{"id":9004,"date":"2024-04-30T14:22:28","date_gmt":"2024-04-30T14:22:28","guid":{"rendered":"https:\/\/hungryeyesfestival.de\/?page_id=9004"},"modified":"2025-08-17T18:41:11","modified_gmt":"2025-08-17T18:41:11","slug":"festival-2023","status":"publish","type":"page","link":"https:\/\/hungryeyesfestival.de\/en\/festival-2023","title":{"rendered":"festival 2023"},"content":{"rendered":"
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festival 2023<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t7.11.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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19:00 - Kinocenter Gie\u00dfen<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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vendor beast<\/a> – Finn Rabbitt Dove
I Am and Tell Me What<\/a> – Maggessi\/Morusiewicz
Passing Place<\/a> – Sof\u00eda Petersen & Shaun Finneran
How I Choose to Spend the Remainder of my Birthing Years<\/a> – Sarah Lasley
My Grandfather’s skin<\/a> –\u00a0 Yana Bachynska
Reality Fragment 160921<\/a> –\u00a0\u4e03\u4e2a\u6728 Qigemu \u4e03\u500b\u6728 (April Lin & Jasmine Lin)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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from 20:30 - anschlussverwendung<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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chitchat, drinks & aftertalks<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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21.11.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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19:00 - Kinocenter Gie\u00dfen<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mariupol: from 2068 till 2017 <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Khayt<\/a> – Sashko Protyah
My Favorite Job<\/a> – Sashko Protyah
100% OFF<\/a> – Sashko Protyah
Sea. Wind. WTF<\/a> – Sashko Protyah<\/p>\n

Dieser Filmblock wurde von Yulia Serdyukova
and <\/i>Kollektiv Freefilmers kuratiert.
<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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ab 21:00 Uhr - anschlussverwendung<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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chitchat, drinks & aftertalks.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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5.12.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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19:00 - Kinocenter Gie\u00dfen<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Call of Comfort<\/a> – Brenda Lien
The Imaginary Woman (La Mujer Imaginaria)<\/a> – Laura Benavides
el jardi\u0301n de los esp\u00edritus<\/a> – Lili Ullrich
Why the Birds?<\/a> – Tom\u00e1s de Souza
SOS\/Animals\/Action<\/a> – Big Art Group
DER FALL I LOOKING BACK IS GRACE<\/a> – Aleksandre Koberidze<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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ab 20:30 Uhr - anschlussverwendung <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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chitchat, drinks & aftertalks<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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ve<\/span>ndor beast<\/span><\/strong><\/p>

Short film by Finn Rabbitt Dove
<\/em>GB 2020
<\/em><\/p>

„Vendor Beast<\/em> erforscht arten\u00fcbergreifende Beziehungen, Nostalgie und Verlust in einer Welt mit zunehmend k\u00fcnstlich hergestellten Landschaften.
Das Filmmaterial von Kindern mit Eisb\u00e4ren in Gefangenschaft wird zu einer dystopischen Analogie des Zeichentrickfilms Der Schneemann<\/em> von 1982.“<\/p>

Finn Rabbitt Dove<\/em> is a Glasgow based artist working in film, 3D Animation and new media. Doves work reflects an abiding interest in the interaction of human and nonhuman animals.<\/p>

Full Credits:<\/span> Finn Rabbit Dove<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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I Am and Tell Me What
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Short film by Maggessi\/Morusiewicz
<\/em>AUT 2022
<\/em><\/b><\/p>

