Here you can already browse around online!
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Das full program!
Now online! Here you can find the complete UNDERDOX program of the 17th edition!
There are 16 feature films and countless shorts, from 15 countries from almost all continents: Argentina, Bolivia, Germany, France, Italy, India, Kazakhstan, Lithuania, Ukraine, USA, Russia, Serbia, Spain, Austria, Philippines. With 7 German premieres!
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Artist in Focus 2022: Harald Vogl
Dear Jimmy, Courtesy The Museum of Modern Art, New York “No Wave”: Under this slogan UNDERDOX presents its ARTIST IN FOCUS this year Harald Vogl and his “New York Trilogy”. Vogl came to the Munich Academy of Arts in the seventies, where he studied painting with Günter Fruhtrunk. At the end of his studies he showed white canvases, “empty pictures”, hinge works to his already started intensive film work, which lasted until 1988. In New York he came into contact with the “No Wave” scene around the legendary Club 57 in East Village and became part of the post-punk period and the “Cinema of Transgression”. In 1975 he showed his films for the first time in Jonas Mekas’ “Anthology Film Archives”, even before creating a New York trilogy with “Only You” (1981), “OK Today Tomorrow” (1983) and “Measure Taken” (1984), preceded by “Dear Jimmy” (1978), a classic of No Wave.
Underdox shows the “New York Trilogy” in the copies restored by the Museum of Modern Art as a German premiere. Harald Vogl is a guest!
Read more… -
VIDEODOX Special Events
Saturday 16.10.2021 11 am: Performance “100 ways to be inside a rectangle [VIDEODOX version]” by Sara Mayoral Jimenez
Künstlerinnengespräch: Elena Alvarez Lutz und Sara Mayoral Jimenez Saturday 16.10.2021 3 pm: Reading by Jovana Reisinger from her novel “Spitzenreiterinnen”.
Sunday 17.10. 2 p.m. Talk with “REVÜ – Flugblatt für Cinephilie”: Art between Cinema and Gallery – Possibilities and Perspectives of Cinematic Expressions
Mehr Gesprächskreis als Panel, mit nahtlosem Übergang zu den Zuhörenden 
Es diskutierten (v.l.): Franziska Unger, Camille Tricaud, Stephan Vorbrugg, Nicole Leykauf, Dominik Bais (Filmkollektiv) 
Es moderierten: Emil Klattenhoff, Carlotta Wachotsch (REVÜ), Dunja Bialas (VIDEODOX) Sunday 17.10.21 4 p.m. Awarding of the VIDEODOX Promotional Prize 2021.
The prize goes to Melina Hennicker, Michael Schmidt, Andreas Woller for “kirchmoarhof-d”.
Die Zeremonie ist im Gang (v.l.): Peider Defilla (Preisstifter, B.O.A. Videofilmkunst), Andreas Woller, Michael Schmidt, Felix Burger (Jury), Melina Hennicker 
v.l.: VIDEODOX-Förderpreis-Stifter Peider Defilla, Andreas Woller, Michale Schmidt, Melina Hennicker 
Die Gewinner-Arbeit: kirchmoarhof-d von Melina Hennicker, Michael Schmidt, Andreas Woller Impressions
Baby Ice in Jovana Reisinger: “Die klaffende Wunde” 
Baby Ice in Camille Tricaud/ Franziska Unger: “Apocalypse Baby” -
VIDEODOX Special Events 16 & 17 okt 2021
© Ulu Braun | Das Glitzern im Barbieblut On the theme of “Transgressiveness – Video Art between the Arts”, VIDEODOX invites you to various events this weekend that focuses on the change of media.
Saturday, Oct 16, 2021:
11 am Performance by Sara Mayoral Jimenez „100 ways to be inside of a rectangle – VIDEODOX Version“
15 Uhr Lecture by Jovana Reisinger from her novel „Spitzenreiterinnen“ (Verbrecher Verlag), nominated for the Bavarian Book Award 2021
5 pm guided toursSunday, Oct 17, 2021:
2 pm Talk with “REVÜ – a magazine for film” on the topic: Art between cinema and gallery – possibilities and perspectives of cinematic expression
On the panel:
Nicole Leykauf, producer
Camille Tricaud, Franziska Unger (HFF students)
Dominik Bais (Academy of the Fine Arts)
Stephan Vorbrugg, producer
4 pm Award Cerenomy -
3Gplus, 3G with distance, 3G with mask
Corona makes things complicated, let’s keep it simple.
