There, they wait for rides—many of them have been doing so for all their working life. Over the years, this concrete expanse in the wasteland next to the airport has become a lived-in space, where mostly migrant communities from the Maghreb, Sub-Saharan Africa, Eastern Europe, and Asia come together to share food, music, concerns, experiences, and practical knowledge. But the future—AI-driven mobility—already casts its shadow, not least over their own existence. Filmmaker Vadim Dumesh and the drivers’ phone cameras capture this almost dystopian space. (mg)

A 2023 event in Berlin and a subsequent book publication (2024) carefully examined individual projects and reflected on the significance of primary materials both before and after the making of a film. By bringing these elements together under the concept of Elements of a Latent Cinema, the project creates a space to connect cases from different political geographies and historical moments, encouraging a reconsideration of cinema’s invisibilities beyond categories like failure, loss, or incompleteness. Latency signifies an ongoing potential—one that can shift, affect us, and set things in motion. The Film Undone program at dokumentarfilmwoche hamburg focuses on the role of states and their institutions in preventing films from being made. Olexii Kuchanskyi presents his research on the Kyiv School of Popular Science Film, an informal film movement within the state-run studio Kyivnaukfilm, whose experiments in film pedagogy and institutional reorganization were suppressed by Soviet authorities (11:00 AM). Following the screening of Where Russia Ends, a discussion with Philipp Goll will take place, exploring his research for the film. At 1:30 PM, Tara Najd Ahmadi presents The Newborns, a film whose “postponed spectatorship” she discusses in the context of her research on unfinished artistic works in times of revolution. This discussion builds on her presentation at HfbK Hamburg on the previous day (April 22). (Philip Widmann)

How to relate (to) a book – series #2: Film Undone
HFBK Hamburg Tue 22.4. 5 pm

> Where Russia Ends

> The Newborns

> Book Presentation: Film Undone

> The Newborns

> Book Presentation: Film Undone

> Where Russia Ends

Twenty years later, Kristina Konrad returns to Nicaragua in search of two Sandinista resistance fighters whom she interviewed in the 1980s about their role as women in the struggle for freedom, shortly after the fall of the Somoza dictatorship. Back then, they were carried by the euphoria of revolution and the collective dream of a new Nicaragua. But today, the country has become what it never intended to be—just as corrupt, just as neoliberal as any other. With her keen yet poetic and empathetic approach, Konrad retraces the past together with her protagonists—examining the frustration over the failure of the socialist utopia and what remains of the revolutionary ideals. (ek)

> Workshop Discussion with Kristina Konrad

> Cuando éramos felices y no lo sabíamos

> Diego

> Tempi Passati – Die Zeit, die bleibt

> Kristina Konrad in the B-Movie: Continuation of the position event

>A Fidai Film< examines how these confiscated images, hidden away in Israeli archives, have become silent witnesses to a history of dispossession. In a bold act of cinematic resistance, Aljafari reconstructs the visual memory of Palestine, blurring the lines between documentary and experimental film. The power of reclaiming and reinterpreting these stolen images goes beyond merely exploring the past—it becomes an act of creative sabotage against enforced forgetting. (sas)

Carmen tends to her family’s land alone. Her sisters, Elsa and Maura, visit her on the Canary Island of La Palma to divide their inherited property. In a carefully balanced interplay between staged sequences and intimate documentary observations, the film allows the bodies of the three women to merge with their surroundings. Their faces reflect memories, unresolved conflicts, affection, and the passage of time. Through the different perspectives and life experiences of the sisters, a mosaic-like narrative unfolds—a poetic and emotional exploration of their lives, bodies, and homeland. (mr)

Her journey to the remote region of Fruit Farm in southwestern Sichuan Province becomes a search for traces of her hometown’s past. Once a labor camp during the Cultural Revolution, the site has undergone multiple transformations—first into a prison with fruit cultivation, then into a drug rehabilitation center. Some former prisoners, including Xu’s father, still live among the ruins of this system of repression. Xu sensitively unearths the fates embedded in the layers of time, creating a striking work against erasure and forgetting. (mr)