„I Am and Tell Me What<\/em> ist ein Film in einem Prozess und ein Film \u00fcber einen Prozess. Er ist die nicht-chronologische und fragmentarische Aufzeichnung einer Recherche, die das K\u00fcnstlerduo Maggessi\/Morusiewicz Mitte 2021 als Beginn ihrer fortlaufenden „Wormholes“-Serie durchf\u00fchrte. Der Film setzt sich aus Ausschnitten zusammen, die w\u00e4hrend ihrer siebent\u00e4gigen Fahrradtour um die K\u00e4rntner Seen aufgenommen wurden und die durch Verweise auf verschiedene wissenschaftliche Texte, Filme und Musik unterbrochen und angereichert werden. W\u00e4hrend sie ihre facettenreiche Beziehung erkunden und dabei von akademischen Essays, Blockbuster-Horrorfilmen und Arthouse-Videos erz\u00e4hlen, richten die Filmemacher:innen ihre Kameras auf ihre unmittelbare Umgebung und auf einander, um Geschichten \u00fcber eine lustvolle queere Zukunft zu fabulieren. All dies entspinnt sich in einem Strom loser Assoziationen und im gem\u00e4chlichen Tempo eines gl\u00fchend hei\u00dfen Sommers, untermalt vom st\u00e4ndigen Summen der allgegenw\u00e4rtigen Zikaden.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Maggessi\/Morusiewicz <\/em>sind ein Duo aus forschenden K\u00fcnstler:innen und Kurator:innen, die mit audiovisuellem Found-Footage-Material, digitalen\/analogen Drucktechniken und Textilinstallationen arbeiten. Sie verorten ihre Praxis innerhalb von queeren, kritisch-archivarischen und post-\/anti-\/dekolonialen Diskursen und setzen (peri-)akademische Theorie ein, um R\u00e4ume des Dazwischen, der Mehrdeutigkeit und des Vergn\u00fcgens durch das Collagieren von Filmen, Kl\u00e4ngen und Bildern zu erkunden. Derzeit arbeiten sie an zwei langfristigen Projekten: dem Forschungsprojekt „W\/ri\/gh\/ting Archives through Artistic Research“ (FWF, PEEK), das von der Akademie der bildenden K\u00fcnste Wien veranstaltet wird (2022-2025), und der Serie „Wormholes“, die in verschiedenen Kunstr\u00e4umen (Kunstraum Lakeside, VBK\u00d6, wukperformingarts, SPEDITION Bremen, Belvedere21) pr\u00e4sentiert wird.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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This film features voice samples of Vienna-based artists: Gleb Amankulov, Valerie\nLudwig, Tabea Marschall, Mzamo Nondlwana, Miriam Stoney, and Selina Shirin\nStritzel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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This film uses footage from the following films: 2084 <\/em>(dir. Chris Marker, 1984), Arrebato<\/em> (dir. Iv\u00e1n Zulueta, 1979), Away with Words<\/em> (dir. Christopher Doyle, 1999), Bates Motel<\/em> (dir. Richard Rothstein, 1987), Fast Trip, Long Drop<\/em> (dir. Gregg Bordowitz, 1993), High Life<\/em> (dir. Claire Denis, 2018), L\u2019heure de la sortie<\/em> (dir. S\u00e9bastien Marnier, 2018), Les Glaneurs et la glaneuse<\/em> (dir. Agn\u00e8s Varda, 2000), Les Glaneurs et la glaneuse\u2026 deux ans apr\u00e8s<\/em> (dir. Agn\u00e8s Varda, 2002), Primer<\/i> (dir. Shane Carruth, 2004), Sud Pralad<\/em> (dir. Apichatpong Weerasethakul, 2004), You, the Better<\/em> (dir. Erika Balsom, 1983)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Passing Place
<\/span><\/b><\/p>

Short film by Sof\u00eda Petersen & Shaun Finneran
<\/em>ESP\/GBR\/ARG 2021
<\/em><\/b><\/p>

„Unfixiert kommen Bilder eines Lebens fl\u00fcchtig ans Licht – bevor sie in der Dunkelheit verfallen.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sof\u00eda Petersen<\/em> is an Argentine filmmaker whose first feature film as writer and director, 'Olivia', is currently in post-production. She holds a masters degree in Filmmaking at the El\u00edas Querejeta Zine Eskola.<\/p>

Shaun Finneran<\/em> (UK) is a physicist by training, an engineer by trade, a filmmaker and enthusiast and, most recently, producer of 'Olivia'.<\/p>

