20. UNDER|DOX 09-15 OKT 2025

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  • In focus: AFGHANISTAN

    • Solidarity Screening: FAR FROM AFGHANISTAN (Oct, 13 2021 5:00 pm Werkstattkino)
    • Memories of Afghanistan
    • Afghan Voices: We Will Live Again
    • Call of help by Sahraa Karimi, Director of the Afghan Film Institute

    Solidarity Screening: Far From Afghanistan (2012)

    © Far From Afghanistan

    John Gianvito, Jon Jost, Yoo Soon-mi, Minda Martin, Travis Wilkerson

    USA / AF 2012
    129 min | HD | English, Paschtu, Dari
    E: John Gianvito, Pacho Velez, Rob Todd | S: Travis Wilkerson, John Gianvito, Jon Jost, Minda Martin, Yoo Soon-mi, Afghan Voices | P+Sales: Traveling Light Productions

    wednesday 13 oct 5.00 pm werkstattkino | Entrance fee: 10 Euro
    Revenues go to the International Rescue Committee (IRC) | de.rescue.org

    guest: Ali Khorosh Fazli Bayat (KINO ASYL)

    An inventory of the psycho-physical damage left by the war in Afghanistan. It’s 2012, as we now know today about halfway through the military campaign. Critically, the effects of the war on people are being reappraised: Adults and children, Afghans and U.S. military personnel. A statement of solidarity with the Afghan people and the victims of the war.

    John Gianvito | My Heart Swims in Blood
    A mosaical journey through a dark night of the soul.
    Jon Jost | Empire’s Cross
    A poetic evocation of the circumstances instigating America’s attack on Afghanistan
    Minda Martin | The Long Distance Operator
    About a drone pilot in Palmdale, California, who learns about the impact of his role in the war in Afghanistan.
    Travis Wilkerson | Fragments of Dissolution
    A poetic, anguished cry from the heart of a rotting empire.
    Yoo Soon-mi | Afghanistan: The Next Generation
    Archival footage from different historical moments.

    Memories of 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.” Filmmaking in Afghanistan, she said, is in danger; much of its cinematic heritage was already destroyed in 1996 when the Taliban invaded Kabul. This upsetting news reminded us of the film FAR FROM AFGHANISTAN which was part of the 8th UNDERDOX Festival programme. It was made directly from inside the war machine, as a collective project of American independent directors John Gianvito, Jon Jost, Minda Martin, Travis Wilkerson and Yoo Soon-mi. They deliberately followed up on the legendary LOIN DU VIETNAM (1967), directed by Joris Ivens, Claude Lelouch, Chris Marker and Agnès Varda, among others. John Gianvito writes us 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”.

    On September 23, this message comes from Sahraa Karimi via Twitter: “I am now officially Former Afghan Film Director General. Done.”

    UNDERDOX shows FAR FROM AFGHANISTAN (2012) in a solidarity screening. Entrance fee: 10 €.
    Revenues go to the International Rescue Committee (IRC).
    de.rescue.org

    Call of Help by Sahraa Karimi,
    Director of the Afghan Film Institute

    My full statement at ⁦@UNHumanRights⁩ in Geneva that happened yesterday.

    “As a nation betrayed by the whole world, we Afghans can only plead with you to stand close with us since you have decided not to stand with us”#sanctionpakistan#freeafghanistan#standwithpanjshir pic.twitter.com/wWIjotu0hC

    — Mariam Solaimankhil (@Mariamistan) September 23, 2021

    August, 13 via Social Media

    To All the Film Communities in The World and Who Loves Film and Cinema!

    My name is Sahraa Karimi, a film director and the current general director of Afghan Film, the only stated-owned film company established in 1968.

    I write to you with a broken heart and a deep hope that you can join me in protecting my beautiful people, especially filmmakers from the Taliban. In the last few weeks, the Taliban have gained control of so many provinces. They have massacred our people, they kidnapped many children, they sold girls as child brides to their men, they murdered a woman for her attire, they gauged the eyes of a woman, they tortured and murdered one of our beloved comedians, they murdered one of our historian poets, they murdered the head of culture and media for the government, they have been assassinating people affiliated with the government, they hung some of our men publicly, they have displaced hundreds ofthousands of families.

    The families are in camps in Kabul after fleeing these provinces, and they are in unsanitary condition. There islooting in the camps and babies dying because they don’t have milk. It is a humanitarian crisis, and yet the world is silent. We have grown accustomed to this silence, yet we know it is not fair. We know that this decision to abandon our people is wrong, that this hasty troop withdrawal is a betrayal of our people and all that we did when Afghans won the Cold War for the west. Our people were forgotten then, leading up to the Taliban’s dark rule, and now, after twenty years of immense gains for our country and especially our younger generations, all could be lost again in this abandonment.