For decades, NATO has conducted secret military exercises there, and access to the site remains strictly prohibited. Meanwhile, Sardinians have continuously seen their land and beaches bought up for military use, luxury villas, and holiday homes. The stunning landscape has also become a popular backdrop for high-end fashion campaigns. As independent documentary filmmakers, Emerson Culurgioni and Stefanie Schroeder take a bold and anarchically humorous approach to exploring the island, its people, and their stories. Stolen sand (allegedly linked to Silvio Berlusconi), contested dunes, fictional scenarios, and the resistance of a community—Fuck Temptation Island. (af)

This is where the festival centre is located, with the info counter, morning events, and lunch at cantina fux&ganz. It’s where we visit fux Lichtspiele for screenings and celebrate the nights in our festival club, SLOT. But wait—this year, we’re not just spending the nights there. For the first time, we are transforming SLOT into a cinema as well! From Wednesday to Friday, our new Clubkino will feature music films, a solo concert by Barbara Morgenstern on Wednesday, and DJ sets that connect musically to the film program. On Saturday, SLOT will shift into dance mode, bringing you grooves from hip-hop, R’n’B, and Middle Eastern beats with Sega Lee and Tutku. See you soon—at SLOT Clubkino and at the bar!

> Barbara Morgenstern und die Liebe zur Sache

> The Cry of Jazz

> monks – the transatlantic feedback

The making of a music album is a meticulous and multi-layered process—a constant act of arranging, negotiating, and mediating. None of it would be possible without a deep passion for the craft, a passion shared by musician Barbara Morgenstern and filmmaker Sabine Herpich, kindred spirits in artistic pursuit. Herpich has long been drawn to artistic working processes as a participatory observer. Films like ›Ein Bild von Aleksander Gudalo‹ or ›Kunst kommt aus dem Schnabel wie er gewachsen ist‹ exemplify her consistent and persistent approach to collaborative documentary filmmaking on equal footing. (bs)

> The Cry of Jazz

> monks – the transatlantic feedback

At first glance, his output appears highly disparate: frame-by-frame compositions, fiction films exploring queer and urban themes, rigorously structured portraits of buildings, and intricately drawn cartographies of a nightmarish present. Yet, despite this apparent variety, his artistic and conceptual approach remains remarkably consistent. A direct line can be drawn, for instance, between the phenomenological exploration of gaze, camera, and space in his Schenec-Tady trilogy (1972–1975) and the monologue of the (fictional) cinematographer in The Suit (2024). This discussion will explore key principles of his cinematic and artistic practice, with a particular focus on the relationship between drawing and film—especially in light of the two films premiering in this year’s program. Emigholz’s “diaries” do not document daily experiences but instead collect linguistic and visual remnants of a monstrous world. From these emerges meticulously framed imagery—sometimes silent, sometimes accompanied by sentences as corrosive as vitriol. Of particular interest are the themes of war and violence. These are omnipresent in his drawing series The Basis of Make-Up and weave through his fiction films, coming to the forefront in The Airstrip (2014), The Last City (2020), and Slaughterhouses of Modernity (2022). As poet Lyn Hejinian wrote, “The politics of difficulty can only emerge against the backdrop of cruelty.” (Albano Schoppe)

> Innsbruck, 6. März 2023

> NYC, October 10, 2022

Their work reflects a deep fascination with nature and those who dedicate their lives to studying it. With a 16mm film crew, they form a small community following paleobotanist Mark Brown along the Normandy coast in search of endemic plants—a journey viewers are invited to join. „Photographing plants is not enough; only when filming them can one capture their soul“, Brown’s gentle voice explains. His life’s work has been dedicated to restoring a primeval forest in his own garden. 7 Walks with Mark Brown shifts between careful nature observation, an unassuming yet charming educational film, a slow-paced road movie, and a quiet utopia. A cinematic herbarium that is, at the same time, its own making-of. (bs)

