Thursday 17:00 h —
Thursday 17:45 h —
Julia Lazarus und Ursula Böckler
Thursday 18:00 h —
, 6:40 min each

Emilia Kurylowicz – Hit Upcycling, Friday 14:00, Cube 2 | Elena Boschi – Interrupted Screening Workshop, Friday 14:00, Cube 3 | Rayén Mitrovich and Alejandro Iturra – Embody Images: The Trace of a Dancing Body, Friday & Saturday 14:15, Cube 1 | Timothy George Kelly – We Are All Very Anxious? Consciousness Raising Session, Saturday 14:00, Cube 2

Participation in the workshops is open to all and free of charge. Please register by sending a informal email to

Thursday 19:00 h —
, 6:40 min each

Amos Borchert – Realms of radicalism | Michaela Wünsch – Experimental Film as Torture | Christine de la Garenne – The Time Funnel | Luis Ortiz – From the Mountains of Colombia | Dr. phil Rania Gaafer – Radical Film and the New Multitude: Inside the Decolonizing Realms of Middle Eastern Techno-Futurisms and their Scientific Fictions | Walter Solon – Bay Earth | Ying Sze Pek – The Antinomies of Globalization and the Documentary in Moving Image Art | Concha Mateos – Subversive Narrative vs. Subversive Appearance | Gabriela Almeida – How can political cinema face the rise of conservative forces in Brazil? | Chen, Dal, El Solh, Kallenberger, Klaas, Leão, Moskova, Schlachter, Spengler, Thorarensen – Maternal Fantasies | Richard Schut – The Power of Moo (360/VR) | Globale Film Festival Berlin | Alexandra Weltz-Rombach – Kosmosviertel | Thao Ho – Exits | Clara Santaolaya – We, the People | Emilia Izquierdo – Ghost Dance | Sungeun Grace Kim – The Will | Filz | Timothy George Kelly – Memes and the Capitalist Experience | Katrin Winkler – We don´t just want a piece of the pie, we want the whole fucking bakery! | Ainize Sarasola – Killing Time | Ira Konyukhova – Female Bodies | Frank Bubenzer – Standing Ovation | João Ricardo & Franscisco Laranjeira – You are Fake News

Friday 10:00-13:00 | 14:30-17:30 | 19:00-23:00 —

The morning and afternoon lecture program will be moderated by “Alternative
Fictions”, a collective of visual anthropologists who use film and ethnography to
explore issues surrounding representation. They also facilitate interactive spaces to
engage in these conversations and continually seek to find new ways to explore the
intersections between art, media and academia.

Friday 10:00 h —
, 25 min
Max Kramer, Munich

Dastevezi is a new hybrid-journal/archive hosted by the University of Heidelberg and founded by Jürgen Schaflechner and Max Kramer. The journal/archive is committed to promoting various modes of knowing by offering a platform for knowledge production and research on South Asia in both audio-visual and textual forms. (more…)

Friday 10:45 h —
, 25 min
Abhishek Nilamber, Laura Klöckner, SAVVY Contemporary, Berlin

“United Screens” is a long term research and exhibition project that intends to create a platform through which a network of community cinema programmers can be enabled to screen quality alternative cinema, from a de-centrally curated database of alternative cinema/video works. (more…)

Friday 11:30 h —
, 25 min
Ujjwal Utkarsh, Vienna

In the current political climate in India, any act or voice of dissent is considered a ‘protest’. In such a setting, what then really constitutes a protest? In his lecture Ujjwal Utkarsh will scrutinise the possibility and the potential of the observational form of film making as a form of radical film making. (more…)

Friday 12:15 h —
, 25 min
Sapir Hubermann, Gießen

The “Palestinian Film Unit” (PFU) was a collective of film makers and researchers founded in the 1960s, who engaged in the production of films and documentaries within the framework of the “Third Cinema movement”. During the Lebanese Civil War in 1982, the PFU archive was bombed, and most of the archival materials were destroyed. Only the few films that were sent to film festivals in Europe and the Arab world survived. (more…)

Friday 13:00 —
Friday 14:00 h —
Emilia Kurylowicz, Berlin

For the Radical Film Network workshop Emilia Kurylowicz invites the participants to play with the “dreams” that the highly commercialised music industry is trying to sell us on a daily basis and take the “risk” of singing about mundane or problematic things. (more…)

Friday 14:00 h —
Elena Boschi, Genoa

The interrupted screening comes from two basic premises: 1) radical films alone don’t necessarily encourage action beyond the movie theatre; 2) the screening practices prevalent in the exhibition contexts where radical film culture is lived are not necessarily radical. (more…)

Friday 14:15 h —
Rayén Mitrovich and Alejandro Iturra, Santiago de Chile

We understand the body as the place where thought and practice, art and life intersect to go across creation. How do we train the body to be aware of being contemporary? (more…)

Friday 14:30 h —
, 25 min
Friederike Anders, Berlin

In the mid Eighties at the German Film and Television Academy in West-Berlin, a second generation of video activism was growing up – mostly in night shifts at the school´s one and only 3/4 inch video editing studio, room “546”. (more…)

