INTERNATIONAL FILM FESTIVAL OBERHAUSEN - Special Program
Founded in 1954, the International Short Film Festival OBERHAUSEN is one of the major international crossroads for the short form, unique in the range of forms and genres it presents to the public, and particularly well known for its spotlight on experimentation. In the course of more than five decades, filmmakers and artists ranging from Roman Polanski to Cate Shortland, from George Lucas to Pipilotti Rist, have presented their first works in OBERHAUSEN.
The Festival organizes an International Competition, a Children’s and Youth Films and a German Competition and the MuVi Award for the best German music video as well as the NRW Competition for productions from North Rhine-Westphalia. In addition, OBERHAUSEN is known for its strong line of thematic programmes such as “From the Deep” in 2010, which presented early films from before 1918, or “Shooting Animals” in 2011, a programme about the history of the artistic and scientific animal film. The festival also operates a well-stocked Video Library, a non-commercial short film distribution branch and a unique archive of short films from more than 50 years of festival history. The 58th edition will take place from 26 April to 1 May 2012. The big thematic programme will focus on the 50th anniversary of the OBERHAUSEN Manifesto from 1962.
"Short film is a great first step for a budding filmmaker. That's how I made my beginnings and OBERHAUSEN was an important step on my path to become a Director." Roman Polanski
"I smoked my first cigarette here. For years, I saw every single film at the Westdeutsche Kurzfilmtage, looking forward to those days in OBERHAUSEN every year. These events were important for me, for my decision to become a filmmaker." Wim Wenders
"There can be no doubt that the OBERHAUSEN Short Film Festival has written film history...The short film has kept itself young, and so has OBERHAUSEN. This atmosphere, this creative power are what still distinguishes short films today." Gerhard Schröder (German Chancellor 1998-2005)
"I smoked my first cigarette here. For years, I saw every single film at the Westdeutsche Kurzfilmtage, looking forward to those days in OBERHAUSEN every year. These events were important for me, for my decision to become a filmmaker." Wim Wenders
"There can be no doubt that the OBERHAUSEN Short Film Festival has written film history...The short film has kept itself young, and so has OBERHAUSEN. This atmosphere, this creative power are what still distinguishes short films today." Gerhard Schröder (German Chancellor 1998-2005)
Hilke Doering - Artistic Director of International Film Festival OBERHAUSEN
Born in 1966, raised in Germany and Switzerland studied sociology in Bielefeld (Germany) and Paris (France). Hilke Doering has been with the International Short Film Festival OBERHAUSEN since 1995 in different positions. She has been responsible for the distribution as well as the Childrens and Youth program, for the video library and the market. Since 1996 she is the Head of the International Competition and has represented the festival in international organizations. She has been a jury member in a couple of international festivals and has curated film programs for festivals in different parts of the world.
With the support of:
Picture, poetry, voice and music are woven together into a contemplative short film about the lingering memory of youth, the loss of spontaneity and the quiet fear of growing up. Using dance as a metaphor, the winner of Ecumenical Jury Prize at Oberhausen 2011 is a visual composition reflecting on how, in growing up, freedom and self-expression can become stifled.
Picture, poetry, voice and music are woven together into a contemplative short film about the lingering memory of youth, the loss of spontaneity and the quiet fear of growing up. Using dance as a metaphor, the winner of Ecumenical Jury Prize at Oberhausen 2011 is a visual composition reflecting on how, in growing up, freedom and self-expression can become stifled.
With the support of:
Screened in the International Competition of Oberhausen International Short Film Festival 2011, this film is a short essay about a particular landscape and the people who live there. In the San Joaquin Valley, California, agriculture and oil power the economy. While Euresti’s camera records the bright sun-bleached landscape, agricultural implements and farms– as well as the modest bungalow where his parents live– the soundtrack tells the darker story of his family, now sick from contamination by the same oil company that employed his father.
Screened in the International Competition of Oberhausen International Short Film Festival 2011, this film is a short essay about a particular landscape and the people who live there. In the San Joaquin Valley, California, agriculture and oil power the economy. While Euresti’s camera records the bright sun-bleached landscape, agricultural implements and farms– as well as the modest bungalow where his parents live– the soundtrack tells the darker story of his family, now sick from contamination by the same oil company that employed his father.
With the support of:
Home is a place of comfort, of security and peace. Delve into the world of a PTS (Post Traumatic Stress Disorder) suffering war veteran however, and such notions drastically become perverted and uneasy. The home becomes alien and family members come to encapsulate the demons against whom the veteran has to fight. Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, the winner of the Special Mention of the Jury at Oberhausen 2011, I'M NOT THE EMEMY cuts open the ways in which a society engaged in war deals with the problematic reintegration of its war veterans.
Home is a place of comfort, of security and peace. Delve into the world of a PTS (Post Traumatic Stress Disorder) suffering war veteran however, and such notions drastically become perverted and uneasy. The home becomes alien and family members come to encapsulate the demons against whom the veteran has to fight. Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, the winner of the Special Mention of the Jury at Oberhausen 2011, I'M NOT THE EMEMY cuts open the ways in which a society engaged in war deals with the problematic reintegration of its war veterans.
With the support of:
Screened in the International Competition of Oberhausen 2011, INVENTORY is a short metaphoric story approaching the problem of memory, identity and the search for traces of the recent past. On thirty hectares in the city centre, an inventory is being made – to reconstruct a lost city- researchers scan the inscriptions of the tombstones of the great Jewish cemetery of Warsaw. The camera focuses on details, showing fingers touching an obliterated inscription or a laborious process of decoding letters excavated from the ground, because each of them has a meaning.
Screened in the International Competition of Oberhausen 2011, INVENTORY is a short metaphoric story approaching the problem of memory, identity and the search for traces of the recent past. On thirty hectares in the city centre, an inventory is being made – to reconstruct a lost city- researchers scan the inscriptions of the tombstones of the great Jewish cemetery of Warsaw. The camera focuses on details, showing fingers touching an obliterated inscription or a laborious process of decoding letters excavated from the ground, because each of them has a meaning.
With the support of:
Winner of the Prize of the International Short Film Festival Oberhausen 2011, this experimental, political puppet stop motion animation is a remarkable exception in African cinema. Made with patience and barely contained rage. This story, innovatively told using puppets, relates an event whereby soldiers locked 69 people in a train and set fire to it in 1989. Later on, a cyclist returns to his village to look for a cassette tape that contains the voices of the victims.
Winner of the Prize of the International Short Film Festival Oberhausen 2011, this experimental, political puppet stop motion animation is a remarkable exception in African cinema. Made with patience and barely contained rage. This story, innovatively told using puppets, relates an event whereby soldiers locked 69 people in a train and set fire to it in 1989. Later on, a cyclist returns to his village to look for a cassette tape that contains the voices of the victims.
Like in his 'ethnological science fiction documentary' Kempinski, in his new film, winner of the Grand Prize and the Jury Prize in Oberhausen 2011, Neïl Beloufa shatters our expectations about reality and fiction in a necessary and almost natural process. In his work he creates a simulated reality of his own, as much virtual as real. In UNTITLED, both the backgrounds and the statements of the characters are blatantly false. Where do truth and veracity lie behind the staging, the stories and the filming?
By A Web Design