The filmmaker’s passport, his keys and his diary lie on a small table. A laptop on the bed shows a film from 1934: Karl Kraus reads his most famous text, ‘Tourist Trips to Hell’ (1921). It is about a bargain offered by the Basler Nachrichten, the newspaper offering “battlefield tours” in Verdun “at a reduced price”. Emigholz’s camera looks out of the window, a container bears the inscription of the company “Raven”. “Outside they are unburied, / there are Raven Generals!” (Kraus, ‘The Last Days of Mankind’, 1918). A bitter and very personal reflection on war in the midst of war. (asc)

> Workshop Discussion with Heinz Emigholz

> NYC, October 10, 2022

This controversy prompted renowned comic artist Art Spiegelman (Maus) to deliver a fascinating introduction to early newspaper cartoons—an art form that profoundly influenced Guston’s visual language. Spiegelman explores how a simple yet dynamic set of figures and patterns in early comics was capable of subverting racist and sexist stereotypes. This was already the story of Krazy Kat, drawn by George Herriman, a cartoonist whose non-white heritage had to remain hidden in the United States. It is also the story of Philip Guston, a Jewish artist who, particularly in his late work, used a cartoon-like style to address themes such as the Holocaust and the presidency of Richard Nixon. (asc)

> Workshop Discussion with Heinz Emigholz

> Innsbruck, 6. März 2023

Why should I spread lies on TV if we accept it in life?” she says and wants people to be able to dream in her love stories and still not gloss over the circumstances of everyday life. She has this in common with Kristina Konrad. In ‘When we were happy and didn’t know it’, the filmmaker creates a monument to this quick-witted, profound and rather charming woman and yet sticks to the essentials: her son in Denmark, writing as a modest everyday activity and heated debates about Cuba and Brecht’s drama theory. One thing becomes increasingly clear as the film progresses: if Brecht were still alive, he would be writing telenovelas like Maité Vera. (ab)

> Workshop Discussion with Kristina Konrad

> Nuestra América

> Tempi Passati – Die Zeit, die bleibt

> Diego

> Kristina Konrad in the B-Movie: Continuation of the position event

Layers of visuals shift and overlap—a green couch transforms into a sculpture, family photographs become silhouettes. An autobiographical voice emerges from off-screen. The space folds in on itself, and cracks begin to appear in the bourgeois backdrop. An abyss opens up: “For a moment, I thought I could take the easy way out. I could simply read aloud from the psychiatric clinic’s report: ‘The patient states that she was sexually abused by her father from the ages of 11 to 15.’ What follows are fragmented glimpses of a life shaped by the consequences of violence and the struggle to process it. A film that is both a necessary provocation and an outstanding artistic reckoning with a biography marked by trauma. (bs)

Off-screen, a female voice reads aloud—letters to Salma Paralluelo, to Jennifer Hermoso. Who? Exactly, the footballers. In these letters, she shares how she discovered watching football and recalls the first game she ever saw. The ticket wasn’t expensive at all. Why? Oh, that’s a long story. The film tells it in just 11 minutes—without leaving anything important out. It’s funny, even though it’s sad, and by the end, viewers will hopefully have felt what football means to so many people: they will have laughed, cried, screamed, stood together in solidarity, and felt anger. And to top it off—let’s stomp on a juice carton in celebration. (as)

On their cinematic journey—from Vienna’s Museum of Natural History to a Bolivian salt flat and into the virtual world of Red Dead Redemption—Philipp Hartmann and film critic Roger Koza encounter friends, filmmakers, and experts from different countries. Together, they philosophize about the attempt to represent nature, bound by their shared love of cinema. Hartmann playfully intertwines art history with critiques of colonialism, blending fiction and fact. In its open, collaborative form, the film allows itself to be guided by its protagonists, turning its mosaic-like, idea-rich storytelling into an effortless celebration of friendship and cinephilia. (ek)

