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Their Algeria

Leur Algérie
Lina Soualem
International Competition 2020
Documentary Film
Algeria,
France,
Switzerland,
Qatar
2020
70 minutes
Arabic,
French
Subtitles: 
English

After 62 years of marriage Aïcha Soualem is on her own again. Mabrouk, whom she has left, is nevertheless supplied by her daily with food and sugar cubes. Director Lina Soualem is interested in the relationship between her grandparents, who, as the last remaining Algerians in Thiers, France, look back on an eventful past. An empathic investigation all the way back to their native village of Laaouamer which leaves room for ambiguous emotions.

“Soualem” is the password which not only enables Lina Soualem to unlock the tiny, snow-covered village full of cousins in Algeria, which her grandparents left a long time ago. In a sense, “Soualem” is also the title of this gentle investigation of a granddaughter. And Laaouamer, that little place in Algeria, is only the final destination of a long journey which may be narrated via geographical coordinates but interweaves them closely with biographical and emotional ones. Aïcha and Mabrouk rarely talk about themselves. Instead, self-affixed wall badges speak: “The world’s best mom lives here” or “Welcome to the world’s best grandma’s”. To learn more about the couple, whose lives were shaped by French colonialism, Lina Soualem uses private photos and videos. Her investigation is full of love: persistent, but never prying.
Carolin Weidner

Credits DOK Leipzig Logo

Director
Lina Soualem
Editor
Gladys Joujou
Producer
Marie Balducchi
Co-Producer
Karima Chouikh, Palmyre Badinier
Score
Julie Tribout, Rémi Durel
World Sales
Anna Berthollet
Nominated for: Prize of the Interreligious Jury, FIPRESCI Prize
Filmstill Tropic Fever

Tropic Fever

Tropic Fever
Mahardika Yudha, Robin Hartanto Honggare, Perdana Roswaldy
International Competition 2022
Documentary Film
Indonesia,
Netherlands
2022
59 minutes
English
Subtitles: 
English

The semi-autobiographical account of a European plantation manager on Sumatra during Dutch colonial rule becomes a starting point for reflections on the structure of the plantation itself. An essay about local tobacco and rubber cultivation, the construction of skin colour as a social category and the "tropic fever” which rises slowly but inexorably, edited from archive material dating from 1890 to 1930.

Very few films have made use of the extensive material shot by the colonists in the Dutch East Indies, now Indonesia. Those who took up the task, like “Mother Dao” or recently “They Call Me Babu”, did so from a Dutch perspective. “Tropic Fever” is the first feature-length film from Indonesia that appropriates that stock, using photos, documentary silent film footage, home movies and feature films as well as development plans from the archives of the former colonial power, along with the report of a Hungarian who managed a plantation on Sumatra in the 1920s. Mahardika Yudha, Robin Hartanto Honggare and Perdana Roswaldy impressively demonstrate how forests and swamps turned into rigidly organised agricultural areas and how the plantation and its structure became the foundation of the colonial project as such. Suddenly the assumption that “tropic fever” arises from the heat seems doubtful.
Marie Kloos

Credits DOK Leipzig Logo

Director
Mahardika Yudha, Robin Hartanto Honggare, Perdana Roswaldy
Script
Perdana Roswaldy, Robin Hartanto Honggare
Cinematographer
Mahardika Yudha, Syaiful Anwar
Editor
Mahardika Yudha
Producer
Robin Hartanto Honggare
Sound
Mahardika Yudha
Score
Mahardika Yudha
Key Collaborator
Het Nieuwe Instituut, EYE Filmmuseum, Marinus Plantema Foundation
Nominated for: Prize of the Interreligious Jury, FIPRESCI Prize
International Competition 2020
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Truth or Consequences
Hannah Jayanti
A privately operated spaceport in the desert of New Mexico inspires dreams of tourism to new worlds. In the nearby small town, life plans are more modest.
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Truth or Consequences

Truth or Consequences
Hannah Jayanti
International Competition 2020
Documentary Film
USA
2020
103 minutes
English
Subtitles: 
None

Forty kilometres outside the small town of Truth or Consequences in New Mexico, in the middle of the desert, lies “Spaceport America”, the first private space mission launch centre. People there have been dreaming of tourism in space for the past decade. Hannah Jayanti observes the people of the town who live in the shadow of such great ideas. She tells of tiger bites and scrap collectors, of sparkling stones, of trailer life and how painfully the past still affects the present.

