Bildrausch Filmfest Basel 9, Catalogue 2019

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9. BILDRAUSCH 

FILMFEST BASEL 

19.06.—23.06.19 

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PROGRAMME-SCHEDULE 2 

EDITORIAL 4 

CUTTING EDGE 5 

INTERNATIONAL 

COMPETITION 

RESONANCE: 32 

JOINING 

RENI MERTENS & 

WALTER MARTI 

IN THE FUTURE 

GIANFRANCO 54 

ROSI 

THE SEEKER OF 

TRUTH 

SPECIALS 

ERDE 68 

MAKINO TAKASHIS ELEKTRISCHE MAGIE 70 

SINNESRAUSCH 74 

THEY SHALL NOT GROW OLD 78 

TALKS, EVENTS AND PANELS 80 

AROUND BILDRAUSCH 89 

THANK YOU 120 

FESTIVAL INFORMATION 124 

IMPRINT 126

SURVEYING 

THE WORLD 

Cinema as a survey of the world, film as a topography 

of our lives. The 9th edition of Bildrausch takes us 

into the midst of the vibrating topics of class, identity 

and gender, explores the landscapes of our souls and 

the landfills of history, and charts a freehand map of 

reality. Special attention is given to the documentary 

genre, with our tribute programme being dedicated 

to the auteur couple Reni Mertens and Walter Marti, 

and their very own cinematic continent. The pioneers 

of Young Swiss Cinema gave rise to an avant-garde, 

profoundly humanistic oeuvre, whose formal variety, 

urgency and beauty inspires us to this very day. The 

political nature of their work creates a bridge to the 

work of Gianfranco Rosi. As a traveller in search of 

truth, he persistently scratches the surface of the world. 

With a comprehensive retrospective and in the Thinking/Space, 

we zoom in on the blatantly subjective yet 

profoundly universal portraits by the award-winning 

Italian director. “... I want people to go out on a limb 

with a film, far out where things actually get really 

uncomfortable,” the filmmaker Peter Liechti (1951– 

2014) once wished for cinema and his audiences. We are 

very pleased to introduce the new Peter Liechti Prize, 

which will honour a film that demonstrates a high willingness 

to take formal or narrative risks. We cordially 

invite you to unconditionally surrender to and immerse 

yourself in this year’s Bildrausch! 

Nicole Reinhard, Beat Schneider 

4 

On Sunday evening, 23 June, the jury will award 

the Bildrausch Ring of Film Art and a prize sum of 

5 000 CHF to the maker of the best Bildrausch film. 

For the first time, the festival will also present the 

newly created Peter Liechti Prize, worth 2 000 CHF, 

to a work that stands out due to its narrative or visual 

courage. The award for a film that “goes all out” is 

donated by the Basel-based company Tweaklab AG 

and Reck Filmproduktion, Zurich. 

RAMELL ROSS (born 1982 in Frankfurt 

a.M.) studied English and sociology at 

Georgetown University, and art at the 

Rhode Island School of Design. He lives in 

Rhode Island and Alabama, works as a 

photographer, author and filmmaker, and 

is currently teaching at the Visual Art 

Department at Brown University in Providence. His 

much-acclaimed photographic works and texts have 

appeared in publications such as the New York Times, 

Harper’s Magazine, Aperture, TIME, Oxford American 

and the Walker Arts Center. In 2018, his directing debut 

Hale County This Morning, This Evening premiered at the 

Sundance Film Festival, where it won the Special Jury 

Award for Creative Vision. At this year’s Academy 

Awards, his debut was even nominated for an Oscar for 

Best Documentary. In the lyrical documentary about 

African-American life in southern Alabama, RaMell 

Ross captured its atmospheric density with an impressive 

visual narrative style, and thereby followed in the 

footsteps of filmmakers like Charles Burnett, whom he 

quotes as an inspiration for his work alongside Andrei 

Tarkovsky and Toni Morrison. Last year, RaMell Ross 

visited Bildrausch with Hale County and received a 

special mention from the jury. 

5 

CUTTING EDGE

6 

7 

GERWIN TAMSMA (born 1964 in 

Franeker) worked for many years as a film 

critic and publisher, among other things 

for “NRC Handelsblad” and “Dutch Film 

Yearbook”, before joining the International 

Film Festival Rotterdam (IFFR) in 

1996. There, he is responsible for the programming 

of feature films from Latin America, China, 

Korea, Scandinavia, Italy, Spain and Portugal, and is 

the head of the “Bright Future” section for young 

filmmakers. He is also a member of the selection 

committee for the Tiger Awards Competition and a 

member of the Hubert Bals Fund, which supports 

innovative and committed filmmaking. At IFFR he 

has curated numerous retrospectives and special programmes, 

and he has sat on numerous international 

juries, including those of Vancouver International Film 

Festival, Bafici Festival in Buenos Aires, CPH:DOX in 

Copenhagen and Cinema Digital Festival in Seoul. His 

heart beats for films that are inspired and inspiring, 

which approach their topics with a fresh perspective 

and a creative attitude towards professional filmmaking 

and the world, but which also allow themselves to 

be uncomfortable and challenging. 

ARAMI ULLÓN (born 1978 in Asunción): 

the filmmaker, who has lived in Basel since 

2011, has been working in the audiovisual 

arts for 25 years. Her experience as a producer 

includes music videos, TV programmes 

and commercials, primarily for 

Paraguayan and some European production 

companies. In the field of fiction, she worked on 

the feature films El toque del Oboe (Paraguay/Brazil, 

1997), Miami Vice (USA, 2006) and 18 cigarillos y medio 

(Paraguay/Mexico/Spain, 2011). The latter she produced 

herself. After two short films (Ausencia de un nombre 

propio (1998) and Beckon (2000)), she made her directing 

debut in 2014 with El tiempo nublado. The deeply personal, 

sensitive documentary about her Paraguay-based 

mother, who for many years has suffered from epilepsy 

and Parkinson’s disease, was shown at over 70 international 

film festivals, and won the Regards Neufs 

Award for Best First Film at the Visions du Réel documentary 

film festival, the SIGNIS award, the Prix du 

Lycéen Documentaire at Cinélatino – Rencontres de 

Toulouse, and the Basel Film Award for best film 

among others. She is currently working on her second 

feature film Nothing But the Sun , a study of the complex 

meaning of identity and belonging, based on the situation 

of the native Ayoreo people in Paraguay. 

CUTTING EDGE

A coup d’état is not much use if nobody notices it, 

which is why an irregular transfer of power is usually 

announced through the media. The proclamation of a 

military coup in May 1963 is also the task of the protagonists 

of Mahmut Fazıl Coskun’s third film, Anons: 

While his colleagues in Ankara are overthrowing the 

government, they have to make the announcement 

on Radio Istanbul. Unfortunately, the radio technician 

who is needed to get the job done is not at work, and 

many other things get in the way. For a while, we think 

we are watching a deadpan comedy of fiascos, until the 

first victim makes it clear to us that what we’re seeing 

is dead-serious, and that none of the on-screen protagonists 

are amused by the jokes that life has invented 

for them on this fateful night. But not only the film’s 

tone testifies to the experimental zeal of the director, 

who was born in Turkey in 1973 and trained in Los 

Angeles and Istanbul. His visual style also dares break 

with conventions. He repeatedly lets the action move 

out of the frame, and conveys what is happening 

through what is heard, not what is seen. He thereby, 

in a playful and casual way, makes it clear that what is 

filmed is just a part of a far more complex reality. (as) 

ANONS 

· Anons (The Announcement) 

· Turkey, Bulgaria 2018 

· 94 min. Colour. DCP. TR/en 

· Director: Mahmut Fazıl Coskun 

· Screenplay: Mahmut Fazıl Coskun, 

Ercan Kesal 

· Cinematography: Krum Rodriguez 

· Editing: Çiçek Kahraman 

· Music: Okan Kaya 

· With Ali Seçkiner Alici, Tarhan Karagöz, 

Murat Kiliç, Sencan Güleryüz 

· Producers: Halil Kardas, Tarik Tufan 

· Contact: Heretic Outreach, Athens, 

www.heretic.gr 

9 

WED 19.6. 21:15 

Stadtkino Basel 

In attendance of Mahmut Fazıl Coskun 

SAT 22.6. 19:15 

kult.kino atelier 

In attendance of Mahmut Fazıl Coskun

In early 2016, Austrian politicians become fearful. 

They are afraid that the “refugee invasion”, which is on 

its way via the Balkan route into the European Union, 

could bury the small Alpine republic underneath it. 

Preventive and populist measures are taken, or rather: 

intended, or rather: planned; or at the very least considered. 

Ironically, it is on the Brenner pass, a geo-ethno-politically 

highly sensitive border, which has always been 

fairly open, that a fence is to be erected. The ensuing 

uproar is to be expected. But the Austrian documentary 

filmmaker Geyrhalter enters into the fray with his usual 

calmness, looks around, and documents. Along the 

Brenner pass, he walks to and fro between North and 

South Tyrol, between Austria and Italy, talking to hunters, 

ski hut managers, Senegalese construction workers, 

dairy transporters and organic farmers. The plurality of 

voices and opinions paints a picture that embraces far 

more than just the small region from where they originate: 

The Border Fence is not just about Europe’s isolationist 

policies, but about global power relations and the 

essence of humanity. And all this using a few meters of 

wire mesh fence as its starting point… a typical Geyrhalteresque 

achievement. (as) 

· Die bauliche Massnahme 

(The Border Fence) 

· Austria 2018 

· 112 min. Colour. DCP. DE/en 

· Director, Screenplay, Cinematography: 

Nikolaus Geyrhalter 

· Editing: Emily Artmann, Gernot Grassl 

· Producers: Markus Glaser, 

Wolfgang Widerhofer, 

Michael Kitzberger, Nikolaus Geyrhalter 

· Contact: Austrian Films, 

Vienna, www.austrianfilms.com 

11 

THU 20.6. 14:15 


SAT 22.6. 15:15 


In attendance of Nikolaus Geyrhalter 

DIE BAULICHE MASSNAHME

The work of the Dominican-Mexican directing 

duo Laura Amelia Guzmán and Israel Cárdenas has 

developed in a rather unpredictable way: from the 

fleeting, highly neorealistic poetry of Cochochi (2007) 

and Jean Gentil (2010) to the stylised and labyrinthine 

delirium of their current masterpiece, La fiera y la fiesta. 

One would hardly suspect that this film, too, has a 

non-fictional foundation: the protagonist, a filmmaker, 

around whose imagery and thoughts everything revolves. 

Jean-Louis Jorge was a relative of Guzmán; 

many of his companions make an appearance in the 

film, and we also get to see many extracts from his 

works, above all La serpiente de la luna de los piratas 

(1973) and Mélodrame (1976). Geraldine Chaplin plays 

another filmmaker, who has to do her friend a favour: 

to direct a production based on Jorge’s last book – and 

soon one disaster follows the other … La fiera y la fiesta 

is an extraordinary feat: on the one hand, we can 

let ourselves get carried along as we enjoy its camp 

cinematic intoxication – on the other hand, if we read 

it accordingly, the film works perfectly as a film-historical 

essay, in which we learn a lot about an obscure 

auteur. This is not like something you’ve ever seen 

before! (om) 

· La fiera y la fiesta (Holy Beasts) 

· DR, ARG, MEX 2019 

· 90 min. Colour. DCP. ES/EN/FR/en 

· Director, Screenplay: Laura Amelia 

Guzmán, Israel Cárdenas 

· Cinematography: Israel Cárdenas 

· Editing: Andrea Kleinman, Israel Cárdenas, 

Pablo Chea 

· Music: Leandro de Loredo 

· With Geraldine Chaplin, Udo Kier, 

Luis Ospina, Jaime Piña 

· Producers: Rafael Elías Muños, 

Laura Amelia Guzmán, Israel Cárdenas 

· Contact: Latido Films, Madrid, 

www.latidofilms.com 

13 

FRI 21.6. 10:00 


In attendance of Laura Amelia Guzmán 

and Israel Cárdenas 

SAT 22.6. 17:00 


In attendance of Laura Amelia Guzmán 

and Israel Cárdenas 

LA FIERA Y LA FIESTA

Angela Schanelec’s cinematic opus is defined by 

unhealed scars. A cinema we are at the mercy of. In I 

Was at Home, But, which earned the German filmmaker 

the award for Best Director at the Berlin Film Festival, 

every image reveals the insistent sensation of 

injured vulnerability. Oscillating elliptically between 

the past and the present, we are shown people who 

need each other, and people who need to be alone. 