Set up like a Brechtian Lehrstück (learning play) and unusually provocative, the film stages a debate among a multiethnic group, tackling questions of cultural appropriation. The essayistic section of the film narrates the history of jazz and its fundamental, exclusive significance for Black identity in the United States. Documentary footage of Black life in Chicago is set to the early music of Sun Ra. The original 1959 premiere poster boldly proclaimed: “See the most controversial film since Birth of a Nation.” The discourse at the heart of this film remains strikingly relevant today, easily translatable to contemporary pop music genres. (teg)

> Barbara Morgenstern und die Liebe zur Sache

> monks – the transatlantic feedback

Initially through words—in conversations about the role of women or in family narratives delivered during a birthday speech—and increasingly through deliberate silence, observing the cleaning of a meat slicer or the ever more laborious movements that become steadying gestures in a slowly fading daily routine. With patient attention and careful listening, an intuitive sense for moments of quiet revelation, and an empathetic, engaged closeness, Konrad’s approach and method as a filmmaker distill into a cinematic concentration that makes the essence of a vanishing existence tangible. A work of remarkable consistency and sensitivity in both theme and form. (ph)

> Workshop Discussion with Kristina Konrad

> Cuando éramos felices y no lo sabíamos

> Nuestra América

> Diego

> Kristina Konrad in the B-Movie: Continuation of the position event

Born there in 1985, Milisuthando Bongela reflects on her childhood in the Black middle class, a seemingly idyllic existence untouched by white interference—an illusion that ultimately unravels. Through a subversive montage of archival footage, personal conversations, and spiritual elements, she challenges historical narratives and her own memories. In doing so, she examines the lingering poison of apartheid, its impact on three generations of her family, and its influence on her relationships with her white friends. (aa/teg)

Interwoven with encounters with political representatives, it gives space to the pain of those affected and bears witness to their fight for accountability and justice in the wake of the racist murders. That this struggle—five years later, against the backdrop of the ongoing national debates on belonging—remains more necessary than ever is the true scandal in the aftermath of the attack. Through its montage, the film continuously confronts the audience addressed in its title, challenging them to reflect on their own deeply rooted prejudices. (mg)

Thirty years later, Gerd Kroske revisits their stories in a simple yet moving split-screen montage, juxtaposing past and present. The women reflect, explain, sharpen their perspectives, and contextualise their experiences. The memories of a miner, a machinist, a chemist, and a train driver, among others, intertwine into a nuanced collective narrative of life in the GDR and the post-reunification era—resisting any form of generalisation. Whether as an elegy to coal mining, a tribute to industrial labor, a sociological observation, a kaleidoscopic portrayal of female biographies, or an alternative and provocative take on history—we should listen to their voices. (ab)

Instead, it confronts us with those who have remained in the war zones, those who do not know where to flee or are unable to escape on their own. And with the dead. While a network of volunteers evacuates the elderly and the sick, forensic teams recover the bodies of the fallen and return them to their families. The camera bears witness to these actions. What we see compels us to reflect on the limits of what can and should be shown. To look or to turn away—what are the options? A discussion about the ethical boundaries of cinematography becomes a way to reconcile our own perspectives with political reality—and the film emerges as a sketch of a profound moral dilemma. (mg)

as ingenious as it is improbable. Five GI soldiers, who in the mid-1960s were making a solid living with their cover band after serving on an army base in Hesse, meet two graduates of the art academies in Ulm and Essen. The result is a manifesto and an image: instead of long hair, from now on they wear monk’s cowls and tonsures. Always. Under the influence of Fluxus and Minimal Art, the songs became increasingly monotonous and repetitive. Dietmar Post and Lucía Palacios’ film uses interviews with the protagonists and extensive documentary material to tell the story of the tragedy of a band that was at least ten years ahead of its time, of the Cold War and the stuffy Ludwig Erhard Germany shortly before the upheavals of 1968. (teg)

