25 film projects from 21 countries will be presented this Wednesday, at the 8th international film industry event Meeting Point – Vilnius.

The projects were selected from more than 50 applications from the Baltic States as well as Central and Eastern Europe countries: Lithuania, Latvia, Estonia, Georgia, Ukraine, Hungary, Slovenia, Slovakia, Romania, Bulgaria and others.

In the 8th edition of Meeting Point – Vilnius filmmakers will present their projects in two categories: Coming Soon from Baltics and Coming Soon New Talents.

The best film projects will be picked for the industry screening at Cannes Marche du Film. 20 minutes excerpts of selected winners will be shown in "Vilnius IFF Goes to Cannes" session at this year’s Cannes film festival.

The winners will be selected by the international Jury which consists of Marie-Pierre Valle (Head of Acquisitions of Wild Bunch), Nikolaj Nikitin (Berlinale delegate for Eastern and Central Europe) and Guillaume de Seille (Arizona films (France) producer).

Coming Soon from Baltics 

Lithuanian director Audrius Stonys together with Latvian director Kristine Briede will present documentary project Baltic New Wave. It puts spotlight on the unique phenomenon in the history of cinema: the Baltic school of poetic documentary. Established in 1960s by filmmakers from Latvia, Lithuania and Estonia it broke the dogmatic propaganda documentary tradition of the Soviet Union. Baltic New Wave's documentaries were completely different: humane, meaningful and poetic.

Lithuanian director Eglė Vertelytė and producer Lukas Trimonis will present a feature film Miracle co-produced with Bulgaria and Poland. This tragicomic drama depicts a middle aged Lithuanian woman, who struggles to keep her pig farm. A handsome American businessman arrives pledging to save the struggling enterprise and turns the woman's life upside-down.

Up and coming director Aistė Žegulytė, together with a promising producer Giedrė Burokaitė will pitch their first full-length documentary film project People, Animals and Things on the art of taxidermy. 

Coming Soon New Talents

Ashes in the Snow is among the most awaited films in 2017 in Lithuanian cinema's as well as worldwide. The story is based on "Between Shades of Grey"the New York Times best-seller by Rūta Šepetys. Directed by Marius Markevičius (director of The Other Dream Team, producer of producer of Like Crazy), produced by Žilvinas Naujokas (producer of Tadas Blinda. Pradžia). The World War II drama focuses on Stalin's brutal dismantling of the Baltic region in 1941. An aspiring artist and her family are deported to Siberia. In a seemingly hopeless place, love is the only means of survival. The film stars Brittish actress Bel Powley (The Diary of a Teenage Girl).

Feature documentary Ultra,distributed by HBO Europe, directed by Balazs Simonyifocuses on runners from around the world participating in the Spartathlon, one of the most challenging of races. A historic distance of 246 kilometres from Athens to Sparta takes 36 hours to finish. Runners from Hungary, Germany and France, and also the director himself, have their own personal reasons for joining the run. None of them knows if they will ever be able to finish. The film is in co-production between Hungary and Greece. 

Industry Screenings

9 films will be shown in the Industry Screenings session on April 4-6 in Forum Cinemas Vingis. Among them is a feature documentary About Stops, Runs and Bananasby an award winning Lithuanian director Arūnas Matelis. The creator of Before Flying Back to Earth (the winner of Silver Wolf in Amsterdam International Documentary Film Festival, 2005was negotiating for 7 years to get a permission to shoot inside the prestigious Giro d‘Italia bicycle race. Now he is able to tell an unexpected story of the unspoken side of cycling sport – cyclists who sacrifice their careers to help teammates. They are called water carriers, domestics, Sancho Panchas of professional cycling. The film allows the viewer to jump into the magnificent world of the race seen through the window of the medical team.

Lithuanian and German co-production film Hello, Dear Granny! produced by Ieva Norvilienė (Tremora), directed by Jūratė Samulionytė and Vilma Samulionytėdocuments a journey oftwo sisters from Lithuania – filmmaker and photographer – diving into their German grandmother’s history.