Since yesterday’s opening, the Filmmuseum München practises 3Gplus, i.e. only vaccinated, recovered people or those who can show a negative PCR test can enter the hall. There is free seating, in principle any seat can be taken. However, we do ask you to keep a seat free to your (unknown) neighbor so that everyone feels comfortable. There is no need to wear a mask in the hall.In the Theatiner the 3G rule with distance applies: only vaccinated, recovered and those who can show a negative test are allowed into the hall. Self-testing does not apply.
The visitors are placed in the hall with a distance of 1.5 meters and can take off their masks.In the Werkstattkino we have chosen 3G with mask due to the small number of seats. Only vaccinated, recovered and those who can show a negative test can enter the hall. Self-testing does not apply. In principle, any seat can be taken. The mask must be kept on even during the movie.
The rules follow the updated 14th Bavarian Infection Protection Measures Ordinance, which has been in effect since 6.10.21.
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The UNDERDOX Trailer 2021
If the 2021 trailer looks familiar to you, you are right: Already in 2020, in our first edition under Corona regulations, we had chosen DISTANCE FILM by Siegfried A. Fruhauf – this year our Artist in Focus! As long as Corona has a decisive influence on the realization of our festival, this is our credo, the festival trailer will remain the same. As a cautionary mantra that accompanies us.
The current Corona rules for visiting UNDERDOX are as follows:
Theatiner Filmkunst: 3G, contact details must be left with the cinema, 1.5 meter distance in the cinema hall, no mask must be worn.
Filmmuseum München: 3G, contact details must be left with the cinema, 1.5 meter distance in the cinema hall, no mask must be worn.
For the opening, we are considering exceptionally resorting to the possibility of 3Gplus, which as of today is available for cultural events, so that everyone can be let into the hall. We would then go to the checkerboard pattern since a long time desired by the cinemas (1 meter distance). There is no need to wear a mask.
Werkstattkino: 3G, contact details must be left with the cinema, all seats are taken in the cinema hall, a medical face mask must be worn.All rules follow the framework and regulations of the current “14. Bayerischen Infektionsschutzmaßnahmenverordnung” of 5.10.2021.
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Country Focus: AFGHANISTAN
On August 13, Sahraa Karimi, director of the Afghan Film Organization, launched a call for help: “Do not let Afghan cinema die. Even if you are in exile.” Then a few days ago, on September 23, the news comes through Twitter, “I am now officially Former Afghan Film Director General. Done.” Six weeks lie in between.
Back in 2013, UNDERDOX screened the collective film FAR FROM AFGHANISTAN, which was modeled after LOIN DU VIETNAM (1967). One of the directors of the film, John Gianvito, is writing UNDERDOX today: ”In my view our film has, sadly, lost little of its relevance. I’ve been regularly in touch the past weeks with one of the members of AFGHAN VOICES who filmed many of the sequences in the film and sadly he and his family were unable to leave the country despite repeated efforts to get through the crowds at the Kabul airport. Just one of the thousands of stories out there, though we are continuing to pursue alternative solutions”.
UNDERDOX presents FAR FROM AFGHANISTAN in a solidaric screening.
wednesday 13 oct 5.00 pm werkstattkino | entrance fee: 10 Euro
Revenues go to International Rescue Committee (IRC)
Guest: Ali Khorosh Fazli Bayat (KINO ASYL)
© Far From Afghanistan -
Long Shorts
Short as long as it takes! Medium-length films are the borderline films between long and short films. In four programs we show the power of the right measure.
Long shorts 01: Mavericks | friday 8 oct 5 pm werkstattkino
© Mo Rhozyel, Christoph Philipp Gehl MENSCH HORST (2020) by Mo Rhozyel and Christoph Philipp Gehl. „X“ (2020) by Mareike Wegner
Long shorts 02: Dark Matters | friday 8 oct 9:30 pm werkstattkino
© Isabell Heimerdinger | Soon it will be dark SOON IT WILL BE DARK (2020) by Isabell Heimerdinger with DOP Ivan Marković (see the UNDERDOX opening film LANDSCAPES OF RESISTANCE). LUCES DEL DESIERTO (LIGHTS OF THE DESERTS) (2021) by sound recordist Félix Blume. DARK MATTER (2020) by Viktor Brim.