> Barbara Morgenstern und die Liebe zur Sache

> The Cry of Jazz

And yet, when watching Kristina Konrad’s films, this quality stands out as something truly exceptional. There is a distinctive essence to her work—a deeply felt dedication and generosity that is immediately palpable. In the early 1980s, with a loosely defined assignment from Swiss television, Kristina Konrad moved to Latin America, where she became an active chronicler of various freedom struggles and political upheavals. First in 1986, in Nicaragua, documenting female fighters of the Sandinista Revolution, and then again 20 years later, in a country transformed by neoliberalism. Konrad often encounters women—defiant idealists or resistance fighters—at pivotal moments of change, in places where systems are overturned, where the utopia of a socialist society briefly glimmers, or years later, when the revolutionary fervor has long faded. Her films focus on the personal, human stance behind political realities. And so, her attentive gaze extends to everyone she meets: people on the streets of Uruguay, whom she casually draws into discussions about the nature of democracy; a young entrepreneur in Oxford; her own mother, whom she accompanies through ageing. The form of her films is always shaped by her investigative and deeply engaged approach—by her keen sensitivity in communicating with people and their stories. We are honored to present Kristina Konrad’s films and even more excited for the opportunity to meet her in person—to engage in conversations about upheaval and idealism, filmmaking and activism. (ab/ek/ph)

> Cuando éramos felices y no lo sabíamos

> Nuestra América

> Tempi Passati – Die Zeit, die bleibt

> Diego

> Kristina Konrad in the B-Movie: Continuation of the position event

His daily routine is meticulously planned and performance-driven—success, for the young Swiss entrepreneur, is tied to a photo-sharing app. Even in love and while playing Ave Maria on his electric guitar, he works hard. Yet, despite his ambitious “positive approach” and the rooftop hot tub, he cannot escape the fear of disappointing himself. As Kristina Konrad attentively observes the polished, neoliberal sheen of his life, her engaged presence and characteristically sharp questions make the young man pause. Does something flicker behind the confidently performed version of himself? Or is it merely his effort to maintain control over his own image that becomes perceptible? (ek)

> Workshop Discussion with Kristina Konrad

> Cuando éramos felices y no lo sabíamos

> Nuestra América

> Tempi Passati – Die Zeit, die bleibt

> Kristina Konrad in the B-Movie: Continuation of the position event

For a year, Rui Pires observed how, behind the scenes of the Portuguese parliament, representatives and citizens painstakingly worked on drafting laws. Democratic processes and the functioning of representative democracy are laid bare. The portrait of the institution and its actors reveals how the actions of the parliamentarians reflect conflicts between different visions of society and how connections are forged between people inside and outside the palace. If O Palácio de Cidadãos is a film about democracy, it is because it takes the time to explore its essence in detail. (as)

This partnership brings together the experimental filmmaking of dokumentarfilmwoche with PAPIRIPAR’s cross-genre approach, which intertwines art, performance, film, music, and radio play in unconventional ways. The shared interest lies in reflecting on documentary and performative practices while amplifying the sonic experience within the black-box space of the cinema. SOUND, THE WORLD… explores the diverse manifestations of sound from both an acoustic and cinematic perspective. The program presents a carefully curated selection of films (16mm and digital) by filmmakers whose works are distinguished by an extraordinary engagement with image and sound. In films such as Dresden Dynamo and Paul Celan liest, the soundtrack of the 16mm film becomes both a visual and auditory experience, yielding vastly different yet equally fascinating results.
Three of the films—Anne, Richard and Paul, „Der Klang, die Welt…“, and N’importe Quoi (for Brunhild)—portray musicians attempting to translate their lifelong experiences of listening and making music into cinematic reflections. Meanwhile, Hacked Circuit explores the artificiality of film sound, documenting the work of a contemporary American Foley artist who recreates sound effects for Francis Ford Coppola’s thriller The Conversation—one of the few Hollywood films that rigorously explores the narrative potential of sound. Other films in the program forego language entirely, inviting the audience to navigate purely through sound and image, fostering their own associations.