The Man Slayer. The Virgin. The Shadowemploys a theme from the Scandinavian and Estonian folklore. The time frame of the story is from the early morning of a wedding day until the early morning of the following day. The characters are driven by force majeure – the local customs and rituals which were common a hundred years ago. The film is directed by Estonian Sulev Keedus, produced by Estonian Kaie-Ene-Raak and Lithuanian Rasa Miškinytė.

B2B Doc – Belarussian documentary projects

This year Meeting Point – Vilnius starts a partnership with Belarusian documentary filmmakers who will pitch 5 film projects during B2B Doc presentations.

Ekaterina Markavets will present her film Towards the Miracle about Sasha Avdevich, a social media phenomenon in Belarus. He became paraplegic after a motorcycling accident but now he is the most famous wheelchair user in Belarus.

Alexander Mihalkovich's film Babushka. Lost in Translation tells a story about an elderly Ukrainian woman who has been living in Crimea for the last 15 years. Both the director and producer Volia Chajkouskaya will attend Meeting Point – Vilnius.

Maksim Shved's film The Art of Cencorship takes on two artists who came up with a bold idea to make street art the national brand of Belarus and promote it worldwide.

Ordinary film (directed by Liubov Ziamtsova, produced by Volia Chajkouskayais a love drama of two totally different women who love one man.

Mein Deutschland by Alexander Svishchenkov depicts Andrei Schimanski, an ethnic German, tormented by the past.

Established in 2010, Meeting Point – Vilnius is a growing international film industry event, attracting around 300 film professionals from Lithuania, Baltic countries and all around the Europe. Coming Soon screenings are an important part of the event. Previously, films such as The Gambler, Summer of Sangaile or Mellow Mud were succesfully pitched after the Coming Soon sessions in Vilnius.

dok.incubator, well-established rough-cut stage workshop, has just announced the final selection of 8 talented teams for 2017 edition. The filmmakers will be supported by individual mentorship with a focus on dramaturgy, distribution and audience building by top European and US editors, producers, distributors and marketing experts such as Yael Bitton, Freddy Neumann, Sigrid Dyekjaer and many others.

Screen Shot 2017 04 05 at 09.16.53

The teams behind the projects are coming from the whole world are covering a wide range of topics and genres:

Norwegian project Golden Dawn Girls by Håvard Bustnes shows how representatives of Greece’s third largest political party get thrown in jail for allegedly leading a criminal organization. What happens to their family members and to the organization itself?

Mamacita presents the story of 98-year-old grandma, whose grandson promised to make a movie about her life. This Mexican film is a documentary of the imagination that explores – using the technique of re-enactment – family history and memory in the quest for forgiveness.

Georgian team of Before Father is Back brings on the screen everyday life of two girls, whose fathers have left their homes in Pankisi months ago with very unclear job reasons.

Petra Costa from Brazil has worked on a story of the behind-the-scenes look at the Brazil’s first female president in a documentary with a self-explanatory name Impeachment.

Polish director Marta Prus has been following a great rhythmic gymnast, Margarita Mamun, during her career break. Margarita is fighting for her dreams in an intimate portrait Over the Limit, which also shows the structure of the Russian sports system.

A team from Hungary presents a portrait of a modern day slave Marish in a documentary called My Marish.

A Machine to Live in from the USA is a feature-length artistic documentary about the imaginative and material processes of building one's utopia.

Swedish project Events in Ydre tells a story of one of the Sweden’s smallest rural municipalities and a way of life that is threatened by depopulation. What are the ways to secure the survival of community in Swedish countryside?

The eight projects have been selected out of 81 applications and they got a chance to join other successful documentaries which went through the dok.incubator workshop. In five-years existence of dok.incubator more than one third of the films ended up at IDFA, other competed at Sundance, Vision du Reel, CPH:DOX, Hot Docs and other platforms.

Find more information about the projects here.


Festival Opening with Nana & Simon's MY HAPPY FAMILY 

The 17th edition of goEast - Festival of Central and Eastern European Film will kick off with a screening of MY HAPPY FAMILY (CHEMI BEDNIERI OJAKHI, Germany, France, Georgia, 2017) on Wednesday, April 26th. The film, made by Georgian-German directorial duo Nana & Simon (Nana Ekvtimishvili and Simon Gross), sheds light on family structures and role patterns as seen from the perspective of 52-year-old protagonist Manana. Nana & Simon won the Award for Best Film in 2013 at goEast for IN BLOM.

