Daily | Berlinale 2015 Lineup, Round 11

Iec Long

New work by João Pedro Rodrigues and João Rui Guerra da Mata

Last week we saw the lineup for the main program of the Berlinale Forum; today, the festival’s announced the works to be presented in the tenth edition of Forum Expanded. Notes in quotes come from the festival.

Ruhe auf der Leinwand by Friedl vom Gröller, Austria.

Fish Plane, Heart Clock by Arvo Leo, Canada / Switzerland.

Into the Hinterlands by Julia Yezbick, USA.

Face B by Leila Albayaty, Belgium / Germany. “Albayaty steals her very own film images.”

Black President by Mpumelelo Mcata, Zimbabwe / South Africa / United Kingdom. “Mcata allows artist Kudzanai Chiurai to flee into a whole other realm following various fractious experiences in the art scene.”

Oskar Dawicki in the Performer by Łukasz Ronduda / Maciej Sobieszczanski, Poland. “Enables performance artist Oskar Dawicki to outgrow his own life—the film continues on stage before being analysed as an exhibition format straight afterwards.”

This is Cosmos by Anton Vidokle, USA. “Vidokle explores the ideas of Russian philosopher Nikolai Fyodorov, who regarded death as a fallacy.”

Shape Shifting by Elke Marhöfer, Mikhail Lylov, Germany / Japan. A “cinematic observation of nature and culture in Asian landscapes.”

Institute Above-Ground by Florian Zeyfang / Lisa Schmidt-Colinet / Alexander Schmoeger, Germany. “Describes a construction experiment created by Vittorio Garrati shortly after the Cuban revolution.”

Barra Fel Share’ (Out on the Street) by Jasmina Metwaly/Philip Rizk, Egypt. “Workers at a Cairo factory grapple with corruption and exploitation across a series of theatre workshops.”

Memories for a Private Eye by Rania Stephan, Lebanon.

La Dolce Siria by Ammar Al Beik, United Arab Emirates / Egypt.

Calamity Qui? by Isabelle Prim, Canada / France.

Have You Ever Killed a Bear? Or Becoming Jamila by Marwa Arsanios, Lebanon. “An actress takes an in-depth look at the Algerian resistance fighter she is supposed to play.”

Acapella by Islam Safiyyudin Mohamed, Egypt.

Escape from My Eyes by Felipe Bragança, Brazil / Germany. “Bragança links together documentary images with staged scenes to create a series of accounts about three refugees who lived in the protest camp at Oranienplatz in the Kreuzberg district of Berlin.”

Orchard Street by Ken Jacobs, USA.

Cyclops Observes the Celestial Bodies by Ken Jacobs, USA.

Les Choses et les Mots de Mudimbe by Jean-Pierre Bekolo, Cameroon. “We watch an autobiographical interview with Congolese literary scholar Valentin-Yves Mudimbe as he takes up clear positions to the various shifts and revolutions in contemporary history.”

From Ramallah by Asem Naser, Palestine / Germany.

Untitled (Human Mask) by Pierre Huyghe, France.

A Field Guide to the Ferns by Basma Alsharif, USA.

Wayward Fronds by Fern Silva, USA.

Iec Long by João Pedro Rodrigues, João Rui Guerra da Mata, Portugal.

Cancelled Faces by Lior Shamriz, South Korea, Germany.

20 Handshakes for Peace by Mahdi Fleifel, Palestine / Germany.

Wa Ala Saeeden Akhar (And on a Different Note) by Mohammad Shawky Hassan, Egypt.

Gineva by Nicolas Cilins, Switzerland. “Romanian refugees re-enact their experiences before a blue screen.”

Vyshybalshitsa (Embroideress) by Lyusya Matveeva, Russia.

Dear John by Hans Scheugl, Austria.

Three Quarters by Kevin Jerome Everson, USA.

Strom by Eva C. Heldmann, Germany.


Akademie der Künste am Hanseatenweg:

Concert C with Door by David Askevold, USA. Askevold’s “used a tuning fork to produce the sounds of a door opening and closing.”

Viventes by Frederico Benevides, Brazil.

Opaque by Pauline Boudry, Renate Lorenz, Germany / France.

Hysterics/Autodidact by Jeamin Cha, South Korea.

Practicing Live by Yu Cheng-Ta, Taiwan. A “reality soap opera. A family is celebrating the father’s birthday, whereby each member of the family works in the art scene and is played by those active in the art market.”

A Spectacle of Privacy by Roy Dib, Lebanon.

Ein helles Kino by Martin Ebner, Germany. “Challenges the cinematographic setting.”

What Do You Call This Thing I Am Missing? by Antje Ehmann, Jan Ralske, Germany.

In Rom by Jeanne Faust, Germany.

The Children of Uzai, Antinarcissus by Mireille Kassar, Lebanon.

The Machinist’s Lament by Jen Liu, USA.

Med Blindpassasjeren Inn I Oljealderen Og Beyond by Eline McGeorge, Norway.

The Nameless by Ho Tzu Nyen, Singapore.

One Hundred Sinkholes/Inks by Jenny Perlin, USA.

Invisible Producers. Kapitel 1: Panoramis / Paramount / Paranormal by Constanze Ruhm, Emilien Awada, Austria / France.

Je Proclame La Destruction by Arthur Tuoto, Brazil. “Consists of two shots from Robert Bresson’s film Le diable probablement (1977) repeated in an endless loop.”

Beauty and the Right to the Ugly by Wendelien van Oldenborgh, The Netherlands.

Taut by Michael Snow, Canada. “Takes up an entire room of its own, consisting of a classroom full of journalistic photographs from the Black Star Collection made available by the Ryerson Image Centre.”

Embassy of Canada – Marshall McLuhan Salon:

Fish Plane, Heart Clock by Arvo Leo, Canada / Switzerland. “22 years after the death of Inuit artist Pudlo Pudlat,” this work “turns its attention to the artist’s home, weaving together Pudlat’s surreal-looking images with footage of his own—both drawings and film can be seen in the Salon.”


Love Letter to a Union: The Falling Comrades by Lara Khaldi, Yazan Khalili.

Oskar Dawicki in the Performer by Łukasz Ronduda, Maciej Sobieszczanski


Forum Expanded Keynotes: To the Sound of the Closing Door. Gertrud Koch, Diedrich Diederichsen, Ekaterina Degot, Haytham El-Wardany.

Naum Kaliman and Maxim Pavlov in Conversation with Ekaterina Degot. Naum Kleiman, Ekaterina Degot, Maxim Pavlov.

What If? Revisiting Images. Jasmina Metwaly, Philip Rizk, Oktay İnce, Alper Şen, Angela Melitopoulos, Akram Zaatari, Kidlat Tahimik, Tilman Baumgärtel.

Visionary Archive. Darryl Els, Filipa César, Flora Gomes, Tobias Hering, Marie-Hélène Gutberlet, Sara Gubarra, Nadja Korinth, Stefan Pethke, Katharina von Schröder, Hana al Bayaty, Yasmin Desouki.

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