B Ruby Rich
B Ruby Rich has been the editor of Film Quarterly since 2013, where her editorial direction has been supported by grants from the Ford Foundation’s JustFilms. A Professor Emerita at the University of California, Santa Cruz—where she taught both production and documentary history in the Social Documentation graduate program—she is the author of two books, “New Queer Cinema: The Director’s Cut” and “Chick Flicks: Theories and Memories of the Feminist Film Movement”, both published by Duke University Press. Prior to entering academia, Rich directed the film and electronic media program at the New York State Council on the Arts for over a decade and, before that, served as Associate Director of the Film Center at the School of the Art Institute of Chicago. As a critic, she has written for the Village Voice, The Guardian, New York Times, Sight and Sound and The Nation, and served on the editorial boards of JumpCut and the Cinema Studies journal.
B Ruby Rich is part of the conference with her keynote Towards a Consequential Criticism.
Juliane Rebentisch is Professor of Philosophy and Aesthetics at Hochschule für Gestaltung Offenbach/Main. She is a member of the Research Council at the Institute for Social Research in Frankfurt/Main and a Regular Visiting Professor of the German Department at Princeton University. She was previously the president of the German Society of Aesthetics (2015-2018) and vice president of HfG Offenbach (2014-2020). She was awarded the Lessing Prize of the city of Hamburg in 2017. Her main research areas are aesthetics, ethics and political philosophy. Publications include: Aesthetics of Installation Art (Sternberg 2012); The Art of Freedom: On the Dialectics of Democratic Existence (Polity 2016); Theorien der Gegenwartskunst zur Einführung (Junius 2013); Negativität. Kunst, Recht, Politik (co-ed., Suhrkamp 2019).
Juliane Rebentisch is part of the conversation Creation and Position – Autonomy in Art and Criticism at the conference.
Merle Kröger, born in Plön/Schleswig-Holstein, lives in Berlin where she works as a novelist, screenwriter and dramaturge. She was a member of the Berlin film collective dogfilm (1992 – 1999) and founded pong film in 2001. Kröger is the co-author of Philip Scheffner’s internationally awarded documentaries THE DAY OF THE SPARROW (2010), REVISION (2012) and HAVARIE (2016). A feature film, EUROPE, will premiere in 2021. Kröger has published four novels, including “Grenzfall” (2012) and “Havarie” (2015). She belongs to the top echelon of German crime fiction writers. Her novels have received numerous awards, including Best Crime Novel of the Year, the Radio Bremen Prize for Crime Fiction and the German Crime Fiction Prize.
Merle Kröger is part of the conversation Creation and Position – Autonomy in Art and Criticism at the conference.
Philip Scheffner, born 1966 in Homburg/Saar, lives and works as an artist and filmmaker in Berlin. Together with Merle Kröger, Alex Gerbaulet and Caroline Kirberg he runs the production platform pong film. He has been featured in the Berlinale Forum with HAVARIE (2016), AND-EK GHES… (2016), REVISION (2012), THE DAY OF THE SPARROW (2010) and THE HALFMOON FILES (2007).
Philip Scheffner is part of the conversation Creation and Position – Autonomy in Art and Criticism at the conference.
Victor Guimarães is a film critic and programmer based in Belo Horizonte, Brazil. He writes regularly for Cinética (Brazil) and Con los ojos abiertos (Argentina). He has collaborated with international film publications such as Senses of Cinema, Desistfilm, La Furia Umana, Kinoscope and La Vida Útil. As a programmer, he was one of the artistic directors of the Belo Horizonte International Short Film Festival (2014), a member of the selection committee at forumdoc.bh (2012 to 2015) and a programmer at Tiradentes Film Festival (2019). He is currently the artistic director of FENDA – Experimental Festival of Film Arts. He has curated retrospectives and special programs for festivals such as 3 Continents (France) and Frontera Sur (Chile). He holds a PhD in Communications/Film Studies from UFMG, with a doctoral internship at Université Sorbonne-Nouvelle (Paris 3).
Victor Guimarães is part of the conversation Creation and Position – Autonomy in Art and Criticism at the conference.
