AMAL (Norwegen, Ägypten, Libanon, Deutschland, Frankreich, Dänemark, Qatar 2017, Mohamed Siam, DOK.horizonte). Coming of age in Egypt. Amal is 14 years old when the revolution is at its peak. Determinedly, she fights and is dragged brutally across Tahrir Square. This long-term observation shows what it means to stand one’s ground in a world dominated by men.
BOXING LIBREVILLE (Gabon 2017, Amédée Pacôme Nkoulou, DOK.network Africa). From a boxing ring to a nightclub, Amédée Pacôme Nkoulou’s account of the upcoming elections and hope for political change in Libreville, Gabon is told with great intuition. In the end everything remains the same; only the young people look for happiness elsewhere.
DREAM FRAGMENTS – CHADHAYA EL AHLAM (Algerien 2017, Bahïa Bencheikh-El-Fegoun, DOK.horizonte). A rich land economically and culturally, Algeria fluctuates today between despair and the hope of a new beginning. Then there is a series of suicides at the heart of society. The coast and the sea. Images flow into and over each other poetically like a Fata Morgana.
ETHIOPIQUES – REVOLT OF THE SOUL (Polen, Deutschland 2017, Maciek Bochniak, DOK.panorama). In the 1970s a music lover opened the first record shop in Addis Ababa and a legendary record was made: funk, soul, rock ‘n’ roll and jazz mixed with Ethiopian rhythms. 17 years later the French music journalist Francis Falceto introduced western audiences to this music with his CD series Éthiopiques and pulled off a great coup.
GLOBAL FAMILY (Deutschland 2017, Melanie Andernach, Andreas Köhler, Best of Fests). Scattered across the globe as a result of the Somali Civil War, the Shaash family has to make an important decision: where should Imra (88) live? At the same time the four generations of the transnational refugee family are each following their own dreams of family, home and the future.
I REMEMBER NOTHING – JE NE ME SOUVIENS DE RIEN (Frankreich 2017, Diane Sara Bouzgarrou, DOK.panorama). When the revolution in Tunisia breaks out there is no holding back Diane’s passionate feelings. Sightlessly she plunges into a whirlpool of emotions. Then comes the diagnosis: bipolar disorder. Years later she discovers hours of unseen video material from back then. A filmic puzzle: part self-exploration, part experiment.
LES DEUX VISAGES D'UNE FEMME BAMILEKE – THE TWO FACES OF A BAMILEKE WOMAN (Belgien, Kamerun 2016, Mbakam Rosine, DOK.special). After seven years in Belgium, Rosine Mbakam goes back to her homeland of Cameroon to make a film. As a filmmaker living abroad she succeeds in taking both a detached and inquisitive look at traditional family set-ups and roles.
MAKALA (Frankreich 2017, Gras Emmanuel, DOK.horizonte). Somewhere in the Democratic Republic of the Congo. A young man chops down a tree and makes charcoal, which he then transports on his bike day after day to sell in the nearest town. A minimalistic observation masterfully captured by Emmanuel Gras’ camera.
OUAGA GIRLS – OUAGA GIRLS (Schweden, Burkina Faso, Frankreich, Qatar 2017, Theresa Traore Dahlberg, DOK.female). In a training centre in West African Burkina Faso young women learn how to be car mechanics. Self-assured and determined they are taking pioneering steps in a male-dominated profession.
THE MAN BEHIND THE MICROPHONE (Tunesien, Großbritannien, Qatar 2017, Claire Belhassine, DOK.panorama). Who was Hedi Jouini? To the filmmaker he was simply the grandfather she visited as a child in the summer holidays. But Hedi Jouini was a superstar and heartthrob: the “Tunisian Frank Sinatra”. A fascinating reconstruction of a complex cultural and family history.
TOUCHING CONCRETE (Deutschland 2017, Ilja Stahl, Student Award). It is all about music; it is all about dancing until the girls scream. There is nothing more important than that – not when you are 16. Then follows another day. Everyday life. In Hillbrow, Johannesburg, South Africa.
WAITHIRA – Waithira (Südafrika 2017, Eva Munyiri, DOK.network Africa). How do we define ourselves? The Kenyan filmmaker Eva Munyiri travels between the past and the present, between the place of her birth and the home she chose for herself, in search of her identity.
WE WERE REBELS (Deutschland 2014, Katharina von Schröder, Florian Schewe, DOK.special). “At least we are not shooting at each other any more.” Agel, a former child soldier, looks optimistically upon South Sudan’s future since its independence in 2011. We cannot fail to be astonished by this traumatised and yet absolutely benevolent fighter in an African tragedy.