Including a mother who is looking for her own liveliness 

(excellently played by one of Schanelec’s preferred 

actresses, Maren Eggert). She is suffering from the loss 

of her husband and the impossibility of doing justice 

to her children. Every image of the film is the reproduction 

of a desperate inner voice. Every fragment 

alludes to something we can’t see. Be it the cautious 

rustling of leaves, a trembling scream or the nocturnal 

visits to the graveyard to lie in the moss, accompanied 

by the song of a quail and the saddest cover version of 

“Let’s Dance”. Only the pure and life-affirming presence 

of children and animals can create an adequate counterweight. 

We sense that even long after the end 

credits, this film will not find a conclusion. (ph) 

· Ich war zuhause, aber 

(I Was at Home, But) 

· Germany, Serbia 2019 


· Director, Screenplay, Editing: 

Angela Schanelec 

· Cinematography: Ivan Markovic 

· With Maren Eggert, Jakob Lasalle, 

Clara Möller, Franz Rogowski 

· Producer: Angela Schanelec 

· Contact: Deutsche Kinemathek, Berlin, 

www.deutsche-kinemathek.de 

15 

THU 20.6. 12:00 


FRI 21.6. 18:45 


In attendance of Maren Eggert 

ICH WAR ZUHAUSE, ABER

“It’s all about authenticity, about liveliness,” 

says the young director, who is tasked by the city 

to direct a patriotic open-air theatre production. 

And she chooses her topic as head-on as she sets 

out to confront her audience: the 1941 massacre 

of 25 000 Jews in Odessa by the occupying forces 

from Romania. In a provocative experiment, the 

dedicated activist recreates the historic events 

with amateur actors on a central square in Bucharest, 

and thereby not only attracts the attention 

of the public, but also the resentment of the 

spectators and the state censors. With precise 

observational skills, refreshing humour and a 

passionate courage to engage in confrontation 

– with both the past as well as her characters – the 

Romanian director Radu Jude’s latest work follows 

the project’s film shoot as well as the conversations 

and conflicts that result from it. After 

his previous trilogy of buried (hi)stories in Aferim!, 

Scarred Hearts and the documentary The Dead 

Nation, Jude this time succeeds in combining 

facts and fiction into an elegantly playful yet 

belligerent drama, with both plenty of rage and 

compassion. (pj) 

· Îmi este indiferent daca în istorie vom intra 

ca barbari (I Do Not Care If We Go Down in 

History as Barbarians) 

· Romania, Germany, Bulgaria, France, 

Czech Republic 2018 

· 140 min. Colour. DCP. RO/en 

· Director, Screenplay: Radu Jude 

· Cinematography: Marius Panduru 

· Editing: Catalin Cristutiu 

· With Ioana Iacob, Alex Bogdan, 

Alexandru Dabija, Ion Rizea 

· Producer: Ada Solomon 

· Contact: Beta Cinema GmbH, 

Oberhaching/Munich, 

www.betacinema.com 

17 

THU 20.6. 21:15 


In attendance of Ioana Iacob 

SUN 23.6. 11:30 


ÎMI ESTE INDIFERENT DACA ÎN 

ISTORIE VOM INTRA CA BARBARI

The sun is a dazzling yellow, the sky a crisp blue, 

and at some point everyone only sees red. Love Me Not 

is a tragedy of biblical proportions, which doesn’t take 

place among temples and sacred sites, but in the 

parched desert of the Middle East. Here, the mysterious 

prophet Yokanaan is held captive in a dungeon by 

the ruling army, accused of being a terrorist because 

of his nonconformist predictions. But when Salome, 

the stepdaughter of the Supreme Commander Antipas, 

finds out about the mysterious prisoner, she is soon 

taken by him, and an increasingly absurd and scheming 

tale of lust, greed, violence and injured vanity is set 

in motion. For his second feature film, the Spanish 

filmmaker and producer Lluís Miñarro has taken 

plenty of narrative and visual risks to make his stylised 

adaptation of Oscar Wilde’s “Salome”. In a fatal spiral of 

politics and violence, he discovers beauty in a landscape 

captured by razor-sharp images and in the delightfully 

filmed bodies that move in it. Inspired by his 

bold passion for exciting, courageous and sensual cinema, 

the multi-talented film rebel Miñarro creates a 

highly charged blend of mythology and modernity. (ph) 

· Love Me Not 

· Spain, Mexico 2019 

· 82 min. Colour. DCP. ES/CA/en 

· Director: Lluís Miñarro 

· Screenplay: Lluís Miñarro, Sergi Belbel 

· Cinematography: Santiago Racaj 

· Editing: Núria Esquerra, Gemma Cabello 

· Music: Esteban Aldrete 

· With Ingrid García-Jonsson, Oliver Laxe, 

Francesc Orella, Lola Dueñas 

· Producers: Lluís Miñarro, 

Julio Chavezmontes 

· Contact: Reel Suspects, Paris, 

www.reelsupects.com 

19 

THU 20.6. 19:15 


In attendance of Lluís Miñarro 

FRI 21.6. 15:00 


In attendance of Lluís Miñarro 

LOVE ME NOT

The metropolitan girl of today has no easy task; 

she is expected to be hip and emancipated, cool and 

well-informed, tough, delicate, have many interests, 

be present everywhere but not too intrusive – all of 

this and much more. Taking all this into account, it’s 

no surprise that a girl can become melancholy. In her 

essayistic feature film, which was produced at the dffb 

film school, Heinrich – who was born in Leipzig in 

1985 and has worked as a writer – confronts the neoliberal-postmodern 

role overkill of both consumerism 

and wokeness with the passive resistance of her protagonist. 

Aren’t You Happy? has 16 episodes, which obey 

anti-naturalistic principles in everything from diction 

to costumes, and they function as a projection surface: 

precisely because all the posing and deception seem 

to bounce off, we end up seeing an authentic figure 

who suffers from permanent overload. A tour d’ennui 

for Marie Rathscheck in the lead role, who in her 

character as a woman without a character is not allowed 

to reveal much, and compensates for it with 

an ending so raging that even the beach photo wallpaper 

dissolves into pixels – accompanied by appropriately 

pompous big band music. A breath of fresh 

air, which was awarded the main prize at this year’s 

Max Ophüls Festival. (as) 

· Das melancholische Mädchen 

(Aren’t You Happy?) 

· Germany 2019 


· Director, Screenplay: Susanne Heinrich 

· Cinematography: Agnesh Pakozdi 

· Editing: Susanne Heinrich, B. Mirguet 

· Music: Moritz Sembritzki, Mathias Bloech 

· With Marie Rathscheck, Nicolo Pasetti, 

Monika Wiedemer, Yann Grouhel 

· Producers: Jana Kreissl, 

Till Gerstengeber, Philippe Bober 

· Contact: Coproduction Office, Berlin, 

www.coproducionoffice.eu 

21 

WED 19.6. 18:00 


In attendance of Susanne Heinrich 

WED 19.6. 18:45 


THU 20.6. 16:45 


In attendance of Susanne Heinrich 

DAS MELANCHOLISCHE MÄDCHEN

Guerrillas, stationed out in the misty nowhere on 

a Colombian plateau. The eight child soldiers, who go 

by noms de guerre such as Rambo, Dog and Smurf, 

are tasked with forming a paramilitary unit in the 

secluded hinterland. They train intensively and make 

an effort to guard not only their precious dairy cow, but 

also the American Doctora, who is held captive on 

behalf of their “organisation”. But it doesn’t take long 

for the precarious situation to escalate, and the troupe 

and their hostage are forced to retreat into the depths 

of the jungle. Building on this minimal plot, the Brazilian 

director Alejandro Landes has created a surreal, 

visually and acoustically stunning survival-fight plot, 

which transposes the psychological density of William 

Golding’s island trauma “Lord of the Flies” to the 

horror of modern warfare. It is above all the imposing 

imagery and the oscillating soundtrack by Mica Levi 

that make Monos ] a highly haunting experience for the 

senses, emotions and instincts. Hierarchies dissolve, 

power relations shift, but even in his third feature film, 

Landes maintains the upper hand of an auteur who 

places no limits on his expressive powers. (pj) 

· Monos 

· COL, ARG, NL, DK, S, D, UR, USA 2019 

· 102 min. Colour. DCP. ES/en 

· Director: Alejandro Landes 

· Screenplay: Alejandro Landes, Alexis Dos Santos 

· Cinematography: Jasper Wolf 

· Editing: Yorgos Mavropsaridis, 

Ted Guard, Santiago Otheguy 

· Music: Mica Levi 

· With Julianne Nicholson, Moisés Arias, 

Sofía Buenaventura, Karen Quintero 

· Producers: Alejandro Landes, 

Fernando Epstein, Santiago Zapata, 

Cristina Landes 

· Contact: Le Pacte, Paris, 

www.le-pacte.com 

23 

THU 20.6. 09:30 


In attendance of Alexis Dos Santos 

SAT 22.6. 21:30 


In attendance of Alexis Dos Santos 

MONOS

Julie, a film student, comes from a good home and 

apparently grew up in a protective environment – even 

punk music is irritatingly innocent when played in her 

apartment. One day, she meets Anthony and falls head 

over heels in love with the elegant and sophisticated 

charmer, who works for the Ministry of Foreign Affairs 

and is therefore constantly surrounded by an aura of 

secrecy. But he also has a shady and less glamorous 

hidden side... Julie decides to only see the man she 

loves. After Unwanted (2008), Archipelago (2010) and 

Exhibition (2013), Joanna Hogg has once again turned 

to the malaise and melancholy of socially and financially 

privileged Brits, but this time from a surprising 

perspective: that of her own memory. But she avoids 

the cul-de-sac of the 'confessions and autobiography' 

genre: The Souvenir is above all an infatuation, which 

draws the viewer into an everyday life dedicated to 

sensuality, to the inner reality of understanding each 

other, which is expressed primarily in common 

rhythms and matching clothing. A masterpiece of 

modernist melodrama. (om) 

· The Souvenir 

· United Kingdom 2019 

· 119 min. Colour. DCP. EN/en 

· Director, Screenplay: Joanna Hogg 

· Cinematography: David Raedeker 

· Editing: Helle le Fevre 

· With Honor Swinton Byrne, Tom Burke, 

Tilda Swinton 

· Producers: Luke Schiller, Joanna Hogg 

· Contact: Universal Pictures 

International, London, 

www.universalpicturesinternational.com 

25 

FRI 21.6. 12:15 


SAT 22.6. 20:00 


THE SOUVENIR

One of the things about miracles is that they 

are primarily a matter of interpretation. Maybe 

that is why the title, which the director Syllas 

Tzoumerkas has chosen for his cleverly nested 

and intractable psychodrama, is so fitting. What 

begins as a rough thriller with the hardened 

policewoman Elisabeth, soon turns into an increasingly 

unstoppable and sinister chamber 

piece set in a remote part of Greece, where Elisabeth’s 

loneliness strangely intersects with the 

fate of Rita, the sister of the local night club 

singer and drug enthusiast Manolis, whose sudden 

death has brought excitement to the sleepy 

town of Mesolongi. Like in his first two feature 

films Homeland (2010) and A Blast (2014), Tzoumerkas 

also works from the inside out in his 

latest auteur film, and takes a both metaphorical 

and direct approach to his favourite topics such 

as identity, belonging and family, the private and 

the political. The water, the sea, is never far away, 

and like a corset, it winds itself ever more tightly 

around the enigmatic action, which in spite of 

all hopelessness leaves room for redemption. (pj) 