Suneil Sanzgiri is an Indian-American artist, researcher and filmmaker working to understand how systems of oppression are informed and reinforced by trauma, history and memory. His work spans experimental video, animations, essays and installations, and contends with questions of identity, heritage, culture and diaspora in relation to structural violence. He graduated from the Massachusetts Institute of Technology (MIT) in 2017 with a Masters of Science in Art, Culture and Technology. His work has been screened extensively at national and international festivals.
Suneil Sanzgiri gives the lecture In Search of Incoherence – Desktop Aesthetics, Race, and Practices of Non-enclosure at the conference and is part of the debate FACING TRACES.
Kevin Jerome Everson
Artist/filmmaker Kevin Jerome Everson is currently a Professor of Art at the University of Virginia. He has made nine feature length films and 160 short films including TONSLER PARK (2017), EARS, NOSE AND THROAT (2016), SPICEBUSH (2005), SUGARCOATED ARSENIC (2013) with Claudrena Harold, EMERGENCY NEEDS (2007) and the eight-hour long film PARK LANES (2015). Everson’s films and artworks have been widely shown at venues including the Sundance Film Festival, Berlin Film Festival, Venice International Film Festival, Toronto International Film Festival, New York Film Festival, Ann Arbor Film Festival, The Museum of Modern Art in New York, Smithsonian Museum of African-American History in Washington D.C., the Tate Modern in London and the Centre Pompidou in Paris. His work has also been recognized through awards and fellowships such as a Guggenheim Fellowship, an Alpert Award, a Heinz Award, a Creative Capital Fellowship, an American Academy in Rome Prize and an American Academy in Berlin Prize.
Kevin Jerome Everson’s film EARS, NOSE AND THROAT will be shown at the conference. He is also part of the conversation Imagining Coherence.
Garrett Bradley was born and raised in New York City. She works across narrative, documentary and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, Southern culture and the history of film in the United States. In January of 2020, Bradley became the first Black woman to win the Sundance Film Festival’s Best Director Award in the US Documentary Competition for her feature-length documentary TIME. Bradley’s first solo museum exhibition, “American Rhapsody”, was curated by Rebecca Matalon at the Contemporary Arts Museum Houston. She has participated in two group shows, the 2019 Whitney Biennial, curated by Jane Panetta and Rujeko Hockley, and “Bodies of Knowledge” at the New Orleans Museum of Art, curated by Katie Pfohl. Her first New York solo exhibition, “Projects: Garrett Bradley” curated by Thelma Golden, the Director and Chief Curator of the Studio Museum in Harlem, is on view through March 15, 2021 at The Museum of Modern Art, MoMA in New York City. “Projects” is presented as a part of a multi-year partnership between The Museum of Modern Art and the Studio Museum in Harlem and features a multi-channel video installation of her film AMERICA (2019).
Garrett Bradley’s film ALONE will be shown at the conference. She is also part of the conversation Imagining Coherence.
Arne Hendriks is an artist, artistic researcher and art historian (University of Amsterdam) with an interest in radical ecology, degrowth and the future of the human species. His artistic research combines earnest declarations with wry humor and scientific fact with artistic and speculative explorations about what could or should happen. Hendriks was named as one of the 50 future thinkers by ICON Magazine. He was presented with the Dutch Design Award for his ongoing speculative research project, “The Incredible Shrinking Man,” which investigates downsizing the human species to better fit the earth.
Arne Hendriks gives the lecture Shrinking Towards Abundance: Learning from Mad Science Hollywood at the conference.
Janaína Oliveira is a film programmer and scholar. She has a Ph.D. in History and was a Fulbright Visiting Scholar at the Center for African Studies at Howard University. She is the head programmer of the Zózimo Bulbul Black Film Festival and has also worked as an advisor for the Locarno Film Festival. In 2019, she programmed the “Soul in the eye: Zózimo Bulbul legacies and the contemporary Black Brazilian Cinema” series at the International Film Festival Rotterdam. She is the founder of the Black Cinema Itinerant Forum (FICINE) and the programmer for the 2021 Flaherty Film Seminar (NY).
