2. Latin American Film Festival Berlin

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ContentInhaltsverzeichnis

5Tickets, Adresses, Contact and Lakino ThanksKarten, Adressen, Kontakt und Lakino Dankt

6Message from the festival director, Martin CapatintaGrußwort des Festival Direktors

9Official JuryDie offizielle Jury

13FilmFilme

36Panel DiscussionsPodiumsdiskussion

41Art ExhibitionKunstausstellung

59LakiTeam

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VOLKSBÜHNETICKET OPENING DAY: € 10,00Linienstraße 227, 10178 Berlín U2: Rosa-Luxemburg-Platz, U8: Weinmeisterstraßewww.volksbuehne-berlin.de

KINO BABYLON TICKET KINO 1: From € 8,00 to € 15,00 (Pay as much you want with love) TICKET KINO 2 & 3: € 7,00LAKINOKIDS TICKET: € 5,00KOMBITICKET 4 SCREENINGS: € 20,00Rosa-Luxemburg-Str.30, 10178 Berlin U2: Rosa-Luxemburg-Platz, U8: Weinmeisterstraße www.babylonberlin.de

NEU WEST BERLIN (Venue Art Exhibition)TICKET: FREE ENTRANCE Köpenicker Strasse 55 - 10179 BerlinU8 Heinrich Heine Strasse

SILVERWINGS CLUB (Venue Festival Party)TICKET: € 6,00 Columbiadamm 10 F2, 10965 BerlínU6 Platz der Luftbrücke

CONTACTLakinoLatin American Film Festivals BerlinSenefelderstr. 27, 10437 BerlinDeutschland

[email protected]

Thanks to each and everyone of The Laki Team, this projects is yours as well and we have done a great job. And thanks to all filmmakers, Lakino Oslo, Timothy Grossmann, Karin Skärbäck, Lucile, Gabriela Flores, Niki and Nayra MegiesJoel Pizzini, Embassy of the Republic of Argentina, Embassy of the Republic of Colombia, proud magazine, Bartlerby, OYE Records, Entretempo, Jenny Mügel, Gabriela Flores, Andres Leon, Fifa Films, Canal Brasil, Sandro Florin, mitvergnügen, Lichtblick Kino, Klunkerkranic, Marika Kozlovska, Cicciolina Friends, Elisa Ganivet and Anna Capatinta and to all our friends who support Lakino from everywhere

Tickets, Adresses, Contact and Lakino ThanksKarten, Adressen, Kontakt und Lakino Dankt

On October 5th, the doors of the legendary theater Volksbühne will open to start the largest Latin American Film Festival in Germany. In the course of eight days, 34 films will be presented in the second edition of Lakino in Berlin. There are three sections: “Official Competition”, “Documentary Competition” and “Panorama”.

On the occasion of celebrating the 25th anniversary of the fall of the Berlin Wall, Lakino presents Border-Bridges, an exhibition that gathers works of several Latin American artists. They explore the wall as a symbol of the division between worlds while emphasizing the contemporary migratory reality.

As part of the activities, there will be three conferences and discussion panels on present-day social and political issues in Latin America: “The Historical Memory in the Framework of Armed Conflict”, “Mining and its Socio-environmental Impact” and identity through the “Heritage and Indigenism”.

The Lakino awards ceremony will take place in the evening of Saturday 11th October. An international jury will pass the prizes to the winning films. The celebration will continue at Deputamadre party where Djs will offer the best of their rhythms.

The finishing touch of the fifth anniversary of Lakino will be a concert of the legendary band Babasónicos. It is the first time they perform in Berlin.

Martin Capatinta AucaFestival Director

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Am 5. Oktober öffnen sich die Türen der legendären Volksbühne und begrüßen das größte lateinamerikanische Filmfestival in Deutschland. Lakino an acht Tagen über 34 Filme in den Kategorien “Offizieller Wettbewerb Fiktion”, “Offizieller Wettbewerb Dokumentarfilm” und “Panorama”.

Aus Anlass des 25-jährigen Jubiläums des Mauerfalls, gestaltet Lakino eine Ausstellung unter dem Motto “Border - Bridges”. Eine Auswahl internationaler, bildender und visueller Künstlerinnen und Künstler zeigt uns ihre Sicht auf gefallene Grenzen und Teilungen sowie Grenzen, die neu entstehen.

Im Rahmen des Festivals finden drei Podiumsdiskussionen in Bezug auf aktuelle soziale und politische Themen in Lateinamerika statt: “Historisches Gedächtnis im Rahmen des bewaffneten Kampfes”, “Bergbau und seine Auswirkungen auf Gesellschaft und Umwelt” und Identität durch “Kulturelles Erbe und Indigenismus”.

Am Samstagabend, den 11. Oktober, wird eine internationale Jury die Gewinnerfilme verkünden. Anschließend feiern wir die Gewinner mit den besten Rhythmen der DJs, bei der Lakino Deputamadre Party.

Lakino beschließt sein fünfjähriges Jubiläum am 29. Oktober mit dem Konzert der legendären Band Babasónicos, die zum ersten Mal in Berlin auftreten werden.

Martin Capatinta AucaFestivaldirektor

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Official JuryDie offizielle Jury

Fiction Competition Wettbewerb Spielfilm

Andrew Grant Tom Lass Nicolas Wackerbarth

Documentary Competition Wettbewerb Dokumentarfilm

Anna Kalbhenn Peter Schulzer Helvecio Marins

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Andrew GrantA child of the film industry, distributor, critic, festival programmer and producer Andrew Grant has over fifteen years of experience working in film. As president of Benten Films in the US, the first distribution company run by film critics, he set new standards in the curation and distribution of micro-budget independent cinema. Relocating to Berlin in 2010, he became co-programmer of the Unknown Pleasures Festival of American Independent Cinema. He also works as a producer, and he is currently working on the feature documentary, Cause of Death: Unknown, directed by Anniken Hoel.

Tom LassTom Lass was born in 1983 in Munich. He began his acting career at the age of 10 and has been involved with over 50 film and television projects since. In 2005, Lass also began working behind the camera as a production assistant and operator, and more recently as a production and set manager. He and his brother Jakob Lass co-founded the film production company LASS BROS. In 2008, Lass completed his first short film “0 + 0 = 1” and continued to shoot more. His first feature length film was the award-winning “Papa Gold”, which he has followed up with his second feature film “Kaptn Oskar”. “Kaptn Oskar” most recently received the main award at the Oldenburg Film Festival and his lead actress got the Seymour Cassel Award for “Outstanding Performance”.

Nicolas WackerbarthNicolas Wackerbarth is a director, author and co-publisher of the film magazine Revolver. He studied Acting at the Bavarian Theatre Academy in Munich and Film Directing at the DFFB in Berlin. After working as an actor in Frankfurt and at the Städtische Bühnen in Cologne he directed several works, like Anfänger! (Television, 2004), Westernstadt (Documentary, 2005), Halbe Stunden (Shortfilm, 2007), Unten, Mitte, Kinn (2011) and Halbschatten (2013).

Andrew GrantAls Kind der Filmindustrie, Kritiker, Festivalleiter und Produzent hat Andrew Grant über 15 Jahre Erfahrung im Bereich Film. Er setzte als Präsident von Benten FIlms, dem ersten Filmverleih von Filmkritikern, neue Standards in der Kuration und Verbreitung von Independent Mikro-Budget Kino. 2010 dann wieder in Berlin wurde er Co-Programmleiter des Festivals Unknown Pleasures über amerikanisches Independent-Kino. Er ist zudem als Produzent tätig und arbeitet aktuell an der Dokumentation Cause of Death: Unknown, unter der Regie von Anniken Hoel.

Tom LassTom Lass wurde 1983 als jüngster Sohn eines Physikers und einer Malerin in München geboren. Im Alter von 15 Jahren begann er seine Schauspielkarriere und wirkte seitdem in über 50 Film- und Fernsehprojekten mit, darunter auch der First-Steps-Preisträger “Allerseelen” (2004) und der vielfach ausgezeichnete “Stiller Frühling” (2008). Seit 2005 arbeitete er auch hinter der Kamera als Produktionsassistent und Fahrer, später auch als Produktions- und Set-Aufnahmeleiter. Gemeinsam mit seinem Bruder Jakob Lass gründete er 2006 die LASS BROS Filmproduktion. 2008 entstand sein erster Kurzfilm “0 + 0 = 1”. Nach seinem preisgekröntem Langfilm-Debüt “Papa Gold” ist “Kaptn Oskar” sein zweiter Spielfilm für den er jüngst beim Oldenburger Filmfestival den Hauptpreis erhielt und seine Hauptdarstellerin mit dem Seymour Cassel Award ausgezeichnet wurde. Tom lebt und arbeitet in Berlin.