· To thávma tis thálassas ton Sargassón 

(The Miracle of the Sargasso Sea) 

· Greece, Germany, Netherlands, Sweden 2019 

· 121 min. Colour. DCP. EL/en 

· Director: Syllas Tzoumerkas 

· Screenplay: Youla Boudali, 

Syllas Tzoumerkas 

· Cinematography: Petrus Sjövik 

· Editing: Andreas Wodraschke 

· Music: Jean-Paul Wall, drog_A_tek, Phoebus 

· With Angeliki Papoulia, Youla Boudali, 

Christos Passalis, Argyris Xafis 

· Producer: Maria Drandaki 

· Contact: New Europe Film Sales, Warsaw, 

www.neweuropefilmsales.com 

27 

FRI 21.6. 21:15 


In attendance of Syllas Tzoumerkas 

SUN 23.6. 14:30 


In attendance of Syllas Tzoumerkas 

TO THÁVMA TIS THÁLASSAS 

TON SARGASSÓN

Accepting adventure, exploring the world 

and getting a better idea of it: that was the plan 

with which Jiro Koretzky embarked on a journey 

around the globe in the 1970s, as a young man 

aged thirty. Koretzky, who later became a landscape 

architect, held on to his numerous photos 

and notes from these travels like a treasure. A 

treasure that his daughter has now dug up for her 

film and transformed into a loving, cinematically 

reconstructed travel diary. The father – with 

his tireless yearning to explore places and people, 

as well as all the minor and major miracles of 

nature – is omnipresent. For him, and with him, 

the Portuguese-born director, who now commutes 

between Lisbon and Tokyo, has used the 

photographs and present-day Super-8 footage to 

bring together the past and the present, history 

and private material, into a complex mosaic of 

memory, which lives off the magic of fleeting 

moments as well as off the vivid voice and thoughts 

of a man who not only experienced the most 

diverse countries, but also looked deep inside 

himself throughout the course of his life. (pj) 

· A volta ao mundo quando tinhas 30 anos 

(Around the World When You Were My Age) 

· Portugal 2018 

· 110 min. Colour. DCP. JA/en 

· Director, Cinematography: Aya Koretzky 

· Screenplay: Aya Koretzky, Jiro Koretzky 

· Editing: Tomás Baltazar 

· With Jiro Koretzky, Aya Koretzky, 

Anna Koretzky, 

· Producers: Joana Ferreira, Isabel Machado 

· Contact: C.R.I.M., Lisbon, 

www.crim-productions.com 

29 

FRI 21.6. 16:45 


In attendance of Aya Koretzky 

SUN 23.6. 17:00 


In attendance of Aya Koretzky 

A VOLTA AO MUNDO QUANDO 

TINHAS 30 ANOS

The starting point: an artist and an actor confine 

themselves in a film studio. Their task: they want to 

explore their actual (above all gender) identity, by 

confronting the projections and expectations that are 

attached to them through their public personae. Their 

means: total sincerity and ruthless relinquishing of 

the self, made possible by the use of three alter egos, 

who embody distinctive traits and different genders, 

and who are played by other actors. The result: two 

people, embodied by eight actors, sit down for breakfast 

and things soon get predictably dynamic in the 

film studio. The Swedish artist Anna Odell, who was 

born in 1973 and whose provocative work spares her 

own person least of all, has assembled a top-class group 

of Scandinavian actors and actresses, in order to break 

the many traits of role models through repeatedly 

oscillating mirroring. Driven by anxiety, image neurosis 

and a will to create art, the alpha male and alpha 

female negotiate the progress of events, and the seductress 

who wants to conceive forces the ever-ready 

sex symbol to his knees – but in the end it is the lack 

of social courage that brings both the giant egos down. 

Wonderful stuff! (as) 

X&Y 

· X&Y 

· Sweden, Denmark 2018 

· 112 min. Colour. DCP. SV/DA/en 

· Director, Screenplay: Anna Odell 

· Cinematography: Daniel Takács 

· Editing: Kristin Grundström, 

Hanna Lejonqvist 

· Music: Gustaf Berger, 

Markus Hasselblom 

· With Anna Odell, Mikael Persbrandt, 

Vera Vitali, Trine Dyrholm 

· Producers: Mattias Nohrborg, 

Frida Bargo 

· Contact: Outside The Box, Délémont, 

www.outside-thebox.ch 

31 

FRI 21.6. 21:15 


In attendance of Anna Odell 

SAT 22.6. 12:00 


In attendance of Anna Odell

RESONANCE: 

JOINING 

RENI MERTENS 

& WALTER 

MARTI IN THE 

FUTURE 

Memories will play a key role when Bildrausch 

2019 rediscovers the opus of Reni Mertens and Walter 

Marti, as the two filmmakers both died about two 

decades ago, first Marti on 22 December 1999 (born 10 

July 1923), then Mertens, less than a year later, on 26 

September 2000 (born 8 April 1918). Many companions, 

friends and colleagues, including Fredi Murer, Moritz 

de Hadeln and Erich Langjahr, will come and talk about 

what it was like to live and work with these exceptional 

figures of international cinema. And to cut a long story 

short: it was not easy, given that the duo belonged to 

the most quarrelsome figures of their era – Marti above 

all was feared for the raging fury of his words. 

Which brings us to the most important quality of 

their films: they may always be driven by commitment 

and a fighting spirit – but the forms that Mertens & 

Marti worked with in film after film are as sober in the 

way they depict things as their images, sounds and 

moods are poignant. There is nothing hot-headed and 

impulsive about their work: be it a major film that took 

many years to make and ended up being their most 

famous work, Ursula oder das unwerte Leben (1966), be it 

in commissioned and rapidly made films like Gebet für 

die Linke (1974) – each one of their works is characterised 

32 

by a very strict yet aesthetically highly appealing 

formal approach. Even a seemingly controversial work 

like Im Schatten des Wohlstandes (1961), which was 

banned by the Zurich authorities after its initial broadcast, 

has a stylistic coolness and uses almost no didactic 

finger-pointing. This makes sense, for it is precisely 

because of the exemplary way in which the film 

reveals connections between the antisocial behaviour 

of toddlers and the constant stress of capitalist life, that 

it is so compelling. One can reject the argumentation 

of Im Schatten des Wohlstandes, but it is hard to disprove 

the way it is derived – among other things because 

Mertens & Marti have found a brilliant balance between 

information and emotions. And that is important: 

culturally, we have been conditioned to applaud 

reasoning when it’s a purely intellectual endeavour 

– but as human beings, we also need to be able to understand 

things emotionally. 

In order to set things in motion, it has to be moving; 

but in order to be moving, it needs reasonable 

arguments, images, words and sounds, which first 

need to be discovered; and every new topic requires 

a different approach. All the films of Mertens & Marti 

are documentaries, but their mise-en-scène is never 

repetitive, even if there are aesthetic or methodical 

relationships between individual films, e.g. in the way 

how Ursula oder das unwerte Leben and Gebet für die Linke 

are divided into chapters, or how Héritage (1980) and 

Requiem (1992) but also Krippenspiel (1953 & 1962) 

manage entirely without words. And they also resort 

to completely antithetical mise-en-scène, above all in 

the two portraits Die Selbstzerstörung des Walter Matthias 

Diggelmann (1973), and Héritage. The first is a 

monologue, where the author W. M. Diggelman talks 

without interruption for one hour, while we watch 

him and surrender to him as he delivers himself to the 

camera. The latter is a dialogue-free montage, where 

we get to know the artist and composer Peter Mieg 

33 

RENI MERTENS & WALTER MARTI

purely through his music and the imagery of his private 

spaces. Is there a hint of class antagonism in these 

completely opposite approaches? Diggelmann, at least, 

was born in highly impoverished conditions, and always 

remained a stranger in better circles, while Mieg’s 

bourgeois background is reflected in the world he has 

built around his life… 

Mertens & Marti proved to be agreeably undogmatic 

and open to all kinds of formal approaches, a 

trait that remained consistent in their roles as mentors, 

especially in the 1960s. With Alain Tanner’s Les apprentis 

(1964), for instance, they produced a masterpiece 

of direct cinema, a school that was alien to them 

(and whose aesthetics they themselves commented on 

subtly but intelligently in À propos des apprentis). And 

with Rolf Lyssy’s eccentric Eugen heisst wohlgeboren 

(1968), they also helped make a fictional feature film 

(and we should mention in brackets that one of their 

many unrealised projects included an animation). 

To put it bluntly: the works of Mertens & Marti 

are incredibly beautiful. And they are clever, free-spirited, 

generous, and take a compassionate approach to 

the human being – the smallest, yet only important, 

building block of the collective that is society. This 

brings them very close to their role models Bertolt 

Brecht, Ignazio Silone and Cesare Zavattini (a playwright 

/ lyricist, a novelist and a screenwriter), whom 

they all met in Zurich at Reni Mertens’ debating club 

– where Marti and Mertens also met for the first time. 

In connection with Gib’ mir ein Wort (1988), Reni 

Mertens once summed up their common approach to 

the world: “Our attitude is not one of knowing better, 

but of wanting to know. I think it is very important 

that we don’t lose this curiosity, this childlike marvelling, 

with age. Therein lies the mystery of our work 

and the quality of a documentary work that is poetic.” 

This fits with the fact that their most famous work, 

Ursula oder das unwerte Leben, portrays a learning process, 

34 

and how difficult it is to acquire new knowledge, i.e. 

to process impressions coherently. The road there was 

long: in 1953, Mertens & Marti made their first film 

with the rhythmical therapist and special needs educator 

Mimi Scheiblauer, Krippenspiel. Nine years later 

came a new version of the same material, or rather 

process, a nativity play staged by Scheiblauer with deaf 

people. In between they made Rhythmik (1956), which 

introduced Scheiblauer’s methods. Ursula oder das 

unwerte Leben was the synthesis of all their efforts: the 

film shows the deafblind and mentally handicapped 

Ursula Bodmer, and how she was able to evolve as a 

human being and learn with the help of Scheiblauer’s 

principles and practice. What is perhaps most astonishing 

today about Ursula oder das unwerte Leben is the 

crystalline nature of the images, their nakedness, even 

the sculptural nature of the entire film (to which the 

narration, voiced by Helene Weigel, also contributes). 

Such an aesthetic approach is unexpected in a venture 

of this kind, if only because there is something implicitly 

undramatic about it. But Mertens & Marti are not 

interested in drama, as its use would mean that the 

learning process would no longer be taken at face 

value. And this is what it’s all about: every human 

being can learn, as long as we find a way to articulate 

ourselves that he or she can grasp. That is the cinema 

of Mertens & Marti: the exploration of these forms of 

articulation. 