MY HAPPY FAMILY is one of 16 entries to the goEast Competition, which includes ten fiction features and six documentaries; 13 of the films will be celebrating their German premieres at the festival, which takes place from April 26th to May 2nd in Wiesbaden and the surrounding area. The productions featured in the Competition are vying for four awards: the Golden Lily for Best Film (worth 10,000 euros), the Award of the City of Wiesbaden for Best Director (7,500 euros) and the Award of the Federal Foreign Office for Cultural Diversity (4,000 euros). The award winners will be determined by a five-member international jury, consisting this year of Latvian director Laila Pakalnina (chairperson), producer Maxim Tuula (Estonia/Russia), producer Sam Taylor (Great Britain), actor Jakob Diehl (Germany) and director Igor Drljača (Bosnia and Herzegovina/Canada).

A separate jury representing FIPRESCI will present the International Film Critic's Awards - this year the FIPRESCI jury will be bestowing an Award for Best Documentary Film for the first time in addition to the traditional Award for Best Fiction Feature.

The complete festival program now is available online at www.filmfestival-goeast.de/en/program.


The Films of the Competition

The Caucasus will not only be making an appearance in the opening film - the documentary film CITY OF THE SUN (MZIS QALAQI, Georgia, USA, Qatar, Holland, 2017, directed by Rati Oneli) is also set in the region: the film paints a portrait of the few remaining inhabitants of the Western Georgian mining settlement of Chiatura, which is well on its way to becoming a modern ghost town. In A FATHER'S WILL (ATANYN KEREEZI, Kyrgyzstan, 2016, directed by Bakyt Mukul and Dastan Zhapar uulu) Azat rediscovers his native Central Asian homeland, as he returns to the Kyrgyz highlands after a 15-year absence in order to fulfil his deceased father's final wish. 

In EXILED (PELNU SANATORIJA, 2016), a Latvian-Lithuanian co-production directed by Dāvis Sīmanis, Ulrich Matthes plays a German surgeon who encounters a sealed-off universe inhabited by shell-shocked patients in a Latvian hospital in the final year of the First World War. Matthes is expected to attend the film's German premiere in Wiesbaden on Sunday, April 30th, at 8:30 pm at Caligari FilmBühne.

Representing South-Eastern Europe this year: Hana Jušić's virtuoso fiction feature debut QUIT STARING AT MY PLATE (NE GLEDAJ MI U PIJAT, Croatia, 2016), a coming-of-age story that can also be read as a critique of the patriarchy; the poetic, essayistic documentary film ISLANDS OF FORGOTTEN CINEMAS (KINO OTOK, Croatia, 2016, directed by Ivan Ramljak) about the nearly forgotten history of the cinemas that once dotted the Dalmatian Islands; and REQUIEM FOR MRS. J. (REKVIJEM ZA GOSPOĐU J., Serbia, Bulgaria, Macedonia, 2017), a deft mix of copious black humour and social criticism directed by Bojan Vuletić, whose debut film PRACTICAL GUIDE TO BELGRADE WITH SINGING AND CRYING celebrated its international premiere at goEast 2013. Leading actress of the film Mirjana Karanović is also expected to attend the festival, where she will be presenting her own directorial debut in the goEast Gurus festival section.

Director Adrian Sitaru is also no stranger to goEast. His latest fiction feature THE FIXER(FIXEUR, Romania, France, 2016) follows Radu, a news agency employee supporting foreign journalists in their efforts on the ground in Bucharest and beyond who finds himself painfully confronted with fundamental ethical questions regarding the nature of his work. 

THE CITIZEN (AZ ÁLLAMPOLGÁR, Hungary, 2016, directed by Roland Vranik) on the other hand is at once a humorously differentiated genre picture of Hungarian society and an unusual love story between African immigrant Wilson and his married tutor Maria.