    We need your voice. The media, governments, and the world humanitarian organizations are conveniently silent as if this “Peace deal” with the Taliban was ever legitimate. It was never legitimate. Recognizing them gave them the confidence to come back to power. The Taliban have been brutalizing our people throughout the entire process of the talks. Everything that I have worked so hard to build as a filmmaker in my country is at risk of falling. If the Taliban take over they will ban all art. I and other filmmakers could be next on their hit list. They will strip women’s rights, we will be pushed into the shadows of our homes and our voices, our expression will be stifled into silence.

    When the Taliban were in power, zero girls were in school. Since then there are over 9 million Afghan girls in school. This is incredible Herat, the third-largest city which just fell to the Taliban had nearly 50% women in its university. These are incredible gains that the world hardly knows about. Just in these few weeks, the Taliban have destroyed many schools and 2 million girls are forced now out of school again.

    I do not understand this world. I do not understand this silence. I will stay and fight for my country, but I cannot do it alone. I need allies like you. Please help us get this world to care about what is happening to us. Please help us by informing your countries’ most important media what is going on here in Afghanistan. Be our voices outside Afghanistan. If the Taliban take over Kabul, we may not have access to the internet or any communication tool at all.

    Please engage your filmmakers, artists to support us to be our voice.This war is not a civil war, this is a proxy war, this is an imposed war and it is the result of the US deal with the Taliban. Please as much as you can share this fact with your media and write about us on your social media. The world should not turn its back on us. We need your support and your voice on behalf of Afghan women, children, artists, and filmmakers. This support would be the greatest help we need right now. Please help us get this world to not abandon Afghanistan. Please help us before the Taliban take over Kabul. We have such little time, maybe days. Thank you so much. I appreciate your pure true heart so dearly.

    With regard,

    Sahraa Karimi

    Afghan Voices: We Will Live Again

    By Ashya B.

    I promise you I will hold your hands again.
    I promise you we will meet forever.
    We will survive, no matter that the Taliban is here.

    I promise you we will breathe the fresh air again.
    We will walk along the beach with big smiles on our faces.
    And drink coffee in the café where we used to drink coffee before.
    Go outside without fear and without Chadari
    We will wear colorful clothes.
    Laugh out loud on the street again.

    I promise you we will sit together again, gossiping about colleagues.
    And visit each other secretly, staying awake till late in the night.
    We will shop for each other.
    And imagine our future together once again.

    I promise you we will argue about choosing our kids’ names.
    We’ll eat milky cake in the restaurant.
    Talk on the phone over my balcony till midnight.
    And even chitchat all night.

    I promise you we will fight about stupid things.
    And make up after each dispute.
    I promise you we will do silly things on the street.
    And I’ll make you jealous again in the workplace.
    But you will make me feel special with surprises.

    I promise you we will meet again.
    And we will live again.
    No matter how hard the time or how long it takes.
    This I know, the time will come.
    And I will fulfill all my promises.


    afghanvoices.medium.com

    Festival

    28. September 2021
  • Was sehen wir,wenn wir zum Himmel schauen?(Ras vkhedavt, rodesac cas vukurebt?)

    © Alexandre Koberidze | Was sehen wir, wenn wir zum Himmel schauen?

    Alexandre Koberidze

    DE / GE 2021 | FIPRESCI Award, Berlinale Int. Competition 2021
    150 min | HD | Georgian
    Sc+E: Alexandre Koberidze | DOP: Faraz Fesharaki | S+SD+M: Giorgi Koberidze | P: Ketevan Kipiani, Anna Dziapshipa, Luise Hauschild | Distribution (DE): Grandfilm | With Ani Karseladze, Giorgi Bochorishvili, Oliko Barbakadze, Giorgi Ambroladze, Vakhtang Panchulidze, Sofio Tchanishvili, Irina Chelidze, David Koberidze, Sofio Sharashidze

    sunday 9 oct 7.00 pm filmmuseum münchen | guest: Alexandre Koberidze

    It is the poetry of aimlessness that enables Alexandre Koberidze to make visible and narratable in cinema everything that we rarely perceive in the reality of our everyday lives. Get your lighters out because, as Gianna Nannini is allowed to sing so fervently in this gem of a film, the nights are indeed magical. (Berlinale 2021)

    Alexandre Koberidze Born 1984 in Tbilisi. Studied at the University of Film and Theater in Tbilisi, then at the German Film and Television Academy Berlin (dffb).