Janaína Oliveira is part of the conversation Making Future Love Tonight at the conference.
Khaled Barakeh is a Berlin-based conceptual artist and cultural activist. He graduated from the Faculty of Fine Arts in Damascus, Syria, in 2005, completed his MFA in 2010 at Funen Art Academy in Odense, Denmark and a Meisterschüler study in 2013 at the Städelschule Art Academy in Frankfurt, Germany. Driven by his observations of longstanding social injustice, Barakeh approaches creative practice as a tool for societal change, manipulating commonplace visual and cultural touchstones to expose and undermine stagnant power structures. In 2017, in a major shift in his practice, Barakeh developed coculture – a non-for-profit umbrella organisation with a suite of initiatives that leverage artistic thinking to directly address issues of contemporary mass migration. Among these projects is the SYRIA Cultural Index and the Syrian Biennale. Barakeh has exhibited at Hamburger Kunsthalle, the 11th Shanghai Biennale, Frankfurter Kunstverein, Salt Istanbul and the Busan Biennale, among many others.
Khaled Barakeh is part of the conversation Making Future Love Tonight at the conference.
Kara Keeling is Professor of Cinema and Media Studies and in the College at The University of Chicago. Keeling is author of “Queer Times, Black Futures” (New York University Press, 2019) and “The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense” (Duke University Press, 2007). She is also co-editor (with Josh Kun) of a selection of writings about sound and American Studies entitled “Sound Clash: Listening to American Studies” (Johns Hopkins University Press, 2012), and (with Colin MacCabe and Cornel West) of a selection of writings by the late James A. Snead entitled “European Pedigrees/African Contagions: Racist Traces and Other Writing” (Palgrave Macmillan, 2003).
Kara Keeling is part of the conversation Making Future Love Tonight at the conference.
Julia Bee is junior professor of image theory at Bauhaus University Weimar and currently a Mercator Fellow at University of Siegen. Her fields of expertise include theories of affect, visual anthropology and image-based research practices, gender and media, anthropocene and film, as well as bicycling activism and media. A recent publication is “Filming through the Milieu: Becoming Extinct and the Anthropocene”.
Julia Bee moderates the conversation Making Future Love Tonight at the conference.
Film critic, based in Los Angeles. She has written for publications such as Film Comment, Village Voice, Reverse Shot, MUBI’s Notebook, Kinoscope, and Vague Visages, and also edits the online arts-and-culture magazine Ampersand. Devika grew up in central India and studied film and semiotics at Brown University. She is currently an Annenberg Fellow at the University of Southern California, where she’s pursuing an M.A. in Specialized Arts Journalism. Devika is the recipient of a 2018 National Arts and Entertainment Journalism Award and was a guest at Berlinale Talents 2019.
Devika Girish moderates the conversation Imagining Coherence at the conference.
Francina Carbonell (27) is a filmmaker and a graduate of the University of Chile. During her studies, she directed the short films DESPUÉS DE LA CORDILLERA, LA HERENCIA and TINNITUS. She also worked on the transdisciplinary project “Prison and Public Education” at the CDP Santiago Sur prison. She directed the documentary THE SKY IS RED, which has been supported and awarded at different work-in-progress labs, such as Malaga, IDFA Academy, Cannes Doc Corner and Labex, among others. It premiered internationally at IDFA 2020 and was selected for the Creative Editing and First Appearance competitions.
Francina Carbonell takes part in the debate FACING TRACES.
Ruth Beckermann was born in Vienna, where she also spent her childhood. After her studies in journalism and history of art in Vienna, Tel Aviv and New York, she took her degree as Dr.phil in 1977 at the University of Vienna. She has since contributed as a journalist to several Austrian and Swiss magazines. In 1978 she co-founded the distribution company filmladen in which she was active for seven years. In this period Ruth started to make films and write books. Since 1985, she has worked as a writer and filmmaker. Her film THE DREAMED ONES (2016) was selected at many international festivals and won several awards. THE WALDHEIM WALTZ premiered at the Berlin Festival 2018 and won the Glashütte award for best documentary. In 2019, Ruth conceived the multimedia installation JOYFUL JOYCE for the Salzburg Festival.