Nicolas WackerbarthNicolas Wackerbarth. Regisseur, Autor, Mitherausgeber der Filmzeitschrift RevolverStudium Schauspiel an der Bayerischen Theaterakademie München; Filmregie an der DFFB, Berlin. 1996–97 Schauspiel Frankfurt,1997–2000 Städtische Bühnen Köln. Filme (Auswahl) Anfänger! (TV, 2004),Westernstadt (Dok., 2005), Halbe Stunden(Kurzfilm, 2007), Unten, Mitte, Kinn (2011),Halbschatten (2013).

Fiction CompetitionWettbewerb Spielfilm

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Anna KalbhennProject Coordinator, Berlinale’s NATIVe - A Journey into Indigenous Cinema (Germany)Anna studied Italian, Sinology and Communication in Berlin and Milan and has been working for various film festivals in the past decade. In 2010 she started working for the Berlin International Film Festival and since 2012 she coordinates the special series on Indigenous filmmaking, also assisting the Curator Maryanne Redpath with research and programming.

Peter SchulzerPeter W. Schulze, Dr. phil, is lecturer in Film Studies at the University of Bremen and has published several books on Latin American cinema.

Studies of Film Studies, Comparative Literature and Journalism (M. A.) and Free Visual Arts (Diploma in Photography) in Mainz, Madrid, Paris and Rio de Janeiro. Promotion in the context of the International PhD Programme (IPP), “Performance and Media Studies” at the University of Mainz and in the Postgraduate Programme of Escola de Comunicação at the Universidade Federal de Rio de Janeiro. Promotion with the thesis on “Strategies of Cultural Cannibalisation. Postcolonial Respresentations from Brazilian Modernismo to Cinema Novo”.

Helvecio MarinsBorn in 1973, Helvécio Marins Jr. has a master degree in cinema by the PUC University in Brazil. His films have received over 60 prizes in such international and Brazilian festivals as Venice, Havana, Nantes, Barcelona and Mar del Plata. His films were selected in festivals and museums such as Locarno, Toronto, Berlin, San Sebastian, Sundance, Centre Georges Pompidou in Paris and MoMA in New York City. Girimunho (2011), his first feature film, had its world premiere at the 68th Venice Film Festival, where it received an INTERFILM Award. In 2012, the Vila do Conde International Short Film Festival in Portugal held a retrospective of his work. He currently works on his next feature film, The Wife of the Man Who Eats Laser Beams, which is supported by the Hubert Bals Fund and Fazenda do Queba.

Anna KalbhennProjektkoordinator, Berlinale’s NATIVe – A Journey into Indigenous Cinema (Deutschland)Anne studierte Italienisch, Sinologie und Kommunikation in Berlin und Mailand und wirkte in den letzten Jahren an mehreren Filmfestivals mit. 2010 begann sie für das Internationale Filmfestival Berlin zu arbeiten wo sie seit 2010 die Sonderreihe über filmische Erzählungen indigener Völker koordiniert. Sie assistiert der Kuratorin Maryanne Redpath im Bereich Forschung und Programmleitung.

Peter SchulzerPeter W. Schulze, Dr. phil, ist Dozent für Filmwissenschaft an der Universität Bremen und hat mehrere Buchpublikationen zum lateinamerikanischen Kino vorgelegt.

Studium der Filmwissenschaft, Komparatistik und Publizistik (Magister Artium) sowie der Freien Bildenden Kunst (Diplom Fotografie) in Mainz, Madrid, Paris und Rio de Janeiro. Promotion im Rahmen des International PhD Programme (IPP) ›Performance and Media Studies‹ an der Universität Mainz und des Postgraduierten-Programms der Escola de Comunicação an der Universidade Federal de Rio de Janeiro. Promotion mit der Studie Strategien kultureller Kannibalisierung. Postkoloniale Repräsentationen vom brasilianischen Modernismo zum Cinema Novo.

Helvecio MarinsHelvécio Marins Jr., 1973 geboren, absolvierte einen Master-Abschluss in Film an der PUC-Universität in Brasilien. Seine Filme wurden mit mehr als 60 Preisen prämiert, z. B. an den Festivals von Venedig, Havanna, Nantes, Barcelona und Mar del Plata. Zu sehen waren seine Werke an Festivals und in Museen, etwa in Locarno, Toronto, Berlin, San Sebastián und Sundance, am Centre Georges Pompidou in Paris sowie im MoMA in New York. Girimunho (2011), sein Langfilmdebüt, feierte seine Weltpremiere am 68. Filmfestival in Venedig, wo es mit dem INTERFILM-Preis ausgezeichnet wurde. 2012 widmete ihm das Festival von Vila do Conde in Portugal eine Werkschau. Zurzeit arbeitet er an seinem nächsten Langfilm, A mulher do homem que come raio laser, der durch den Hubert Bals Fund und Fazenda do Queba unterstützt wird.

Documentary Competition Wettbewerb Dokumentarfilm

TIERRA EN LA LENGUA / Dust on the Tongue, Rubén Mendoza, Colombia

LAS BÚSQUEDAS / The Searches, José Luis Valle, Mexico

LAS NIÑAS QUISPE / The Quispe Girls, Sebastián Sepúlveda, Chile, France, Argentina

REFUGIADO, Diego Lerman, Argentina

EL LUGAR DEL HIJO / The Militant, Manuel Nieto, Uruguay, Argentina

EL ESPACIO ENTRE LAS COSAS, Raúl del Busto, Peru

PERISCOPIO / Periscope, Kiko Goifman, Brazil

OLHO NU / Naked Eye, Joel Pizzini, Brazil

REFUGIADOS EN SU TIERRA / Refugees in their Own Land, Fernando Molina, NIcolás Bietti, Argentina

PODER E IMPOTENCIA, UN DRAMA EN 3 ACTOS / Power and Impotence, a drama in 3 acts, Anna Recalde Miranda, Paraguay, France, Italy

LA MUERTE DE JAIME ROLDÓS / The Death of Jaime Roldós, Manolo Sarmiento y Lisandra I. Rivera, Ecuador

ICAROS, Georgina Barreiro, Argentina, Peru

MUERTE EN ARIZONA / Death in Arizona, Tin Dirdamal, Mexico, Bolivia

HOTEL NUEVA ISLA, Irene Gutiérrez, Javier Labrador Cuba, Spain

EL MUDO / The Mute, Daniel Vega, Diego Vega, Peru, France, Mexico

LA DANZA DE LA REALIDAD / The Dance of Reality, Alejandro Jodorowsky, Chile, France

DE COMETAS Y FRONTERAS / Of Kites and Borders, Yolanda Pividal, USA, Mexico, Spain

LAKINOKIDS / Films for kids, Various shortfilms

FilmsFilme

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Dust on the Tongue is a film about intergenerational relationships, that explores the poles of tenderness and cruelty. A grandfather, in the final stage of his existence, asks two of his grandchildren to kill him because he wants to die by the hand of someone who bears his own blood. However, the young children discover a truth that will make them take the opposite decision: to keep him alive, agonizing as a punishment for his past actions.

Tierra en la Lengua ist ein Film über die Beziehungen zwischen den Generationen, der die Extreme zwischen Zärtlichkeit und Grausamkeit beleuchtet. Ein Großvater bittet am Ende seines Lebens zwei seiner Enkel ihn zu töten, da es sein Wunsch ist, durch jemanden zu sterben, der mit ihm blutsverwandt ist. Allerdings entdecken die Jugendlichen dabei eine Wahrheit, die sie dazu bringt, eine andere Entscheidung zu treffen; den Großvater, mit dem Tode ringend, am Leben zu erhalten, als Strafe für seine in der Vergangenheit begangenen Taten

Colombia 2013 I Color I 86’ I Spanish with English subtitles I Premiere in GermanyProducer: Daniel García Screenplay: Rubén Mendoza Cinematographers: Juan Carlos Gil Editors: Gustavo Vasco, Rubén Mendoza Cast: Jairo Salcedo, Gabriel Mejía, Alma Rodríguez, Mauricio Silva

TIERRA EN LA LENGUADust on the Tongue

Rubén Mendoza

Wed/Mit Oct. 8 - 21:00 Babylon 1Fri/Fr Oct. 10 - 18:00 Babylon 1

Sun/So Oct. 12 - 18:30 Babylon 2


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Revenge, redemption and chance are the topics that underpin José Luis Valle’s new film. A man runs his errands: he cleans the house, picks up the clothes from the dry cleaning, pays his debts and buys groceries. Then, inexplicably, he commits suicide. His death smites his wife, Elvira, who is unaware of the reasons for the suicide. Elsewhere in the city, Ulises is assaulted and stripped of the wallet that contained the only photo he kept of his deceased daughter. He sets out to find the thief and kill him. Unexpectedly, the lives of Elvira and Ulises intersect. Las Búsquedas was made in seven days, with a budget of $1,500 dollars.

