INTERNATIONAL FILM FESTIVAL INNSBRUCK #31 DI 24 - SO 29/05/2022
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INTERNATIONAL FILM FESTIVAL INNSBRUCK #31 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– DI 24 – SO 29/05/2022 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Leokino & Cinematograph ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– CINEMATOGRAPH MAGAZIN NR. 548 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
INTERNATIONAL FILM FESTIVAL INNSBRUCK #31
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DI 24 – SO 29/05/2022
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Leokino & Cinematograph
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Every star
and every
planet is in
place but you,
Planet Earth.
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CINEMATOGRAPH MAGAZIN NR. 548
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EDITORIAL
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EVERY STAR AND EVERY PLANET IS IN PLACE EVERY STAR AND EVERY PLANET IS IN PLACE
BUT YOU, PLANET EARTH entstammt dem af- BUT YOU, PLANET EARTH is taken from
rofuturistischen Sci-Fi-Klassiker SPACE the afro-futuristic sci-fi classic SPACE
IS THE PLACE (1974) von John Coney. Die- IS THE PLACE (1974) by John Coney. This
ser Film ist Teil der diesjährigen Retro- film is part of this year’s retrospec-
spektive THE MULTIPLE EXPRESSIONS OF tive THE MULTIPLE EXPRESSIONS OF AFROFU-
AFROFUTURISM, welche die französisch-bur- TURISM, curated by French Burkinabe
kinabè Journalistin und Filmkritikerin journalist and film critic Claire Diao
Claire Diao für das IFFI #31 kuratiert for IFFI #31. She presents diverse
hat. Sie präsentiert darin vielfältige expressions in her retrospective that
Expressionen, die sich auf das multimedi- refer to the multi-media interplay
ale Zusammenspiel zwischen Kunst, Film between art, film and music and show the
und Musik beziehen und die extraterrest- extra-terrestrial transformation of
rische Wende des Afrofuturismus mit nicht- Afrofuturism with non-Western positions.
westlichen Positionen darbieten. From outer space to the high-tech
Von outer space über die hochtechni- underwater world of Drexciya, the Black
sierte Unterwasserwelt Drexciya, dem Atlantic to new analogisms of Black
Black Atlantic bis hin zu neuen Analogis- Quantum Futurism – afro-futuristic con-
men des Black Quantum Futurism erfor- cepts and approaches examine ideas of
schen afrofuturistische Konzepte und identity and transformation. One central
Ansätze Ideen von Identität und Trans- motif is the injustice that is passed
formation. Ein zentrales Motiv bildet on from generation to generation. The
über Generationen weitergetragene Unge- non-linear perception of space and time
rechtigkeit. Die nicht lineare Vorstellung thereby enhances the formation of new
von Raum und Zeit steigert dabei die perspectives that strive for a just fu-
Bildung neuer Perspektiven, die nach ei- ture and call for agency in present times.
ner gerechten Zukunft streben und Hand- In 2022, both old and new injustices,
lungsmacht in der Gegenwart einfordern. the war in Ukraine or the global climate
Im Jahr 2022 evozieren die Situation crisis continually evoke the feeling of
alter/neuer Ungerechtigkeiten, der Ukrai- powerlessness on our disconnected Planet
ne-Krieg oder die globale Klimakrise fort- Earth. In light of our present-day times
während Gefühle von Ohnmacht auf dem that are characterised by disastrous
entrückten Planeten Erde. In Anbetracht events, we want to reflect on our theme
dieser von katastrophalen Ereignissen EVERY STAR AND EVERY PLANET IS IN PLACE
gekennzeichneten Gegenwart wollen wir das BUT YOU, PLANET EARTH and bring to the
Motto EVERY STAR AND EVERY PLANET IS IN fore the potential for re-interpretation
PLACE BUT YOU, PLANET EARTH reflektieren of Afro-American counter-futures, me-
und das Potenzial zur Reinterpretation von ta-physical spaceships and Oceanic mega-
afroamerikanischen counter-futures, me- polises – while at the same time not
taphysischen Raumschiffen und ozeanischen losing sight of Sun Ra’s promise ‘In some
Metropolen in den Fokus stellen – und far off place, many light years in space,
unterdessen Sun Ras post-apokalyptische I’ll wait for you’.
