The 34th DOK.fest Munich
This long-running German nonfiction event presents approximately 140 new features.
THE WAR IN ME
German-language features face off in the DOK.deutsch competition, including world premieres such as: Thomas Ladenburger’s I AM ANASTASIA
, a portrait of the first MTF commanding officer in the German armed forces; Elke Margarete Lehrenkrauss’ LOVEMOBIL
, a heimat film focused on sex workers; Sebastian Heinzel’s THE WAR IN ME
, in which the filmmaker explores his family’s wartime past; Lena Leonhardt’s HIGHFLYERS
, on the global market for pigeons; and Jörg Haaßengier and Jürgen Brügger’s MASTER OF DISASTER
, which explores disaster simulations.
THE SISTERS OF ROCINANTE
World premieres in the DOK.international competition include: Andreas Hoessli’s THE NAKED KING: 18 FRAGMENTS ABOUT REVOLUTION
, a personal reflection on the simultaneous Polish Solidarity and Iranian Revolution movements; Alexandra Kaufmann’s THE SISTERS OF ROCINANTE
, a portrait of three young Spanish women and their relationships with animals; and Mirjam Leuze’s THE WHALE AND THE RAVEN
, about Canadian First Nation peoples’ relationship with whales.
Films from developing and emerging countries are the focus of DOK.horizonte, which offers: Francesca Scalisi and Mark Olexa’s DIGITALKARMA
, about a Bangladeshi girl who wishes to become a businesswoman before she marries; Elpida Nikou Rodrigo Hernández’s SHOOTING
, a profile of a Mexican photojournalist forced into exile; and Michel K Zongo’s NO GOLD FOR KALSAKA
, about the broken promises made to Burkina Faso to exploit the country’s gold.
The Student Award presents a number of world premieres, including: Anna-Sophia Richard’s IN MY SKIN
, a female-focused view of domestic violence; Katharina Kraft’s EYE CANDY
, a portrait of a female wrestler in love; and Jan Prazak’s ANOTHER LIFE
, a profile of a animal-loving hermit in Ireland.
THE GRAND HOTEL BALLET
The non-competitive DOK.panorama section includes world premieres like Christoph Röhl’s DEFENDER OF THE FAITH
, on the rise and fall of Pope Benedict XVI; and Hubertus Siegert’s CHILDREN OF UTOPIA
, in which former schoolmates reflect on their experiences in a class that integrated differently-abled students within the mainstream; international premieres such as Jacques Deschamps’ THE GRAND HOTEL BALLET
, a documusical about workers in a French hotel; and German premieres including Marko Raat’s FUNERAL DIARIES
, a portrait of Estonian priests in shrinking immigrant communities in Canada; Tanja Brzakovic’s THE CHINESE WILL COME
, about the Chinese presence in Serbia; and Nathalie Borgers’ THE REMAINS: AFTER THE ODYSSEY
, which explores the work of those who are tasked with recovering the bodies of drowned refugees.
DRAW A LINE: RICHARD SIEGAL AND THE BALLET OF DIFFERENCE
Munich Premieres presents local debuts of recent German productions, including: Benedict Mirow’s DRAW A LINE: RICHARD SIEGAL AND THE BALLET OF DIFFERENCE
, a portrait of the German dancer/choreographer and his company; Manuele Deho’s FOOTBALL-MAD
, about a soccer team made up of players with cognitive disabilities; Martin Saxer, Daler Kaziev, and Marlen Elders’ MURGHAB
, an ethnography of a remote Tajik village; Alexander Hick’s THINKING LIKE A MOUNTAIN
, on an indigenous people in the Colombian highlands; Maya Reichert’s JUST ANOTHER DAY IN PARADISE
, which focuses on three individuals living on a volcanic island in Cape Verde; and Stephan Hilpert’s CONGO CALLING
, which follows Europeans who traverse bureaucracy to offer development aid to Congo.
Other sections include DOK.guest, which this year spotlights Russian nonfiction, including Zosya Rodkevich and Evgeniya Ostanina’s WHITE MAMA
, an observational portrait of a large Russian family whose harmony is upended by the arrival of a seventh adopted child; and Anna Yanovskaya’s EXCITING LIFE
, following a Moscow actor’s misadventures making a film in a provincial republic; DOK.focus humaNature, on the relationship between man and nature, with work like Tom Burke’s LOSING ALASKA
, which looks at the plight of Alaska’s Yupik as they lose their home to climate change; and Karin de Miguel Wessendorf’s THE RED LINE: RESISTANCE IN THE HAMBACH FOREST
, which looks at activism against Germany’s lignite mining; DOK.special, with work like Itamar Rose’s 100 MILLION VIEWS
, following the filmmaker’s attempts to go viral on YouTube; and Murad Abu Eisheh’s SPIRIT OF THE BALL
, which follows soccer fans as they travel to Russia for the World Cup; and Best of Fests, with work like Floriane Devigne’s NO BOX FOR ME. AN INTERSEX STORY
, focusing on the experiences of intersex individuals; and Alessandro Cassigoli and Casey Kauffman’s BUTTERFLY
, a coming of age portrait of a young female boxer.