The film program is curated by Luke Fowler, a Glasgow-based filmmaker and artist, whose exhibition—created in collaboration with artist Ryoko Akama—will be on display at Westwerk during PAPIRIPAR (April 24–27). The palindromic festival for pop, art, and all things rotating beyond is curated by Felix Kubin, Nika Son, and Florian Bräunlich. Under the motto “More art in music, more music in art,” traditional disciplines merge into new, experimental forms.

https://www.papiripar.com/en

The short film program:

Paul Celan liest
Ute Aurand, DE 1985, 5 min
Hacked Circuit
Deborah Stratman, US 2014, 16 min
Dresden Dynamo
Liz Rhodes, GB 1971, 5 min
QUIPROQUO
Rose Lowder, FR 1992, 13 min
Anne, Richard and Paul
Morgan Quaintance, GB 2018, 16 min
Views From Home
Guy Sherwin, GB 2005, 10 min
„Der Klang, die Welt…“
Robert Beavers, CH 2018, 5 min
N’Importe Quoi
(for Brunhild)
Luke Fowler, GB 2023, 9 min

In ‘(Y)our Mother’, she embarks on a personal journey to uncover the hidden layers of her family. Using intimate conversations, voice recordings and grainy home videos, she pieces together the complex relationship between mother and daughters. The film alternates between confrontational moments and quiet reflection, capturing intergenerational traumas in a patriarchal society, as well as the fragile yet enduring family bonds. What begins as a search for understanding gradually develops into a long overdue collective dialogue – about marriage, female identity and the meaning of family. (sas)

In the landscape that separates Bosnia-Herzegovina and Croatia, traumatic memories of the past Bosnian war lie buried like mines, while today people fleeing are forcibly pushed back at the border. They leave new traces in the borderlands and meet local inhabitants. They chop wood, ride quad bikes, shop and at the same time wait, hope and prepare for the next attempted crossing. Time passes, seasons change – old scars become visible and are remembered, new ones emerge. A cinematographic essay that observes and collects and in which past violence and present migration come together in the landscape. (af)

This observational documentary begins on the road with Klaus Wildenhahn and his cameraman, Frank Groth, as they join the team bus heading to Mostar, Bosnia. The anti-war film follows EU administrator Hans Koschnick—a Social Democrat from Bremen and former mayor—as he navigates the challenges of rebuilding a war-torn city. This cinematic diary offers a close-up view of Koschnick’s working methods, thoughts, and experiences. As the film unfolds, he finds himself under grenade fire, escaping with his life only by chance. A second documentary filmmaker, Pepe Danquart, who was filming Nach Saison at the time, steps in front of the camera to provide further context. Journey to Mostar is both a portrait of an authentic Social Democrat and a snapshot of a high-stakes balancing act in a city caught between opposing fronts. (rg)

> Nach Saison

Today, it continues to exist as a social experiment beyond capitalist structures. Filmmakers Guillaume Cailleau and Ben Russell approach this complex reality by showing various forms of resistance without hierarchy – from bread baking to pogo concerts to press work. In long, static shots on 16mm, an open, multi-layered narrative unfolds that does not provide any answers, but rather encourages the viewer to make their own interpretations. The film is both a document and an artistic act – a reflection on political struggles in cinema, a cinematic gesture of revolt. (fb)

While the aid organization “War Child” is on the move in many corners of the city and children become protagonists in ruined landscapes, Brian Eno visits the city and builds on a musical new beginning. The narrative framework of Mirjam Quinte and Pepe Danquart’s film is formed by the reconstruction of the destroyed bridge between the hostile parts of the city, which already became a symbol in ‘Journey to Mostar’. The black-and-white film is a poetic portrait of the city that patiently listens to people’s stories and tells of the attempt to revive a city. (rg)

> Reise nach Mostar

A fragile voice fights against its disappearance. Konrad Siegers, the filmmaker’s father, suffers from the neurodegenerative disease ALS. He speaks a convolute of 3,000 words into a speech computer. “Heaven. Village. Street. Garden. Hedge. Roller shutter. Home.” These terms lead us directly into the setting in which the film is set: a detached house with a garden. An affinity for technical devices. The engineer explains why preserving his own voice is important to him. A sense of familial closeness becomes tangible. His father’s voice, left on the answering machine on the way home, will eventually survive as a digital simulacrum through the voice computer. (jk)