Verheißung »In some far off place, many
light years in space, I’ll wait for you«
Anna Ladinig nicht aus den Augen verlieren.
(Festival-Leiterin / Festival Director)
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VORWORT / PREFACE von / by Dr. Beate Palfrader
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Es ist die Kombination aus sachlicher It is the combination of a serious fac-
Ernsthaftigkeit und künstlerischer Aus- tual focus and an artistic expression,
drucksform, aus Zeigen und Erzählen, of showing and telling, of image, voice,
aus Bild, Stimme, Musik und Atmosphäre, music and atmosphere that makes cinema
die das Kino zu einem gesellschafts- a socio-political place – a place where
politischen Ort macht – zu einem Ort, we gain an understanding of certain
an dem wir Verständnis zu bestimmten topics, broaden our horizon and change
Themen erlangen und unseren Blickwinkel our perspectives. The 31st IFFI edition
erweitern und verändern können. Die takes on this challenge and deals with
31. Ausgabe des IFFI nimmt die Heraus- the question that is currently dwarfing
forderung an und beschäftigt sich mit everything else: has the world been
der aktuell alles überschattenden Frage: thrown off course? For this purpose,
Ist die Welt aus ihrer Bahn geworfen? the festival curators are looking into
Die Festivalkurator*innen schauen dafür remote corners of the film landscape –
in entlegene Ecken der Filmlandschaft and are finding answers there that are
und finden gerade dort Antworten, die enlightening to all of us.
für uns alle erhellend sind. I therefore would like to thank
In diesem Sinne danke ich Anna Ladinig Anna Ladinig and her team for their
und ihrem Team für ihre großartige outstanding work. And I hope the audi-
Arbeit und dem Publikum wünsche ich ence has enriching evenings of film
bereichernde Filmabende und Begegnungen! and encounters!
Dr. Beate Palfrader
(Landesrätin für Bildung, Kultur, Arbeit
und Wohnen / Member of the Tyrolean
Government responsible for Education,
Arts, Employment and Housing)
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VORWORT / PREFACE von / by Mag.a Ursula Schwarzl VORWORT / PREFACE von / by Mag.a Andrea Mayer
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Das IFFI ist nicht nur ein Fixstern mit IFFI is not only a fixed star with a EVERY STAR AND EVERY PLANET IS IN PLACE EVERY STAR AND EVERY PLANET IS IN PLACE
einem festen Platz im kulturellen Uni- fixed place in the cultural universe of BUT YOU, PLANET EARTH: Das Motto des BUT YOU, PLANET EARTH: Like a distorted
versum der Stadt Innsbruck – um das Innsbruck – to slightly alter the theme diesjährigen International Film Festival poetic image, the theme of this year’s
Motto von IFFI 31 etwas abzuwandeln –, of IFFI #31. IFFI also brings the whole Innsbruck bringt unsere geopolitische, International Film Festival Innsbruck en-
das IFFI holt auch die ganze (Film-)Welt (film) world to Innsbruck to address soziale und ökologische Lage einem poe- capsulates the geopolitical, social and
nach Innsbruck, um die zentralen Fragen the key questions of our time. With its tischen Zerrbild gleich auf den Punkt. ecological condition of our world. It
der Zeit abzuhandeln. Mit dem Motto theme EVERY STAR AND EVERY PLANET IS Die Welt erscheint mitunter wie aus den seems, at times, that our world is com-
EVERY STAR AND EVERY PLANET IS IN PLACE IN PLACE BUT YOU, PLANET EARTH, the 31st Fugen geraten. ing apart at the seams.
