The next ‘big’ Nuremberg International Human Rights Film Festival – NIHRFF is still a full year away but we’d like to present our festival showcase – the 2018 NIHRFF Weekender edition: From Oct 4 to 7, 2018 we will screen for you 6 great films which explore important political issues in fascinating filmic formats.
We are expecting wonderful international filmmakers to discuss their works with us: from Istanbul, Ayşe Toprak will talk to us about Mr. Gay Syria, from Canada/Berlin Jo-Anne Velin will present The Picture of the Day and hailing from Budapest, Budapest Bernadett Tuza-Ritter will take us on her filmmaking journey with A Woman Captured.
Mr. Gay Syria
F/TK/D 2017, 80 min, Arabic with German subtitles, Director: Ayşe Toprak
Mr. Gay Syria follows two gay Syrian refugees who are trying to rebuild their lives. Husein is a barber in Istanbul living a double life between his conservative family and his gay identity. Mahmoud is the founder of Syria’s LGBTI movement and is a refugee in Berlin. What brings them together is a dream: to participate in an international beauty contest as an escape from their trapped lives and an answer to their invisibility. Will the dream come true or will the refugee crisis and the harsh consequences of being gay in the Muslim world shatter it to pieces?
Thu, Oct 4, 7 p.m., kommkino, followed by Q&A with director Ayşe Toprak – in English
Sat, Oct 6, 5 p.m., kommkino
The Third Option
Die dritte Option. A 2017, 75 min, German language, Director: Thomas Fürhapter
New technology raises new ethical dilemmas. And one of the greatest dilemmas is brought to a head in the formally conscious Austrian film ‘The Third Opinion’ – which even allows itself to do so with an edge of bone-dry irony. What do you do if your foetal scan reveals that your child does not live up to modern society’s expectations of normality? A painful question that more and more people have to ask themselves. A woman and a man soberly introduce us to their own experiences from an invisible position outside the image’s sharply framed window on Western welfare reality. The perfectly composed images and the edgy controversion could be signed by Jacques Tati and Harun Farocki, but Thomas Fürhaupter is pursuing a different yet highly human mission in his impressive first film, which opens with the memorable line: ‘We screwed until we could screw no more, and in the autumn I became pregnant.’
Fr, Oct 5, 7 p.m., kommkino
Sun, Oct 7, 5 p.m., kommkino
Depth of Field
Tiefenschärfe. D 2017, 14 min, German language, Directors: Mareike Bernien & Alex Gerbaulet
With its image axis repeatedly tilting and tipping out of frame, Depth of Field examines three places in the city of Nuremberg haunted by and struggling against the memory of racist murders committed there by far-right terrorist group NSU between 2000 and 2005.
D/GB 2017, 29 min, German language, Directed by: Forensic Architecture
Shortly after 17:00 on the 6 April 2006, Halit Yozgat, 21 years old, was murdered while attending the reception counter of his family run Internet café in Kassel, Germany. His was the ninth of ten racist murders committed by a neo-Nazi group known as the National Socialist Underground or NSU across Germany between 2000 and 2007. At the time of the killing, an intelligence officer named Andreas Temme was present in the shop. Temme was at the time an employee of the State Office for Constitutional Protection (Landesamt für Verfassungsschutz), the domestic intelligence agency for the German state of Hessen. Temme did not disclose this fact to the police, but was later identified from his internet records. In his interrogation by the police, and in the subsequent NSU trial in Munich, Temme denied being a witness to the incident, and claimed not to have noticed anything out of the ordinary. Forensic Architecture conducted a counter investigation to verify his claims in this film.
Sat, Oct 6, 7 p.m., kommkino, followed by discussion with NSU expert Birgit Mair (ISFBB e.V.) – in German
The Picture of the Day
D, CA 2016, 91 min, German language, Director: Jo-Anne Velin
When the mayor of Tröglitz had to resign because he had spoken up for refugees and their home burned a little while later, camera crews flocked to the small community in Saxony-Anhalt. When the media left, Jo-Anne Velin arrived – and stayed. She spent eleven months between the attack and the regional elections (a resounding success for the right-wing populists) with the residents of the place. She shared their life, went to football matches and antenatal exercise classes, drank coffee with the little old ladies, watched the bakers at work, observed children, explored vanished and existing industries, hiked through the forests, watched and listened closely.
As a Canadian living in Germany Velin brought a foreign element to the place which predestined her to ask, search and discover its many traces – especially in a history shaped by immigration and largely suppressed. She uncovered remarkable lines leading to the concentration camp barracks in the area, now used for various purposes, and ultimately to Imre Kertész. She made connections not only across time but also across geography. Again and again she intercuts images of refugees crossing the sea to Europe with images of the people of Tröglitz. This could be you, the images say. And – thinking further – you are Tröglitz, too. A bold step. (Grit Lemke)
Sun, Oct 7, 11 a.m., kommkino, followed by Q&A with director Jo-Anne Velin
A Woman Captured
A European woman has been kept by a family as a domestic slave for 10 years. Drawing courage from the filmmaker’s presence, she decides to escape the unbearable oppression and become a free person.
“A Woman Captured is a precious film which is courageous in picking an almost invisible protagonist, reseourceful and intelligent in confronting difficult shooting cirsumstances, conspirational in taking its protagonist’s side and utterly beautiful in the way it brings the dignity and beauty of 52-year old marish to the screen to help set her free.” (CivilDoc Jury, CinéDOC Tiblisi)
Sun, Oct 7, 7 p.m., kommkino, followed by Q&A with director Bernadett Tuza-Ritter – in English