Together they form Animitas film collective, whose work has featured in several international film festivals. Their first short film, \u2018Passing Place\u2019, won the Grand Jury Grand Prix at the 25FPS Festival 2021.<\/p>

credits:<\/span>\u00a0A film by Sof\u00eda Petersen & Shaun Finneran.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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How I Choose to Spend the Remainder of my Birthing Years<\/span><\/b><\/p>

Short film by Sarah Lasley
<\/em>US 2020
<\/em><\/b><\/p>

„Indem sie pers\u00f6nliche Erz\u00e4hlungen mit geteilten popkulturellen Erfahrungen verbindet, manifestiert die K\u00fcnstlerin eine lang gehegte Kindheitsfantasie, die in der Liebesszene aus Dirty Dancing (1987) angesiedelt ist. How I Choose to Spend the Remainder of my Birthing Years<\/em> stellt das vorpubert\u00e4re sexuelle Verlangen dem einer Frau gegen\u00fcber, deren sexueller H\u00f6hepunkt hinter ihr liegt. Fantasie ist sowohl Balsam f\u00fcr religi\u00f6se Fr\u00f6mmigkeit, als auch Akt des Widerstands gegen den Druck, der auf Frauen im mittleren Alter ausge\u00fcbt wird. Hier offenbart das digital simulierte Bild in seiner schwankenden visuellen Wahrhaftigkeit unsere Bereitschaft und unseren Wunsch zu glauben. Der Film wurde zu Beginn der Covid-19-Quarant\u00e4ne von der K\u00fcnstlerin alleine hergestellt.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sarah Lasley<\/em> is a video artist from Louisville, Kentucky and an Assistant Professor of Film at Cal Poly Humboldt. She has screened internationally at film festivals and universities, notably the Cairo Video Festival in Egypt and National Chiao Tung University in Taiwan. Her museum and gallery exhibitions include the Katonah Museum of Art in upstate New York, Leslie Hellar Workspace in New York City, and LAXART in Los Angeles. Recently she was awarded the grand prize for Blue Star Contemporary\u2019s Projection\/Projektion video program in collaboration with Darmst\u00e4dter Sezession in Germany, where she is an artist in residence for 2023. She holds an MFA from Yale School of Art and a BFA from University of Louisville and was a resident at the Skowhegan School of Painting and Sculpture in 2004.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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My Grandfather’s skin<\/span><\/b><\/p>

Short film by Yana Bachynska
<\/em>UKR 2020
<\/em><\/b><\/p>

„<\/em>Der Film My Grandfather’s skin<\/em> basiert auf den verdr\u00e4ngten Geschichten der Vorfahren von Yana Bachynska. Diese Geschichten wurden vom K\u00fcnstler in seinem Streben nach einem besseren Verst\u00e4ndnis von sich selbst wiederentdeckt. All die Geschichten, die verdr\u00e4ngt werden, werden oft wiederholt. Indem er sich der Vergangenheit und dem Vergessenen zuwendet, versucht Bachynska, Ursachen f\u00fcr den gegenw\u00e4rtigen Zustand zu finden und der Wiederholung der Geschichte entgegenzuwirken. Solche Entdeckungen tragen nicht nur dazu bei, die aktuelle Realit\u00e4t zu erfassen, sondern dienen auch als Ansto\u00df f\u00fcr zuk\u00fcnftige Ver\u00e4nderungen.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Yana Bachynska<\/em> born in 1991 in Lviv, Ukraine is a visual artist, curator, and film director whose practice is focused on queering grand narratives. After receiving a master's degree in philosophy from the Taras Shevchenko National University of Kyiv, he received a master's degree from the Art Academy of Szczecin. Currently lives and works between Lviv and numerous European residencies.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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C<\/span>redits:<\/u><\/p>

Supporting program: TWO ROOTS , Director: Yana Bachynska, Writer:\u00a0 Yana Bachynska, Actor:\u00a0 Yana Bachynska<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Reality Fragment 160921<\/span><\/b><\/p>

Short film by \u4e03\u4e2a\u6728 Qigemu \u4e03\u500b\u6728
(April Lin \u6797\u68ee and Jasmine Lin \u6797\u601d\u7a4e)
<\/em>US\/SWE 2018
<\/em><\/b><\/p>