Germany's immediate neighbours to the East are also well represented in the festival's Competition section: THE SUN, THE SUN BLINDED ME (SŁOŃCE, TO SŁOŃCE MNIE OŚLEPIŁO, Poland, Switzerland, 2016, directed by Anka and Wilhelm Sasnal), an up-to-the-minute political adaptation of Camus' The Stranger; the documentary film YOU HAVE NO IDEA HOW MUCH I LOVE YOU (NAWET NIE WIESZ JAK BARDZO CIĘ KOCHAM, Poland, 2016), in which celebrated filmmaker Paweł Łoziński observes intimate therapy sessions between Hania and her mother Ewa; the drama and fiction feature debut FILTHY (ŠPINA, Czech Republic/Slovak Republic, 2017, directed by Tereza Nvotová), which mounts a devastating critique of the treatment of mentally ill individuals in Slovakia; THE TEACHER (UČITEĽKA, Slovak Republic, Czech Republic, 2016, directed by Jan Hřebejk), a dramedy set in Bratislava during the last years of the communist era which deals with an abuse of power at a middle school and its subsequent investigation; and finally TEACHING WAR (VÝCHOVA K VÁLCE, Czech Republic, 2016, directed by Adéla Komrzý), which documents how certain Czechs are preparing for a potential war by attempting to re-introduce military training to the school curriculum.

TEACHING WAR will be shown as part of a double feature, together with the Russian documentary film ALL ROADS LEAD TO AFRIN (VSE DOROGI VEDUT V AFRIN, Russia, 2016), in which young Muscovite filmmaker Arina Adju pays a visit to her father in Afrin, Syria, where he has started a new family and now must worry about their immediate safety in light of the looming threat represented by ISIS. The Competition selection is completed by the second Russian documentary film in the section, RUSSIA AS A PHANTASMA (ROSSIYA KAK SON, Russia, 2016, directed by Andrey Silvestrov and Daniil Zinchenko), which paints a provincial portrait encompassing the whole of Russia, with all of its laconic charm, surrealness and brutality.


For more information, please contact:
Mirjam Wiekenkamp & Saskia April Kluge
This email address is being protected from spambots. You need JavaScript enabled to view it. 

The program was included by Eurimages Fund among the European industry events to present the Eurimages Co-production Development Award amounting to €20,000.

Reaching its XXI edition, The European Film Festival is setting in motion with a spring in its step: an art director, a distinct orientation and a Romanian feature premiere that, for the first time in the festival’s history, will open all the local editions.

Romanian premiere of Aki Kaurismäki's feature, The Other Side of Hope, will open the 2017 edition of the European Film Festival. Kaurismäki's film will also kickstart all four local editions. The Other Side of Hope will be screened in Bucharest on May 4th, in Iași on May 12th, in Gura Humorului and Tîrgu Mureș on May 19th, and in Timișoara on May 26th.

"We have made efforts so that, for the first time in our Festival's history, the opening film can be watched in Bucharest and, as well, in all cities that host the local editions. I am pleased that we are able to offer a brand new film, intriguing and controversial but, first and foremost, rooted in topical issues on Europe’ public agenda. Moreover, we challenge the public to question and examine today’s multi-layered society, as during these times of political and social changes, the film – so much more than a mere intellectual pleasure – is poised to become a useful tool for this endeavour. The visual identity we’ve recently unveiled unapologetically points to this new direction of the Festival." said Alex Trăilă, the European Film Festival's art director

The Other Side of Hope won the Silver Bear for the Best Director Award, during the 2017 edition of Berlin International Film Festival, where Kaurismäki announced that this might be his last piece as a director. An extremely personal view on the European migrant’s crisis, peppered with outbursts of eccentric humour sometimes culminating in laughter, the film will leave viewers with a feeling of gentle elation, nourished by moments of humanity tenderly strewn across a background full of cruelty and indifference.

Another first in its long history is that the festival now has an art director, Alex Trăilă. He is a film adviser with an impressive experience in organizing festivals (Sarajevo FF, Transylvania IFF, When East Meets West - Trieste), and a founding member of the #FEEDback think-tank (Film Eastern European Dialogue), dedicated to cultural policy of the cinema in Eastern Europe. He was advisor to the Minister of Culture, and since January 2016, is member of the Board of Management of the Romanian Film Centre. As EFF's art director, he will steer the Festival's new narrative and will assist the embassies and cultural centres in films’ selection.

