The film programme of the 40th DOK.fest München: In the cinema. At home.

DOK.fest München stays dual!

Our aim is to make our films as accessible as possible, which is why we are bringing them to the big screen in Munich cinemas and venues - and for the first time also in selected cinemas and venues in Augsburg - as well as to home screens barrier-free throughout Germany.

Furthermore, there are some films that are shown exclusively in cinemas - please note the filter option: Only in cinemas.
Use the @home available filter option to access the films that you can watch from the comfort of your own home from 12 to 25 May. 

 

Student Award
6129 M2 (Schweiz 2017, Julie Bellard). Memories from childhood: together a father and daughter imagine the ideal surroundings for their life. Now, as they did back then, they view rented houses in the most varied of locations without ever moving in. An experiment in images and sound about inherited dreams, the value of which lies precisely in the fact that they never become reality.
#for Cinephiles, #The Places you call Home
ABOVE THE TIMBERLINE (Deutschland 2017, Marina Hufnagel). On the Annapurna Trek in the Nepalese Himalayas, hikers from around the world search for a true adventure. In encountering the mountain even the camera loses sight of people, space and time. Is it possible for an individual to move forward amid the great flow of events?
#Asia, #for Cinephiles
EISENKOPF – IRONHEAD (China, Germany 2017, Tian Dong). Kung Fu Football – the “Chinese dream.” In a Deng Feng Shaolin boarding school some of the 10,000 pupils learn to play football alongside the traditional martial arts – to complete exhaustion. China’s next generation captured in insightful sequences.
#Sports – Sweat, Blood and Tears, #coming of age, #Asia
FOR THOSE WHO WANT TO FIRE – PER CHI VUOLE SPARARE (Italy 2017, Pierluca Ditano). Broad shoulders in a black anorak. A cart bearing a heavy load. As the yellow light of Turin breaks on the cobblestones of the Piazza della Repubblica, bodies and the camera are in constant movement. But the daily construction and dismantling of the market stalls is not enough to support a family. Then Peppino has a business idea.
#Hero's Journey, #Human Stains, #Critics and Visionaries, #Southern Europe
IL GIARDINO – THE GARDEN (Germany, Italy 2018, Francesca Bertin). The garden is the hidden retreat of two men. Here, for a little while, they can escape the heat that overwhelms them during their work on the building site. In the garden time becomes blurred, a friendship grows while the summer seeps in around them like sticky honey.
#Southern Europe
KREATURA (Deutschland 2017, Viki Alexander). A young woman is searching. She wanders through film images that could equally be dream or reality. She is looking for her brother who she thinks she doesn’t know. Or, in the end, is she searching for herself, for her creature, her creation, her being?
#Who am I?, #Hero's Journey, #for Cinephiles, #Eastern Europe, the Balkans, Caucasus
LA BESTIA – TRAIN OF THE UNKNOWNS (Deutschland 2018, Manuel Inacker). In “Casa del Migrante” in Huehutoca, a suburb of Mexico City, refugees find a safe abode. At least for two days. Then they must go on with their journey towards USA in freight train carriages, which everyone here just calls “La Bestia,” the beast.
#Hero's Journey, #Latin America
MI AMADO, LAS MONTAÑAS – MY BELOVED, THE MOUNTAINS (Spanien, Schweiz 2017, Alberto Martín Menacho). Sometimes a documentary film is like a conundrum. Mountains, rural depopulation, traditions that are preserved but are losing their significance. A childhood – still free, wild and beautiful. A youth – seemingly endless and yet already in the past. Poetic, mysterious and on the fine line between document, memory and myth.
#The Places you call Home, #for Cinephiles
RIOT NOT DIET (Deutschland 2018, Julia Fuhr Mann). An unknown world, inhabited by fat womens’ bodies, presented both in stereotypical poses and deconstructed ones. RIOT NOT DIET shows a new way of representing the female form. A body that expands, dissolves and blows away in the wind resisting any form of conformist corporeal pursuits.
#Critics and Visionaries
SAND UND BLUT – SAND AND BLOOD (Austria 2017, Matthias Krepp Angelika Spangel). In the torrent of images on the internet, the inconceivable atrocities from the wars in Syria and Iraq are also reflected. SAND UND BLUT puts together a collage of these videos and searches for the witnesses and the stories behind them – an essential film.
#Human Stains, #Middle East
SCHILDKRÖTEN PANZER (Deutschland 2017, Kaptan Tuna). In a Munich reptile shelter the paths of those who have returned from war cross with those who are about to go. A tortoise came here in the pocket of a Syrian. A solider is practicing the handling of venomous Malian snakes.
#Critics and Visionaries, #Middle East, #for Cinephiles
SCHRANKE – BARRIERS (Deutschland 2017, Denis Pavlovic). Excluded by barriers, disciplined and bossed around – that is the daily experience of over 80 million German citizens. A level-headed, rigorous and long overdue crime scene investigation.
#Critics and Visionaries
STILLER KAMERAD – SILENT COMRADE (Germany 2017, Leonhard Hollmann). Have you ever looked a horse in the eyes? Three soldiers try to find a way back to normality and to heal the mental scars of war. Their therapists: horses.
#Hero's Journey
TOUCHING CONCRETE (Deutschland 2017, Ilja Stahl). 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.
#coming of age, #Africa
TRACING ADDAI (Deutschland 2018, Esther Niemeier). Friends from your childhood – there are some you still know and some you can hardly remember. And then there are some whose stories you work out piece by piece. A documentary puzzle that takes us from the war in Syria to the German penal system and the life that pulsates outside.
#Human Stains, #Who am I?, #Middle East
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