Ruth Beckermann takes part in the debate FACING TRACES.
Volker Pantenburg is a professor of Film Studies at FU Berlin. He has published widely on essayistic film and video practices, experimental cinema and contemporary moving image installations. His books in English include “Farocki/Godard: Film as Theory” (2015), “Cinematographic Objects:. Things and Operations” (2015, Editor) and “Screen Dynamics: Mapping the Borders of Cinema” (Co-Editor). In 2015, he co-founded the Harun Farocki Institut, a platform for researching Farocki’s visual and discursive practice and supporting new projects that engage with the past, present and the future of image cultures.
Volker Pantenburg takes part in the debate FACING TRACES.
Studied literature in Bonn, Paris, Madison; doctoral student at Ruhr University Bochum. Author and editor for “Schnitt”, Akademie der Künste der Welt, Kurzfilmtage Oberhausen, among others. Lecturer at ifs internationale filmschule köln. At Duisburger Filmwoche since 2013: protocols, press, curation. “AusSichten. Öffentliches Reden über Dokumentarfilm” (edited with Werner Ružička, 2017). Head of the archive project protokult.de.
Alexander Scholz takes part in the debate BEYOND RECOGNITION.
Pedro Emilio Segura Bernal is a Mexican programmer, film critic and film distributor. He is a co-founder of La Ola Cine, a film distribution company based in Mexico City. His texts about cinema have been published in Cinema Scope, Film Comment, MUBI Notebook and the editorial efforts of Locarno, Viennale and Mar del Plata, among others. He has worked as a programmer at Black Canvas FCC since 2018 and at Daimon Muestra de Cine since 2020. He has collaborated in curatorship with programs on DAFilms, Cineteca Nacional Mexico and Berlin Critic’s Week.
Pedro Segura takes part in the debate BEYOND RECOGNITION.
Born in 1983 in Leoben, Sandra Wollner studied directing for documentary film at the Filmakademie Baden-Württemberg. Her first feature film, THE IMPOSSIBLE PICTURE, received multiple international awards and the German Film Critics Award for Best Feature Film of 2018. Her graduation film THE TROUBLE WITH BEING BORN had its world premiere at the 70th Berlinale in the Encounters section and was awarded the Special Jury Prize.
Sandra Wollner takes part in the debate BEYOND RECOGNITION.
Pascal Capitolin has been a film sound engineer for feature and documentary film productions since 1995. As a senior lecturer in sound, he has been teaching at the German Film and Television Academy (DFFB) since 2019. His understanding of sound design aims to consistently shape the auditory layer from the first line of the script to the final audio mix. In 2019, he worked as the assistant director on Philipp Scheffner’s feature film debut EUROPE. Other directors he has worked with include Fatih Akin, Angelina Makkarone, Epstein & Friedman and Enrique Sanchez. Between 2011 and 2014 he worked in Central Africa as a media consultant for EU and NGO media.
Pascal Capitolin takes part in the debate BEYOND RECOGNITION.
Nicolás Pereda is a filmmaker whose work explores the everyday through fractured and elliptical narratives that use both fiction and documentary tools. He often collaborates with the theater collective Lagartijas tiradas al sol and the actress Teresita Sánchez.
Nicolás Pereda takes part in the debate PLAYACT.
(b. 1991, Battambang, Cambodia) has worked in production on a variety of projects with Anti-Archive since 2015, including as Casting Assistant and Assistant Production Manager on DIAMOND ISLAND (Davy Chou, SACD Award, Semaine de la Critique 2016). Her first short film, A MILLION YEARS, won Best Southeast Asian Short at Singapore IFF 2018 and the Arte Award at Kurzfilm Hamburg 2019, resulting in the film’s broadcast on Arte in early 2020. SUNRISE IN MY MIND is her second film.
Danech San takes part in the debate PLAYACT.