But this also requires the kind of time and space 

where such experiments are appreciated. In 1993 the 

Berlin Film Festival screened a special double bill of 

Mertens & Marti’s Requiem and Alain Ferrari & Thierry 

Ravalet’s Un jour dans la mort de Sarajevo (1992), shown 

in this sequence. Shortly after the start of Requiem, first 

signs of resentment stirred, which grew louder and 

louder as the film progressed. What was it that made 

disturbingly many spectators respond so aggressively 

to this cinematic poem about war cemeteries and the 

35 


memory of several million victims of war – and about 

that strange miracle called culture, which manages 

to create beauty out of the most unspeakable acts of 

suffering? The context certainly had a part to play: 

people were eager to experience the current war, to 

see the new images and hear the strong opinions of 

Bernard-Henri Lévy. Requiem on the other hand spoke 

of the past, evoked feelings and memories, was thoughtful 

instead of rousing us to action. In its very own way, 

Requiem strives to be of yesterday, just as it longs for a 

tomorrow without these kinds of structures. It implicitly 

makes it clear that it’s all too late when we have 

films like Un jour dans la mort de Sarajevo. And then 

there’s the form: Requiem consists only of images and 

sounds, does away with language entirely, and offers 

no explanations or interpretations. We see row after 

row of gravestones, arranged into huge patterns in the 

landscape; only sometimes do we glimpse cemeteries 

that are smaller, almost intimate, and less structurally 

obsessed in their layout. And it is constantly accompanied 

by music, which we at times perceive as a 

commentary, then again as something independent 

that exists alongside the images, and which sometimes 

seduces us to lose ourselves in the delirium of impressions, 

then again expels us – thereby making sure that 

we never settle with one perception of the graves. 

Something about the world was broken, given the 

way Requiem was received. But thankfully not everywhere! 

That night was definitely an exception. And 

yet it made an impression, as it revealed how fragile 

this cinema is. 

A comment of Walter Marti on Gebet für die Linke 

might offer some explanation. He said: “By ‘praying’ I 

mean looking at things and contemplating them, a 

concentrated going-within-yourself that stems from 

the urge to solve the seemingly unsolvable. In this sense, 

the entire film is a prayer.” There are few things that 

seem more unsolvable than what the war cemeteries 

36 

reveal about our civilisation; or a deafblind and mentally 

handicapped person, whose inner life is deprived 

of everything we can imagine; or a human being alone 

in front of the camera, who surrenders himself and 

talks, wrestling with words and with the time he has 

at his disposal, and facing this situation in the same 

helpless way as all the people who will subsequently 

see the film – what can an individual be for others? But 

one has no choice but to embark on this journey, and 

to commit to solving the unsolvable. Walter Matthias 

Diggelmann did this when he accepted Reni Mertens 

& Walter Marti’s offer to speak continuously for one 

hour to the camera and the microphone, and Mertens 

& Marti did it when they made him this offer. It is only 

through this insistence that we sometimes still find a 

solution. The opus of Mertens & Marti is comparatively 

small – but every film they made contains the 

hint of a solution. And that is very, very much. 

Olaf Möller 

37 


The title is like a blow to the head: unworthy 

life? The title of the breakthrough work by 

Mertens & Marti refers to a paper published by 

Karl Binding (a legal scholar) and Alfred Hoche 

(a psychiatrist) in 1920: “The approval of the destruction 

of unworthy life. Its measure and form”, 

which served as an ideological basis for the Nazi 

ideologues and their euthanasia programmes. 

Ursula Bodmer: blind and mute and mentally 

handicapped. According to this paper, she would 

have been worth exterminating. But even in 

Switzerland, she had a hard time as a child, as 

initial examinations concluded that she had no 

learning abilities whatsoever. As a result she was 

not considered worthy of financial support and 

should have been left to vegetate. But her foster 

mother Anita Utzinger believed that Ursula could 

develop; the rhythmic therapist and special needs 

teacher Mimi Scheiblauer found a way. Mertens 

& Marti accompanied her journey. The result is a 

film that employs a strict formal approach, reduced 

to the bare necessities, to show that Scheiblauer’s 

work is stage work, a creative process that 

can heal. (om) 

· Ursula oder das unwerte Leben 

(Ursula or the Unworthy Life) 

· Switzerland 1966 

· 88 min. B/W. 35mm. DE/Dialect/en 

· Director, Screenplay: Reni Mertens, 

Walter Marti 

· Cinematography: Rolf Lyssy, 

Hans-Peter Roth 

· Editing: Rolf Lyssy 

· With Ursula Bodmer, Mimi Scheiblauer, 

Anita Utzinger, Helene Weigel 

· Producers: Teleproduction, Zurich, 

Reni Mertens, Walter Marti 

· Contact: Langjahr Film GmbH, Root, 

www.langjahr-film.ch 

THU 20.6. 

18:45 


In attendance of Rolf Lyssy 

39 

URSULA 

ODER DAS UNWERTE LEBEN

Possibly the most enigmatic film by Mertens 

& Marti, if only because it throws us back on 

ourselves in a way that drives us crazy. The 

writer Walter Matthias Diggelmann is given one 

hour to hold forth in front of a running camera 

and sound recorder. Nothing is edited. Everything 

stays as it is. Diggelmann could simply have said 

nothing for an hour, or spoken in Swiss-German 

dialect, which we can assume would have been 

easier for him, judging by the way he wrestles 

with High German. Diggelmann, however, gets 

on with things. But does he destroy himself in 

the process? And what is that: self-destruction? 

Can one ever be hard enough on oneself in the 

public eye? And what use is all honesty when you, 

to the best of your knowledge and conscience – 

like in the confessional box under the eyes of the 

Heavenly Father – tell it as it is, but this does not 

correspond to what is expected of you, and what 

the others see in you? How much humanity can 

cinema convey? Can it convey any? An applied 

contribution to the philosophy of film. (om) 

· Die Selbstzerstörung 

des Walter M. Diggelmann (The Self- 

Annihilation of Walter M. Diggelmann) 


· 69 min. Colour. 16 mm. DE/en 


Walter Marti 

· Cinematography: Hans-Peter Roth 

· Editing: Hanka Kaminska 

· Music: Jehoshua Lakner 

· With Walter Matthias Diggelmann 





SUN 23.6. 

11:25 


In attendance of Clara Obermüller 

41 

DIE SELBSTZERSTÖRUNG DES 

WALTER M. DIGGELMANN

Mertens & Marti highly condensed, as mentors as 

well as creators, and thus: as friends of ruthless satire 

and practitioners of a worldly-wise and concise poetry 

of sounds, light and colours. In Do It Yourself, the debut 

filmmakers Erich Langjahr and Walter Marti demonstrate 

how to fight the excesses of television and 

consumption: by scrapping, burning or chopping up 

television sets. What is discarded in the process (including 

European ideals) – from morning debate programmes 

to glossy TV drama – hovers through space 

in a ghostlike way. A scornful new world… And then, 

Héritage: a film about how an individual embodies the 

persistence of ideals – in an intimate way, internally. 

This individual is the composer and painter Peter Mieg, 

observed in his own four walls and garden: a still life 

with music and an attempt to tell the story of a person 

from within his surroundings. Mieg’s ideas are conveyed 

by Mertens & Marti through his music, which 

is played on the soundtrack, as well as through the 

world that he has built around himself over decades, 

quasi as a projection of his inner life. A world that 

Mertens & Marti break down into forms and structures, 

which ironically thwart the pathos of bourgeois 

culture and the preservation of traditions with a deft 

hand and affectionate observation. (om) 

· Héritage (Heritage) 


· 60 min. Colour. 16 mm. No dialogue 

· Director, Concept: Reni Mertens, 

Walter Marti 

· Cinematography: Urs Thoenen, 

Erich Langjahr 

· Editing: Edwige Ochsenbein 

· Music: Peter Mieg 

· With Peter Mieg 





43 

Supporting film 

· Do It Yourself 

· Switzerland 1982. Colour. DCP. DE/en 

· Director: Erich Langjahr, Walter Marti 

International Premiere of the restored 

and digitised version 

SUN 23.6. 16:00 


In attendance of Urs Thoenen and 


HÉRITAGE

Dead people. Millions and millions of dead people. 

To be precise: what is left of them, when nature has done 

its bit, the bodies have become nutrients, dissolved, 

and are finally allowed to disappear. What is left? 

Memory, or at least an attempt at remembering; and 

when even this is extinguished: ritual and register 

– the reminder that this life existed. Requiem sings of 

a culture of remembrance which becomes increasingly 

distant to us: that of a war cemetery. Row after row 

after row of identical crosses – passed through, driven 

around, researched and then contemplated formally, 

with the deepest respect, from a distance. Masses of 

names one has never heard of, all “Mort pour la France”, 

“Killed in action”, “Presente”, or whatever is written 

on these mostly simple tombstones; a formula with the 

aim of giving some meaning to the quasi-industrial 

mass-dying. Graveyard after graveyard, one more 

beautiful and cold than the other, flow into each other 

to form a huge cinematic canvas of images and music. 

The music can sometimes drive you mad too – how 

much easier it is to look at it all in silence, for things 

become more brutally close when the (dis)harmonies 

of Léon Francioli play. A film as monument. (om) 

· Requiem 




Walter Marti 

· Cinematography: Urs Thoenen 

· Editing: Edwige Ochsenbein 

· Music: Léon Francioli 





FRI 21.6. 

19:15 


In attendance of Urs Thoenen and 

Michael Pilz 

45 

REQUIEM

46 

The landscape of Mertens & Marti charted 

through their short films: Jour de pêche could be 

called an idyll, if only the word didn’t have such 

a negative connotation today: images of a fisherman, 

the wind making the water curl, but further 

out also factories – quite simply everyday life, yet 

a complex juxtaposition of rural and urban work. 

Krippenspiel II has a fundamentally different form: 

deaf children (led by the special needs teacher 

Mimi Scheiblauer) perform the nativity according 

to Luke. It is all very strict, very theatrical, 

and harbours pure cinema of immeasurable beauty. 

Even Im Schatten des Wohlstandes is about 

children, but their illnesses – if that’s what we 

want to call them – are civilisational in nature: 

their parents have to abandon them to keep up 

with their jobs; frustration is the core of capitalism. 

Gebet für die Linke was the last short film by 

Mertens & Marti, which fits well into a series of 

works that look like they belong together: on the 

one hand images from Zurich’s Oerlikon district, 

which houses both immigrant workers and the 

arms industry. On the other hand, there are the 

words of the Archbishop of Olinda e Recife and 

world-famous liberation theologian Dom Hélder 

Câmara, who after a lecture at the Züspa Hall 

said a prayer for the Left, at the request of Walter 

Marti. At the time, the film was an afterword to 

the Bührle affair – today it is a prime example of 

religious and political cinema. (om) 

47 

SHORT FILM PROGRAMME 


48 

Im Schatten des Wohlstands 

(In the Shadow of Prosperity) 


· 28 min. B/W. 35 mm/16 mm. DE/en 


Walter Marti 

· Contact: Langjahr Film GmbH, 

Root, www.langjahr-film.ch 

Jour de pêche (Fishing Day) 

· Switzerland 1955–1958 



Walter Marti 



Gebet für die Linke 

(A Prayer for the Left) 


· 28 min. Colour. 16 mm. DE/en 


Walter Marti 



Krippenspiel II 

(Nativity Play II) 


· 27 min. B/W. 35 mm/16 mm. 

No dialogue 


Walter Marti 



49 

FRI 21.6. 14:15 


In attendance of Fredi Murer, 


SHORT FILM PROGRAMME 


Since 1935, inspired by the Catholic writer/lyricist/ 

essayist and victim of World War One, Charles Péguy, 

students (at first from the Sorbonne) have set off on a 

pilgrimage towards the cathedral in Chartres. The 

journey takes about two to three days, Moritz de 

Hadeln’s documentary of the pilgrimage, called Le 

Pèlé for short, lasts roughly an hour. Four crews followed 

the groups – there are many ways leading to 

Chartres – on their journey through the countryside. 

In 1935 there were just a few of them, by the 1960s 

about 10,000 took part. Most of them are believers, 

some might be described as intellectual Catholics; a 

few atheists try to be subversive by joining. There is 

something about these masses of people, moving 

through the landscape, that is contrary to their times. 

