68th International Short Film Festival Oberhausen, 30 April – 10 May 2022
45 new works in distribution
45 new acquisitions from the programmes of the 68th festival edition and a number of thematic programmes of older works are now available in the new Oberhausen distribution catalogue. Prevailing subjects are current social issues like migration, work, indigenous cultures and colonialization. The films and music videos deal with cultural self-assertion, the consequences of Covid 19, with the dictatorship in Brazil in the 1970s, the lifeworlds of young people in Berlin today; they examine our contemporary concept of beauty or the value of artistic work. The filmmakers choose personal, surprising and extraordinary formal approaches to visualise their topics concisely, poignantly – and all the more effectively: from embroidered documentations to computer-generated or drawn animations, from the interweaving of moving images, photos and texts to effective uses of found footage.
The festival has compiled six new feature-length programmes: “International Competition 2022”, “German Competition 2022”, “Award Winners 2022”, “MuVi Award 2022”, “Art and Experiment 2022” as well as the curated programme “Latin American Perspectives”, which also features works from the 2020 and 2021 distribution catalogues. In addition, a number of older programmes are still available, including the series “Made in Germany (1 to 3)”, “Can and Should We Make Films Now?” from 2020 as well as four children’s film programmes. Interested parties can also compile their own programmes and, of course, rent individual films.
Thirteen suitable titles from the 45 new acquisitions will also be offered as supporting films at special subscription conditions. This brings the number of suitable supporting films in distribution up to more than 60 titles.
Terms and Conditions
The Oberhausen distribution is international and non-commercial. Films can be rented as individual titles or in ready-made or own programmes; the festival offers consultation on request. Many of the new acquisitions can also be rented for online presentation. In addition to the new works, older titles from previous distribution catalogues or the festival archive (with special conditions) can also be rented.
Contact distribution: Carsten Spicher, email@example.com
Oberhausen, 08. September 2022
Press contact: Sabine Niewalda, phone +49 (0)208 825-3073, niewalda(at)kurzfilmtage.de
The feature-length programmes
This selection takes a fresh look at current political and social conditions on the continent. The films deal with protests against Bolsonaro, the dictatorship in Brazil as an embroidered animation, a take on drug crime from the bottom of the ladder or indigenous cultures fighting for self-assertion.
Solidariedade (Solidarity), Fernanda Pessoa, BRA 2022
Cadê Heleny? (Searching Heleny), Esther Vital, ESP/BRA 2022
MONOLOGO DE UN SICARIO (monologue of a hitman), Nadia Granados, COL 2021
( ( ( ( ( /*\ ) ) ) ) ) (ecos del volcán), Charles Fairbanks/Saúl Kak, MEX 2019
Extrañas Criaturas (Strange Creatures), Cristina Sitja/Cristóbal León, CHL 2019
Award Winners 2022
Five award-winning films, including the winners of the Grand Prize of the City of Oberhausen and the Prize of the German Competition. Narrative experiments and personal styles with subjects that range from the Yom Kippur War to a beleaguered nomadic minority in South East Europe.
73, Meshy Koplevitch, ISR 2021 (Prize of the Ecumenical Online Jury)
Yon (Call Me Jonathan), Bárbara Lago, ARG 2021 (Main Prize of the International Jury)
Weathering Heights, Hannah Wiker Wikström, SWE 2021 (Grand Prize of the City of Oberhausen)
Feriado (Holiday), Azucena Losana, ARG 2021 (Main Prize of the International Online Competition)
ŃEALE AZBUIRĂTOARE (FLYING SHEEP), Alexandra Gulea, ROM/D 2022 (Prize of the German Competition)
German Competition 2022
Five works from the 2022 German Competition that explore subjects such as work, migration and communication. They look at young Argentine migrants in Berlin, the value of artistic work in our society today or the question of how the recycling economy and the disappearance of refuse will affect the work of future archaeologists studying our age.
Muss ja nicht sein, dass es heute ist (It Doesn’t Have to Be Today), Sophia Groening, D 2021
Die Hüter des Unrats. Eine kurze Geschichte des Abfalls (The Guardians of Refuse. A Short History of Rubbish), Susann Maria Hempel, D 2022
Las Flores, Miguel Goya/Tina Wilke, D/ARG 2021
Gute Arbeit, gute Nacht, Michel Wagenschütz, D 2021
ARIBADA, Simon(e) Jaikiriuma Paetau/Natalia Escobar, D/COL 2022
International Competition 2022
Six works from the 2022 International Competitions. They deal with family, migration and racism, with memory, narrative uncertainty and finally the question why a video game from childhood mysteriously disappeared.
Boa Noite (Sleep Tight), Catarina Ruivo, PRT 2021
Kolme päivää sadetta (Three Days of Rain), Matti Harju, FIN 2021
Punctured Sky, Jon Rafman, USA 2021
L’escale (The Stopover), Collectif Faire-Part, BEL/VR, 2022
On a Beautiful Day, Elodie Pong, CH/MAR, 2021
The Raft, Marko Meštrović, HRV 2021
This programme features all eleven nominees for this year’s German MuVi Award, including the winning clips “Flourish”, “Wann hast du das letzte Mal Blumen betrachtet” and “Dr. No”.
1000 Thomas (Rolf Blumig), Mare Hakamushi/Rolf Blumig
Das Chaos (motong Huang), motong Huang
Disappoint Me (Chris Imler), Chris Imler/Alexander Gheorghiu/Markus S Fiedler
Dr. No (Meese X Hell), Michael Ullrich
Feel Like Change (Wolfgang Pérez), Kim Lêa Sakkal
Flourish (Lotic), Julia Crescitelli
LA Screen Memories (The Downtown Tunnels) (Jan Jelinek), Jan Jelinek
Lovers of all kinds (Lovers of all kinds feat. Jaakko Eino Kalevi), Christine Gensheimer
Neo Biedermeier (Paul Frick & Daniel Brandt), Daniel Brandt
Nur weil du mir deine Wunden zeigst, bist du noch lange nicht mein Heiland (School of Zuversicht), Katharina Duve
Wann hast das letzte Mal Blumen betrachtet (Günter Reznicek/Nova Huta), Mariola Brillowska, 2’
Art and Experiment
Some of the most interesting filmmakers working on the boundary between film and the art market look at Covid 19, the image production of colonisation, feminist science fiction and what connects people across different generations.
Perforated Realities, Gustaf Broms, SWE 2021
you cannot trust the colours, Katrin Winkler, D 2021
It grew fur again, lost it, developed scales, lost them, Gitte Villesen, DNK 2021
Grandma’s Scissors, Erica Sheu, USA/TWN, 2021
Dancen (To Dance), Corina Andrian, ROU 2021