“Control is the biggest illusion of our existence”
This year the Virtual Reality projects of DOK Neuland are shown under the titel: “No Chaos No Change”.
This year the Virtual Reality projects of DOK Neuland are shown under the titel: “No Chaos No Change”.
“What is the point of the film?” asks a passer-by. “I don’t know myself,” answers Pawel – filmmaker of the “Balcony Movie”.
Every year the DOK Spotters start the festival week with an interview with the director. This year Christoph Terhechte told us what is special about his second year at the festival, what he does during the week and which films we cannot miss at the 64th edition of DOK Leipzig.
…you are complimented on your german skills as a german. The performance artist Shahib knows that. How will people from Leipzig react in a fotointerview?
Jay Rosenblatt is this years honors guest at Dok Leipzig and juror for the Next Masters Competition. He made some time for us, aside from all his other appointments.
Once upon a time there were 15 hoodies and 15 DOK Spotters searching for a story for their trailer.
The Aardman Night in the Schaubühne Lindenfels with David Sproxton: familiar clay characters, first hand stories and a bunch of british humor!
Aardman is the production team of the childhood heros “Shaun the sheep”, “Wallace and Gromit” and “Morph”. We met David Sproxton, one of the creative masterminds of the studio, and put some clay in his hands!
“Looking like my Mother” is a film by the swiss filmmaker Dominique Margot. Her mother had a bipolar disorder. The film gives an insight into being the daughter of a manic-depressive mother.
Who did actually invent the Simpsons? We met up with one of the “Masters” of the popular family – David Silverman.
Why does John Smith like to play with the expectations of the audience? And what happens if someone is playing with his expectations? We tried it out!
“DOK Neuland” is a new way to tell documentary stories – interactive and multimedia-based. Will there be more bubbles than screens in ten years? Just one of our question for the curator Britta Senn.