    Filme Der Fall 2014 | Colophon 2015 Der perfekte Zuschauer 2017 | Lass den Sommer nie wieder kommen 2017 (12. UX) | Was sehen wir, wenn wir zum Himmel schauen? 2021

    Festival

    27. September 2021
  • Ushiku

    © Thomas Ash | Ushiku

    Thomas Ash

    JP 2021 | Asian Perspective Award, DMZ Docs Film Festival, South Korea 2021
    87 min | HD | Japanese, English
    DEP+E+P+Sales: Thomas Ash

    monday 11 oct 17.00 werkstattkino

    The Ushiku deportation prison near Tokyo mainly holds people seeking refuge in Japan. Using a hidden camera, award-winning filmmaker Thomas Ash interviewed inmates there from late 2019. His film publicly accuses Japan’s uncompromising refugee policy through one of the country’s biggest human rights scandals. Ushiku has been making international headlines for years. (Nippon Connection)

    Thomas Ash b. 1975, USA. MA in Film and Television Production at the University of Bristol, UK. He has been living in Japan for 20 years.

    Films (selection) In the Grey Zone 2012 | A2-B-C 2013 | Dying at Home 2016 | Suturing Cultures 2017 | Boys for Sale 2017 | Sending Off 2019 | Ushiku 2021

    Festival

    27. September 2021
  • Über Deutschland (On Germany)

    © Bernhard Sallmann | Über Deutschland

    Bernhard Sallmann

    DE 2021
    82 min | HD | German
    Sc: Bernhard Sallmann | DOP: Reiner J. Nagel | E: Christoph Krüger | S: Klaus Barm | M: Tomas Bächli | P+Sales: ostwärts-film | With Judica Albrecht

    sunday 10 oct 11.00 theatiner filmkunst | guest: Bernhard Sallmann

    The 17-year-old Russian Marina Tsvetaeva spends the summer of 1910 in the sanatorium town of Loschwitz near Dresden. In 1919, in the Russia of wartime communism, she recalls this time and overlays it with a praise of German culture. She is on the verge of becoming one of the most important writers of the 20th century. (Crossing Europe)

    Bernhard Sallmann born 1967 in Linz /Austria. Studied journalism, German studies and sociology in Salzburg and Berlin, studied film directing at the HFF “Konrad Wolf” Potsdam-Babelsberg. In his films he deals mainly with themes from his adopted home Berlin and the Brandenburg surroundings.

    Filme (Auswahl) L. schweigt 2003 | Die Lausitz 20×90 2004 | Träume der Lausitz 2009 | Das schlechte Feld 2011 | Die Welt für sich und die Welt für mich. 2013 (9. UX) | Sevan 2014 | Fastentuch 1472 2015 | Havel-Quadrologie 2016 – 2019 | Über Deutschland 2021

    Festival

    27. September 2021
  • Le temps des autres (The Time of Others)

    © Claire Angelini | Le temps des autres

    Claire Angelini

    FR 2020 | German Premiere
    123 min | HD | French
    DOP: Claire Angelini, Stéphane Degnieau | S: Claire Angelini | P+Sales: Albanera

    tuesday 12 oct 17.00 werkstattkino | guest: Claire Angelini

    A film as a long journey, 300 km far from Paris: while archaeologists of the center of European archaeology in Bibracte are looking in the mountain after indecipherable bits of our former humanity, absent people in the plain have left behind them recent remains that we no longer even know how to decipher. Progressively emerges the sense of the presence and disappearance of the foreigners in this territory, Spanish, Polish – who were the most advantageous and exploited workforce. Tracing their presence buried in this post-industrial landscape recalls places and beings, developing another history as an act of resistance. The practice of archeology observed in parallel with this quest, opens a reflection on history as materiality. (Claire Angelini)

    Claire Angelini born 1969 in Nice. Studied at the Academy of Arts and the Sorbonne in Paris. She uses film, photography, installation and drawing to question the relationship between art, politics and history under the category of trace, ruin, memory and survival of images. Her work is situated in the connection between historical records and contemporary issues. She lives and works in Paris and Munich.