„Reality Fragment 160921<\/em> folgt zwei Menschen in ihrem Prozess, die Realit\u00e4t zu kuratieren – w\u00e4hrend sie sich ihre eigenen R\u00e4ume vor und \u00fcber das Verst\u00e4ndnis von Distanz schaffen, w\u00e4hrend sie selbst wachsen, indem sie ihre Universen wachsen lassen. Wir bezeugen nicht nur ihre Bewegungen, sondern tauchen auch ein in die Gedanken zweier Zeug:innen und in eine Welt, in der Welten verschmelzen. Im Gegenzug bitten wir dich als Zuschauer:in dieses Films, und damit auch als Zeug:in, auf deine eigenen Wahrnehmungsbewegungen zu achten und dar\u00fcber nachzudenken, wie du deine eigene Welt baust. Mit wem ist deine Welt verschmolzen, und was bedeutet das f\u00fcr deine eigenen subjektiven Wahrheiten?“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u4e03\u4e2a\u6728 Qigemu \u4e03\u500b\u6728<\/em> is a duo consisting of coordinates April Lin \u6797\u68ee and Jasmine Lin \u6797\u601d\u7a4e exploring the interstices of movement, visual media, identity, and the global Asian diaspora as respectively, Chinese-Swedish and Taiwanese-American. Using the potential of this hybrid space, Qigemu engages in conversations dealing with bodies, information, and energies, and how these are conceptualized in the Internet Age.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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C<\/span>redits:<\/u><\/p>

Directors, Producers, Editors, Performers: April Lin \u6797\u68ee and Jasmine Lin \u6797\u601d\u7a4e
Voiceovers: Tessa Qiu and Madeleine Han
Sound editor: Oscar Ulfheden
Music: Redundancy Charm Study \u2014 G. S. Sultan
UX Design \u2014 DJ Supermarket
imessage In A Bottle \u2014 soy
Chinese subtitling: Qafone<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Khayt <\/span><\/b><\/p>

Short film by Sashko Protyah<\/i>
<\/em>UKR 2022
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„Khayt <\/em>ist eine Mockumentary \u00fcber die postindustrielle Zukunft von Mariupol. Die Autor:innen stellen sich vor, wie die Stadt mit der Kultur der Asowschen Griechen, der ethnischen Bev\u00f6lkerung der Regionen Donetsk und Zaporizhzhia, aussehen w\u00fcrde. Der Film spielt im Jahr 2068 in Mariupol: Ein Musiker kommt dort an, um an einer Kunstresidenz teilzunehmen, die von der \u00f6rtlichen Institution Centre for Industrial Heritage (CIS) organisiert wird. Der Film wurde einen Monat vor der Invasion Russlands in die Ukraine fertiggestellt.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sashko Protyah<\/em> is a film director and activist from Mariupol, Ukraine. He is a co-founder of cinemovement\/NGO Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.<\/p>

credits:
<\/span>Director: Sashko Protyah
Music: by Vasyl Lyakh & Dake
Camera: Sashko Protyah, Vasyl Lyakh, Oleksandr Surovtsov<\/p>

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My Favorite Job<\/span><\/b><\/p>

Short film by Sashko Protyah<\/i>
<\/em>UKR 2022
<\/em><\/b><\/p>

„<\/em>Im Fr\u00fchjahr 2022 wurde die ukrainische Stadt Mariupol von russischen Truppen umzingelt. T\u00e4glich wurden Massenvernichtungswaffen gegen die Zivilbev\u00f6lkerung eingesetzt. Mitte M\u00e4rz begannen Freiwillige mit der Evakuierung von Menschen aus Mariupol nach Zaporizhzhya. Sie trafen sich nach jeder Reise, um Informationen auszutauschen, sich gegenseitig zu unterst\u00fctzen und \u00fcber ihre traumatischen Erfahrungen zu sprechen.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sashko Protyah<\/em> is a film director and activist from Mariupol, Ukraine. He is a co-founder of cinemovement\/NGO Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.<\/p>

credits:
<\/span>Director: Sashko Protyah
3D generalist: Vova Morrow<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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100% OFF<\/span><\/b><\/p>