In this process, one language (English) is translated into the sign system of another (Mandarin). While the grandmother does not understand the meaning of the words, the audience witnesses Xue’s intimate revelations of her emotional world. In the film, the grandmother becomes a medium, creating space for seemingly insurmountable differences in identity and belonging, as well as Xue’s fears of loss. At the same time, she serves as a conduit for reconciling the voices of the past in the beyond. The coded language becomes both an expression of the unspeakable and a liberating articulation. O Ma is also an expansion of time and a shared experience between grandmother and granddaughter in the face of transience. (jk)

Mostly filming alone, using the common language as a bridge, the long-term observation provides a deep insight into their difficult everyday lives full of uncertainty. It is an intense and empathetic look that captures the grief and pain of losing one’s homeland and being separated from loved ones, but also gives space to hope and humorous moments. In these times of polemical talk about migration figures, Mehdi Sahebi reminds us with great warm-heartedness that it is about people and their individual fates. (tg)

The latter would be in the interests of the Credit Suisse pension fund, as it has terminated the majority of the existing tenancies. The intact complex is to make way for a more urban new-build concept. The profit-oriented logic behind this is not difficult to understand, but the remaining tenants are unwilling to accept it. The film observes the ongoing transformation processes of their living space and playfully accompanies the residents in their painful memories, their everyday life as neighbors, in the stressful uncertainty and their fighting spirit to stand up together for their collective interests. (mr)

In cooperation with dokumentarfilmwoche, this vacant space will be activated for four days during the festival—as a place for conversation, listening, and film screenings. Featuring guest speakers and an exhibition exploring the intersection of memorial sites and urban development, the space invites engagement and reflection.

Open daily from 5:00 PM
Full program available at: www.hallohallohallo.org/salon-filmraum

Program Excerpt:

Do 24.4. | 18.30 Uhr
Das Tribunal – Mord am Bullenhuser Damm
Lea Rosh, BRD 1986, 148 min

Fr 25.4. | 19 Uhr
Wir dürfen es nicht vergessen
Thorsten Wagner, DE 2024, 74 min

Sa 26.4. | 19 Uhr
Pizza in Auschwitz
Moshe Zimmermann, IL 2008, 65 min

So 27.4. | 20 Uhr
Hammerbrook Blues
Louis Fried, DE 2023, 65 min

The only private asylum lawyer in the area, Marty Rosenbluth, and his assistant, Alondra Torres, fight tirelessly for the rights of the detainees. The film follows their battle against a systematically inhumane system.

dokumentarfilmwoche × Metropolis Kino

This April, Metropolis Kino is opening its second screening space with a pop-up cinema at Planet Harburg—the new museum branch of the Archaeological Museum Hamburg and the Harburg City Museum. We are thrilled to return to the cinema after our festival week and to present the Hamburg premiere of An Hour from the Middle of Nowhere by Ole Elfenkaemper and Kathrin Seward, in the presence of the directors and in collaboration with Metropolis Kino.

We begin with Große Freiheit Kleine Freiheit, which follows Inge Viett and Maria Barhoum, who fought for revolutionary change in Germany and Uruguay in the 1960s. Cada Día Historia then provides the prelude to Nuestra América, exploring Nicaragua’s revolution from the perspective of women and mothers. Finally, on Sunday, Unas Preguntas captures the complexities of Uruguay’s restored democracy through street interviews in the 1980s.

More information at: www.b-movie.de

Saturday May 10 at 7.30 pm
Große Freiheit Kleine Freiheit
Kristina Konrad, DE 2000, 83 min, German Spanish with English subtitles

Saturday May 10 at 10 pm
Cada Día Historia
Gabrielle Baur, Kristina Konrad, CH/NI 1986, 78 min, Spanish with English subtitles

Sunday May 11 at 5 pm
Unas preguntas
Kristina Konrad, DE/UY 2018, 237 min, Spanish with English subtitles