Kategorie: Reviews

Wie erzählt man von einem Kriegsverbrechen? Zu Roman Ljubyjs Film Iron Butterflies über den Abschuss des Passagierflugzeugs MH17 im Donbas

Von Fabian Erlenmaier. Am 17. Juli 2014 schossen russische Soldaten im Donbas mit einer Bodenluftrakete auf ein Passagierflugzeug. Das in Amsterdam gestartete Flugzeug mit dem Ziel Kuala Lumpur stürzte ab. Alle 298 Insassen des Flugs MH17 starben. Roman Ljubyjs Film Iron Butterflies (2023) dokumentiert auf beeindruckende Weise ein Kriegsverbrechen. Der Auftaktfilm des Ukrainian Film Festival Berlin macht dieses für eine breite Öffentlichkeit sichtbar.

Avtoportreti Zghvarze: A Film Essay on Memory, Hope and the Search for One’s Identity

Anna Dziapshipa’s essay film “Self-Portrait Along the Borderline” (2023) was screened as part of the Georgian Film Series at the Ukrainian Film Festival (UFF) in Berlin. In the film, Dziapshipa uses her family archive to reconstruct an intimate portrait of her Georgian-Abkhazian family and to reflect on broader issues of identity and memory in the context of war. A review by Ekaterina Grineva.

Retrospective as a New Perspective: An Insight into the 4th Ukrainian Film Festival Berlin

With this year’s motto No Time Like Home (Дім в часі in Ukrainian), the fourth edition of the Ukrainian Film Festival Berlin took place from the 25th to 29th October. Having screened a total of 19 short films, ten recent full-length films and three additional films in the Retrospective programme, as well as three recent Georgian films, across five different cinemas, the festival proved to be a growing success in Berlin’s cultural landscape. A review by Oleksii Isakov.

The World in the Rearview Mirror of an Isuzu D-Max: Mohamed Bettaieb and the Tunisian Southern Imaginary

By Joshua E. Rigg. In Al-Janub Ya Kibdiyy (The South, My Dear Son; lit. The South, My Liver), Mohamed Bettaieb (b. 1985), offers an alternative vision. His work deals with everyday life in Tunisia’s south – its economy, culture, history and myth. Collected and edited by the journalist and North African correspondent, Bassam Bounenni, the book brings together a selection of Bettaieb’s satirical morality tales, comments on current events, personal memoir and confessions, and literary and philosophical discussions. A review.

“Les raisins de la domination. Une histoire sociale de l’alcool en Tunisie à l’époque du Protectorat (1881-1956)” – An Interview with Nessim Znaien

Nessim Znaien is a Junior Professor at the University of Marburg, currently holding the (Post)colonial Maghreb Chair. He conducts research on the history of material culture in the colonial and post-colonial Maghreb, in particular on the history of food and cereals and is the author of “Les raisins de la domination. Une histoire sociale de l’alcool en Tunisie à l’époque du Protectorat (1881-1956)”. A conversation with Diana Abbani.

The End of Ottoman Rule in Bosnia: Conflicting Agencies and Imperial Appropriations – An Interview with Hannes Grandits

Hannes Grandits is Professor of Southeast European History at Humboldt University in Berlin. He is the author of The End of Ottoman Rule in Bosnia: Conflicting Agencies and Imperial Appropriations (Routledge 2021). A conversation with Alex Favalli.

Sovist’ (Conscience) – A Rediscovered Showpiece of Ukrainian Poetic Cinema of the 1960s

By Oleksii Isakov. Ukrainian Dreams, a special film event taking place for the first time in Berlin, aims to decolonise and remap Ukrainian cinema by emphasizing its position within the global cultural context and by bringing the works of Ukrainian directors out of the shadow of the mostly hegemonic Soviet and Russian past. Sovist’ (1968), directed by Volodymyr Denysenko (1930-1984), is one of the films that certainly deserve a closer look.

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