This is not how we imagine the 1960s: students marching 

with waving pennants and heraldic banners on 

the way to God – and if not God, then at least a more 

serious version of themselves. The images are brittle 

and strict; the commentary by Walter Marti remains 

dry. After Le Pèlé we know: the debut director de Hadeln 

could have become a great filmmaker. (om) 

· Le Pèlé (The Pilgrimage) 


· 57 min. B/W. 16 mm. DE/en 

· Director: Moritz de Hadeln, Walter Marti, 

Sandro Bertossa 

· Cinematography: Ernest Artaria, Richard 

Clifton-Dey, Hervé Hesnard, Jan Oonk, 

Jean-Charles Meunier 

· Editing: Ernest Artaria 

· Music: Rev. Père Deiss, J. Samson, 

Rev. Père Gelineau 





SAT 22.6. 

13:30 


In attendance of Moritz de Hadeln 

51 

LE PÈLÉ

One of the peculiarities of young Swiss cinema 

was the interest in critical stocktaking: who are the 

people living in Switzerland, why are they here, what 

defines them? Keep this in mind when you see Les 

apprentis, and maybe remember that at the same time 

Alexander J. Seiler, June Kovach and Rob Gnant looked 

at a different group of workers in the country in Siamo 

italiani(1964). The film makes both cross sections and 

longitudinal cuts; its aim is to rediscover Switzerland 

– or to make visible a young Switzerland, which was 

only shown in a distorted way in old films, if at all. 

Tanner’s first feature film, made for the Expo 64, is a 

collection of portraits of young trainees and apprentices 

(watch makers, precision mechanics, civil engineering 

draftsmen ...), which takes a look at how they 

live, listens to them as they speak about workplace 

conditions – and reveals what is typical about them at 

that time, in that place. The rest – which actually 

enjoys much attention – is themselves, portrayed with 

the pathos of the ephemeral, the adornment and dignity 

of direct cinema. Les apprentis is now available in 

a digitally restored version, which honours the grainy 

poetry of the original. (om) 

· Les apprentis (The Apprentices) 


· 73 min. B/W. DCP. FR/en 

· Director, Screenplay: Alain Tanner 

· Cinematography: Ernest Artaria 

· Editing: Ernest Artaria, Alain Tanner 

· Music: Victor Fenigstein 





International Premiere of the restored 

and digitised version 

SAT 22.6. 

18:00 


In attendance of Rolf Lyssy 

and Pierre-Emmanuel Jacques 

(Cinémathèque suisse) 

53 

LES APPRENTIS

FILMING IN 

WATER: THE 

CINEMA OF 

GIANFRANCO 

ROSI 

“Careful you don’t fall in the water!” Gianfranco 

Rosi is warned by the protagonist of his first work, 

Boatman. It is a warning that in many ways describes 

what makes the Eritrean-born filmmaker – who has 

both Italian and American citizenship – one of the 

most exciting and provocative voices of political documentary 

filmmaking. Taken literally, it hints at the 

fact that Rosi often films by or on water. From his 

debut Boatman in the currents of the Ganges to the 

Mediterranean off Lampedusa in Fuocoammare, water 

and its natural, unpredictable, political and metaphorical 

states plays a decisive role for the filmmaker. In 

water, things are set in motion, and life and death meet. 

Water embodies and reinforces the immediacy that 

Rosi seeks. His films are rooted in Direct Cinema, i.e. 

a school of documentary filmmaking that aims to 

minimise the use of artifice and explanation in order 

to create a direct relationship between the camera and 

the world. Rosi says again and again that he wants to 

remain invisible. In his films, there are no voice-over 

commentaries, and hardly any references to the filmmaker 

himself. The at times highly charged political 

topics of his films, such as the drug cartels of Mexico 

or the “refugee crisis”, are neither explained nor does 

Rosi formulate a real attitude to them. Instead, he 

simply shows what his eyes see. 

54 

The structure of his films, he says, is discovered 

as he is shooting, in his encounters with people and 

places. Instead of intellectual distance, he relies on 

experience: he often spends a long time in a place in 

order to find his stories – one year on Lampedusa, and 

most recently several months in the Kurdish borderlands 

with Turkey in northern Iraq, northern Syria 

and Iran for his latest film Notturno. This immersion 

is also linked to an immense physicality, which is 

ignited by the often half-naked male bodies and numerous 

animals in his films. Often Rosi, who shoots 

all his films himself, gets into situations he can no 

longer control. He surrenders to them. And nonetheless, 

he keeps a surprising distance. His camera does 

not falter, his images feel determined. There is no 

hectic rush, as he has committed himself to what 

becomes visible in the frame. The credo of Rosi’s 

filmmaking is that you see more on the cinema screen 

than during the film shoot. His short film Afterwords, 

which he directed together with Jean Sébastien Lallemand 

and Carlos Martinez Casas, is a pointed expression 

of this disarming physicality. It shows a naked 

man in abstract, destroyed rooms. The film attempts 

to get inside the inner life of the man through his 

body and surroundings. Rosi tries to force open with 

his camera what seems far too well-sealed. 

The Italian documentarist is interested in the excesses 

and deformities that are concealed by the aspirations 

of the western world to smooth things out: 

both specifically when it comes to bodies, as well as in 

connection with social trends, i.e. everything that is 

marginalised: the outcasts and the oppressed. He operates 

a confrontational cinema, which manifests itself 

in a highly diffident and poetic way, but also with an 

emphatic force. And in the same way that he confronts 

the protagonists with his camera, he confronts the 

spectators with his images. But in so doing he at times 

moves along a fine line of cinematic ethics. Especially 

55 

GIANFRANCO ROSI

in films like Below Sea Level, where he approaches the 

inhabitants of Slab City, a mobile home colony in 

California that is beyond state surveillance, there is a 

highly charged interdependence between tender proximity 

and utilising the protagonists. It is a deliberate 

ride on the razor-thin boundary between humanism 

and exhibition. For example, we are very close to the 

transgender woman Cindy as she takes off her wig at 

night, hidden from the rest of the world, or a cursing 

man who is enjoying a sexual act. Rosi shows people 

at their most vulnerable. Ultimately, he shows us the 

kinds of insecurities towards strangers and the unknown 

that are far too easily suppressed or remain 

undetected behind a smoke screen of political correctness. 

He is looking for his own opinion on things, he 

does not just want to assert them. His camera doesn’t 

show the truth 24 times a second, it asks questions 24 

times a second. Questions of itself, of us and of the 

world. A frequent, unnamed protagonist, or rather 

antagonist, is capitalism. The touristic freakishness 

at the Ganges, the new shoes that motivated the drug 

killer to become a serial killer, the precarious conditions 

at Slab City, the migrants that have been stopped 

at sea, or the remnants of the Roman aristocracy 

living alongside the ring road in Sacro GRA are ultimately 

just downsides of capitalism. The cosmopolitan 

Rosi shows them as tumours that have spread 

around the world. Often, his films create a microcosm 

– small, self-contained worlds, where utopias and dystopias 

are equally visible and scrutinised by Rosi. 

He time and again conducts investigative work. 

Fittingly, Rosi is also an advocate of digital cameras, 

which allow him to shoot unnoticed and spontaneously 

at locations that are difficult to access. In his El 

Sicario, Room 164, he lets a man who used to be a 

killer for Mexican drug lords talk about his deeds in 

front of the camera disguised with a mask. This is not 

a distinctively cinematic approach, but one that is 

56 

completely committed to searching for the truth. In 

all his films, there is an unfulfilled curiosity about the 

deeper truth behind the facade. Secrets come to light. 

But for Rosi, truth also exists beyond the journalistic 

aspirations of information and revelation. It is a 

cinematic truth, which is particularly evident in Sacro 

GRA, the first so-called documentary to ever win the 

Golden Lion in Venice: a sensual perception of the 

world, which leaves enough space and time for 

everything that happens between the individual stories. 

An evening sky, the wind blowing through 

branches, or the sudden silence of a peaceful moment. 

Here, the filming reveals itself as the search for something 

primordial. It is the contradictory, hopeless, 

inspiring and necessary search for the human within 

all the inhumanity. 

Patrick Holzapfel 

Gianfranco Rosi is visiting Thinking/Space, which 

will take place on Saturday, 22 June (10:00 to 13:00 hrs) 

at Stadtkino Basel. 

57 

GIANFRANCO ROSI

In his debut, Gianfranco Rosi already literally 

practices the captivating immersion into an environment, 

inspired by Direct Cinema, which has characterised 

his work ever since. In Varanasi, a holy city by 

the Ganges, he follows the meandering of the sacred 

river with the boatman Gopal. Drifting along the 

shore, Rosi exposes a closed world, which nonetheless 

opens up in all directions: wildly rocking tourist boats 

filled with eyes staring at the spectacle of the sacred 

rites, dead bodies of people who could not afford a 

proper Hindu ritual floating in the river, spiritual 

baths, playing children and countless animals in and 

around the river. The film is a bizarre and wild depiction 

of this place. Rosi captures transient images and 

sounds, without wanting to own them. The film 

questions the western view of the world as much as it 

questions the Hindu rituals on the Ganges itself. He 

does not judge. Instead, he gives us a sensual impression 

of a world where everything seems to be happening 

at the same time. Gopal at some point says to the 

constantly rattling camera that Indians have a mad 

heart. It seems like Rosi is filming this very heart. (ph) 

· Boatman 

· Italy 1993 

· 55 min. B/W. DCP. HI/EN/IT/en 


Gianfranco Rosi 

· Editing: Jacopo Quadri 

· Producer: Gianfranco Rosi 

· Contact: Doc & Film International, 

Paris, www.docandfilm.com 

FRI 21.6. 

17:15 


In attendance of Gianfranco Rosi 

59 

BOATMAN

“Those who think that these people are living on 

the margins of society are those who feel responsible 

for them,” Rosi says in an interview about this portrait 

of Slab City, a caravan sanctuary in southern California 

that is beyond the reach of all state norms. He 

approaches the people living under the desert sky as 

equals, joins them on camping chairs or in the untidy, 

broken caravans, and lets them speak. Rosi spent a 

long time with them before making the film. Everyone 

has marked their own territory – they all know each 

other, but they only gradually grow closer. For many, 

the place is just a transit point. They go by strange 

names such as Bulletproof, Insane Wayne or Bus 

Kenny. Behind the names lie tragic life stories, which 

come to light between time spent philosophising, 

idling, dealing with relationship issues and performing 

small jobs. A powerful examination of the possibilities 

and limits of freedom. (ph) 

· Below Sea Level 

· USA, Italy 2008 

· 110 min. Colour. DCP. EN/en 

· Director, Cinematography, Music: 



· Producer: Gianfranco Rosi 

· Contact: Doc & Film International, Paris, 

www.docandfilm.com 

SAT 22.6. 

14:45 



61 

BELOW SEA LEVEL

Based on Charles Bowden’s essay “The Sicario”, 

Rosi ventures into a project that initially seems to 

carry little cinematic potential. A hotel room on the 

border between Mexico and the United States, and a 

man with a black cloth over his head. These are the 

minimal ingredients of this film. But it is impossible 

to keep our eyes and ears off the screen, entirely because 

of the man whom Rosi is filming. He has worked 

for a Mexican drug cartel and talks about his career 

path from police officer to criminal. He talks about 

numerous murders and unimaginable atrocities. As 

he speaks, he draws simple sketches on a note pad, 

which visualise or simplify what he’s telling. Sometimes 

he even acts things out. A sober and fierce 

confrontation with shocking events and deeds. The 

man lives concealed in Ciudad Juarez, which was long 

considered the world’s most violent city. In the meantime, 

he has given up his life and hopes for divine 

forgiveness. His portrayal reveals a brutal and corrupt 

system, which Rosi reveals by simply listening. (ph) 

· El Sicario, Room 164 

· France, USA 2010 

· 80 min. Colour. DCP. ES/en 

· Director, Cinematography: 


· Screenplay: Gianfranco Rosi, based on an 

essay by Charles Bowden 


· Producers: Serge Lalou, Gianfranco Rosi 



SUN 23.6. 