    Filme (Auswahl) Par l’eau et par le feu 2010 (5. UX) | La guerre est proche 2011 (6. UX) | Et tu es dehors 2012 (7. UX) | Ce gigantesque retournement de la terre 2015 (10. UX) | Toi qui 2018 (13. UX) | Rire, jouer, mourir 2019 (14. UX) | Topographie des Terrors 2020 (15. UX) | Le temps des autres 2020

    Festival

    27. September 2021
  • A River Runs, Turns, Erases, Replaces

    © Zhu Shengze | A River Runs, Turns, Erases, Replaces

    Zhu Shengze

    USA 2021 | Caligari Award, Berlinale Forum 2021
    87 min | HD | English
    DOP: Zhu Shengze, Yang Zhengfan | E: Zhu Shengze | S: Aymeric Dupas | P: Burn the Film | Sales: Pascale Ramonda

    wednesday 13 oct 18.00 theatiner filmkunst

    March 2020, a Wuhan street literally comes to a halt, passers-by stop moving at the sound of a siren. A few moments later, they set off again on their way. Like many others, this city came to a stop this year but has since come back to life. The currents of the Yangtze river, however, have not weakened. The river, which crosses the city and region, runs through and structures the wide static shots of Shengze Zhu’s film. The peaceful images leave us time to explore and take our bearings. Barely changing the shot scale, she builds a landscape film, a river film, to trace back and observe the anatomy of the territory. On the surface of the shots, letters appear. They talk about recent bereavements due to the Covid epidemic and the inhabitants’ pain. And while the face of Wuhan becomes disfigured, the river bed does not forget. (Cinéma du Réel)

    Zhu Shengze b. 1987 in Wuhan, China. Co-founder of the production company Burn the Film. She is a filmmaker and producer based in Chicago, USA. Zhu stands for the poeticizing documentary that focuses not on the subject but on the way the world is seen.

    Filme Out of Focus 2014 | Another Year 2016 | Present.Perfect. 2019 | A River Runs, Turns, Erases, Replaces 2021

    Festival

    27. September 2021
  • Pebbles (Koozhangal)

    © P.S. Vinothraj | Pebbles

    P.S. Vinothraj

    IN 2021 | Tiger Award, Rotterdam 2021
    75 min | HD | Tamil
    Sc: P.S. Vinothraj | DOP: Jeya Parthiban, Vignesh Kumulai | E: Ganesh Siva SD: Hari Prasad | M: Yuvan Shankar Raja | P+Sales: Rowdy Pictures | With Karuththadaiyaan, Chellapandi

    tuesday 12 oct 18.00 theatiner filmkunst

    The inhabitants of the village Arittapatti in southern India depend entirely on agriculture, which has suffered terribly due to a long drought. The fields have become deserts and the skinny livestock eat the last leaves. The women catch and roast rats or wait for hours until it is their turn to pull muddy water from the well. The men hang around, play cards and sleep. One of the latter is Ganapathy, a chain-smoking drunk with a permanent frown. His wife has fled the home and his domestic violence, but he is determined to fetch her back from her village. He forces his young son to join him. A constant sense of anger and the threat of violence raise the temperature even more in the desolate landscape, filmed as beautiful, yet forbidding. The father-son relationship is deeply disturbed, yet they are inexorably drawn together. It seems inevitable that the still-innocent boy will go down the same path his father did. Their pointless journey illustrates the disruptive influence of grinding poverty. (IFFR)

    P.S. Vinothraj While working in a DVD store in Chennai, he met people from the Tamil film industry. He became an assistant director on two films by A. Sargunam. Assistant director at the theater. PEBBLES is his feature film debut.

    Films Pebbles 2021

    Festival

    27. September 2021
  • Outside Noise

    © Ted Fendt | Outside Noise

    Ted Fendt

    DE / SK / AT 2021 | German Premiere
    61 min | 35mm | German
    Sc: Daniela Zahlner, Mia Sellmann, Ted Fendt | DOP: Sage Einarsen, Britni West, Jenny Lou Ziegel | E: Ted Fendt | S: Johannes Schmelzer-Ziringer, Melissa Dullius, Sean Dunn, Daniel D‘Errico | P+Sales: Zsuzsanna Kiràly | With Daniela Zahlner, Mia Sellmann, Natascha Manthe, Genevieve Havemeyer-King

    sunday 10 oct 19.30 werkstattkino | guest: Daniela Zahlner

    Back from a trip to New York City, Daniela pays a visit to her friend Mia in Berlin. Jetlag makes her insomnia even worse. Mia also has trouble sleeping, she is tired of “these empty days where nothing happens”. A few months later, Mia and Natasha go spend a few idle days at Daniela’s apartment in Vienna. What may seem like a careless stroll at first is in fact dark and anxious underneath. Actually, that very tension between latent anxiety and plain casualness is what makes this Stimmungsfilm beautiful. The dialogues, written by the director and actresses, spin the tight web of self fiction on which the three young women get trapped. Deciding whether to have some tea or not, to finish a Master dissertation or not, to visit such-and-such museum in cities that blend into the same dreariness – in this sad comedy of equivalence, existence itself seems to come down to playing tourist in limbo, and going in circles to the sound of outside noise. (Cyril Neyrat)

    Ted Fendt born 1989 in Philadelphia, USA. He studied at New York University / USA and spent a lot of time in the city’s art house cinemas before working as a projectionist himself for many years. Since moving to Europe, he has been working on a series of 16mm portraits of places he has lived. He lives in Berlin and Vienna. In 2019 he was UNDERDOX Artist in Focus.