Rache, Wiedergutmachung und Schicksal sind die Themen, die José Luis Valles neuen Film durchziehen. Ein Mann erledigt seine Besorgungen: er putzt das Haus, holt die Kleidung von der Reinigung, zahlt seine Schulden und kauft Lebensmittel ein. Dann begeht er unerklärlicherweise Selbstmord. Sein Tod schockt seine Frau Elvira, die nichts über die Gründe für den Selbstmord ihres Mannes weiß. Anderswo in der Stadt wird Ulises überfallen und ihm sein Portemonnaie gestohlen, das das einzige Foto seiner verstorbenen Tochter enthält. Er macht sich auf die Suche nach dem Dieb um ihn zu töten. Die Leben von Elvira und Ulises kreuzen sich unerwarteterweise. Der Film wurde in sieben Tagen mit einem Budget von 1.500 Dollar gedreht.

Mexico 2013 I Black and White I 77’ I Spanish with English subtitles I Premiere in BerlinProducers: José Luis Valle, Caverna Cine Screenplay: José Luis Valle Cinematographer: César Gutiérrez Miranda Editor: Ulises Vallejo Cast: Gustavo Sánchez Parra, Arcelia Ramírez, Gabino Rodríguez, Martín Acosta, David Calderón

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LAS BÚSQUEDASThe Searches

José Luis Valle

Tue/Die Oct. 7 - 17:30 Babylon 1Sat/Sa Oct. 11 - 19:45 Babylon 1

Sun/So Oct. 12 - 20:00 Babylon 2


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Based on a true story that occurred in 1974, Las Niñas Quispe is the tale of the sisters Justa, Lucia and Luciana Quispe, shepherds in the Chilean altiplano, who lead a solitary life. By the recent death of a fourth sister and news from abroad, the sisters are forced to undertake an existential quest that will relentlessly bring them to a tragic end.

Las Niñas Quispe ist die wahre Geschichte der Schwestern Justa, Lucia und Luciana Quispe, Schäferinnen, die in der Andenhochebene ein einsamens Leben führen, aus dem Jahre 1974. Der kürzliche Tod einer vierten Schwester und eine Nachricht aus dem Ausland zwingen die Schwestern auf eine existenzielle Suche, die letztendlich ein tragisches Ende finden wird.

Chile, France, Argentina 2013 I color I 80’ I Spanish with English subtitles I Premiere in BerlinProducers: Juan de Dios Larraín, Pablo Larraín Screenplay: Sebastián Sepúlveda Cinematographer: Inti Briones Editor: Santiago Otheguy Cast: Digna Quispe, Catalina Saavedra, Francisca Gavilán, Alfredo Castro, Segundo Araya

LAS NIÑAS QUISPEThe Quispe Girls

Sebastián Sepúlveda

Fri/Fr Oct. 10 - 21:30 Babylon 1Sun/So Oct. 12 - 19:00 Babylon 1


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8-Year-old Matias and his newly pregnant mother Laura find themselves forced to hurriedly abandon the house in which they live, in order to escape another outburst of violence from her husband Fabian. Thus they begin a wandering journey in search of a place where they can feel safe and protected. They embark on an unusual road-movie of everyday life, a drama shot through with great humanity.

Der Junge Matias und seine Mutter Laura verlassen in Panik die Wohnung, in der sie leben, nachdem die Frau einmal mehr von ihrem Mann verprügelt wurde. Matias ist acht Jahre alt und Laura wieder schwanger. Zusammen suchen Mutter und Kind einen Ort, an dem sie sich sicher fühlen können und unerreichbar sind für den Mann und Vater

Argentina 2014 I color I 93’ I Spanish with English subtitles I Premiere in BerlinProducers: Campo Cine S.R.L. Screenplay: Diego Lerman, Maria Meira Cinematographer: Wojtek Staron Editor: Alejandro Brodersohn Cast: Julieta Díaz, Sebastián Molinaro, Marta Lubos, Valentina Garcia Guerrero

REFUGIADORefugiado

Diego Lerman

Wed/Mit Oct. 8 - 19:00 Babylon 2Sat/Sa Oct. 11 - 21:15 Babylon 1


Filmpate:

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A student in Montevideo is being told of his father’s death and has to travel to Salto, a town in the center of the country, to attend his funeral. Upon his arrival he discovers that his father has left him an indebted farm, an old dog and a house in town, along with a lover who expects to keep the place and settles down there with him. El Lugar del Hijo is a story of rootlessness and of personal reconstruction, a metaphor for the country’s inherited debts and the youth which, at some point, has to deal with it.

El Lugar del Hijo ist die Geschichte eines Studenten in Montevideo, der nach der Nachricht des Todes seines Vaters nach Salto zu dessen Beerdigung reisen muss. Dort stellt er fest, dass sein Vater ihm eine verschuldete Farm hinterlassen hat, einen alten Hund sowie ein Haus in der Stadt mit einer Geliebten, die vorhat das Haus zu behalten und sich dort mit ihm einzurichten. Es ist eine Geschichte der Entwurzelung und Selbstfindung, eine Metapher über die Erbschuld Argentiniens und die Jugend, die dafür irgendwann die Verantwortung übernehmen muss

Uruguay, Argentina 2013 I color I 120’ I Spanish with English subtitles I Premiere in BerlinProducers: Roken Films Screenplay: Manuel Nieto Cinematographer: Arauco Hernández Holz Editor: Pablo Riera Cast: Felipe Dieste, Alejandro Urdapilleta, Rossana Cabrera, Leonor Courtoisie, Sebastian Blanquer, Germán de Silva, Carlos Lacuesta

EL LUGAR DEL HIJOThe Militant

Manuel Nieto

Tue/Die Oct. 7 - 21:45 Babylon 1Fri/Fr Oct. 10 - 18:00 Babylon 2


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El Espacio entre las Cosas is about a director who visits possible filming locations while he polishes the script of his new crime film. The main character is a detective from the drug department who confronts a series of strange incidents in his personal as well as in his professional life. The film resembles a rehearsal or a notebook, merging its narrator and main character and showing reality and fiction to be parts of the same universe.

El Espacio entre las Cosas handelt von einem Regisseur, der verschiedene mögliche Drehorte besucht während er am Drehbuch für seinen neuesten Film, einem Krimi, feilt. Die Hauptperson ist ein Polizist des Drogendezernats, dem sowohl im Privat- als auch im Berufsleben, eine Serie seltsamer Vorfälle widerfährt. Stichpunktartig und in Essayform verschmilzen Erzähler und Protagonist immer mehr miteinander und Realität und Fiktion sind plötzlich Teil desselben Universums.

Perú 2012 I color I 90’ I Spanish with English subtitles I Premiere in GermanyProducer: Raúl del Busto Screenplay: Raúl del Busto Cinematographers: Raúl del Busto, Cynthia Inamine Editors: Raúl del Busto, Cynthia Inamine Cast: Natalia Pena, Fernando Escribens, Ricardo Sandi, Fernando Vilchez, Ryowa Uehara

EL ESPACIO ENTRE LAS COSASEl Espacio entre las Cosas

Raúl del Busto

Tue/Die Oct. 7 - 20:30 Babylon 3Sat/Sa Oct. 11 - 17:15 Babylon 2


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Two men in one apartment. Irony, conflicts, and fights. Everything seems to have reached its end. Time is frozen and the imminence of death defines everyday life. Suddenly, a shiny iron object – a periscope – tears the floor apart. At first the two men are frightened, but they soon realize that someone in this world is actually interested in their miserable lives. They start to perform, sing and dance for the periscope. Until other things start to emerge as well...

Zwei Männer in einer Wohnung. Ironie, Konflikte und Kämpfe. Alles scheint ein Ende erreicht zu haben. Die Zeit steht still und der bevorstehende Tod bestimmt den Alltag. Plötzlich zerreist ein funkelnder Gegenstand aus Eisen - ein Periskop - den Boden. Zuerst sind beide Männer verängstigt, dann realisieren sie aber, dass jemand auf dieser Welt Interesse an ihren armseligen Leben zeigt. Sie beginnen für das Periskop etwas vorzuführen, zu singen und zu tanzen. Bis neue Dinge auftauchen...

Brazil 2013 I color I 85’ I Portuguese with English subtitles I Premiere in BerlinProducer: Kiko Goifman Screenplay: Jean-Claude Bernardet, Kiko Goifman Cinematographer: Julia Zakia Editors: Vânia Debs, Olivia Brenga Cast: Jean-Claude Bernardet, João Miguel

PERISCOPIOPeriscope

Kiko Goifman



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This essay film portrays the life and work of Ney Matagrosso from a set of images and sounds gathered by the artist, as opposed to life action sequences. Showing the musical journey of Ney, the film evokes his history on stage and in everyday life. Without nostalgia or reverence, Naked Eye reveals the man behind the character; it probes the motivations of his art, his critical thinking and the libertarian and political nature that permeate his repertoire, always guided by coherence and aesthetic quality.

Ein Film-Essay, der das Leben und die Arbeit von Ney Matagrosso in einer Fülle von Bildern und Klängen zeigt, die vom Künstler erfasst werden und im Gegensatz zu herkömmlichen Sequenzen stehen. Der Film porträtiert die musikalische Reise von Ney und seine Geschichte auf der Bühne und im Alltag. Ohne Nostalgie und Ehrfurcht, zeigt Naked Eye den Mann hinter dem Charakter; er erforscht die Motivation seiner Kunst, sein kritisches Denken, die freiheitsliebende und politische Natur die sein Repertoire durchdringen, und dies immer geführt von Stimmigkeit und ästhetischer Qualität.

