THIS MAKES ME WANT TO PREDICT THE PAST portrays a group of migrant youths at Munich's Olympia shopping mall in their everyday explorations, while they talk about their hopes and dreams, but also their fears and nightmares. During a racist attack in 2016, nine young people with a migration background were murdered in the shopping centre, five others were hit and many people were seriously injured. In addition to the mundane, the young people Aleyna Osmanoglu and Sosuna Yildiz use archive photographs to recreate scenes from the play Düşler Ülkesi (1982) in the shopping centre. The premiere of the play was overshadowed by a bomb threat against the theatre. The contradiction in this film's title of wanting to predict the past is a reference to the continuous and intersectional experience of racism that connects the youth of the 1980s with those of today.… >>>
Nominated:
Goldener Key
- Director: Cana Bilir-Meier
The short film FROM CAMP TO CAMPUS puts the terms camp and campus into context. Under the name Luftfahrtforschungsanstalt (Aviation Research Institute), the Nazi regime installed an armaments centre to the south of Munich, using forced labourers to build it. Military manufacturing still takes place there today. In 2013, the complex was named after the Nazi engineer Ludwig Bölkow and designated as a campus. While the structural documents of the former prison camp were being cleared, the Bavarian state government established its aerospace venture Bavaria One at the site.… >>>
As part of a series on the traditions of working class writers, Ina Wudtke, in cooperation with the Hamburg rapper Captain Gips, produced the video WILLIE BREDEL. Captain Gips plays the metal labourer and cutter Willi Bredel (1901 Hamburg - 1964 East Berlin), one of the best-known writers of his time, whose books have been translated into seventeen languages. His novel "Die Prüfung" was the first written account from a concentration camp. Today Willi Bredel has fallen into oblivion, so it is high time to revive his memory.… >>>
A tracking shot along the fence surrounding the building of the Federal Intelligence Service in Berlin. The images of the place seeking to be invisible are followed by emptiness. Celluloid film, a few visible traces of use of the material, otherwise the frame is white. Three voices talk proficiently, associatively and critically about the relationship of digital and analogue images to the world and to the viewers as well as about the history of the building.… >>>