Constanze Becker (born 1978 in Lübeck) is a German actress in film, television and theatre. Her training at the Hochschule für Schauspielkunst “Ernst Busch” Berlin was portrayed in the long-term project DIE SPIELWÜTIGEN by Andreas Veiel. Becker has acted at Schauspiel Frankfurt and appears in films and series by Detlev Buck, Andreas Schuber and Nikias Chryssos. She has received numerous awards for her work, such as the Gertrud Eysoldt Ring in 2012 for her portrayal of Medea.
Constanze Becker takes part in the debate PLAYACT.
Lola Arias is a writer, theater and film director and performer. She collaborates with people from different backgrounds (war veterans, former communists, etc.) in theater, literature, music, film and art projects. Her productions play with the overlapping zones between reality and fiction. Her recent plays are Futureland (2019), What they want to hear (2018), Atlas des Kommunismus (2016), and Minefield (2016). Her feature film Theatre of War (2018) was selected for the 68th Forum of the Berlinale and screened at numerous film festivals around the world, winning several awards, including the CICAE Art Cinema Award, the International Association of Art House Cinemas Award, and the Ecumenical Jury Award. Arias was also awarded Best Director at the 20th BAFICI Festival in Buenos Aires.
Lolas Arias takes part in the debate PLAYACT.
Patrick Holzapfel works as a writer, film critic and curator. In 2016, he received the Siegfried Kracauer scholarship. His texts are published in various journals and publications in German and English. He is the editor-in-chief of the German language website “Jugend ohne Film” and also works for the Viennale.
Patrick Holzapfel takes part in the CRITICS’ DEBATE.
Maggie Lee is Chief Asia Film Critic for Variety, and formerly Asia Chief Critic for The Hollywood Reporter (2007-2012). Since 2002, she has been working in Japan, first as a programmer for Short Shorts Film Festival Asia, then as a curator for Tokyo Film Festival and Vancouver Film Festival. From 2017 to 2019, she was Artistic Director of CinemAsia Film Festival in Amsterdam. She has mentored critics and directors for Produire au Sud’s workshop in Taipei, Thailand’s SEAFIC Scriptlab and Shanghai Film Festival projects, among others. She has been an industry consultant for Japan Foundation, Netherlands Film Fund and HK’s HAF. In 2010, she received an award from the Busan Film Festival for contribution to Korean cinema.
Maggie Lee takes part in the CRITICS’ DEBATE.
Stoffel Debuysere is a curator of cinema and audiovisual arts. He is the Head of Program of the Courtisane film festival (www.courtisane.be) and a lecturer in Film Critical Studies at the KASK School of Arts in Ghent, where he obtained a PhD in 2017 with the project “Figures of Dissent – Cinema of Politics, Politics of Cinema”. Based in Brussels, he continues to organize various film programs and discursive events in collaboration with numerous organizations and institutions in Belgium and abroad.
Stoffel Debuysere takes part in the debate SEE THROUGH.
Kalpana Nair heads Programming at the Jio MAMI Mumbai Film Festival. She has been working with MAMI (Mumbai Academy of Moving Image) since 2015. She also writes about film and popular culture for publications like The Times of India, Firstpost, Film Companion and National Geographic. She is an MBA by training but segued to working in film journalism and entertainment after an early stint in advertising. She was selected as one of Screen International’s Future Leaders in 2019.
Kalpana Nair takes part in the debate SEE THROUGH.
Greg de Cuir
Greg de Cuir Jr. is an independent curator, writer and translator who lives and works in Belgrade, Serbia.
Greg de Cuir Jr. takes part in the debate SEE THROUGH.
Kirsten Johnson’s DICK JOHNSON IS DEAD premiered at Sundance 2020 and won the Jury Prize for Innovation in Nonfiction Storytelling. Since then, it has also won Best Documentary and Best Director at the Critics’ Choice Awards and Best Editing and Best Writing at the IDA Awards, as well as being included on dozens of top films of 2020 lists and the 2021 Oscar shortlist. Her previous film, CAMERAPERSON, named among New York Times’s “Top Ten Films of 2016,” was also shortlisted for the Academy Award. Her short, THE ABOVE, was nominated for the IDA’s Best Short Award in 2016. Her camerawork appears in Academy Award–winner CITIZEN FOUR, Academy-nominated THE INVISIBLE WAR, and Cannes-winner FAHRENHEIT 9/11. She is among only 4% of female members of the American Society of Cinematographers.