Brazil 2013 I color I 101’ I Portuguese with English subtitles I Premiere in BerlinProducers: Paloma Rocha Produções Artísticas e Cinematográficas Ltda Screenplay: Joel Pizzini Cinematographer: Luís Abramo Editors: Alexandre Gwaz, Joaquim Castro Cast: Ney Matogrosso

OLHO NUNaked Eye

Joel Pizzini

Tue/Die Oct. 7 - 19:00 Babylon 1 Thu/Do Oct. 8 - 20:30 Babylon 3

Sat/Sa Oct. 11 - 18:30 Babylon 3

Documentary CompetitionWettbewerb Dokumentarfilm

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Filmed in the south of Chile, this documentary tells the story of a group of people who return to their town after a volcanic eruption in order to stop the authorities from abandoning the place. There they encounter a bleak situation: the river has flooded and many houses have completely disappeared. The years go by and the final verdict for the town does not come. Time seems to have stopped. Now they live among the ashes, submerged in abandonment and persecuted by the state, trying to find a way to defend their identity.

Im Süden von Chile gedreht, erzählt diese Dokumentation die Geschichte einer Gruppe von Menschen, die nach einem Vulkanausbruch zurück in ihre Stadt kehren um zu verhindern, dass die Behörden den Ort aufgeben. Da treffen sie auf eine trostlose Situation: der Fluss trat über die Ufer und viele Häuser sind komplett verschwunden. Jetzt leben sie zwischen der Asche, untergetaucht und verfolgt vom Staat und versuchen einen Weg zu finden, ihre Identität zu verteidigen.

Argentina 2013 I color I 96’ I Spanish with English subtitles I Premiere in GermanyProducers: Fernando Molina, Nicolás Bietti Screenplay: Fernando Molina, Nicolás Bietti Cinematographer: Fernando Molina Editors: Fernando Molina, Nicolás Bietti Cast: Documentary

REFUGIADOS EN SU TIERRARefugees in their Own Land

Fernando Molina, Nicolás Bietti

Thu/Do Oct. 9 - 20:45 Babylon 2Fri/Fr Oct. 10 - 19:45 Babylon 1


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Fernando Lugo, ‘the bishop of the poor’, former catholic bishop and member of the Liberation Theology, won the 2008 presidential elections in Paraguay. After 61 years of hegemony by the Colorado Party, created by the dictator Alfredo Stroessner who ruled Paraguay for 35 years, this unexpected victory came as a political miracle, the people’s dream for change finally come true. But politics is not for saints and the dream turns into a nightmare.In a political thriller set in stranger-than-fiction Paraguay, we follow the people’s hopes and disappointments from a rare behind-the-scene point of view, until the tragic ending and Lugo’s fall from power. A unique period in Paraguay’s history is documented in an intimate and universal film, providing an insight on the sense and the limits of politics and the paradoxes of democratic systems nowadays. A contemporary Shakespearean drama about power.

Fernando Lugo, der ‘Bischof der Armen’, ehemaliger katholischer Priester und Befreiungstheologe, gewann 2008 die Präsidentschaftswahlen in Paraguay. Nach 61 Jahren unter der von Diktator Alfredo Stroessner gegründeten Colorado-Partei, glich dieser unerwartete Sieg einem politischen Wunder und der Wunsch des Volkes nach Veränderung schien endlich in Erfüllung zu gehen. Aber Politik ist nichts für Heilige und so wurde der Traum zu einem Albtraum. In einem Politthriller, der in der seltsam bizarren Realität Paraguays spielt, folgen wir diesen Hoffnungen und Enttäuschungen mit einem selten intimen Blick hinter die Kulissen, bis hin zu deren tragischen Ende und dem Sturz der Macht. Eine einzigartige Zeit, dokumentiert in einem gleichzeitig persönlichen und universellen Film, der eine Vision von Bedeutung und Grenzen der Politik in den Paradoxien heutiger Demokratien bietet. Ein zeitgenössisches Shakespeare’sches Drama über die Macht.

Paraguay, France, Italy 2014 I color I 105’ I Spanish with English subtitles I Premiere in GermanyProducers: Anna Recalde Miranda, Blackmoon Productions, La compagnie des Phares et Balises Screenplay: Anna Recalde Miranda Cinematographers: Nicola Grignani, Anna Recalde Miranda Editors: Anna Recalde Miranda, Andrea Gandolfo, Glenn Felix Cast: President Fernando Lugo Mendez

PODER E IMPOTENCIA, UN DRAMA EN 3 ACTOSPower and Impotence, a drama in 3 acts

Anna Recalde Miranda

Thu/Do Oct. 9 - 19:00 Babylon 2Sat/Sa Oct. 11 - 20:30 Babylon 3


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Ecuadorian president Jaime Roldós died in May 1981, an event that sheds transparency on the South American world and its inequalities, military coups, authoritarianisms, libertarian instincts and demagogic deviations. Setting off with a unique selection of archive material, characters and voices, the documentary narrates president Jaime Roldós’ short life, whose administration was the first, after a series of dictatorial governments, that wanted to make sweeping political and social transformations.Described in school texts and Ecuadorian history as an aviation accident, the deaths of Jaime Roldós and his wife are examined in this documentary, the making of which took almost a decade.

Im Mai 1981 stirbt der ecuadorianische Präsident Jaime Roldós: ein Ereignis, das zeigt, wie Arglosigkeit, Militärputsche, Autoritarismus, libertäre Instinkte und demagogische Abweichungen in Südamerika zusammenwirken. Basierend auf einer einzigartigen Sammlung an Archivmaterial, Charakteren und Stimmen, erzählt der Dokumentarfilm das kurze Leben von Jaime Roldós, der als erster gewählter Präsident - nach einer Reihe von diktatorischen Regimen - große gesellschaftliche und politische Veränderungen bewirkte. In den Schulbüchern und der Geschichtsschreibung Ecuadors als Flugzeugabsturz beschrieben, untersucht der Film, der nach zehnjähriger Vorbereitung entstand, den Tod Jaime Roldós und seiner Frau.

Ecuador 2013 I color I 123’ I Spanish with English subtitles I Premiere in GermanyProducers: Corporación La Maquinita y M&S Producción S.R.L Screenplay: Manolo Sarmiento, Lisandra I. Rivera Cinematographer: Daniel Andrade Editor: Manoela Ziggiatti Cast: Documentary

LA MUERTE DE JAIME ROLDÓSThe Death of Jaime Roldós

Manolo Sarmiento, Lisandra I. Rivera



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Icaros explores the spiritual universe of the Shipibo, an Indigenous people who live by the Ucayali river, one of the main tributaries of the Peruvian Amazon. Mokan Rono, a young Shipibo man, sets out on a journey to discover the ancestral knowledge of ayahuasca, a hallucinogenic tonic made from plants that is known for its cathartic and life-changing powers. He is mentored by an elder shaman, who instructs him how to prepare for the experience, and his mother, a master healer. Intimately and delicately the film observes the rainforest, taking time to listen to the bird songs and the whisper of the wind in the canopy of leaves.

Icaros erforscht das spirituelle Universum der Shipibo, ein indigenes Volk, das an den Ufern des Ucayali-Flusses, einem der wichtigsten Nebenflüsse des peruanischen Amazonas, lebt. Mokan Rono, ein junger Shipibo, begibt sich auf die Reise, das uralte Wissen über Ayahuasca zu erkunden, ein halluzinogenes und pflanzliches Getränk, das für seine reinigenden und lebensverändernden Kräfte bekannt ist. Dabei wird er von einem älteren Schamanen und dessen Mutter, einer Heilerin, angeleitet. Vertraut und einfühlsam beobachtet der Film eingehend den Regenwald und nimmt sich Zeit den Vogelstimmen und dem Flüstern der Blätter zu lauschen.

Argentina, Peru 2014 I color I 71’ I Spanish with English subtitles I Premiere in GermanyProducers: Georgina Barreiro, Matias Roth Screenplay: Georgina Barreiro Cinematographer: Leonardo Val Editor: Georgina Barreiro Cast: Documentary

ICAROSIcaros

Georgina Barreiro

Tue/Die Oct. 7 - 19:15 Babylon 2Thu/Do Oct. 9 - 18:30 Babylon 3Sat/Sa Oct. 11 - 16:30 Babylon 1


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A futuristic documentary film about lost love and the history of a civilization at the peak of its death, this is an autobiographical portrait of a man who returns to the empty apartment where his love was lost and tries to look for answers. Ever-changing life is seen by this man through his windows, forcing him to face his loss. The distant voices of an Arizona tribe, the survivors of a meteorite crash, manage to travel all the way to this third-floor apartment in an obscure city in Bolivia. This is an accidental register of how life on the outside, seen through windows, can change a person who is locked in with their anguish; a portrait about lost love and long-gone civilizations which help as a point of reference for imagining new beginnings.