Short film by Sashko Protyah<\/i>
<\/em>UKR 2023
<\/em><\/b><\/p>

„<\/em>Menschen in Mariupol sprechen \u00fcber Pl\u00fcnderungen in Gesch\u00e4ften w\u00e4hrend der Belagerung und Einnahme der Stadt durch russische Truppen im M\u00e4rz 2022.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sashko Protyah<\/em> is a film director and activist from Mariupol, Ukraine. He is a co-founder of cinemovement\/NGO Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.<\/p>

credits:
<\/span>Director: Sashko Protyah
Drawings: Natalia Tseliuba
Music: Oleksiy Podat<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Sea. Wind. WTF<\/span><\/b><\/p>

Short film by Sashko Protyah<\/i>
<\/em>UKR 2017
<\/em><\/b><\/p>

„<\/em>Ein verlassenes Haus an der Meeresk\u00fcste, ein bew\u00f6lkter Himmel und eine Kamera, die von drei Freund:innen geteilt wird.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sashko Protyah<\/em> is a film director and activist from Mariupol, Ukraine. He is a co-founder of cinemovement\/NGO Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Call of Comfort<\/strong><\/span><\/p>

Short film by Brenda Lien<\/em>
<\/em><\/b><\/p>

„\u201cPlease agree to terms and conditions to be a part of the Community,\u201d sagt die Big-Data-Kristallkugel und \u00fcbersch\u00fcttet dich mit positiven Affirmationen und hyperpersonalisierten Anzeigen. \u201cAll for your own benefit, of course.\u201d\u00a0 Du bist eine nie versiegende Energiequelle. Sp\u00fcre, wie dein K\u00f6rper schwer wird und sich entspannt – and just say, \u201cYes!\u201d“\u00a0<\/p>

Ein experimenteller Film \u00fcber moderne Technologie, die uns dazu verf\u00fchrt, unsere Privatsph\u00e4re zu opfern, in der Hoffnung auf ein optimiertes Leben.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Filmmaker and music producer Brenda Lien\u00b4s works have screened at film festivals worldwide (Berlinale Shorts, ISFF Oberhausen, Aspen SF and Uppsala ISFF) and received multiple awards. \u201cCall of Cuteness\u201d was on the long list for the \u201cShort Animation\u201d-Oscars 2018 and in 2018 \u201cCall of Comfort\u201d won the German Short Film Award. In 2019 they were invited to the Berlinale Talents Campus and in 2020 they received Hessen\u00b4s Newcomer Award. Their graduation film \u201cFirst Work, Then Play\u201d received the Filmf\u00f6rderpreis Sachsen at Filmfest Dresden in 2022. The recent graduate at the University of Art and Design Offenbach is currently developing their first feature film and preparing an album release.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Credits:\nWritten, produced and directed by Brenda Lien\nCinematogaphy: Brenda Lien, Tim Seger\nMusic: Brenda Lien\nSounddesign and mixing: Lena Beck\nAnimation: Leonie Link, Julia Merkschien, Brenda Lien\nActing: Sina Martens, Yodit Tarikwa, Johanna Miller<\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Imaginary Woman (La Mujer Imaginaria)
<\/span><\/b><\/p>

Short film by Laura Benavides
<\/em>COL 2019
<\/em><\/b><\/p>

„Du wirst die andere Frau sein, die du nie gesehen hast.<\/em> Dieses animierte Gedicht ist eine Sammlung von Worten, Fragen und Liedern und erz\u00e4hlt von Gef\u00fchlen im Zusammenhang mit Trennungen, Selbstreflexion und Liebe.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Laura Benavides<\/em> is a cuir artist, animation filmmaker. She is interested in the poetic experimentation taken to the animation format in order to question concepts of gender, sexual identity, corporeality, intimacy and memory.<\/p>