Kirsten Johnson takes part in the debate SEE THROUGH.
Manoj Leonel Jahson
HORSE TAIL is the debut feature film of Manoj Leonel Jahson, an independent filmmaker based in Chennai, India. SKYLAB IS FALLING, his diploma film at the LV Prasad Film Academy, won over 30 awards at various film festivals—including the Golden Coin at the Colombo International Film Festival and the Best Film at the 2013 John Abraham National Awards. Previously, in 2012, his short film HEAD DOWN FAMILY won Best Film (Experimental) at the John Abraham National Awards. Besides filmmaking, Manoj has also been involved in local art movements such as Anamathu (“Unclaimed”) and has worked with several theatre groups and contemporary artists from Tamil Nadu.
Manoj Leonel Jahson takes part in the debate LOST & FOUND.
Shyam Sunder has been involved in live theatre from a very young age and has performed in over 20 artistic productions. A passion for the visual arts led him to study at the LV Prasad Film Academy, from which he graduated with a Gold Medal for Best Director. His diploma film MATHSYAVATHARAM (“FISH AVATAR”) won India’s National Student Film Award for Best Production Design in 2012. Shyam’s first feature credit was as a Writer for the ace cinematographer Santosh Sivan’s CEYLON (“INAM”) which had its premiere in Busan in 2013. Shyam is also a documentary and ad filmmaker with over eight years of experience.
Shyam Sunder takes part in the debate LOST & FOUND.
Kamal Aljafari works with moving and still images, interweaving between fiction, non-fiction and art. Kamal’s films include AN UNUSUAL SUMMER (2020), RECOLLECTION (2015), PORT OF MEMORY (2009), and THE ROOF (2006). The forthcoming film BON VOYAGE – THE ART OF RECLAIMING TIME will mark the last part of his found footage and photographic trilogy on Palestine. He has been a featured artist at the Robert Flaherty Film Seminar (NYC) and a Fellow at Harvard University’s Radcliffe Institute and Film Study Center.
Kamal Aljafari takes part in the debate LOST & FOUND.
Amy Taubin is a contributing editor for Artforum and Sight and Sound. She wrote regularly for Film Comment (2001-2020) and the Village Voice (1984-2001). Her monograph “Taxi Driver” is in the BFI’s Film Classics series, and she also co-authored the monograph “James Nares” (Rizzoli). She was Curator of Film and Video at the Kitchen (1983-1987) and on the selection committee for the New York Film Festival 2012-2017. Her short film IN THE BAG is in the collections of the Arsenal – Institut für Film und Videokunst, Berlin and MoMA, NYC. She is a current recipient of an Andy Warhol Foundation Arts Writers Grant.
Amy Taubin takes part in the debate LOST & FOUND.
Caroline Pitzen (*1986 in Berlin) is a filmmaker and artistic researcher. She studied Cultural
Studies in Frankfurt/Oder and Madrid, and Art and Media at the University of the
Arts Berlin. Since 2016, she has taught documentary film at the international film education programme Cinema en curs. She is a co-founder of Atelier Izola, a collective studio of female artists, writers and researchers, as well as of OKNO, a collective platform for filmic art productions and artistic collaborations. FREIZEIT ODER: DAS GEGENTEIL VON NICHTSTUN is her first feature film.
Caroline Pitzen takes part in the debate TALKING STYLE.
Jennifer Reeder was recently named by Bong Joon Ho as a filmmaker to watch in the 2020s. She constructs personal fiction films about relationships, trauma and coping. Her award-winning narratives are innovative and borrow from a range of forms including after-school specials, amateur music videos and magical realism. Her films have shown consistently around the world, including at the Sundance Film Festival, Berlin Film Festival, Tribeca Film Festival, Rotterdam Film Festival, London Film Festival, SXSW, Venice Biennale and Whitney Biennial.