09:45 


63 

EL SICARIO, ROOM 164

In Sacro GRA, Rosi interacts with people who live 

by the arterial roads of the Autostrada del Grande 

Raccordo Anulare motorway. In the process, he meets 

eccentrics and outsiders, who are fighting to survive. 

His at times curious, at times fierce, at times 

heart-warming stories are only connected by the fact 

that his protagonists all live alongside Rome’s circular 

traffic artery, the so-called GRA. The seemingly aimless 

voyage of discovery along the city’s periphery 

develops into a fascinating microcosm, which reveals 

both poetic and comic potential. We meet a quirky 

yet romantic naturalist who inspects the trees along 

the motorway, two prostitutes who cynically discuss 

an incident with the police, and an aristocrat who 

observes the opposite villa from his window. The 

everyday is made political, and thus Rosi ventures far 

into the ambivalence and ambiguities of post-Berlusconi 

society. Sacro GRA is the first documentary to 

win the Golden Lion at the Venice Film Festival. (ph) 

· Sacro GRA 

· Italy, France 2013 

· 95 min. Colour. DCP. IT/en 



· Screenplay: Gianfranco Rosi based on an 

idea by Niccolò Bassetti 


· Producers: Roberta Ballarini, 

Marco Visalberghi 



THU 20.6. 

21:15 



65 

SACRO GRA

Rosi’s Berlin Film Festival winner dives straight 

into one of the big topics of our times, and yet seeks 

out completely different images. Fuocoammare reveals 

a gaping chasm between two worlds, which causes 

the film to clash structurally: on the one side, the almost 

relaxed coming-of-age story of the young Samuele, 

who climbs onto the island’s seaside rocks, aims 

his slingshot at bushes and birds, or lingers around by 

the harbour. On the other, the refugees’ fight for survival, 

filmed on their boats. The great political conflict 

is thereby viewed through the eyes of a child. Through 

him, we learn to see, and our perspective changes. Rosi, 

who spent over a year on the Mediterranean island of 

Lampedusa, shows what only cinema can make visible: 

the small everyday moments of beauty in the midst of 

a political crisis, the simple life in the face of the death 

of thousands. The political in the apolitical? One can, 

and should, argue about it. A film which does not assert 

any certainties, but reinforces uncertainties. (ph) 

· Fuocoammare (Fire at Sea) 

· Italy, France 2016 

· 114 min. Colour. DCP. IT/FR/de/en 



· Screenplay: Gianfranco Rosi based on 

an idea by Carla Cattani 


· With Samuele Pucillo, Mattias Cucina, 

Samuele Caruana, Pietro Bartolo 

· Producers: Roberto Cicutto, Paolo Del 

Brocco, Camille Laemlé, Serge Lalou, 

Gianfranco Rosi, Martine Saada 



FRI 21.6. 

10:00 


67 

FUOCOAMMARE

What does it actually mean to say that man has 

subjugated Earth? Nikolaus Geyrhalter, the important 

Austrian documenter of global phenomena, visits 

various sites of underground and surface mining in 

Europe and North America, sites of development and 

upheaval, scenes of fundamental change and irrevocable 

destruction. Earth has the character of a sober 

inventory, made with grandiose tableaux. They show 

machines that perform the tireless work of digging 

into disintegrating landscapes, leaving behind immense 

open wounds in the earth’s crust. And they 

record what the people working in them have to say 

about their work and its possible meaning. Geyrhalter’s 

perspective is defined by patience and accuracy. His 

unprejudiced attention is rewarded by the openness 

and constantly surprising reflections of his conversation 

partners. The montage of the vignettes becomes 

a condensed dramaturgy of disaster. The optimism 

of social entrepreneurship is gradually overshadowed 

by an awareness of a high price being paid. Until, at 

the end, profit maximisation has left nothing behind 

but scorched earth. A painful prospect, which defines 

the vanishing point of this unsentimental journey. (as) 

ERDE 

· Erde (Earth) 

· Austria 2019 

· 115 min. Colour. DCP. EN/DE/ES/IT/ 

HU/en 


Nikolaus Geyrhalter 

· Editing: Niki Mossböck 

· Producers: Michael Kitzberger, 

Nikolaus Geyrhalter, Markus Glaser, 

Wolfgang Widerhofer 

· Contact: Austrian Films, Vienna, 

www.austrianfilms.com 

SUN 23.6. 

13:20 


In attendance of Nikolaus Geyrhalter 

69

71 

The three works of this tribute to the Japanese 

artist and experimental film magician Makino 

Takashi (born 1978) will be certain to electrify 

Bildrausch. In his films objects, natural phenomena, 

people and cities merge into truly entrancing 

cinematic excesses, as numerous layers and multiple 

exposures of concrete images mutate into 

abstract paintings, which sometimes make the 

canvas disappear and cast a spell on the viewer. 

During many years of collaboration with musicians 

such as Jim O’Rourke or Inconsolable Ghost, 

Makino has been creating works of art that reveal 

to us not only a visual but also an auditory blurring 

of abstract and concrete images. Makino is 

fascinated by the collision of what appears on the 

screen with the emotional landscape of each 

spectator, and the entirely new image that is 

created in one’s head. This was already true for 

his first film, Eve (2002), about which he said: “I 

show light and life, which comes from darkness, 

in a fusion of animation and visual layering.” His 

multiple award-winning masterpiece On Generation 

and Corruption (2017) on the other hand is 

driven by light and darkness and derives its 

rhythm from the cyclical repetition that forms 

the basis of life and civilisation. His most recent 

work Memento Stella (2018), which he will – exclusively 

– accompany with live music at Bildrausch, 

once again dazzles us with countless 

images and surfaces, some abstract, some figurative, 

which reverberate for a long time, “lest 

we forget that we, too, live among the stars.” (bb) 

MAKINO TAKASHIS 

ELEKTRISCHE MAGIE

Memento Stella 

· Japan, Hongkong 2018 

· 60 min. Colour. DCP. LAT/EN 

· Director, Screenplay: 

Makino Takashi 

· Contact: Makino Takashi, Tokyo, 

www.makinotakashi.net 

· With Live-Performance from 


Eve 

· Japan 2002 

· 3 min. Colour. HD File. No dialogue 





On Generation and Corruption 

· Japan 2017 

· 26 min. Colour. HD File. 

No dialogue 





72 73 

SAT 22.6. 23:00 


In attendance of and with a Live- 

Performance from Makino Takashi 

MAKINO TAKASHIS 

ELEKTRISCHE MAGIE

75 

The four latest works of the Bildrausch friends 

Anya Tsyrlina, Johan Lurf, Apichatpong Weerasethakul 

and Teresa Villaverde seduce us to listen 

attentively, to look, and to immerse ourselves. “Six, 

zéro, vingt-et-un...” a hypnotic voice starts counting 

in horizon. The crackling of analogue soundtracks of 

newsreel bulletins from the 1970s, with their flying 

objects and young people being gifted with flowers, 

take us to a bygone age. The images are from Siberia, 

where the Basel-based artist and filmmaker Anya 

Tsyrlina was born. The film condenses into a reflection 

on memory, transience and experience. The Austrian 

experimental filmmaker Johan Lurf, whose visual 

fireworks dazzled at last year’s Bildrausch, once again 

plays with perception in his latest escapade Cavalcade. 

In the nocturnal scenery of an idyllic, splashing brook, 

an artificial water wheel spins away, which Lurf drives 

to a wonderful crescendo with strobe lighting and 

acceleration. In Blue, by the Bildrausch Ring winner 

Apichatpong Weerasethakul, two soundscapes also 

flow into each other: the night-time chirping and 

rustling of a forest is gradually overcome by the blaze 

of a fire, as a woman in a magical portrait tries to sleep, 

somewhere between dream and reality. The starting 

point for Six Portraits of Pain by Teresa Villaverde, who 

is also a Bildrausch Ring winner, is the eponymous 

work of the Portuguese composer António Pinho 

Vargas, which can be heard on the soundtrack, and 

whose pervasive force is adopted by Villaverde in her 

own cinematic deliberation on pain. (bs) 

SINNESRAUSCH

76 

Cavalcade 

· Austria 2019 


· Director, Producer: Johann Lurf 

· Cinematography: Martin Putz 

· Contact: sixpackfilm, Vienna, 

www.sixpackfilm.com 

horizon 

· Switzerland, Russia, USA 2019 

· 7 min. Colour. DCP. No dialogue 

· Director: Sid Iandovka, 

Anya Tsyrlina 

· Music: Sid Iandovka 

· Producer: Anya Tsyrlina 

· Contact: Anya Tsyrlina, Basel 

Six Portraits of Pain 

· Portugal 2019 

· 25 min. Colour. DCP. No dialogue 


Teresa Villaverde 

· Music: António Pinho Vargas 

· Contact: Filmes do Tejo, Lisbon, 

www.filmesdotejo.pt 

Blue 

· France 2018 

· 12 min. Colour. HD File. 

No dialogue 

· Director, Editing: Apichatpong 

Weerasethakul 

· Cinematography: Chatchai Suban 

· With Jenjira Pongpas Widner 

· Producers: Philippe Martin, 

Laurent Metivier 

· Contact: Les Films Pelléas, Paris, 

www.lesfilmspelleas.com 

77 

SUN 23.6. 18:00 


In attendance of Anya Tsyrlina 

SINNESRAUSCH

Basically, They Shall Not Grow Old tells a wellknown 

story: that of the front-line soldier during 

World War One. Starting with volunteering, via basic 

training and on to the front, from the first combat 

experience to the shock when everything is over in 

late 1918 and the soldier doesn’t know what to do 

during peacetime with the human being he has become 

in the trenches. But the way Peter Jackson tells the 

story here is something you have never seen or heard 

before – anything less would have been surprising for 

the director of films such as The Lord of the Rings(2001- 

03). Jackson was given free access to the film and sound 

material at the Imperial War Museum, which he then 

massively edited. The second half of the film was completely 

coloured, in a style that is more painterly than 

realistic; and an enormous, complex soundtrack was 

created, for which among other things lip readers 

discovered what the soldiers are saying in the silent 

images. To top it all off, it was all converted to 3D. On 

the one hand, all this makes the film a genuine spectacle, 

on the other hand a highly intelligent revision 

of the material, taking into account the techniques 

and aesthetic preferences of the years in which the 

19th century died and the 20th century was born. (om) 

· They Shall Not Grow Old 

· United Kingdom, New Zeeland 2018 

· 99 min. Colour. DCP. 3D. EN 

· Director: Peter Jackson 

· Editing: Jabez Olssen 

· Music: John Neill 

· Producers: Peter Jackson, Clare Olssen 

· Contact: Warner Bros. Entertainment 

Switzerland GmbH, Zurich, 

www.warnerbros.ch 

SUN 23.6. 

16:30 


79 

THEY SHALL NOT GROW OLD

SCHOOL SCREENINGS 

THU 20 and FRI 21 June, Stadtkino Basel 

How do filmmakers tell the stories of their films? 

Which cross-section of reality do they choose? Bildrausch 

aims to sensitise young adults to film art 

through its school screenings, and allows them to 

talk to the directors. The discussion after the screening 

is conducted by Bildrausch moderators, but also 

by school pupils, who prepare themselves for this 

exciting task as a part of this project. The programme 

includes the jungle thriller Monos, about eight juvenile 

paramilitaries (Thu 20 June, 09:30 hrs, with Alexis Dos 

Santos), the documentary The Border Fence (Thu 20 June, 

14:15 hrs, with Nikolaus Geyrhalter via Skype), which 

approaches the topic of migration with total differentiation 

instead of populism, Fuocoammare (Fri 21 June, 

10:00 hrs, conversation with Jean Perret), where the 

worlds of the inhabitants of Lampedusa and of fleeing 

people collide, and A volta ao mundo (Fri 21 June, 16:45 

hrs, with Aya Koretzky), a cinematic diary about a 

journey of initiation. You can obtain more information 

from Valerio Bonadei, valerio@filmbuero.ch. 