Eine futuristische Dokumentation über eine verlorene Liebe und die Geschichte einer Zivilisation kurz vor dem Untergang. Das autobiographische Portrait eines Mannes, der in die leere Wohnung seiner verlorenen Liebe zurückkehrt um nach Antworten zu suchen. Das laute Leben, das sich vor dem Fenster abspielt, zwingen den Mann sich seines Verlusts bewusst zu werden. Die entfernten Stimmen eines Stammes in Arizona - Überlebende eines Meteoriteneinschlags - dringen bis hinauf in diese Wohnung im dritten Stock jener dunklen bolivianischen Stadt. Eine zufällige Aufnahme dessen, wie das Leben draußen vor dem Fenster einen Menschen verändern kann, der in seinen Ängsten gefangen ist; eine Darstellung verlorener Liebe und verschwundener Zivilisationen als Ausgangspunkt für neue Anfänge.

Mexico, Bolivia 2014 I color I 76’ I Spanish with English subtitles I Premiere in GermanyProducer: Julio Chavezmontes Screenplay: Tin Dirdamal Cinematographers: Tin Dirdamal Editor: Ramón Cervantes Cast: Documentary

MUERTE EN ARIZONADeath in Arizona

Tin Dirdamal

Tue/Die Oct. 7 - 19:00 Babylon 3Wed/Mit Oct. 8 - 17:15 Babylon 1

Thu/Do Oct. 9 - 17:30 Babylon 2


The formerly luxurious Hotel Nueva Isla of Old Havana is now in ruins, but it is home to three people living on the fringes of society: Jorge, a retired public servant and two neighbors, Waldo and La Flaca. Having almost no contact with the outside world, Jorge resembles a Don Quixote gone astray and definitely forgotten. Day by day his health and body weaken like the walls of Hotel Nueva Isla. Abandoned by his offspring and the women he once was with, his only motivation is to follow a secret revelation he has had for years: he is convinced that somewhere in the dilapidated hotel the former owners hid valuables before fleeing the triumphant victors of the Cuban Revolution

Jorge verbringt seine Tage im Glanz vergangener Zeiten des ehemaligen Luxushotels Nueva Isla. Heutzutage dient es als Unterschlupf für obdachlose Menschen. Die Zeit und der Leerstand haben es zu einer Ruine gemacht, in der es gefährlich ist, zu wohnen. Die wenigen Nachbarn sind nach und nach gegangen, bis Jorge als einziger Bewohner übrig bleibt und sich an sein eigenes Universum klammert. Als seine Räumung unvermeidlich wird, weiß Jorge, dass damit nicht nur der Abriss des Hotels bevor steht, sondern auch das Ende einer Lebensweise und einer kubanischen Epoche.

Cuba, Espain 2014 I color I 80’ I Spanish with English subtitles I Premiere in BerlinProducers: José Ángel Alayón Devora, Claudia Calviño, El Viaje Films, Producciones de la 5ta Avenida Screenplay: Irene Gutiérrez, Javier Labrador, Lorenzo Mora Cinematographer: Javier Labrador Editor: Lorenzo Mora Cast: Documentary

HOTEL NUEVA ISLAHotel nueva Isla

Irene Gutiérrez, Javier Labrador



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After a short investigation, police conclude that the gunshot that nearly killed Judge Constantino Zegarra was nothing more than a stray bullet. But Constantino, who, unlike his peers, fervently adheres to the letter of the law, is convinced that someone tried to kill him. He re-opens the investigation, and soon finds himself breaking some of his own rules to prove himself right.

Nach einer kurzen Untersuchung folgert die Polizei, dass der Schuss, der fast den Richter Constantino Zegarra getötet hätte nichts mehr war als eine verirrte Kugel. Aber Constantino, der im Gegensatz zu seinen Kollegen inbrünstig am Gesetz festhält, ist überzeugt, dass jemand versucht hat ihn auszuschalten. Er nimmt die Untersuchung wieder auf und ertappt sich bald dabei, wie er einige seiner eigenen Regeln bricht um zu beweisen, dass er im Recht ist.

Peru, France, Mexico 2013 I color I 86’ I Spanish with English subtitles I Premiere in BerlinProducers: Daniel & Diego Vega, Carlos Reygadas, Frederic Corvez, Clement Duboin Screenplay: Diego & Daniel Vega, Manuel Arias Cinematographer: Fergan Chávez-Ferrer Editor: Gianfranco Annichini Cast: Fernando Bacilio, Lidia Rodríguez, Juan Luis Maldonado, Augusto Varillas, José Luis Gómez, Norka Ramírez

EL MUDOThe Mute

Daniel Vega, Diego Vega

Sun/So Oct. 5 - 19:30 Volksbühne Sat/Sa Oct. 11 - 18:00 Babylon 1

Panorama

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“Having broken away from my illusory self, I was desperately seeking a path and a meaning to life.” This phrase perfectly sums up Alejandro Jodorowsky’s biographical project: reconstituting the incredible adventure of his life. Alejandro Jodorowsky was born in 1929 in Tocopilla, a coastal town on edge of the Chilean desert, where this film was shot. It was there that he discovered the fundamentals of reality, as he underwent an unhappy and alienated childhood as part of an uprooted family.

“Nachdem ich mich einer trügerischen Version meiner selbst entledigt hatte, begab ich mich auf eine verzweifelte Suche nach dem Sinn des Lebens.” Mit diesen Worten bringt Altmeister Alejandro Jodorowsky seinen autobiografischen Film in dem er die unglaublichen Abenteuer seines Lebens Revue passieren lässt auf einen Nenner. Gedreht wurde in der Küstenstadt Tocopilla am Rande der chilenischen Wüste, wo Alejandro Jodorowsky 1929 geboren wurde und wo er, während seiner unglücklichen und einsamen Kindheit, die Grundlagen der Wirklichkeit entdeckte.

Chile, France 2013 I color I 130’ I Spanish with English subtitles Producers: Michel Seydoux, Moises Cosio, Alejandro Jodorowski Screenplay: Alejandro Jodorowski Cinematographer: Jean-Marie Dreujou Editor: Maryline Montieux Cast: Brontis Jodorowsky, Jeremías Herskovits, Pamela Flores, Alejandro Jodorowsky, Axel Jodorowsky, Adan Jodorowsky

LA DANZA DE LA REALIDAD The Dance of Reality

Alejandro Jodorowsky

Wed/Mit Oct. 8 - 18:45 Babylon 1 Sun/So Oct. 12 - 20:30 Babylon 1

Panorama

Edie is a young boy who transfers undocumented people to the United States whilst he promises himself never to break his back working a factory job. Carmela is 9 years old and although she knows more about rubbish tips than tales, every afternoon she travels to see the sky and watch the kites fly. Adrian and Fernando struggle for their family’s well being whilst they dream to go around the world as lucha libre idols.

Edie ist ein jugendlicher Schlepper, der Personen ohne Papiere in die USA schleust während er beschließt, selbst niemals den Buckel in einer Fabrik krumm zu machen. Carmela ist neun Jahre alt und obwohl sie Müllhalden besser als Märchen kennt, verreist sie jeden Nachmittag, um den Himmel zu betrachten und die Kometen fliegen zu sehen. Adrian und Fernando kämpfen um das Überleben ihrer Familie während sie davon träumen, als Idole der Lucha Libre die Welt zu umrunden.

USA, Mexico, Spain 2013 I color I 58’ I Spanish with English subtitles I Premiere in GermanyProducers: Yolanda Pividal, Teresa García, Carlos Centeno, Sara Booth Screenplay: Yolanda Pividal, Angel Luis Lara Cinematographers: Carmen Vidal, Yolanda Pividal Editors: Yolanda Pividal, Sara Booth, Jaime Sagi-Vela Cast: Documentary

DE COMETAS Y FRONTERASOf Kites and Borders

Yolanda Pividal

Sat/Sa Oct. 11 - 22:45 Babylon 1Panorama

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- Bicycle notes: Fernanda Torres, Australia, USA, Colombia, 2013, 04’ - Hoy no se hace pastel de chucho: Braulio Rodriguez, Venezuela 2011, Animation, 15’- Cincopata: Daniel Jácome Muñoz, Ecuador 2013, Animation, 04’ - Gotita por favor: Beatriz Herrera Carrillo. Mexico 2013, Animation, 05’ - Inercia: Becho Lo Bianco/Mariano Bergara, Argentina 2013, Animation, 04’ - Mr. NightTime: Ilse Martínez, Mexico 2012, Animation, 04’ - Mi Abuela: Carlos Smith, Colombia 2012, Animation, 08’ - Moskita: Beatriz Herrera Carrillo, Mexico 2013, Animation, 05’’ - Tierra Seca: Ricardo Torres Castro, Mexico 2013, Animation, 07’’

Various shortfilms + Party60 min. program, No dialogues in cooperation with MaMis en Movimiento e.V.

