When selecting its main to pics and, in particular, when determining its annually changing visual identity, the Kassel Dokfest refers to social and political developments. At the beginning of each year, a lovingly named ‘creative group’ is formed, which tries to channel the discussion of individual interests and perceptions into a common theme. After dedicating the past festivals to the Covid pandemic, the climate crisis and the impact of artificial intelligence, we are now focusing on the question of simultaneity and the resulting feeling of being overwhelmed. In a world in which more and more events are happening ever shorter intervals and with ever greater immediacy, we are challenged to quickly categorise, evaluate and, in the best case, take a reflective approach to what is happening and to the present. This involves a juxtaposition of topics and events. The ever-increasing amount of ‘individualised’ simultaneity of information through social media, among other things, often leads to overload, occasionally followed by ignorance and indifference or conscious fading out. But when the limits of emotional, social and ecological resilience are exhausted, how do we manage to set a focus as individuals and as a society? How do we confront contradictions and develop attitudes without drifting into one-sidedness? If we want to endure simultaneities and encounter contradictions, what tools, methods, approaches, perspectives and resources do we need? While the world seems to be becoming more complex, the documentary genre is a constant companion and path to multiple perspectives. For example, by changing the temporality within a documentary, but also in the experience of cinematic time. One outstanding example is the film “exergue – on documenta 14”. A long-term observation that draws on over 900 hours of film material and takes the audience on a 14-hour journey through the process of creating the art show, before ultimately becoming a cinematic portrait of curator Adam Szymczyk. The film “DIRECT ACTION” by Guillaume Cailleau and Ben Russell takes a similar approach. In shots lasting several minutes, we literally experience human craftsmanship in the truest sense of the word: sourdough is kneaded with bare hands until it is ready and finally the scent seemingly rises into the noses of the viewers. The shots speak for themselves and allow the audience to relax. “Nocturnes” allows us to immerse ourselves in the temporality of the forest in the Himalayas, while the detailed view reveals the complexity of the relationships between flora and fauna. Many of the short and feature films in the current program take a different approach. With their complexity and experimental orientation, they encourage cinematic reflection and generate unexpected associations. One example is the film “Soundtrack to a Coup d’Etat” by Johan Grimonprez. Using hundreds of finely balanced montages, it connects jazz music and the assassination of Patrice Lumumba – to find out how, you will have to wait until you watch the film. Questioning the relevance of the past is also the concern of numerous other films and short film compilations. The short film compilations #8 The Emperors’ New Clothes (but They Have Nothing On) and #14 Squared History and “Petra Kelly – Act Now!” by Doris Metz or the opening film “Riefenstahl” by Andres Veiel are worth mentioning here. It was by chance that a cinematic trilogy was discovered that deals in a remarkable way with Kassel and the effects of the Nazi era on Jewish life in this region in a specific way. Produced between 1996 and 1999, “Kassel, annees 30: une trilogie allemande” (Kassel, 1930s: a German trilogy) by Catherine Bernstein raises very current questions about exclusion and belonging. A foreword can suggest the program lines and highlight a few films as examples. But each of the 212 films and 17 installations in the current program deserves its own appreciation. The introductory texts in the catalogue section provide a brief overview: the festival presents itself on pages 14 to 18. A film and media festival is not a static construct. Thus, there are also innovations this year: the Kassel company Qoncept Energy GmbH is endowing the Golden Hercules and documenting its connection to regional filmmaking. In addition to the well-known and proven venues for films and the exhibition spaces for the Monitoring exhibition, the Kassel Dokfest is exploring new locations and entering into new partnerships. For example, the UK14 will host the Hessian University Film Day and the award ceremony for the first time. The DokfestLounge will move on to a new location, as it has often done in the history of the festival. The newly founded club in the former ‘Tofufabrik’ will provide a space for all festival guests to meet at a late hour. We would also like to celebrate and thank the many supporters and sponsors of the Kassel Dokfest, as well as our Friends of Kassel Dokfest, who make this festival possible in the first place. But the biggest thanks go to the more than 200 filmmakers and artists whose works form the core of the festival. During the preparation period, some of the approximately 200 staff occasionally experience a combination of simultaneity and overload. This is especially the case in the last 10 weeks before the festival begins, when the Kassel Dokfest is shaped and organized in parallel in the various sections. Organising a film festival is complex, challenging and exhilarating at the same time. We would like to take this opportunity to thank everyone involved and wish our audience entertaining and inspiring days at the Kassel Dokfest.