credits:
<\/span>Director: Laura Benavides; Music: Edgar Cort\u00e9s Angar\u00edta; Music performers\/Composers: Edgar Cort\u00e9s Angar\u00edta, Gabriela Aedo, Francisca Straube; Sound and Soundmix: Edgar Cort\u00e9s Angar\u00edta; Script: Laura Benavides; Design: Laura Benavides; Animation: Laura Benavides, Laura Castro, Tatiana Vaca; Composite<\/span>: Laura Benavides; Editing: Laura Espinel; Photography director: Laura Ardila; Post production: Laura Benavides; Technical support: Creative Space; General Producer: Fabi\u00e1n Villamil<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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el jard\u00edn de los espiritus<\/i><\/span><\/b><\/p>

Short film by Lili Ullrich
<\/em>DE\/COL 2020
<\/em><\/b><\/p>

„<\/em>Lili Ullrichs el jard\u00edn de los espiritus<\/em> (2020, dt.: Garten der Geister) ist eine Hommage an ihre Gro\u00dfmutter Lolito. Das Video deckt die Auswirkungen und Einstellungen wei\u00dfer Privilegien und Rassismus in Cali, Kolumbien, auf. W\u00e4hrend sie Familiengeschichten und m\u00fcndliches Wissen kartographiert, erfasst sie in einer cinematischen Performance auch die Landschaft mittels der Figur des \u201ewei\u00dfen Geistes\u201c. In der Videoarbeit wird zun\u00e4chst gl\u00fcckselig das Dasein genossen, am Pool gesessen und Sprudelwasser getrunken. W\u00e4hrend der Geist mit seinem \u201eHaustier\u201c, einem Moskitonetz, im letzten Wachspalmenwald spazieren geht, ist er besessen von der Idee, dieses zum Fliegen zu bringen, f\u00e4llt jedoch bergab und verpasst die Gelegenheit, die Umgebung zu erkunden.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Lili Ullrich<\/em> (b. 1993, Frankfurt am Main) is a multimedia and performance artist based in Rotterdam (NL) and Berlin (DE). Her practice explores subconscious myth building and the Knowing Body, a term focusing on the connection between the physical and psychological experience. Her aim is to provide imagery and actions for possible futures and question existing structures, while also allowing for playful exploration and interpretations of the mundane. Their latest work deals with archetypes and trauma, exploring identity in its layered and complex ways. She works in performance art, video, installation and sculpture.\nUllrich graduated from WDKA in Fine Art and the University of Music and Performing Arts, Frankfurt am Main, in Acting. She has been a recipient of the CBK Research & Development grant for her research mimesis and the poetic body, where she looked into the connection between the subconscious archetypes, trauma and the knowing body. She is an alumni of the Studienstiftung des Deutschen Volkes (2014-19). Ulrich has exhibited at Het Nieuwe Instituut, Showroom MAMA and das Odradek, among others. Since 2021 they are part of the collective wet dreamzZz.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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C<\/span>redits:<\/u><\/p>

film & performance: Lili Ullrich\ncamera: Elissa Lacoste\ncostume: Elissa Lacoste\ncolor: Pilar Mata Dupont, Magdalena Petrova\nsound correction: Peter Matthies<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Why the Birds?<\/i><\/span><\/b><\/p>

Short film by Tom\u00e1s de Souza
<\/em>BEL 2022
<\/em><\/b><\/p>

„<\/em>Why the Birds?<\/i> ist ein Kurzfilm aus Bildern, die von Handys auf der ganzen Welt aufgenommen wurden. Er besch\u00e4ftigt sich mit einer sanften Obsession: V\u00f6geln. Immer um uns herum, \u00fcbersehen wir sie oft. Aber manchmal taucht eine L\u00fccke zwischen uns auf.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tom\u00e1s de Souza<\/em> is an artist, musician and video-maker based in Brussels.<\/p>

credits:
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Written, edited and voiced by Tom\u00e1s de Souza\u00a0
Video and photo captures: Members of the ‚P\u00e1ssaros‘ group on Whatsapp.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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SOS\/Animals\/Action<\/span><\/b><\/p>