Long shorts 03: Analogue Paradises | saturday 09 oct 5 pm werkstattkino
© Eva Giolo | Flower Blooming in Our Throats FLOWER BLOOMING IN OUR THROATS (2020) by Eva Giolo. GIESSEN IN DIE VERLORENE FORM (2021) by Josef Graßl. REVUE AUTOMATIQUE (DIE BESUCHER) (2021) by Nicola Müller.
ALL OTHER THINGS EQUAL (2020) by Anya Tsyrlina. ALL THE STOPS (2020) by Josef Dabernig.Long shorts 04: Brex it! | tuesday 12 oct 7:30 pm werkstattkino
© John Smith | Covid Messages DIVIDED BY LAW (2021, 26 min) by Katie Davies and Emma Agusita. COVID MESSAGES (2020) by John Smith (UNDERDOX ARTIST IN FOCUS 2015). SURVIVING YOU, ALWAYS (2021) by Morgan Quaintance.
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Fragility (2): Werkstattkino
Also at Werkstattkino München, the cradle of UNDERDOX, the theme of FRAGILITY runs through the selected films in a multi-layered way. Viewing and reception habits shift, and the viewer is also put in a state of fragility – UNDERDOX is the festival that opens eyes.
MEXICO, ARGENITINIA: Nicolás Pereda, Heinz Emigholz
© Nicolás Pereda, Fauna In FAUNA, Mexican director Nicolás Pereda overwhelms with subtle narrative sophistication. An actor from the series “Narcos” meets a literature obsessive with a yellow Reclam book when he wants to buy cigarettes in a lonely village in Mexico.
In Heinz Emigholz’s latest stroke of genius THE LOBBY, an “Old White Male” inhabits the lobbies of various apartment buildings in Buenos Aires. Absurd, grotesque, then again very reasonable, he expresses himself in a monologue about death, consciousness and human relationships.BLOODSUCKERS: Norbert Pfaffenbichler, Tim Leyendekker, Julian Radlmaier
© Julian Radlmaier, Blutsauger UNDERDOX does not stop at genre cinema either. The fragile figures in Norbert Pfaffenbichler‘s silent horror film “2551.01”, in which “everything is dirty, bare, cold, stripped, but more than that, the people are not only ‘dressed’ in rags, their bodies are virtually disintegrating into shreds, have a disturbing effect. The film is flawless gore that relies on repulsion and sends the human spirit into a wild mental roller coaster ride.” (artechock)
In his staged documentary FEAST, Tim Leyendekker uses the “Groningen HIV Case” to circle the perverted yet humane shades of a deadly love affair.
In BLUTSAUGER by Julian Radlmaier, a summer romance unfolds on uncertain terrain: Vampires plumb the physical and spiritual boundaries at the time of Eisenstein and Trotsky.DOCUMENTARIES: John Gianvito, Thomas Ash, Claire Angelini
© John Gianvito, Her Socialist Smile In HER SOCIALIST SMILE, the American documentary filmmaker John Gianvito uses sound, film, and written documents to tell the story of deaf-blind Helen Keller (1880-1968), who became one of the most important anti-capitalist intellectuals, as she found her way through language and thought.
Using a hidden camera, Thomas Ash captured the uncompromising refugee policy and one of the country’s human rights scandals in the deportation prison near Tokyo for USHIKU.
In Claire Angelini’s THE TIME OF OTHERS, archaeologists search for remnants of our past humanity at Mont Beuvray in Burgundy. The landscape bears multi-layered witness to cultural migration.FRIENDS: Ted Fendt, Caroline Pitzen, Ludwig Wüst, Guillermo Benet
© Caroline Pitzen, FREIZEIT oder: das gegenteil von nichtstun The master of laconism Ted Fendt was UNDERDOX’s “artist in focus” two years ago. His latest film OUTSIDE NOISE is about the restless Daniela, who has just returned from a trip abroad and is now drifting through Vienna with two friends, rather disoriented.
The diverse neighborhood in which the young protagonists of Caroline Pitzen’s debut film FREIZEIT OR: DAS GEGENTEIL VON NICHTSTUN grew up is one big construction site where people have to give way to each other’s dreams. They drift through Berlin and ask themselves how they can live in this city in the future.
In 3.30 PM, Ludwig Wüst leaves the filming partly to a bodycam. Two friends, Martin and Anthony, meet again after 15 years, a traumatic experience comes back.
In his debut film LOS INOCENTES, Spaniard Guillermo Benet uses the famous multi-perspective “Rashomon” narrative style. In a squat, a concert is abruptly interrupted by police intervention and the young people are driven into a violent confrontation. In the end, there are no certainties, even the truth is fragile.