LAKINOKIDSMovies for kids

Sat/Sa Oct. 11 - 11:00 Babylon 1Panorama

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Panel DiscussionsPodiumsdiskussion

“The Historical Memory in the Framework of Armed Conflict”, “Mining and its Socio - environmental Impact” and identity through the “Heritage and Indigenism”. Experts from Latin America and Germany, each one with their respective experience, will be invited to reflect on some aspects of the ecological, socio-political and economic policies in Latin America

“Historisches Gedächtnis im Rahmen des bewaffneten Kampfes”, “Bergbau und seine Auswirkungen auf Gesellschaft und Umwelt” und Identität durch “Kulturelles Erbe und Indigenismus” in Lateinamerika sind für Lakino hoch aktuelle Themen. Wir gehen von der Notwendigkeit aus, unterschiedliche Perspektiven und Wirklichkeiten abseits der offiziellen Geschichtsschreibung zu erkunden. Das Etablierte zu hinterfragen und vor allem individuelle Entwürfe einzubeziehen, die dazu beitragen eine gemeinsame Wirklichkeit zu bilden.

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PANEL DISCUSSION 1Historical memory in the context of Latin American armed conflict. “Memory is a work in progress. It’s not rigid. There is no single memory, nor a single truth ...” What is the collective memory and do we need to remember? Images take us back in history; silent witnesses, invulnerable to the passing of time. In Latin America there is a need to give a voice to the victims of war through the arts and museums institutionalizing the memory. One could speak of an act of reparation to prevent history from repeating itself. How to converge the image as a document of the event in the construction of historical memory? Is it possible to speak of a post-conflict era in Latin America?We invite experts in the field of armed conflict in Latin America to discuss the impact of these museums, taking as an example the German case, a precursor in the reconstruction of their historical memory.

PODIUMSDISKUSSION 1Das historische Gedächtnis im Rahmen des bewaffneten Konflikts in Lateinamerika„Das Gedächtnis ist ein sich entwickelnder Prozess. Es ist nicht statisch. Es gibt weder ein einziges Gedächtnis noch eine einzige Wahrheit...”

Was ist das kollektive Gedächtnis, sollten wir uns erinnern? Die Bilder versetzen uns in die Geschichte; stille Zeugen, die dem Lauf der Zeit standhalten. In Lateinamerika entstehen immer mehr Gedächtnis-Museen und Kunstprojekte, die jenen eine Stimme geben, denen kaum Gehör geschenkt wird; um die Geschichte der Opfer des Krieges zu schreiben. Man könnte von einem Akt der Sühne sprechen, damit die Geschichte sich nicht wiederholt. Welche Verbindungen gibt es zwischen dem Bild als Dokument der Ereignisse und dem Aufbau des kollektiven Gedächtnisses? Kann in Lateinamerika bereits von einem Post-Konflikt gesprochen werden?Wir laden Experten auf dem Gebiet der Aufarbeitung des bewaffneten Konflikts in Lateinamerika ein, um ausgehend vom Beispiel Deutschland die Auswirkungen solcher Museen zu sprechen und zu schauen inwieweit sich das historische Gedächtnis auf den Neuaufbau des Staates auswirkt?

Tue/Die Oct. 7 - 19:00 Babylon Sprache: Spanisch


Panelists:- Catalina Restrepo (COL) - Journalistin- Javier Guillot (COL) - co-director Cinema Politica Berlin- Uli Stelzner (DEU) - Filmdirektor Memoria Verdad Justicia- Anne Huffschmid (DEU) - Kulturwissenschaftlerin und AuthorinModerator: Ernesto Mieles (COL)

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PANEL DISCUSSION 2Heritage and indigenismLatin American identity Indigenism could be considered the point of convergence of the different heritages that build the Latin American identity. The culture is alive. Rites and myths that link the past with the present are still resounding, suggesting the essence of what it means to be indigenous and its socio-political implications. In which way the legacy of Latin American ancestry can be identified in the current cultural, environmental, economic, political and social structures? How much is it respected or taken into consideration?We invite experts to discuss about “Heritage and indigenism in Latin America”.

PODIUMSDISKUSSION 2Erbe und IndigenismusIdentität Lateinamerika

Der Indigenismus kann als der Punkt angesehen werden, in dem die verschiedenen Seiten zusammenlaufen, die die lateinamerikanische Identität ausmachen. Lebende Kultur. Noch sind Riten und Mythen latent vorhanden, welche die Vergangenheit mit der Gegenwart verbinden und dabei das Wesen dessen erahnen lassen, was es bedeutet, Indigen zu sein, und welche sozio-politischen Auswirkungen damit verbunden sind. Wie kann man das Erbe der lateinamerikanischen Vorfahren in den aktuellen kulturellen, ökologischen, wirtschaftlichen, politischen und sozialen Strukturen ausmachen? Inwieweit werden die Indigene Bevölkerung respektiert und berücksichtigt?

Wed/Mit Oct. 8 - 19:00 BabylonSprache: Deutsch


Panelists:- Prof. Dr. Ingrid Kummels (DEU) - Antropologin- Anna Kalbhenn (DEU) - Berlinale NATIVe Project Co-ordinator- Christoph Balzar (DEU) - Künstler - Kurator und Mediator / Projekt: No es arte- Hanune Shalati - Künstler und Philosoph / Projekt: No es arte

38photo: Elizabeth Gallon

PANEL DISCUSSION 3Mining and its socio - environmental impact in Latin America violation of human rights and environmental pollution

in cooperation with the FDCL eV, funded by BMZ

In some countries in Latin America there is an extreme abuse of mining. Governments are adapting their policies to the needs of the companies, thus favoring extractive models and illegal mining. Mining passes over the rights of the civilian population and nature, bringing enormous and irreversible environmental problems. Social inequality caused by mining and around its context is a topic that has been visually documented.Experts in the field will tell us about the act of extracting non-renewable resources, their relation to the armed conflict and the proliferation of gangs, the violation of human rights and the socio-ecological impacts.

PODIUMSDISKUSSION 3Der Bergbau und seine sozialen und ökologischen Folgen in Lateinamerika(Menschenrechtsverletzungen und Umweltverschmutzung)

in Kooperation mit dem FDCL e.V., gefördert vom BMZ

In einigen Ländern Lateinamerikas wird der Rohstoffabbau intensiv betrieben. Die Regierungen passen ihre Politik den Forderungen der Bergarbeiter an und begünstigen damit das durch Extraktivismus geprägte Modell und den illegalen Bergbau. Die Rechte der Zivilbevölkerung und der Natur werden dabei übergangen. Dies führt zu enormen und irreversiblen Umweltproblemen. Die Nachteile, welche der Bergbau in verschieden Bereichen mit sich bringt, sind ein gefragtes und visuell dokumentiertes Thema. Experten auf dem Gebiet werden über den Abbauprozess nicht erneuerbarer Rohstoffe sprechen, sowie über seine Korrelation mit dem bewaffneten Konflikt, die Verletzung von Menschenrechten und den sozio-ökologischen Wandel, der durch diesen Prozess verursacht wird.

Fri/Fr Oct. 10 - 19:00 Babylon Sprache: Deutsch


Panelists:- Mathias Hohmann (DEU) - Umweltwissenschaftler - FDCL- Carolijn Terwindt (DEU) - lawyer - ECCHR- Sebastian Erb (DEU) - JournalistModerator: Jan Dunkhorst (DEU) - FDCL

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Art ExhibitionKunstausstellung

BORDER - BRIDGES25 Years After the Fall of the Berlin Wall: Contemporary Mirrors.

Men build too many walls and not enough bridges.

Isaac Newton (1643-1721)

On the occasion of celebrating the 25th anniversary of the fall of the Berlin Wall, Lakino presents Border-Bridges, an exhibition of works of Latin American artists. It explores the wall as a symbol of the division between worlds and emphasizes the ruptures and stitches related to the contemporary migratory processes.

The exhibition confronts the visitor with the historic interpretation of the German territory and the public space of Berlin. Taking these topics as a starting point it establishes a similarity which demonstrates the paradox of the so-called “globalized world” in which we live in and which is full of geopolitical barriers (among others, the fence that separates the USA and Mexico). Using a subtle language and through different formats (manifest, photography, video and sound), twelve Latin American artists lay out new approximations, reflexions and questions around the concept of the border.

BORDER - BRIDGES25 jähriges Jubiläum des Berliner Mauerfalls: Grenzen der Gegenwart.

Die Menschen bauen zu viele Mauern und zu wenig Brücken.

Isaac Newton (1643-1721)

Mit Blick auf das 25jährige Jubiläum des Berliner Mauerfalls präsentiert Lakino mit Border-Bridges eine Ausstellung in der sich lateinamerikanische Künstler_innen mit der Mauer als Symbol für die Teilung verschiedener Welten auseinandersetzen und gleichzeitig eine Emphase auf die eigenen Bindungen und Entbindungen zeitgenössischer migratorischer Prozesse legen.