BUT YOU, PLANET EARTH bietet uns das edition of IFFI not only provides a retro- Krieg, Pandemie und Klimawandel hal- War, the pandemic and climate change
IFFI #31 nicht nur eine Retrospektive spective of African Futurism but also ten uns in Atem. Gewissheiten werden er- are keeping us in suspense. What used
des afrikanischen Futurismus, sondern invites us to look at our planet whose schüttert, Sicherheiten infrage gestellt, to be certain is being shattered, what
lädt zum Blick auf unseren Planeten ein, fixed place in the orbit seems to have künftige Herausforderungen erfordern used to be safe and secure is now being
dessen fixer Platz in seiner Umlaufbahn become shaky. The war in Ukraine, an neue Lösungen. Wie kann angesichts die- questioned, future challenges require
ins Wanken zu geraten scheint. Krieg in impending climate catastrophe, increas- ser Gegenwart die Zukunft gestaltet new solutions. How can we shape the fu-
der Ukraine, drohende Klimakatastrophe, ing social disruptions, the pandemic. werden? Den Blick dabei auf Filmhistorie ture in the light of our present? Look-
zunehmende soziale Verwerfungen, Pandemie. Familiar orders, ways of doing business, – unter anderem auf afroamerikanische, ing at the history of film, including
Gewohnte Ordnungen, Wirtschaftsweisen economic systems, ways of life and be- filmische „counter-futures” – zu richten Afro-American cinematic ‘counter-futures’,
und -systeme, Lebens- und Verhaltenswei- haviours appear to be increasingly brit- hält neben aller gebotenen Spekulation this year’s IFFI not only allows for im-
sen zeigen sich zunehmend brüchig oder tle or unsuitable and call for change. auch wertvolle, hoffnungsvolle Inspira- perative speculation but also and above
untauglich und rufen nach Veränderung. New perspectives are required to bridge tion für uns und unser Heute bereit. all provides valuable inspiration and
Neue Perspektiven sind gefragt, um von the gap between powerlessness and the Ich danke Anna Ladinig und dem Team hope for us and our time.
Ohnmacht zu Handlungsmacht zu kommen. power to act. Art and culture in gener- sehr herzlich für ihren engagierten Bei- I would like to express my sincere
Kunst und Kultur generell und das IFFI al, and IFFI in particular, can open trag zu einer lebendigen und wachsamen gratitude to Anna Ladinig and her team
ganz besonders sind Türöffner für diese doors for such perspectives from all over Filmkultur in Österreich und wünsche al- for making such a dedicated contribution
Perspektiven aus aller Welt. Denn es the world. For we need the whole world les Gute für die Festivalausgabe 2022. to Austria’s attentive and active film
braucht die ganze Welt, um unserem Pla- to give our planet back its stability, culture. I wish you the best of success
neten wieder Halt, seinen Platz und da- its place and, in doing so, its future. with your 2022 festival.
mit seine Zukunft zu geben. Liebes IFFI- Dear IFFI team, thank you for that.
Team, vielen Dank dafür.
Mag.a Ursula Schwarzl
(Stadträtin für Kultur / Member Mag.a Andrea Mayer
of the Government of Innsbruck (Staatssekretärin für Kunst und Kultur /
responsible for Culture) Secretary of State for Arts and Culture)
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6 7
INFORMATIONEN / INFORMATION 11
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WETTBEWERBE / COMPETITIONS 12
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SPIELFILM-WETTBEWERB / FEATURE FILM COMPETITION 14
DOKUMENTARFILM-WETTBEWERB / DOCUMENTARY COMPETITION 24
PUBLIKUMS-WETTBEWERB / AUDIENCE COMPETITION 34
JUGENDJURY-WETTBEWERB / YOUTH JURY COMPETITION 42
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RETROSPEKTIVE / RETROSPECTIVE 48
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THE MULTIPLE EXPRESSIONS OF AFROFUTURISM curated by CLAIRE DIAO 50
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WELTWEITE VISIONEN / WORLDWIDE VISIONS 76
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IFFI Selection 78
Selected by NO CUT COLLECTIVE 96
WERKSCHAU / MONOGRAPHIC SHOW: HERWIG WEISER 106
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RAHMENPROGRAMM / SUPPORTING PROGRAMME 114
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FILMPREIS / AWARD 120
Green Festival 122
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PLATZ FÜR NOTIZEN / ROOM FOR NOTES 126
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IMPRESSUM / IMPRINT 133
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FILMINDEX / FILM INDEX 134
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9
INFORMATIONEN / INFORMATION
Lust auf mehr Filme und ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Filmevents nach dem
Festival? Einzelticket / Single Ticket € 8,90
Bei uns gibt es immer ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
großes Kino, an 365 Ermäßigt / Reduced* € 7,60
Tagen im Jahr. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Mit guter Bar für ein Festivalpass / Festival Pass € 55,00
Gespräch vor oder nach ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
dem Film. Ermäßigt / Reduced* € 38,00
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Im Cinematograph und Streaming-Einzelticket / Streaming Single € 5,80
im Leokino. Im Sommer
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auch unter freiem
Streaming-Pass / Streaming Pass € 35,00
Himmel im Zeughaus.