80 

ABOVE US ONLY SKY 

BY ARTHUR KLEINJAN 

Three channel video installation, 

27:30 min., 2018 

THU 20 June, 18:00–20:00, balzer projects (Opening) 

THU 20 to SAT 29 June, 13:00–18:00, balzer projects 

A narrator travels to present-day Prague to investigate 

a plane crash in 1972, where only one single 

woman survived the fall from a height of several 

thousand meters. He discovers surprising and sinister 

links between the communist past and the present day, 

starts questioning the power of logic, and decides to 

investigate the coincidences and the clues from the 

past, thereby creating a story based entirely on real, 

albeit coincidental events. With its meticulous yet playful 

approach, Above Us Only Sky blurs the boundaries 

that separate us from the past and replaces them with 

a present-day world that alternates between reality, 

imagination and speculation. A multi-layered visual 

and narrative allegory of individual and collective 

memory. Arthur Kleinjan is an artist and filmmaker 

based in Rotterdam. 

81 

TALKS, EVENTS, PANELS

THE ORACLE BY PETER METTLER 

OPENING OF CEILING PROJECTION 

THU 20 June, 20:45, Stadtkino Bar 

“A long time ago, when I was still a teenager, I 

sneaked into the Oracle of Delphi at night with two 

friends, to sleep in the open air on the ancient stones. 

The next morning, my friends found out that they 

had dreamt the same images: an excessive bacchanalian 

procession of our ancestors. I, on the other hand, 

could not remember anything ... Maybe this is why 

I, for decades, have been searching for the signs and 

the essence of our future in the intoxication of images 

and sounds – the ones I create myself and the ones 

that surround us and affect us.” In his documentary 

works, the Canadian-Swiss filmmaker Peter Mettler 

combines intuition with drama and experimentation 

to create a unique, sensual essay form. For Bildrausch, 

he channels his search for true and profound images 

to the ceiling projection of the Stadtkino Basel, where 

over the coming year they will invite you to enjoy a 

sensory and pictorial ecstasy. 

82 

FILMMAKERS’ CUISINE 

FRI 21 June, 18:00–21:00, Monika Willi, Piazza 

SAT 22 June, 18:00–21:00, Christoph Schaub, Piazza 

“I’m quite convinced that cooking is the only alternative 

to filmmaking,” says Werner Herzog, as he eats 

his shoe. Anyone who can cook can also make films, 

says the filmmaker and eccentric Peter Kubelka. We 

don’t want to go that far. However, we agree with 

Kubelka that both are physical manifestations that 

trigger thoughts in the mind of the spectator or eater. 

It is necessary to master craftsmanship, creativity, 

courage and intuition in order to create something 

surprising, both in the kitchen and on the film set. 

No wonder that many filmmakers have a gifted chef 

hidden inside them: The Swiss director Christoph 

Schaub approaches a film set like he approaches his 

casseroles: with curiosity, flair and true mastery. And 

the Austrian master editor Monika Willi demonstrates 

that the artful balance of perfect ingredients is also 

essential in the kitchen. Both filmmaker chefs will 

stand behind the Bildrausch cookers! 10 CHF per menu. 

83 


FORMULA-SUPER-8 PROJECTOR RACE 

THE GRAND PRIX OF BASEL 

FRI 21 June, 22:00, Theaterplatz (come rain or shine) 

The craziest race since cinema was invented. Four 

teams and their blazing machines will battle it out. 

The aim is to cover the incredible distance of 15 metres 

(the length of two super-8 film reels) unscathed. 

The apparatuses from (grand)dad’s home cinema are 

mounted on wheels and pull themselves along their 

unwound filmstrips, while at the same time projecting 

a true cinematic frenzy. Excitement and collisions 

are guaranteed. Will the film strip be strong enough? 

Which pimped-up projection engine will make it first 

past the finish line? Ecstasy! The audience will be betting 

their very last cents. True stadium atmosphere is 

guaranteed! The betting shop will open at 22:00 hrs. 

The starting shot will sound at 22:30 hrs. Mario Fuchs 

will moderate through the sound of rattling projectors. 

84 

THINKING/SPACE WITH 

GIANFRANCO ROSI 

SAT 22 June, 10:00–13:00, Stadtkino Basel 

The Thinking/Space, where Jean Perret lets his 

curiosity and appreciation guide him as he looks into 

the “tool box” of filmmakers, is this year dedicated to 

the Italian documentary filmmaker Gianfranco Rosi. 

For months, Gianfranco Rosi engaged in nocturnal 

life and encountered the people of the Kurdish regions 

bordering on Turkey in northern Iraq, northern Syria 

and Iran, in order to make his latest film Notturno. He 

was also responsible for the film’s images and sound, 

which allowed him to pursue his own, often uncomfortable 

paths, which no concept or screenplay could 

have come up with beforehand. An unconditional 

search for unseen stories, accompanied by an increasing 

disillusionment with the omnipresent violence. 

Based on exclusive film scenes from Notturno (and his 

earlier films), Jean Perret and Gianfranco Rosi explore 

a work that is remarkably rooted deep in our present. 

In cooperation with Focal. After the talk, Aesop invites 

you to a reception. 

85 


“AGAINST THE WIND” – PANEL 

DISCUSSION ABOUT THE WORKS 

OF RENI MERTENS AND WALTER MARTI 

SAT 22 June, 15:30, Bildrausch-Salon 

They were the pioneers of New Swiss Cinema. 

They combined political attitudes with avant-garde 

formal explorations. Every film, every topic demanded 

a different approach – and yet all of their works 

were equally radical, clear-sighted, poetic and deeply 

humanistic. 20 years after their deaths, we set out to 

look for Reni Mertens and Walter Marti, authors and 

producers as well as mentors of an entire generation 

of young Swiss filmmakers. In a conversation with 

the filmmaker and estate manager of Mertens and 

Marti, Erich Langjahr, the journalist and former head 

of the cinema section of the Federal Office of Culture, 

Alex Bänninger, the Austrian filmmaker Michael Pilz, 

and Marina Mertens, Christian Jungen (biographer 

of Moritz de Hadeln) will ask questions about the 

importance of their opus at the time, and its message 

today. In cooperation with Balimage. 

86 

PETER LIECHTI PRIZE 

SUN 23 June, 20:15, Stadtkino Basel 

With the newly created Peter Liechti Prize, Bildrausch 

pays tribute to the Swiss filmmaker and author 

Peter Liechti (1951–2014). The award intends to honour 

a courageous film that “goes all out”. The Peter Liechti 

Prize, worth 2,000 CHF, will be awarded by the jury 

of the international competition at the awards ceremony, 

and will for the next three years be donated 

by the Basel-based company Tweaklab AG and Reck 

Filmproduktion, Zurich. Peter Liechti’s opus embodies 

the idea of the radically unique. Risk-taking was his 

credo, and the generous, witty author and filmmaker 

not only expected this from himself, but also from his 

audiences: “... I want people to go out on a limb with the 

film, far out where things actually get really uncomfortable.” 

This for him was the only consistent way of 

making films. Peter Liechti joined the first Bildrausch 

as a jury member of the international competition in 

2011 and stayed connected with the festival for the 

remainder of his life. 

87 


THE BILDRAUSCH FESTIVAL BAG 

WED 19 June to SUN 23 June 

Since 2017, Bildrausch – in cooperation with the 

Fachmaturitätsschule (FMS) school – presents a bag 

that has been specially created for the festival. Every 

year, the look changes, but the cool design remains, 

and the bags have quickly turned into a coveted “objet 

du désir”. In 2019, we once again want to delight our 

guests with a Bildrausch bag. The graduating class 3E 

in Design and Art at FMS Basel has examined the needs 

of festival guests and other well-known festival bags to 

develop a new form, conduct critical discussions and 

test prototypes, before producing 80 copies of the final 

product. Once again, the bag’s raw material consists 

of old festival posters. Their rigidity, combined with 

a slight transparency, produce an unusual effect. The 

choice of material also makes every bag unique. Tanja 

Maria Stoller and Stephanie Wagner-Büttiker mentored 

the project. The bag is not available for purchase, 

but we will be giving away two copies every night. 

GRAND OPENING 

WED 19 June, 17:30–2:00, Stadtkino Basel 

The guests are welcomed with a glass 

of sparkling wine and the sounds of 

DJ Tai Share in the charming garden 

landscape in front of the Stadtkino 

Basel. At 18.00 hrs, the proceedings 

continue in the Stadtkino Basel. After a welcome by 

Catherine Ann Berger, the managing director of Swiss 

Films, the director Susanne Heinrich will introduce 

the screening of Aren’t You Happy? (2019), which opens 

the International Competition and thereby also the 

festival. After the screening and the Q&A, Bildrausch 

and tibits invite you to a reception. At 21:15 hrs, we 

are screening the second competition film Anons, a 

venomous political satire about a coup d’état, whose 

absurdity is surpassed by reality itself. In the meantime, 

DJ Tai Share invites you to show off your best dance 

moves on the Piazza. 

AROUND BILDRAUSCH 

88 

89

BAR AND GRILL 

WED 19 to SUN 23 June, Piazza 

The bar in the Stadtkino Basel and 

on the Piazza open half an hour before 

the first screening and remains 

open until 2:00 am (on Friday and 

Saturday until 4:00 am). The cosy 

Piazza in front of the cinema invites you to linger and 

chat. The Bildrausch Salon in the workshop of the 

Kunsthalle Basel will be open again this year, lending 

itself during the day as a charming place to relax, before 

turning into a dance floor in the evening. We are also 

catering for your hunger: small snacks and Turkish 

specialities can be bought all day at the bar, and in the 

evening you can buy vegetable skewers and the legendary 

sausages from Pippo at the grill. In addition, 

the chefs of the “Filmmakers’ Cuisine” will demonstrate 

their culinary skills after 18:00 hrs (see page 83): 

the editing master Monika Willi on 21 June, and the 

director Christoph Schaub on 22 June. 

DJS AT THE BILDRAUSCH-SALON AND 

ON THE PIAZZA – LET’S DANCE! 

WED 19 to SUN 23 June, 21:00–2:00 

(Fri/Sat until 4:00) 

Piazza, Bildrausch-Salon 

· WED 19 June, from 21:00 

DJ Tai Share 

Across the 60s, 70s and 80s: 

psychedelic film music, 

Bollywood, Krautrock and more 

· THU 20 June, from 21:00 

DJ Kukuruz 

Anti-disco music from all over the world 

and always danceable 

· FRI 21 June, from 21:00 

DJ B-Seite & Monaco Bertrand 

Beats and Swing from Munich and Berlin 

– an energising symbiosis 

· SAT 22 June, from 21:00 

DJ Tom Best Rock ’n’ Roll, 

Rhythm ’n’ Blues, Early Soul 

· SUN 23 June, from 21:00 

DJ Fröhlein & Rumspringa 

Here comes the summer music 


90 

91

CHEERFUL ROUND TABLE 

WITH THE FILMMAKERS 

SAT 22 June, 17:45, Piazza 

This year, Bildrausch is again inviting 

you to the traditional filmmakers’ 

dinner, where everyone can join in. 

Sit down at the big table and join the 

filmmakers from all over the world 

– with a glass of wine from the bar, a sausage from the 

grill, or just for a chat. The gourmets among you can 

enjoy a 3-course meal from the Restaurant Kunsthalle, 

including wine, for CHF 80. Bookings for the menu 

can be made at the box office of the Stadtkino cinema 

until 20 June 2019 at 15:00. Please note: there is a limited 

number of places. In case of bad weather, the 

dinner will be held in the Panton Hall of the Kunsthalle. 