Short film by Big Art Group
<\/em>US 2021
<\/em><\/b><\/p>

„<\/em>In SOS\/Animals\/Action<\/em> er\u00f6ffnet ein Wald aus Technologien, voller Kameras und Screens, der sich inmitten einer Abfall-Landschaft befindet, dem Publikum eine verdorbenen panoptischen Blick auf kollidierende Narrative. Im Gegensatz zu traditionellen Theater-Performances verwandeln die multimedialen Auff\u00fchrungen der Big Art Group die Zuschauer:innen in aktive Editor:innen und fordern diese heraus, \u00fcber komplexe Themen wie Sexualit\u00e4t, Race, Erz\u00e4hlung und Wahrheit nachzudenken – als theatrale Spiegel der Navigation durch die zeitgen\u00f6ssische Gesellschaft.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Big Art Group<\/em> is a New York based experimental performance ensemble founded by Caden Manson and Jemma Nelson in 1999. Big Art Group uses language and media to push formal boundaries of theatre, film and visual arts; it creates culturally transgressive works and innovative performances using original text, technology and experimental methods of communication.<\/p>

credits:
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Created by Big Art Group with Caden Manson, Jemma Nelson, Kathleen Amshoff, David Commander, Edward Stresen-Reuter, Michael Helland, and Willie Mullins.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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DER FALL \/ LOOKING BACK IS GRACE
<\/span><\/b><\/p>

Short film by Aleksandre Koberidze <\/em>DE 2013
<\/em><\/b><\/p>

„Looking Back is Grace<\/em> ist ein Film. Eine Geschichte wird erz\u00e4hlt. Menschen sind zu sehen. Und auch ein Tier. Das Tier ist jemandes Tr\u00e4ger. Durch den Reiter ver\u00e4ndern sich die Leben der Menschen. Durch die Person, die diese Ver\u00e4nderungen verursacht, finden wiederum die Leben anderer Menschen ein Ende. Die Leben mancher Menschen ver\u00e4ndern sich. Die Leben mancher Menschen werden beendet. All das auf ziemlich eigenartige Weise. \u201eLooking Back is Grace\u201c ist ein Film. In diesem Film werden seltsame Vorf\u00e4lle gezeigt, die sich vor einiger Zeit ereigneten.“<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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After studying microeconomy and film production in Tiflis, Alexandre Koberidze<\/em> moved to Berlin and studied directing at the German Film- and Television Academy Berlin (DFFB). During his studies, he directed several successful short films, starting with his short Colophon (2015) that gained critical plaudits at the Kurzfilmtage Oberhausen. His first feature \u201cLet the summer never come again\u201d (2017) won multiple awards at many festivals worldwide, including the Grand Prix at FID Marseille. His diploma film \u201cWhat do we see when we look at the sky?\u201d (2021) premiered in the competition of the 71. Berlinale and won the Fipresci Award for Best Film there amongst many others.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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credits:<\/p>

Director, Script, Photographer, Editor: Aleksandre Koberidze
Producer: Simon Lubinski, Tim Wustrack
Sound: Jan Pasemann
Cast: Beniamin Forthi, Anka Baier, Emilio de Marchi, Adriana Altaras, Nana Lou Reschke, Mathias Lintner, Giorgi Koberidze
Production Company: German Film and Television Academy Berlin (dffb)
Co-production: ARTE<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Das hungry eyes festival 2023 wird gef\u00f6rdert mit Mitteln f\u00fcr Filmfestivalf\u00f6rderung de+ des Goethe-Instituts in Kooperation mit dem Ausw\u00e4rtigen Amt der Bundesrepublik Deutschland, von der Hessen Film und Medien GmbH, dem Kulturamt der Stadt Gie\u00dfen und der Gie\u00dfener Kulturstiftung. In Kooperation mit dem Kinocenter Gie\u00dfen und dem Freefilmers Kollektiv.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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kontakt@hungryeyesfestival.de I presse@hungryeyesfestival.de I technik@hungryeyesfestival.de
kunstrasen giessen e.V. I Postfach 11 06 01 I 35351 Gie\u00dfen<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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