if a project dedicated to film prints and their particularities is difficult to reproduce in an online festival, the question of a reconsideration of analogue archival and cinematic practices remains relevant. In 2021, the programme is dedicated to film curator and critic Amos Vogel, who has left his mark on the festival over many years, first as a jury member and then as a co-selector in the USA. Four films from our archive will be shown that demonstrably meant a lot to him and need no further introduction: Sunday (1961) by Dan Drasin, Relativity (1966) by Ed Emshwiller, Agnes Varda's Black Panthers (1969) and finally Gunvor Nelson's Kirsa Nicholina (1969).
About re-selected: film history as history of copies
Launched in 2018, the re-selected project will take three years to devote itself to selected films from the analogue stock of the Oberhausen archive at the designated "end of the analogue age" and to examine film history as the history of individual film copies.
Rather than propagating the digital "rescue" of a cinematic work as an ideal, the project is interested precisely in the peculiarities of a copy, which are usually erased during digitisation. They can provide information about a concrete development, local public spheres and contemporary historical constellations. Where and when was a film shown at all, who saw it, in which version, in which composition? Every copy is an original - and not only when it turns out to be the only remaining copy of a film.
re-selected is a joint project of the Internatiional Short Film Festival Oberhausen and the Arsenal – Institute for Film and Video Art as part of "Archive außer sich" in cooperation with the House of World Cultures, funded within the framework of "Das Neue Alphabet" by the BKM based on a resolution of the German Bundestag.
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.
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.
A Different Perspective
Participants of the International Integration Café Oberhausen, who put together a joint film programme as a group and then present their favourites to the festival audience. The examination of the programme offers them the opportunity to get to grips with culture and film language - and last but not least to improve their German language skills, as discussions are held in German. Working with the films, contact with the festival visitors and the final presentation of the selected films strengthen the social integration of the participants on numerous levels.
A Different Perspective was created in 2018 in cooperation with the language café in the Zentrum Altenberg. In 2019, the cooperation was extended to the integration café of the terre des hommes group in Oberhausen.
Award Winners of Other Festivals
On its first day, Oberhausen traditionally shows short films that have received awards at other festivals. A cross-section of the past festival season.
The best of the best: To mark the conclusion of the festival, the Oberhausen team will show their favourite films from the competitions once more.
Oberhausen’s Filmgeflacker art collective will be presenting films from this year’s competitions, and the filmmakers will be invited to discuss their works with the audience.
The Oberhausen Selection
What is special about this programme: Oberhausen citizens between the ages of 65 and 90 are responsible for selecting the films. Traditionally, the Oberhausen Selection, which was launched in 2015, celebrates its premiere during the festival and then goes on tour from autumn.
The One Minutes
In cooperation with the One Minutes Foundation, Oberhausen presents one-minute films in two series curated for the festival.
Three programmes with interesting European short films, all nominated for the European Short Film Award of the previous year.
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.
Registration is essential for participation in the Open Screening: the limited programme places are allocated strictly on a first-come, first-served basis and are usually filled in less than a minute.