What starts out as a tale about humanity’s great plans gradually turns into one of the dreams and stumbling blocks of human beings. Step by step, the film approaches its characters and unfurls into a reflection of what remains of a life. In addition to documentary and historical footage, the director also uses virtual reality techniques. When the camera travels through 3D simulations of empty streets and houses you feel that something long gone is made tangible again – like an expedition to a ghost town, at a time when the population will have long since left the planet in spaceships. But the created images remain patchy, the objects are captured only in spots, almost as if this was a map of the stars.
Marie Kloos

Credits DOK Leipzig Logo

Director
Hannah Jayanti
Cinematographer
Hannah Jayanti
Editor
Hannah Jayanti
Producer
Sara Archambault
Sound
Hannah Jayanti, Scott Hirsch
Score
Bill Frisell
Animation
Alexander Porter, Alexander Porter
Nominated for: Prize of the Interreligious Jury, FIPRESCI Prize
Filmstill Under the Sun

Under the Sun

Documentary Film
Germany,
North Korea,
Russia,
Czech Republic
2015
110 minutes
Subtitles: 
English

Credits DOK Leipzig Logo

Producer
Natalya Manskaya, Simone Baumann, Filip Remunda
Director
Vitaly Mansky
Music
Kārlis Auzāns
Cinematographer
Alexandra Ivanova, Mikhail Gorobchuk
Editor
Andrej Paperny
Script
Vitaly Mansky
Sound
Evgeniya Lachina, Anrijs Krenbergs
North Korea wants to be the best of all possible worlds. Everything and everyone is taken care off. Pyongyang is a clean, modern metropolis. 8-year-old Zin-mi, who is at the centre of this film, takes us through the stations of a happy childhood: becoming a member of the pioneer organisation, brisk flag ceremonies, enough food and always a song in praise of the Great Leader Kim Jong-un on her lips.

Russian-Ukrainian director Vitaly Mansky got the official permission to document the ordinary life of the city and country for one year. He knows that he is being instrumentalised and simply turns the tables by exposing how the presentations and arrangements are fabricated. His official minder proves to be a real “co-director”. So it’s the apparent details and minor matters Mansky asks us to discover. They offer insights into a well-trained and dulled society. Though we feel like we’re in “1984”, Mansky has come neither as a voyeur nor as a cynic. His camera is looking for the human element behind the mask of the official bulletins: a yawn or a moment of insecurity in this land of the ever-rising sun.

Cornelia Klauß
International Competition 2021
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Veins of the Amazon
Álvaro Sarmiento, Terje Toomistu, Diego Sarmiento
Observation of an important infrastructure in Amazonia: downstream on a cargo boat that brings passengers and goods to the isolated communities in the Peruvian rain forest.
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Veins of the Amazon

Odisea amazónica
Álvaro Sarmiento, Terje Toomistu, Diego Sarmiento
International Competition 2021
Documentary Film
Peru
2021
71 minutes
Spanish
Subtitles: 
English

The towns and villages along the Peruvian section of the Amazon can’t be reached by road. If you can’t afford to take the plane, you travel by cargo boat on the river for days. As a means of transport, the boats are part of an important infrastructure: While the steamships of the “rubber barons” used to travel this route during the brutal rubber boom, cargo boats now bring goods to the communities on the edge of the rain forest.

The observations of the Peruvian brothers Álvaro and Diego Sarmiento and the anthropologist Terje Toomistu are focused entirely on the occurrences on the boat: loading and unloading sugar, chickens, onions, lemonade and building material, the crew, the passengers travelling hammock to hammock on deck, and the people waiting on the banks of the river. The camera never glorifies either the landscape or the work; instead it is always in the midst of things, sometimes even in the way. The journey downstream is accompanied by tales of sinking ships, swimming animals and newfound faith. Observed with such reserve, a lot can still be inferred: about the tough jobs of the dockers, the lives of the women and children who come aboard to sell food, about the influence of the “Israelitas” and how important trading by boat is for the indigenous population of the tributaries.
Marie Kloos

Credits DOK Leipzig Logo

Director
Álvaro Sarmiento, Terje Toomistu, Diego Sarmiento
Script
Álvaro Sarmiento, Terje Toomistu
Cinematographer
Terje Toomistu, Diego Sarmiento
Editor
Fabricio Deza, Diego Sarmiento, Álvaro Sarmiento, Alex Cruz
Producer
Álvaro Sarmiento, Diego Sarmiento
Co-Producer
Terje Toomistu
Sound
Cesar Centeno
World Sales
Pascale Ramonda
Nominated for: Prize of the Interreligious Jury, FIPRESCI Prize
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Vicenta

Vicenta
Darío Doria
International Competition 2020
Documentary Film
Argentina
2020
69 minutes
Spanish
Subtitles: 
English

A human tragedy on the backdrop of a legal and medical scandal which in 2007 lead to legal action against the Argentinean state before the UN Human Rights Commission and a verdict of guilty in 2011. The mentally and physically handicapped 16-year-old girl Laura had been raped by her uncle in 2006. But a legal abortion which had already been officially granted at the request of her mother, Vicenta, was opposed by lawyers and doctors.

“Vicenta” conveys the details of this truly incredible imposition in the form of a fable in which plasticine figures seem rooted to the spot in a Kafkaesque nightmare. Only the camera moves through this scenery, usually in travellings across the set-up. Very occasionally excerpts of newscasts, broadcast from small monitors on the stage of this “puppet show”, authenticate the narrative. And yet the whole spectrum of conceivable feelings between being openly paralysed with shock and proud self-empowerment of the mother who stubbornly fights for justice for herself and her daughter is conveyed and made comprehensible. In the above-mentioned UN ruling, the Argentinean state was accused of having fundamentally disregarded the recognised right to freedom from inhuman, cruel and degrading treatment in the case of Laura and her mother Vicenta.
Ralph Eue

Credits DOK Leipzig Logo

Director
Darío Doria
Script
Luis Camardella, Florencia Gattari, Darío Doria
Cinematographer
Darío Doria
Editor
Darío Doria
Producer
Felicitas Raffo, Pamela Livia Delgado
Co-Producer
Virginia Croatto
Sound
Federico Esquerro
Score
Ezequiel Menalled
Animation
Darío Doria
Narrator
Liliana Herrero
Winner of: FIPRESCI Prize
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Water Has No Borders

Tskals sazghvrebi ar akvs
Maradia Tsaava
International Competition 2021
Documentary Film
France,
Georgia
2021
85 minutes
Georgian,
Russian
Subtitles: 
English

Since the end of the civil war in the early 1990s, the region of Abkhazia has been acting independently of Georgia. This has turned a massive dam into a border. But the hydroelectric power station also connects the two political entities: Because over a distance of fifteen kilometres the water flows freely, underground, from one side to the other. When a young journalist gets stranded here, stories of division emerge.

On the way back from a reportage trip to the dam, director Maradia and her cameraman’s car breaks down. Ika takes care of them. For decades, the joyous engineer has worked – in cooperation with his colleagues on the Abkhazian territory – on the maintenance of the plant. Maradia, representative of a whole generation of Georgians who know this place of longing on the Black Sea only from stories, becomes curious. But while the workers take the bus across the border every morning, the film crew is thwarted by bureaucracy. Time and again they are denied passage. This turns out to be fortunate for the film, because waiting for the permission, in the cafeteria of the dam, in drives around the river, the stories of people emerge whose lives are shaped by the secession. They talk of legal and clandestine border crossings, weddings and funerals and of life in the here and there.
Marie Kloos

Credits DOK Leipzig Logo

Director
Maradia Tsaava
Script
Maradia Tsaava
Cinematographer
Nik Voigt
Editor
Maradia Tsaava, Anne Jochum, Jérôme Huguenin-Virchaux
Producer
Mariam Chachia, Luciano Goor
Co-Producer
Edith Farine
Sound
Geoffroy Garing, Paata Godziashvili
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Words of Negroes

Paroles de nègres
Sylvaine Dampierre
International Competition 2021
Documentary Film
France
2020
78 minutes
French
Subtitles: 
English, German Subtitles for deaf and hard-of-hearing

On Guadeloupe, an archipelago in the Caribbean, the past speaks up. Sylvaine Dampierre has the workers of an old sugar refinery read passages from the transcripts of an 1842 court case, while the machines roar and groan in the background. The testimonies of the slaves from back then in the rusty halls of today give rise to a polyphony both explosive and poetic in nature.

The “Grande Anse” sugar refinery is a monster from a distant past: Flames like long tongues spew from the furnaces, piles resembling bones everywhere. The workers cut them with machetes in the plantations of Marie-Galante, a tiny island that belongs to the archipelago of Guadeloupe. The long bones, the sugar cane, are the scaffold that keeps everything together here. Sylvaine Dampierre is in the thick of it, shows the pulsating factory and the hard labour that goes on inside. Seasonal workers come and go; the men organize themselves. They are free. There are occasional flashes of the peculiar bond with France, of which this overseas territory is an integral part, but Dampierre foregrounds the transcripts of a court case from almost two hundred years ago, in which slaves testified against their violent master. An act of self-empowerment, whose gestus the director brings into dialogue with the present.
Carolin Weidner

Credits DOK Leipzig Logo

Director
Sylvaine Dampierre
Cinematographer
Renaud Personnaz
Editor
Sophie Reiter
Producer
Sophie Salbot
Winner of: FIPRESCI Prize