A new direction for EFF. The XXI edition will mark an editorial change; during these troubled times, the film, which is more than a mere intellectual pleasure may become a perfect instrument to reflect the different facets of society. In that vein, EFF aims to initiate dialogue on topical issues. Using some of the films themes as springboard, the Agora platform (a series of debates moderated by experts from various fields) will offer the viewers the opportunity to examine today’s European society, with its identity conflicts, aspirations, anxieties and dilemmas specific to the times we live in and regardless within which borders we live in.

The European Film Festival takes place in Bucharest (May, 4 to 11), Iasi (May, 12 to 14), Tîrgu Mureș (May, 19 to 21), Gura Humorului (May, 19 to 21) and Timișoara (May, 26 to 28).

The European Film Festival is organized by the Romanian Cultural Institute, under the aegis of EUNIC Romania, in conjunction with the European Commission Representation in Romania, with the support of embassies and cultural centres of European countries, the National Museum of the Romanian Peasant, the French Institute - Cinema Elvire Popesco, the Filmmakers Union in Romania and the European Parliament Information Office in Romania.

Partners and media partners: Municipality of Iaşi, Gura Humorului Municipality, Tirgu Mures Municipality, K'Arte Association Tirgu Mures, Timisoara Municipality, 365.ro, Citatepedia, aarc.ro, Agerpres, Blog de Cinema, Bookblog, Cărturești, Cațavencii, CineFAN, Cinemagia, Decât o Revistă, Dilema Veche, Dor de Ducă, Eskape, Gratuitor, HotNews, Hyperliteratura, Igloo, LiterNet, Movie News, Radio București FM, România Pozitivă, Urban.ro, Webcultura.


  • Alex Trăilă, EFF Artistic director, tel. +4 0747 28 98 93, e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.
  • Anca Hrab, EFF Coordinator – Romanian Cultural Institute, tel. +4 0722 59 15 61, e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

STRUCTURAL CONSTELLATIONS is an original Master Class in two 4-day Modules for those professionals who are concerned with the major artistic decisions - producers, screenwriters, authors-directors, new media designers, script consultants - of any production and has been elaborated by the widely recognized specialist Matthias Varga von Kibéd.

Last weekend, this year’s winners of the fifth LET’S CEE Film Festival were announced at the Award Ceremony at the Viennese Urania, attended by a great number of international festival guests. Among the awardees of already nine categories were a lot of surprises too. After a strong Hungarian opening film, many of the prizes went to Hungary as well on the weekend.

The LET’S CEE Lifetime Achievement Award, the Star of the Urania, was given to the legendary Hungarian filmmaker Béla Tarr, whilst Hungarian-Austrian publicist Paul Lendvai held a highly emotional laudatio. “Be brave, make no compromises; don’t knock on doors, kick them down,” was Tarr’s advice to the present young filmmakers. After István Szabó, Tarr is the second Hungarian filmmaker to have been awarded with this award.

Also the Urania Award 2017 in the feature film category went to Hungary, namely to Attila Till. Up against eleven very strong films, Till’s Kills on Wheels is a gangster comedy that is as entertaining as it is intelligent, where amateur actors in wheelchairs play out to be the biggest professionals. A special mention was extended to the Russian film The Student by Kirill Serebrennikov. A film that warns of the dangers of fundamentalism. Illlegitimate by the Romanian director Adrian Sitaru, Death in Sarajevo by the Oscar-winning Danis Tanović and the daring Hungarian political debut The Citizen by Roland Vranik went home empty handed.  

Ten different pieces competed in the documentary film category. The winner was the Romanian entry A Mere Breath, submitted by Monica Lãzurean-Gorgan, who paints a quiet and delicate family portrait as she films her protagonists going about their daily life over the course of seven years. However, honourable mentions were expressed in favour of the sobering entry Communion by the Polish director Anna Zemecka leaving a long-lasting effect, and of Tonislav Hristov’s Finno-Bulgarian co-production The Good Postman, a bittersweet look at the refugee crisis. The world sensation and music documentary Liberation Day about a concert held by the Band Laibach in North Korea or Zosya Rodkevich’s very personal portrait My Friend Boris Nemtsov could not fully convince the jury.