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Save the date: *Ermäßigungen für OPI-Mitglieder, Ö1- *Reduced rates apply for OPI members,
29.07. - 27.08.22 Clubmitglieder, Inhaber*innen eines Ö1 club members, owners of one-year IVB
IVB-Jahrestickets, Studierende, tickets, students, pensioners and people
Weitere Infos unter Pensionierende und alle unter 25.
5er-Block-Bons vom Leokino sind gültig.
under 25 years of age. Multi-entry
Leokino tickets (5er-Block) are also
www.leokino.at Für OPI-Fördermitglieder und Ö1-Intro- valid. For OPI supporting members and
mitglieder: € 5,80/€ 35. Ö1 intro members: 5.80€/35€.
Das neue Programm Tickets können online über www.leokino.at Tickets can be reserved online at
gibts immer dienstags, oder telefonisch reserviert werden. www.leokino.at or by phone.
auch via Newsletter.
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SPIELSTÄTTEN / VENUES
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Leokino Cinematograph
Anichstraße 36 Museumstraße 31
6020 Innsbruck 6020 Innsbruck
www.leokino.at www.leokino.at
+43 512 / 56 04 70 +43 512 / 56 04 70 - 50
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@leokino_cinematograph
@leokino.at 11
WETTBEWERBE / COMPETITIONS –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Spielfilm-Wettbewerb / Feature Film Competition 14 Dokumentarfilm-Wettbewerb / Documentary Competition 24 Publikums-Wettbewerb / Audience Competition 34 Jugendjury-Wettbewerb / Youth Jury Competition 42 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
WETTBEWERBE / COMPETITIONS –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– SPIELFILM-WETTBEWERB FEAT des Landes Tirol dotiert mit € 5 500 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– FEATURE FILM COMPETITION FEAT of the Tyrolean Government endowed with € 5 500 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Nominierungen / Nominees –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– GAEY WA'R (STREETWISE) Na Jiazuo –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– MEDUSA Anita Rocha da Silveira –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– LUANESHAT E KODRËS (THE HILL WHERE LIONESSES ROAR) Luàna Bajrami –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– EL GRAN MOVIMIENTO Kiro Russo –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– FREDA Gessica Généus –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– ATLANTIDE Yuri Ancarani –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 15
SPIELFILM-WETTBEWERB-JURY FEATURE FILM COMPETITION JURY
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(1) (1) (1)
Prof. Jeanine Meerapfel ist Filmemache- Prof. Jeanine Meerapfel is a filmmaker,
rin, Drehbuchautorin und Produzentin. screenwriter and producer. She was born
In Buenos Aires geboren, besuchte sie in Buenos Aires where she attended a
dort die Journalistenschule und stu- journalism school. She studied at the
dierte von 1964 von 1968 am Institut Ulm School of Design under Alexander
für Filmgestaltung der Ulmer Hochschule Kluge und Edgar Reitz from 1964 to 1968.
bei Alexander Kluge und Edgar Reitz. Her films won several awards at inter-
Ihre Filme wurden auf zahlreichen in- national festivals (e.g., MALOU (1980),
ternationalen Festivals prämiert (u. a. IM LAND MEINER ELTERN (1981), AMIGOMÍO
MALOU (1980), IM LAND MEINER ELTERN (1995) and DER DEUTSCHE FREUND (2012)).
(1981), AMIGOMÍO (1995) und DER DEUTSCHE Since 1998, Jeanine Meerapfel has been
FREUND (2012)). Jeanine Meerapfel ist a member of the Academy of Arts in
seit 1998 Mitglied der Akademie der Berlin and has served as its President
Künste, seit 2015 ist sie Präsidentin. since 2015.
(2) (2) (2)
Kateryna Gornostai (*1989) ist Regisseu- Kateryna Gornostai (b. 1989) is a direc-
rin, Autorin und Filmeditorin und lebt tor, writer and film editor based in
in Kyiv. Sie studierte an der Marina Kyiv. She studied at the Marina Razbezhkina
Razbezhkina and Mikhail Ugarov's School and Mikhail Ugarov's School of Documen-
of Documentary Film and Theatre in tary Film and Theatre in Moscow. She
Moskau und begann 2012, Dokumentarfilme started making documentaries in 2012,
zu drehen, arbeitete bald aber auch but soon she also turned to fictional
mit fiktionalen Stoffen und hybriden material and hybrid formats. She teaches
Formaten. Sie unterrichtet auch das documentary film as a subject under
Fach Dokumentarfilm in unterschiedlichen different educational projects.