Die Ausstellung geht von einer geschichtlichen Interpretation des deutschen Territoriums und des öffentlichen Raums von Berlin aus. Parallel werden Spielräume eröffnet, die die Besucher mit den Paradoxien der so genannten „globalisierten Welt” konfrontieren, in der die geopolitischen Grenzen weiter wachsen - zum Beispiel der Grenzzaun, der Mexiko und die USA voneinander trennt. In subtiler Sprache zeigen uns 12 lateinamerikanische Künstler_innen mit unterschiedlichen Darstellungsformen ( Video, Ton, Fotografie) welche Probleme durch zeitgenössiche Grenzen entstehen und wie wichtig es ist, Brücken zu bauen.

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On November 9th 2014, the anniversary of the fall of the Berlin Wall will be celebrated. A wall that symbolized the obvious geopolitical division between two worlds. Its fall marked the end of the Cold War, the dismantling of the Soviet Block, and a Western block’s legitimacy.

What kind of traces do remain today? The picture of a so-called globalized world confronts us, paradoxically, with an increase of separating barriers. We have never seen so many. The globalization as an exchange of interests does not seem to capitalize on human values. Rather, these new walls tend to widen the abyss between countries and their citizens. Objectives are defined by laws and can cross pollinate: to control a conflict zone (1), to control a territory (2), strategies against terrorism (3), against smuggling (4), and of course they can have an anti-migration role (5)... Today, in comparison to the era of the Iron Curtain, it is the governments in power who build barriers. These barriers that are seen as the obvious solution in fact symbolize a sort of weakness, don’t they?

Let’s recall some facts. The state is comprised by its people, its government and its territory. It is governed by a legal and fiscal body of political authority. The use of violence is legitimate by its moral rights.

However, if its borders are seen as a way to give states international recognition, natural boundaries do not exist (due to the geographic territory). They are then the creation of relationships of power (more or less close to our contemporary times).

The problem with these new geopolitical walls is the anachronism, the false solution provided, a defined temporality (the walls always end up falling) as well as the negation of the other. There is no doubt that we

Oct. 2 - 19 Neu West BerlinArt ExhibitionKunstausstellung

[1] Berm of Western Sahara, Kuwait - Iraq, Green Line in Cyprus, Uzbekistan – Kyrgyzstan, Korea DMZ [2] Russia - Chechnya [3] Saudi Arabia - Iraq, Sharm el Sheikh, Egypt - Gaza, India - Burma, India - Cachemira, Israel - Palestine, United States - Mexico [4] Egypt - Gaza, United States - Mexico., Kazakhstan - Uzbekistan, India - Birmania, Iran - Pakistan [5] Uzbekistan - Afghanistan, United States - Mexico, United Arab Emirates - Oman, Turkmenistan - Uzbekistan, Greece - Turkey, Saudi Arabia - Yemen, South Africa - Mozambique, Israel - Sinai, India - Bangladesh, Ceuta - Melilla, China – North Korea, China - Hong Kong, Brunei - Limbag, Botzwana - Zimbabwe [6] Source : Department of Homeland Security (DHS) / U.S. Customs and Border Protection (CBP) <www.cbp.gov/xp/cgov/border_security/ti/about_ti/ti_history.xml>“the primary goal remains the same: to help the Border Patrol prevent terrorists and terrorist weapons, including weapons of mass destruction, from entering the United States.” [7] Source : U.S. Border Patrol <www.cbp.gov/linkhandler/cgov/border_security/border_patrol/usbp_statistics/usbp_fy12_stats/border_patrol_fy.ctt/border_patrol_fy.pdf> Source :Washington Office in Latin America < www.wola.org/ > [8] Source : Congressional Research Service, Baltimore “In the UCSD surveys, 98% of intending migrants from Jalisco, Mexico, eventually managed to enter the United States before 1986, and 97% eventually succeeded in 2002-2009. Overall, the UCSD researchers recorded eventual success rates of 92% or higher in four different surveys conducted between 2005 and 2009.” p.29 Source : United Nations Office on Drugs and Crime <www.unodc.org/documents/data-and-anAlÿsis/tocta/3.Smuggling_of_migrants.pdf> [9] ANZALDÚA G., Borderlands/La Frontera: The New Mestiza. San Francisco: Aunt Lute Books, 1987, p.99

require the Other to exist, the idea of difference to define oneself. It would be an illusion to think that cultural identity is fixed on the borders of a nation state, and even less with the artificial creation of the wall. It is also important to remember that those who can and want have all the new technologies integrated into this globalization dynamic to access any type of information needed.

If we focus on the American continent, obviously we can think about the border fence which was built in 2006 between the United States and Mexico, and whose official goal is the anti-terrorist protection (6) but whose anti-migration intention is relatively obvious. This barrier as a possible crossing of immigration for socio-economic candidates from Mexico and Latin America puts them in danger.

In 2012, 463 lost their lives there.(7) The function is also symbolic seeing that if after many tries, and not having gone missing before, between 92 and 97 percent of border-crossers get to the other side.(8) There is no doubt that, on both sides, this new barrierincreases criminality, violence and transgression of human values find a fertile ground. In this part of the world, the walls, either geopolitical or any other type, transmute and do not leave one indifferent.

In response to the celebration of the 25th anniversary of the fall of the Berlin Wall, we want to focus on the topic of migration.

What are the new walls of migration and immigration? How do the artists interpret the walls that exist in Latin America and those, who are in Europe, especially in Berlin, whether they are physical or mental ones? How do the artists, potential sensors

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of sensitivity, analyze these phenomena? Are we talking about engagement in art or a simple observation? Are we talking about a melting-pot and interbreeding generated by immigration? Can this be a valid bridge between borders? As Anzaldúa asks: “Una lucha de fronteras. A struggle of Borders because I, a mestiza continually walk out of oneculture and into another; because I am in all cultures at the same time, alma entre dos mundos, tres, cuatro, me zumba la cabeza con lo contradictorio. Estoy norteada por todas las voces que me hablan simultáneamente.” (9) Is the interbreeding the new global force, rather than these geopolitical walls?

We bring together artists who reflect on immigration as a potential bridge and / or not as an impenetrable wall. Focus Mexico-USA, Other Reality? y Focus Berlin, are three different spaces on which a maps are created where borders, displacements and expansions coexist. The barrier has different forms according to its context: the concrete and solid wall that separates two territories, the wall that is composed of voices and sounds through the interaction of bodies or the absence thereof, the borders that dilute in the immaterial, the wall that is left as the absence of the original division.

PhD Elisa Ganivet

OTHER REALITY?

1 MUNDO INFLABLE DESINFLADO, 2009Marco Montiel Soto, VE, 1976Photographs

Marco Montiel Soto lets the air out of the globe. He smothers it in order to give us a breath of air. Crushed and flattened, it is like a world of changing shapes with no control over its borders. No outlines can be made out. We barely recognize the cardinal points. These are some of the difficulties and true intention of the project. We can only associate the outlines with our previous knowledge in order to recognize them. Each photograph focuses on one specific continent. But here, the evidence of historic and natural borders is disputed. The issue of borders is clearly raised. We understand that the work is based on the denial to illustrate the boundaries of sovereign and territorial jurisdiction that all governments establish. Borders constitute the balance between the pressures and powers that separate two countries. By making the inflatable globe change shape, the artist turns the idea around, he is creating a model contradictory to a new apocalyptic symmetry

2a KEEP ON CROSSIN’, 2003Victor Payan, Perry Vasquez, USAManifesto

Created in the year of 2003, the manifesto “Keep on Crossin’ ” by Vîctor Payan and Perry Vasquez is an ode to the mobility that facilitates the complete liberation of the human being. This border story is an old one… the loss of Mexican territories after the Treaty of Guadalupe of 1848 and the further development of the United States’ infrastructure and its immigration policy. This manifesto has a tone of activism, written as a result of what took place on September 11, 2001; it is a prediction about the Borders of Security of 2006, implemented by the government of G.W. Bush, and aims to leave the mind open to the hope of change.