In the Promising Debuts Competition, where eleven outstanding entries competed for first place, the prize ultimately went to Grigor Lefterov and Todor Matsano for Hristo, a Bulgarian-Italian co-production. This unpretentious and authentic social drama revolving around a homeless adolescent was awarded with one of the Urania Awards designed by Tone Fink. Both the socio-critical thriller Dogs by Romanian director Bogdan Mirică and family drama Together for Ever by Lithuanian director Lina Lužytė got an honourable mention in the same category.

A further eleven pieces were running in the Short Film Competition, where this year’s motto read “World in Transition”. Buzzing of a Bumblebee by Vladimir Beldian from Russia took home first place, whilst another Russian entry, Masterpiece, by Irina Storozhenko, the Slovenian A New Home by Žiga Virc and the Azerbaijani-Lithuanian production Shanghai, Baku by Teymur Hajiyev all got honourable mentions.

The Audience Award in the Short Film Category went to Olga Kosanovic for Undercooling, an Austrian-German co-production, whilst Serbian director Miloš Radović took home the same award for his full-feature production and tragic comedy, Train Driver’s Diary.

The Award for the Best Acting Performance was given to Croatian actress Ksenija Marinković, who has already starred in three separate productions shown at the LET’S CEE Film Festival.

Focusing on feature, documentary and short films from Central and Eastern Europe, including the Caucasus region and Turkey, the LET’S CEE Film Festival is taking place today, when the winning films will be screened once again.

Jury Statements and the full list of LET'S CEE winners can be found here:

Pictures and texts can be found here:

For enquiries please contact the LET'S CEE Press Team:
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CineEurope 2017 
CineEurope 2017, UNIC’s official annual convention and Europe’s biggest cinema exhibitors’ gathering, will take place from 19 - 22 June in Barcelona, Spain - UNIC

Creative Europe MEDIA
2/03: S&Ds call on the Commission to increase funding for European creative, cultural and audiovisual sectors – S&D website
“We believe, that the integration of funds is indispensable. It could enable the European Union to not only value its cultural and linguistic diversity, but also strengthen the culture and creativity sectors, which are currently supporting growth” stated MEP Silvia Costa.
6/03: Deadline for the Open Public Consultation in relation with the evaluation of the Creative Europe programme is April 16 – Creative Europe Media
The consultation aims to gather comments and perspectives on the relevance of the Creative Europe programme's objectives, the effectiveness of the measures taken to achieve them and the efficiency of their implementation.

8/03: Politico publishes (part of) draft copyright report by MEP Comodini Cachia – The IPKat & here
Politico Europe (PRO version) has just published part of the text of the draft report that MEP Comodini Cachia is preparing on the European Commission's copyright package - including the proposal for a directive on copyright in the Digital Single Market - at the request of the European Parliament.

Czech Republic
10/03: Czech Film Center and Czech Film Commission Became Part of the State Cinematography Fund – FNE
The Czech Film Center together with the Czech Film Commission became part of the State Cinematography Fund, an institution that plays a key role in shaping the filmmaking environment in the Czech Republic.

21/05: European Audiovisual Observatory Conference, Cannes 
22/05: European Film Forum, Cannes
15-16/06: Digital Assembly, Malta – more information here 

The goEast Symposium takes place annually as a film and lecture series occurring within the scope of goEast Film Festival. This year the Symposium invites attendees to join goEast in rediscovering and honouring a group of individuals who have been consistently marginalised in the world of filmmaking: The focus here is on female directors from the East, who invariably tended to resist seeing their work placed in the context of feminism, though they stood up time and again for emancipation and equitable conditions for women (and others). The Symposium challenges participants to engage in a re-visioning of this "reluctant feminism" and also aims to examine it in relation to contemporary feminist positions in the cinema of Central and Eastern Europe.