    Films Short Stay 2016 | Classical Period 2018 (14. UX) | Outside Noise 2021 (14. UX)

    Festival

    27. September 2021
  • The Lobby

    © Heinz Emigholz | The Lobby

    Heinz Emigholz

    DE / AR 2020 | German Premiere
    76 min | HD | English
    Sc: Heinz Emigholz | DOP: Heinz Emigholz, Jonathan Perel | E: Till Beckmann, Heinz Emigholz | S: Esteban Bellotto | P: Jonathan Perel, PYM Films | Distribution: Filmgalerie 451 | With John Erdman
    pym.de

    saturday 9 okt 19.30 werkstattkino

    While officially regarded by prolific maestro Heinz Emigholz as a “sequel” to THE LAST CITY this one-man tour-de-force starring veteran actor John Erdman functions splendidly on its own. Erdman here incarnates a hyper-articulate character simply credited as “Old White Male.” Our protagonist is presented in comfortable Buenos Aires apartment-building lobbies, holding forth in erudite, sardonic fashion on mortality – and through this dark prism examining the state of humanity. THE LOBBY is a virtuoso cine-monologue of an indelibly witty and stimulating stripe, self-referential and self-deconstructing. Once again teaming up productively with Jonathan Perel, Emigholz crafts an elegant frame for a sardonic, occasionally poetic exploration of fundamental ideas. (Neil Young)

    Heinz Emigholz born 1948 in Achim near Bremen. Since 1973 freelance filmmaker, visual artist, cinematographer, author, publicist and producer. From 1993 to 2013 he held the chair for Experimental Film Design at the Berlin University of the Arts. Co-founder of the Institute for Time-Based Media and the Art and Media program there. Since 2012 member of the Visual Arts Section of the Academy of Arts in Berlin. He was UNDERDOX Artist in Focus 2017.

    Films (selection) Normalsatz 1978 / 81 | Die Basis des Make-up 1979 / 85 | Der zynische Körper 1986 / 91 | Goff in der Wüste 2003 | D’Annunzios Höhle 2005 | Loos ornamental 2008 | Parabeton 2012 (7. UX) | The Airstrip 2014 | Le Corbusier 2015 | Streetscapes [dialogue] 2017 (12. UX) | 2+2=22 [The Alphabet] 2017 (12. UX) | Die letzte Stadt 2020 | The Lobby 2021

    Festival

    26. September 2021
  • Landscapes of Resistance

    © Marta Popivoda, Landscapes of Resistance

    Marta Popivoda

    RS 2021
    95 min | HD | Serbian
    Sc: Marta Popivoda, Ana Vujanović DOP: Ivan Marković | E: Jelena Maksimović SD: Jakov Munižaba | P+V: Bocalupo Films | With Sofija Sonja Vujanović, Ivo Vujanović, Ivanka Maksović
    martapopivoda.info

    thursday 7 oct 7.00 pm filmmuseum münchen | opening | guests: Marta Popivoda, Ivan Marković

    Sonja was one of the first female partisans in Serbia and helped lead the resistance in Auschwitz. Archival material is conspicuously absent. Sonja also makes scant appearances. While we hear her voice-over, the camera travels to spots the stories could have taken place. A landscape is given Sonja’s voice: grass and trees, a crack in the wall, slates off an old farm shed, deer grazing in the distance, even the chimney that is still standing. Sometimes images are augmented by drawings and journal-like entries from Sonja’s granddaughter, who also wrote this film’s script.

    Marta Popivoda b. 1982 in Serbia. Her work explores tensions between memory and history, collective and individual bodies, and ideology and everyday life, with a focus on anti-fascist and feminist potentials of Yugoslav socialism. She is part of the collective TkH (Walking Theory). In addition to her films, she has realized numerous installations. She received the prestigious Berlin Art Award for Visual Arts from the Academy of Arts Berlin and the Edith Russ House Award for Emerging Media Artists. She lives and works in Berlin and Amsterdam.

    Filme (Auswahl) Yugoslavia, How Ideology Moved Our Collective Body 2013 (8. UX) | Landscapes of Resistance 2021

    Festival

    26. September 2021
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