BEAT THE ARTISTS 

SUN 23 June, 13:00, Piazza 

At the table football tournament, 

journalists, jury members and filmmakers 

from near and far challenge 

each other at a sportive contest. Five 

festival visitors will have the opportunity 

to win a place in the tournament by drawing 

lots. Table footballers should apply by 21 June 2019 at 

18:00 to turnier@bildrausch-basel.ch. 

AWARDS CEREMONY 

SUN 23 June, 20:15, Stadtkino Basel 

On Sunday evening, the international 

jury will present the best Bildrausch 

film with a prize sum of 

5,000 CHF, together with the Bildrausch 

Ring of Film Art. For the first 

time ever, the newly created Peter Liechti Prize worth 

2,000 CHF will be awarded to a work that excels 

through its narrative or visual courage. The award for 

a film that goes “all out” is donated by the Basel-based 

company Tweaklab AG and Reck Filmproduktion, 

Zurich. The awards ceremony is moderated by Brigitte 

Häring. After the ceremony, Bildrausch and tibits invite 

you to a reception. The two winning films will be 

screened at 21:15 at Stadtkino Basel and kult.kino atelier. 


92 

93

Flimmern in 

Winterthur. 

www.kinocameo.ch 

HUMAN 

RIGHTS 

FILM 

FESTIVAL 

ZURICH 

5TH EDITION 

5.–10. DEZ 19 

HUMANRIGHTSFILMFESTIVAL.CH 

94 

FONDATION BEYELER 

26. 5. – 6. 10. 2019 

RIEHEN / BASEL 

95 

190401_FB_RUDOLF_STINGEL_Bildrausch_73x128,8.indd 1 03.04.19 17:29 

Untitled (Detail), 2015, Öl auf Leinwand, 241,3 × 165,7 cm, © Rudolf Stingel, Foto: John Lehr

96 

97 

Anders als 

Andere. 

Die Bank mit positiver 

Wirkung auf Gesellschaft 

und Umwelt. 

Amthausquai 21 

4601 Olten 

Kalkbreitestrasse 10 

8036 Zürich 

Leisten Sie sich eine 

eigene Meinung. 

www.abs.ch

Rebecca 

Horn 

Körperphantasien 

5.6. – 

22.9.2019 

Lassen Sie sich von uns 

be(ein)drucken! 

Filmprogramm 


6./12. Juni 2019 

18.15 Uhr 

Creaplot AG 

Pumpwerkstrasse 35 Tel. +41 61 416 92 92 info@creaplot.ch 

4142 Münchenstein Fax +41 61 416 92 93 www.creaplot.ch 

98 

Weisser Körperfächer, 1972 (Fotografie) 

© 2019: Rebecca Horn/ProLitteris, Zürich 

99

100 

101 

09.05.–11.08.2019 

Gute Unterhaltung. 

Alles Wichtige zu Politik, Kultur, Wirtschaft 

und Sport aus dem In- und Ausland – 

übersichtlich gegliedert in zwei Bünde. 

Informative Berichte rund um die Stadt 

und die Region Basel. 

Basler Kultur mit umfassender Wochenvorschau 

am Donnerstag. 

Unser Abo-Service freut sich auf Ihren 

Anruf unter 061 639 13 13 oder Sie 

bestellen das Abo unter www.baz.ch/abo 

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Entangled 

Realities 

Leben mit künstlicher Intelligenz

Kunst, Design und 

Vermittlung studieren 

an der Hochschule 

für Gestaltung und 

Kunst FHNW in Basel! 

fhnw.ch/hgk/studium 

Seit 240 Jahren den 

Künsten verpflichtet. 

CH1904-5879 Aesop Page in Bildrausch Film Festival Printed Brochure.indd 1 23/04/2019 17:54 

Als GGG-Mitglied unterstützen Sie 

für 30 Franken unser Kulturengagement. 

Auch das für das Bildrausch Filmfest Basel. 

www.ggg-basel.ch 

102 

103 

Bildrausch_2017_73x62.9mm_e1.indd 1 07.03.17 14:47

104 

105 

Cinébulletin at 

Kurzfilmtage 

Séance d’information sur le court métrage pour 

la branche suisse / Swiss Industry Information 

16 Juin 2019 

10h à 11h15, Alte Kaserne Winterthur 

Vendredi 9 novembre 2018, 10h à 11h15, 

Alte Kaserne Winterthur 

Le court métrage est souvent oublié dans les discussions sur la 

production, la distribution et l’exploitation des films. Cette fois, il est 

au centre : différents institutions et organismes publics font le point 

sur les préoccupations actuelles de la branche suisse par rapport au 

court métrage. Politique du cinéma, stratégies actuelles et futures 

pour l’encouragement et financement sont au programme du débat. 

Intervenants : Matthias Bürcher (Office fédéral de la culture), 

Patrizia Pesko (Cinéforom), Sven Wälti (SRG SSR), 

Daniel Waser (Zürcher Filmstiftung). 

INSPIRIEREND, ATTRAKTIV 

UND STETS AKTUELL. 

Modération : Lucie Bader (Cinébulletin) 

Entrée gratuite, nombre de places limité ! 

Informations détaillées et inscriptions jusqu’au lundi 29 octobre 2018 sur 

www.kurzfilmtage.ch/industrylab_fr 

Für den Blick hinter 

die Leinwand 

Abonnieren Sie Cinébulletin: abo@cinebulletin.ch 

SO 

LEBST 

DU BASEL

Singin’ in the Rain von Stanley Donen und Gene Kelly 

Filmreif. 

60 Jahre 

Filmbulletin 

Gratis Probenummer bestellen! 

www.filmbulletin.ch 

Zeitschrift 

für Film und Kino 

106 

Wissen, was läuft. 

www.programmzeitung.ch 

Anz.ProZ_Bildrausch_73x128.8mm.indd 1 

107

RADIO 

Im Juni: 

Retrospektive 

Youssef 

Chahine 

Der Spatz 

Die Erde 

Hauptbahnhof 

Tödliche Rache 

Alexandria, warum? 

Der sechste Tag 

Die Rückkehr 

des verlorenen Sohnes 

Adieu Bonaparte 

Das ganze Programm: 

www.rexbern.ch 

108 

Bestellen Sie bei ray Aboservice: abo@ray-magazin.at 

Tel.: +43 (0)1 920 20 08-14 Fax: +43 (0)1 920 20 08-13 

ray Jahresabo (10 Ausgaben, davon zwei Doppelnummern) 

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R e g i o n a l e 2 0 

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Inscription en ligne – 

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110 

o p e n c a l l 

TRIBECA FILM 

FESTIVAL 

OFFICIAL SELECTION 

2019 

A Film by 

Peter Webber 

The soul of Jamaica 

Ab 20. Juni im Kino 

KINo SPUTNIK 

ULTURHAUs pALAZZO 

Seit 40 Jahren im Orbit 

palazzo.ch bahnhofplatz liestal 

111

22.— 

29.1. 

2020 

112 

55. SLOTHURNER 

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VEGETARIAN 

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Meret-Oppenheim-Platz 1 

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Die Streaming-Plattform 

für FilmliebhaberInnen 

115 

www.filmingo.ch

Was macht einen 

guten Film aus? 

Was einen 

missglückten? 

Sind die Kriterien bei einem Schweizer Film andere als bei 

einem aus Österreich oder aus Hollywood? Welche Rolle 

spielt dabei die Filmkritik, die Filmbildung oder gar die 

Zensur? Mit welchen Mitteln versucht die Filmförderung, 

die Qualität der geförderten Filme sicherzustellen? Mit 

welchen Filmschulen oder Festivals? Fragen, auf die die 

neue Ausgabe des Jahrbuchs Cinema Antworten sucht. 

Und wie jedes Jahr: Ein Rückblick auf das Schweizer 

Filmschaffen 

Jahrbuch Cinema | Qualität | 216 S. | Pb. 

zahlr. farb. Abb. | € 25,00 / SFr 32,00 UVP 

ISBN 978-3-89472-615-7 

Thema CINEMA #65 (2020): Skandal 

www.schueren-verlag.de 

116 

Kinok | Cinema in der Lokremise | Grünbergstrasse 7 | St. Gallen 

Reservationen: www.kinok.ch | kinok@kinok.ch | 071 245 80 72 

Wir 

wünschen 

viel 

Vergnügen ! 

117 

Burckhardt+Partner AG 

Architekten Generalplaner 

Basel Bern Genf Lausanne Zürich 

Berlin Grenzach Stuttgart 

www.burckhardtpartner.com

Fruchtallee 17, D-20259 Hamburg 

Fon: +49-(0)40-39 90 70-60 Fax: -61 

E-Mail: kontakt@subs-hamburg.de 

www.subs-hamburg.de 

Für Bilder, 

die bewegen. 

Wir können 

auch arabisch. 

Untertitelungen 

subtitling sous-titrage 

Voice-Over 

v o i x - o ff 

Übersetzungen 

translations traductions 

LiveSubtitling 

sous-titrage virtuel 

118 

Druckerei Gremper AG 

Pratteln/Basel 

www.gremper.ch 

119

SUPPORT 

Bildrausch would not exist without the people who believe in 

us. We would first of all like to thank the Departments of 

Cultural Affairs and Swisslos funds of both cantons of Basel. 

We would also like to thank all the foundations, institutions 

and companies, as well as all the donors who don’t wish to be 

mentioned. 

• Swisslos-Fonds Basel-Stadt 

• Swisslos-Fonds Basel-Landschaft 

• GGG Basel 

• Sulger Stiftung 

• Isaac Dreyfus-Bernheim Stiftung 

• Doms Stiftung 

• Scheidegger-Thommen-Stiftung 

• Istituto Italiano di Cultura Zurigo 

• Aesop 

• Bogen 33 

• Burckhardt+Partner AG 

• Creaplot AG 

• Delinat 

• FedEx 

• Gremper AG 

• Hotel Krafft 

• Mineralquelle Eptinger AG 

• Reck Filmproduktion 

• Stadtgärtnerei Basel 

• SUBS Subtitling 

• tibits 

• Tweaklab AG, Basel 

120 

PARTNERSHIPS 

• Balimage 

• balzer projects 

• Basel Tourismus 

• Basler Kunstverein 

• Cécile Grieder 

• Christa Wegener 

• Fachmaturitätsschule Basel 

• FOCAL 

• Fondation Beyeler 

• GGG Stadtbibliothek Basel 

• kult.kino 

• Kulturbox 

• Kunsthalle Basel 

• Maya Rikli 

• point de vue – audiovisuelle Produktionen 

• Pro Innerstadt/BaselLive 

• Restaurant Kunsthalle 

• Seminar für Medienwissenschaft der Universität Basel 

• Theater Basel 

• Verein Le Bon Film 

121 

THANKS

MEDIA PARTNERS 

• Basler Zeitung 

• Cinébulletin 

• cinefile 

• Filmbulletin 

• Filmexplorer 

• Kulturjoker 

• ProgrammZeitung 

• Radio X 

• ray Filmmagazin 

• WOZ Die Wochenzeitung 

THANKS 

Bildrausch would like to thank the following people and 

institutions for their contributions to the festival: 

Till Brockmann, Zurich. Cécile Grieder, Basel. Ute Holl, 

Basel. Pamela Jahn, London. Erich Langjahr, Root. 

Marina Mertens, Zurich. Claudia Mertens, Winterthur. 

Primo Mazzoni, Zurich. Luis Miñarro, Barcelona. Jean 

Perret, Geneva. Ursula Pfander, Berne. Maya Rikli, Basel. 

Christa Wegener, Basel. 

Fachmaturitätsschule Basel (Tanja Maria Stoller, 

Stephanie Wagner-Büttiker). kult.kino, Basel (Romy 

Gysin, