27 films from 18 countries will be competing for a Golden and a Silver Bear, as well as the nomination for best short film at the European Film Awards and the first-ever EUR 20,000 Audi Short Film Award. This year’s members of the International Short Film Jury are documentary filmmaker and curator Madhusree Dutta, Turkish artist Halil Altındere, and producer and festival director Wahyuni A. Hadi from Singapore. Screening in competition are the latest works of Nadav Lapid, Amit Dutta, Jennifer Reeder, Matt Porterfield, artist duos Daniel Schmidt & Alexander Carver, Mischa Leinkauf & Matthias Wermke in collaboration with Lutz Henke, Billy Roisz & Dieter Kovačič, among many others.
Reflections on the current social and political conditions, in which the order of subject, predicate and object have been permanently suspended, pervade the programme and generate all kinds of symmetries. Independently of large production budgets, filmmakers today have the possibility of using analogue and digital technologies to fill cinematic space with hypotheses on and solutions to relevant issues.
What images have the power to dispel the pleasure found by some in being a soldier? Israeli director Nadav Lapid asks himself this question and then discovers an image that is able to do exactly that in Lama? (Why?). In Japan, there’s a new term since Fukushima: “atomic divorce”. It is what the many divorces are called that have been filed all over Japan in the aftermath of the catastrophe. Christian Bau attempts to capture this phenomenon in Snapshot Mon Amour. David Muñoz visits a Syrian refugee camp in Lebanon. The production of his film El Juego del Escondite (Hide & Seek) relates directly to the question of what enables a refugee to remain the subject of his or her own narrative. Then there is the quintessence of artist intervention in public space – the raising of white flags atop the Brooklyn Bridge last summer in New York City – which can be seen as either an affront or a chance: the documentary Symbolic Threats by Leinkauf, Wermke and Henke offers a number of interpretations.