Dear film enthusiasts,
welcome to the Dokfest Kassel 2024! Over the next six days, Kassel will, for the 41st time, become the centre of contemporary documentary, experimental and artistic film, a platform for exchange and presentation for the international documentary and art film scene, and a magnet for regional film fans. The team of curators has selected 212 full-length and short films and 17 media installations from a total of 2,500 submissions, putting together a very diverse and high-quality programme that takes a multi-perspective approach to the socio-political issues of our time. In terms of content, the focus is on works that address exile and migration on the one hand and collective memory on the other. For example, in a special programme and as a highlight, the festival presents the trilogy ‘Kassel, années 30: une trilogie allemande’, in which filmmaker Catherine Bernstein explores her Jewish family history in Kassel. The trilogy has its German premiere at the festival; just one of over 100 premieres during the six days of the event.
Alongside the diverse programme of films, the Dokfest Kassel will once again inspire audiences with its familiar and popular formats: Monitoring – the exhibition for contemporary international media art, the interdisciplinary workshop conference interfiction, the discussion platform DokfestForum, the young dokfest, the DokfestGeneration, the DokfestBrunch, the DokfestLounge, the presentation of four festival prizes and the 15th Hessian University Film Day.
The Dokfest Kassel is unique in Kassel and Hesse in its diversity, quality, international orientation and focus on film and new media. It is firmly anchored in the cultural landscape and has become an indispensable part of our orientation as a film and media city and an international figurehead for our cultural life as a city.
My heartfelt thanks go to the team of the Dokfest Kassel for their dedication and tireless commitment to the event, as well as to all of the cooperation partners, supporters and sponsors who, with their individual contributions, have played a significant role in the success of this renowned film festival.
I wish you many moving film moments, exciting new discoveries, inspiring insights and a stimulating exchange at the 41st Dokfest Kassel.
Sincerely
Yours
Sven Schoeller
Mayor of Kassel
Dear film lovers,
as the Hessian Minister for Research, Art and Culture, I am delighted to welcome you to the Dokfest Kassel in my home region of North Hessen. Now in its 41st year, the festival once again brings together regional and international artistic creativity. The organisers deserve not only our recognition and gratitude, but also our support.
The diversity of the North Hessen multimedia landscape is reflected in the almost 30 films competing for the Golden Hercules, which is awarded to an outstanding film production from North Hessen. The festival showcases the Hessen film industry: Among others, with works that were also represented at this year's Hessen Film and Cinema Prize: The range includes ‘Shahid’ by Narges Kalhor, ‘Exile Never Ends’ by Bahar Bektaş and short films such as ‘Die Stadt ist die Gilde und die Gilde ist die Stadt’ by Jonas Leichsenring.
One of the main topics this year is queer perspectives. They are reflected, for example, in the feature-length films ‘Trans Memoria’ and ‘Quir’, in the regional film contributions ‘It's (not) a Men's World’, ‘Gotteskinder’ and ‘Der König von Spanien’ as well as in the short film programme. And works presented as part of the media art exhibition Monitoring also deal with queer lives. The personal and interpersonal is complemented by an additional focus on the examination of public spaces and the environment.
A special aspect of the Dokfest Kassel is the tension between art and documentary formats. The 14-hour film ‘exergue - on documenta 14’ will be shown this year in a special programme in the small screen of the BALi from 14 to 16 November and then for a wider Kassel audience from 22 to 24 November in the main screen of the BALi.
But it is not only the cinematic art from around the world that makes the Dokfest Kassel so exciting. It is also an important multiplier and a platform for film-making in Hessen. Producers, artists, directors and young talents from Hessen's film schools meet here at the Hessian University Film Day. In cooperation with the Hessian Film and Media Academy, it offers students from the four Hessen universities with chairs in film in Darmstadt, Offenbach, Kassel and Wiesbaden the opportunity to present their projects to an audience from the film industry and to make connections in the film and television industry.
I wish the event team and the audience of the Dokfest Kassel a successful film festival and interesting new insights into the film industry in Hessen!
Timon Gremmels
Hessian Minister for Research, Art and Culture
Jero van Nieuwkoop
Chairman of the Board of the Kasseler Kunstverein