Friday 15:15 h —
, 25 min
Tony Dowmunt, London

LCVA is preserving the work of the Community Video movement in the 1970s and 80s, in London and South East England. In the early 1970s portable video recording equipment became available, and for the first time it was possible for individuals and communities (outside of mainstream broadcasting) to make their own television. (more…)

Friday 16:00 h —
, 25 min
Oliver Ressler, Vienna

Oliver Ressler’s work has focused on global warming as a central theme ever since he first began to exhibit. One of his first solo exhibitions was “100 Years of Greenhouse Effect” at Salzburger Kunstverein (1996). Several exhibitions, films, installations, billboards and photographic works on the theme have followed since then. (more…)

Friday 16:45 h —
, 25 min
Antje Majewski, Berlin

The video “O que nos nutre” was commissioned by the Goethe-Institute Rio, Brazil. The German curator invited a group of artists with the intention to show the first “Indigenous World Games”, an Olympiad of indigenous peoples, as an “innocent” counterpart of the Rio Olympics. (more…)

17:30-19:00 —
Friday 19:00 h —
, 60 min
Volker Pantenburg, Harun Farocki Institut, Berlin

In “One plus one” (1968), Godard famously proclaimed: If an intellectual wants to be revolutionary, he has to stop being an intellectual. Many notions of radicality around 1968 are struggling with the question how the relation between thinking/aesthetics on the one hand and acting/politics on the other can be overcome. Does one need to take sides? If so, which side would it have to be? Is it a false dichotomy in the first place? (more…)

Friday 20:30 h —
, 25 min
Daniel Mutibwa, Nottingham

Daniel H. Mutibwa’s recently published book titled “Cultural Protest in Journalism, Documentary Films and the Arts: Between Protest and Professionalisation” takes a transnational and interdisciplinary approach encompassing a range of theoretical perspectives (more…)

Friday 21:15 h
, 10 min
Dr. Nicole Wolf, London

‘To risk the earth’ and to propose a cinématics of the soil starts from current diverse conditions of the ground to explore what radical film cultures of the future could look like. How might we think a planetary cinema of, through and for the work of soil? (more…)

Friday 21:30 h
, 25 min
Marcy Saude, Plymouth

Addressing radical leftist political videos on YouTube, and the experiments with the formal qualities of video and performative presentation that some of the most prominent voices of Leftube have been engaging in. (more…)

Friday 21:45 h —
, 10 min
Ellinor Aurora Aasgaard & Zayne Armstrong, Berlin

Artists Zayne Armstrong and Ellinor Aurora Aasgaard will introduce their experimental serial moving-image project Days, which emerged from a common need for alternatives to state and commercial media funding. The series is a fictional drama, based on the long-running, U.S. daytime television soap opera Days of Our Lives. (more…)

Friday 22:00 h —
, 25 min
Mariola Brillowska, Hamburg

I freely tell stories that appeal to cineastes and fine art viewers and that challenge the traditional seeking audience very much. I don’t seek the positive opinion of the audience, but research in my field of film, formally and interdisciplinarily. I mix cartoon with experimental and real film, feature film with performance and music video. (more…)

Saturday 10:00-13:00 | 14:30-17:30 | 19:00-23:00 —

The morning and afternoon lecture program will be moderated by “Alternative
Fictions”, a collective of visual anthropologists who use film and ethnography to
explore issues surrounding representation. They also facilitate interactive spaces to
engage in these conversations and continually seek to find new ways to explore the
intersections between art, media and academia.

Saturday 10:00 h —
, 25 min
Guido Kirsten, Potsdam

The late 1920s saw the first large scale wave of radical political film making in Germany. Deploring ‘how broadly and deeply the cinema influences and confuses proletarian audiences’, Béla Balázs cried out in 1922: ‘We must create our own film companies! This is absolutely necessary!’ (more…)

Saturday 10:30 h —
Judy Rabinowitz Price, London

Price discusses her current research towards a new film that explores the overwritten histories and redrawn boundaries of Holloway Women’s Prison, the largest women’s prison in Western Europe and the only women’s prison in London until it was decommissioned in 2016. (more…)

Saturday 10:45 h —
, 25 min
Ina Wudtke, Berlin

During the Weimar Republic, communist organisations contributed tremendously to the establishment of a tradition of worker writers. Thus factory workers were encouraged to write about their experiences in labour and life. As a result of her research into original poems, songs and epigrams by workers writers about the housing question, Ina Wudtke decided to write some agitation texts herself, (more…)

Saturday 11:30 h —
, 25 min
Umberto Perez-Blanco, Bristol

What does radical film mean today? All cinematic forms, styles and intentions are capable of taking on a radical character. There are no concrete modes of distribution or exhibition that are exclusively radical – at least theoretically. What makes a film radical today, as Third Cinema proposed fifty years ago, is a particular way of approaching reality that, because of it, provokes a reaction on the part of the audiences. (more…)