Under the title "Reluctant Feminism: Women Filmmakers from Central and Eastern Europe", curator Barbara Wurm will present a rich and varied program, consisting of 26 films, six lectures and three panel discussions, from 27th to 30th April in the framework of goEast – Festival of Central and Eastern European Film (running from April 26th to May 2nd 2017 in Wiesbaden, Germany).


The film program for the Symposium is composed of twelve feature-length films, two films of extended length and twelve short films, all taken from diverse socialist and post-socialist eras and regions. The majority of the female directors featured here hail from the USSR and a short film program is dedicated to the vast array of prominent Polish female documentary filmmakers, but Bulgaria, Bosnia and Hungary as well as East Germany and Czechoslovakia also receive ample attention. Works from classic filmmakers such as Wanda Jakubowska, Larisa Shepitko, Lana Gogoberidze and Kira Muratova will be joined by long-overdue reappraisals of films such as Binka Zhelyazkova's THE LAST WORD (POSLEDNATA DUMA, Bulgaria, 1973), Judit Elek's MAYBE TOMORROW (MAJD HOLNAP, Hungary, 1980) and Dinara Asanova's DEAR, DEAREST, BELOVED, UNIQUE... (MILY, DOROGOY, LYUBIMY, EDINSTVENNY, USSR, 1984).

The spectrum covers works from the 1930s up to the present day: TORN BOOTS (RVANYE BASHMAKI, USSR, 1933) by Margarita Barskaya for instance, set in Germany in the years of the Great Depression, is a socially critical film about poverty and unemployment – as seen through the eyes of children (and their unemployed mothers). Jump ahead to East Germany of the 1960s: In WE ARE GETTING DIVORCED (WIR LASSEN UNS SCHEIDEN, GDR, 1968), the second film from Ingrid Reschke — known alongside Iris Gusner as one of the "DEFA ladies" — 8-year-old Manni must struggle through his parents' dramatic divorce. Staged as a comedy with exquisitely bone-dry humour, the film reflects on the institutions of marriage and film with copious amounts of sensitivity and empathy.

Finally, there is little to laugh at in FOR THOSE WHO CAN TELL NO TALES (ZA ONE KOJE NE MOGU DA GOVORE, Bosnia-Herzegovina, 2013) by Jasmila Žbanić, in which an Australian tourist discovers traces of wartime atrocities, including rape, in a presumably idyllic little town on the border between Bosnia and Serbia.


There are also many interesting positions to be discovered in the lecture series: In FEMINISM – THAT WAS NO PEJORATIVE IN THE GDR, Author and curator Cornelia Klauß (Berlin) contrasts DEFA productions from female filmmakers with works from East Germany's experimental underground scene. With Prague-based feminist, film director, screenwriter and journalist Pavla Frýdlová as our guide, we will take a look at all things Chytilová, one of the leading protagonists of the Czechoslovakian New Wave: CZECH CINEMA AND FEMINISM – THE CASE OF VĚRA CHYTILOVÁ questions among other things whether not only Chytilová's universally lauded DAISIES but also THE APPLE GAME (HRA O JABLKO, Czechoslovakia 1976), which will be screened in the Symposium, can make claims to being a feminist work. By contrast, the work of Vera Stroeva (1901-1993) is acutely reluctant in its feminism: In his lecture IN THE MIDDLE OF THE MIGHT – VERA STROEVA'S OTHER FEMALE INDEPENDENCE, Cologne-based film critic and programmer Olaf Möller will shed light on the life and work of this Soviet "system" director who was consistently denied the limelight.

Also featured in the lecture program:

Beata Hock, PhD, cultural studies scholar and art historian, Leipzig

Agnieszka Wiśniewska, activist, feminist and journalist, Warsaw

Barbara Wurm, Slavist and author, Berlin

Featured participants in the panel discussions and talks include:
Salomé Alexi (director, Hamburg)
Masha Godovannaya (experimental filmmaker, St. Petersburg)
Lana Gogoberidze (director, Tiflis)
Agnieszka Holland (director, Warsaw)
Márta Mészáros (director, Budapest)
Mima Simić (author, activist, Zagreb)

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