2bPSYCHOGEOGRAPHIC MAP, 2007Perry Vasquez, USA

As a Psychogeographer Vasquez studies “the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” [Guy Debord, 1955] relies on the pragmatic observation of the California border. Indeed, more than one

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million Latin American immigrants are living south of highway 94. So this border should “simply” be moved 10 Miles further north. Recalling maybe a controversial historical fact which is also included in a corrido of the norteña music group Los Tigres del Norte : “I want to remind the gringo that I didn’t cross the border, the border crossed me. “

FOCUS MEXICO - USA

3 THE WALL OF SOUND, 2014Alejandro Moncada, MX, 1974Sound Installation

“The Wall of Sound”, a tragic allusion of the technique created by Phil Spector is a sound piece that makes reference to the beast; the ‘train of death’ that runs between the border of Mexico and the United States causing multiple accidents daily. Most of the passengers are immigrants originally from Central America. Some of them carry a simple standard radio. Here the elements collected close to the train of Moncada in September 2014 are transposed in mono sound. This unedited piece is a loop that transmits the vibrations of an uncertain destination

4 CAR POOLERS, 2011-2012Alejandro Cartagena, DO, 1977Photographs

The photo series “Car poolers” which was created by Alejandro Cartagena between 2011 and 2012 was taken from a highway bridge in Nuevo Laredo, adopting an angle of 90 degrees. We become witnesses to a double perspective: on the one hand, a pragmatic reality, as is the daily movement of workers (Mexicans amongst others) towards the United States, and on the other hand, an aesthetic composition formulated by the lines of the highway; cars; individuals and their working tools... This variable repetition of images is a fragment of a specific principle of territoriality, which creates the networks and the flow of this border

5 PENETRAME, 2009Franklin Collao, MX, 1982Video-performance

With a provocative tone of sexual character, Franklin Collao’s artistic proposal from 2009 plays with the idea of liberation that lives in hope of ‘the other side’. Reaching the orgasm, meeting the death or a new life? The corrugated metal border between Mexicali and Calexico was painted with a huge “PENETRATE ME” in blue capital letters. This

imperative tone reminds the artist of the instructions given to Alice such as “eat me” or “drink me” etc. that guide her to make decisions and take risks in order to discover the so-called Wonderland.

6BORRANDO LA FRONTERA, 2010Ana Teresa Fernandez, MX, 1981Video-performance

In the year of 2010, the performance or social sculpture by Ana Teresa Fernández titled “Erasing the border” took place in Tijuana, on the San Diego Beach. It is precisely here where steel columns are immersed in the sea. Elegantly dressed, the artist climbs up a ladder that leans on the barricade, a ladder that is painted blue. In this way, the columns are confused with the sky, making it possible to pass through them. During a moment of poetic illusion, the artist makes the crossing possible.

7 COLCHÓN-PASAPORTE, 2006Rive Diaz Bernal, MX, 1975Video-performance

The artist spent ten years in Europe, three of which as an undocumented immigrant. From this experience, his work became an act of resistance that raises issues about the rights of the citizen, of the human being. In 2006, he went back to Mexico and made this performance where hispassport is literally what he makes of himself, like a DNA code that represents a person. The passport is also his guarantee for support. Diaz Bernal uses the cactus, a symbolic emblem of the Mexican coat of arms, as an ironic metaphor for the exhausting journey experienced by the artist.

FOCUS BERLIN

Circuit BerlinThe process, then, opens two views that coexist simultaneously: one view seeing itself as the image of a line of passengers before being, preparing their coats, hand luggage and passports: booklets that document everything. A camera records the process of getting in or out. The other view is the gaze in process, which faces the landscape, steps on a map, on a living topology, and wanders –a practice more usual inside the city that looks for textures. Time gone through is gathered and decoded. So, the territory is living, it is volume and digital topology. Luciana Lamothe, Marcela Moraga, Israel Martínez and (10) Isaac Torres visit Berlin. The exercise they do is, at times, substance: The city torn apart, the debris as

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a part of the natural landscape; each monument, brick, stone or clod is a trace for an archeology of the present. The land of Berlin is continuous shifting, ground motion, backhoeing. Entering this unsettled and uneven territory implies turning the view and observing a sort of intervention. One that recovers the representative motive of the landscape and, thus, attempts to make appear another potential: an image, which registers layers of time from which the urban web is organized. They intervene in the public space generating images, mediated worlds, and the language in the screen expands towards the production of a different knowledge: recognizing the city as strange, in which the natural process of destruction, dismantling and new construction, replaces the physical space. The impermanent space is one of the human gaze, the one of the day after day, after all narratives fell.(8) Luciana Lamothe witnesses the disassembly of a stage: the Palast der Republik, referring to a Dziga Vertov’s cine-eye, the old parliament of the GDR is disassembled with the help of typical machines of the present: drills, jackhammers, tow trucks, are the subjects of a deconstruction. The narrative of the present without a future is only comprehensible by looking at the past. (11) Marcela Moraga Millán operates from an imaginary place: the concretion of the non-future. Friedrich Engels and Karl Marx are two actors on a set. They look at the camera in the middle of the dismantling of the stage: a utopia is decomposed and recomposed in the time being. Tourists, pedestrians, birds on the tree crowns. A ghetto blaster reproduces, in a sequence, the messages of the past: international capitalism, the route outline, the ideas, the desires and assets of mankind. The radio. Listening to the manifesto is a body wandering by the fissure. (9) Israel Martínez opens a solid river, icy, almost rock: the air, the silence and the sound of the city. In the infinite scheme of frequencies and silence, the Prussian landscape, once; the Cold War landscape, once; the future-of-Europe landscape, once. On the video installation screen, it is sounding space. It shows, then, the matter of present: time, people who pass by, people who stand up and sit down.

In the present time of the digital projection, two borders go through: a journey by Rio de los Remedios between the State of Mexico (territory of hope) and Federal District (territory of the city) –it is the narrative line that links to another non-place: A history museum, built where there was an SS building during the Third Reich and where, today, underground ruins are exhibited. The canal of black waters in Mexico City is the other side of the mirror, in a different latitude. Over the visual band, a sounding band

prevails: the song of a mojado, someone who trespasses a river, who crosses the Mexico-USA border illegally, a ludic transgression of a limit between the natural and the cultural.

By means of different ways and forms of reception that generate difference, the artists in the exhibition go in and out of German territory: Incorporating the experience of landscape transformation, reconstructing it by ways of melancholy, irony or consternation. Berlin is, then, a crossing space, a space lived and imagined.

Teobaldo Lagos Preller

DOCUMENTARY FILMS

A OF KITES AND OTHER BORDERSYolanda Pividal, ESUSA, Mexico, Spain 2013, Documentary, 58”Synopsis one page 30

B MOJADOJorn Threlfalll, UKMexico, UK 2011, Lenaray Films Ltd, Fiction, 30”Raul leaves his family in Mexico to join a group of ‘mojados’ who make the desert crossing to the US. When most are caught, Raul is alone. Then he comes across a young ‘gringo’ boy in the vastness and his journey takes an unexpected turn

C THE INVISIBLESGael García Bernal (MX) & Marc Silver (UK)Mexico 2010, Documentary, 24”The Invisibles exposes the truth behind one of the most dangerous journeys in the world and reveals the untold stories of the people who make the journey north through Mexico on their way to the United States. Every year thousands of migrants are kidnapped, raped and sometimes even murdered in Mexico. Driven by grinding poverty and insecurity back home, they travel through Mexico in hope of reaching the USA with its promise of a better life. All too often their dreams are turned to nightmares. The hidden horrors of the journey are uncovered by Gael Garcia Bernal as he follows the migrant trail. Along the way Gael meets the migrants, their helpers and reflects on their bravery and determination to risk everything for a better life.

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1 MUNDO INFLABLE DESINFLADO, 2009Marco Montiel Soto, VE, 1976Photographs

2bPSYCHOGEOGRAPHIC MAP, 2007Perry Vasquez, USA

2a KEEP ON CROSSIN’, 2003

Victor Payan, Perry Vasquez, USAManifesto



3 THE WALL OF SOUND, 2014Alejandro Moncada, MX, 1974

Sound Installation

9SPEND TIME, WASTE TIME, 2012Israel Martínez, MX / Video

10GMT / CEST, 2009

Isaac Torres, MX / Video

5 PENETRAME, 2009Franklin Collao, MX, 1982Video-performance

6BORRANDO LA FRONTERA, 2010Ana Teresa Fernandez, MX, 1981Video-performance

8PALAST DER REPUBLICK, 2008

Luciana Lamothe, AR / Video

11CUANDO LAS IDEAS DESAPARECEN EN LOS MONUMENTOS, 2009

Marcela Moraga, CL / Video

Festival DirectorProgramme ManagerMartin Capatinta Auca

Production AssistantElizabeth Gallon Droste Rosa Siles Romero

ExhibitionCurator : PhD Élisa GanivetCo-Curator : Teobaldo Lagos PrellerAssistant Curator : Daniela Hermosilla Zuñiga

Panel DiscussionsElizabeth Gallon Droste Manuel Ponce de León

Press TeamElizabeth Gallon Droste Ukrike GeierAdriana Todó Bargalló Lua Gasset Charlotte Praetorius Wilma F. Kunst

TranslationsAndrea ErnstSonja SchmidtSaija Maria KaronenUlrike GeierAdriana Todó Bargalló

MarketingAndrea ErnstSeba Chayno G. PerezSonja SchmidtTim Pieper

TrailerNoël LabridyClara AndresThe Three Owls Berlin

Posters / CatalogEl Txotxe

Laki TeamJuliane JammerJose OchanteYanet RenpeningJohana SternKaterina KominkovaLaura-Sofie LehrSarah Jane ScottClara AndresMayte MarinRosa Siles Romero

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Lakiteam

2. Latin American Film Festival Berlin

Documents

lakino thankskarten

anniversary of lakino

lakino oslo

edition of lakino

kontakt und lakino dankton

berlin u2

lakino awards ceremony

berlin wall