Jennifer Reeder takes part in the debate TALKING STYLE.
Rahel Jaeggi is Professor of Practical Philosophy with an emphasis on Social and Political
Philosophy and director of the Center for Humanities and Social Change Berlin at the Humboldt-Universität zu Berlin. Her research focuses on social philosophy, political
philosophy, ethics, philosophical anthropology, social ontology and critical theory.
Rahel Jaeggi studied philosophy, history and theology at the Free University Berlin (MA
1995). She received her PhD (2002) and Habilitation (2009) at the Goethe University Frankfurt am Main. She has held research and teaching positions at the Chair for Social Philosophy/Prof. Axel Honneth, Goethe University Frankfurt a. M., the University of St. Gallen/Switzerland, Yale University, New Haven/USA and Fudan University, Shanghai/PRC.
She was a senior fellow at the DFG-Research Group on Post-Growth Societies at the Friedrich-Schiller-University, Jena/Germany. As a Theodor Heuss Professor, she taught at the New School for Social Research in New York during the academic year of 2015-2016. In 2018-2019, she was a member of the School for Social Science at the IAS in Princeton.
Rahel Jaeggi takes part in the debate TALKING STYLE.
Orwa Nyrabia is the Artistic Director of the International Documentary Film Festival Amsterdam (IDFA), a leading documentary film and new media event. IDFA brings together documentary art and the industry with about 3500 guests from more than 100 countries every November and is the world’s largest documentary film audience with 290,000 visits in 2019.
Before IDFA, Orwa co-founded Syria’s first independent film festival, DOX BOX in 2008, together with Diana El Jeiroudi and was an award-winning film producer with credits that include Notturno (Gianfranco Rosi, Venice 2020), Silvered Water (Ossama Mohammad, Cannes 2014), Return to Homs (Talal Derki, IDFA 2013) and Dolls, A Woman from Damascus (Diana El Jeiroudi, IDFA 2007) a.o.
His work was recognized by awards such as the George Polk Award, the Courage in Filmmaking Award of Human Rights Watch, the European Documentary Network Award, a.o.
An actor by training (Gate of the Sun, Yousri Nassrallah, Cannes 2004), he started his film career as 1st assistant of Ossama Mohammad (Sacrifices, Cannes 2002) and worked as a journalist at the same time until he co-founded his first company in Damascus 2002, then followed up as he moved to Cairo and then to Berlin where he co-founded No Nation Films GmbH in 2014.
Orwa Nyrabia is part of the debate FOR FUTURE REFERENCE.
Angelika Levi, born in 1961, studied at the German Film and Television Academy Berlin (dffb) from 1985 to 1991. Her films are shown at international film festivals, in exhibitions and in cinemas. My Life Part 2 premiered at the Forum of the Berlinale in 2003 and won various prizes. Children of Srikandi also won several prizes after its premiere in the Berlinale Panorama in 2012. Miete essen Seele auf was part of the exhibition “Housing Question” at the House of World Cultures in 2015. Levi is also an editor and dramaturg. She teaches at various media and art colleges.
1984 Ariel; mit Lilly Grote, 15 min. 1987 Sexparty; 10 Min. 1988 Faust aufs Auge (Punch on the eye); with Antje Schäfer, 5 min. 1989 Auf gehts. Aber wohin? (Off we go. But Where?); 20 min. 1991 Das kleine Objekt a (The little object a); 30 min. 1994 Desireé & Polylepis; 9 min. 1995 Freunde (Friends); 3 min. 2003 Mein Leben Teil 2 (My life part 2); 90 min., Forum 2003 2004 Hay que gastar dinero (You have to spend money) 2010 Absent Present; 85 min. 2012 Anak Anak Srikandi (Children of Srikandi); with The Children of Srikandi Collective, 75 min. 2016 Miete Essen Seele Auf (Rent Eats The Soul); with Christoph Dreher, 54 min. 2021 Ahorita Frames
Angelika Levi is part of the debate FOR FUTURE REFERENCE.