Bildungsprojekten.
(3) (3) (3)
Meret Ruggle ist Direktorin des Schweizer Meret Ruggle is Head of Swiss film dis-
Filmverleihs trigon-film und verantwort- tributor trigon-film where she is re-
lich für die Akquisition neuer Titel für sponsible for acquiring new releases for
den Verleih sowie deren Lancierung in distribution and launching them in Swit-
der Schweiz. trigon-film ist ein Schwei- zerland. trigon-film is a Swiss film dis-
zer Filmverleih, der seit 1988 sorgfäl- tributor that has been releasing care-
tig ausgewählte Filme aus Lateinamerika, fully selected films from Latin America,
Asien, Afrika und Osteuropa veröffent- Asia, Africa and Eastern Europe since
licht. Die Filmstiftung betreibt auch 1988. The film foundation also runs its
eine eigene DVD-Edition sowie die Strea- own DVD edition and the video-on-demand
ming-Plattform filmingo. platform filmingo.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
16 17GAEY WA'R (STREETWISE) MEDUSA
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Na Jiazuo / China / 2021 / DCP / 93’ / Mandarin OmenglU Anita Rocha da Silveira / Brasilien / 2021 / DCP / 127’ / portugiesische OmenglU
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Dongzi ist Anfang 20, eigentlich ein sen- Dongzi is in his early twenties and Mari ist Teil einer evangelikalen Reli- Mari is a member of an evangelical
sibler Typ. Um die Krankenhauskosten is actually a sensitive guy. To be able gionsgemeinschaft. Hier hat alles seine religious community where everything
seines herzlosen, wie herzkranken, Vaters to cover the hospital costs for his Ordnung: Frauen sind schön und gehorsam; has its place: women are pretty and
zu übernehmen, nimmt er es in Kauf, both heartless and heartsick father, he Männer stark und bestimmt. Neben poppi- obedient; men strong and determined. In
als Schuldeneintreiber für einen lokalen agrees to throw and get punches and gen Gesangseinlagen in der Kirche und addition to giving pop performances in
Gangsterboss Schläge auszuteilen und collect money as a debt collector for a Video-Tutorials über das perfekte christ- church and engaging in YouTube tutori-
zu kassieren. local gangster boss. liche Selfie attackiert ihre Clique als about the perfect Christian selfie,
Nur die um einiges ältere Jiu'er teilt Only Jiu’er, who is much older, shares nachts „sündige“ Frauen. Mari hat hier her clique attacks ‘sinful’ women at
mit ihm die melancholische Sehnsucht his melancholic desire for having a ihren Platz gefunden, bis sie bei einer night. Mari has found her place until she
nach einem Ziel im Leben. Die ausgestor- goal in life. Much rather than serving nächtlichen Attacke selbst durch eine herself is ‘disfigured’ with a scar in
bene chinesische Kleinstadt während der as a backdrop, the little Chinese town Narbe „entstellt“ wird. 2015 häuften sich an attack during the night. According to
Landflucht in den frühen 2000ern fun- deserted during the rural exodus in the laut Rocha da Silveira die Berichte über Rocha da Silveira, there was an in-
giert hier nicht als Kulisse, sondern early 2000s takes on the role of anoth- Attacken von Frauen auf Frauen mit dem creasing number of reports in 2015 about
übernimmt beinahe die Rolle eines weite- er protagonist. Ziel, diese zu entstellen. Das war der attacks on women that aimed at disfig-
ren Protagonisten. Impuls, diesen feministischen Musical- uring them. That inspired her to shoot
Horror-Comedy-Film zu drehen. this feminist musical horror comedy.
Vorstellung / Screening Vorstellung / Screening
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DI, 24. MAI, 19:50h ▶ LEOKINO 2 DI, 24. MAI, 21:40h ▶ CINEMATOGRAPH
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SA, 28. MAI, 18:05h ▶ LEOKINO 1 FR, 27. MAI, 20:05h ▶ LEOKINO 2
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18 19Sie können auch lesen
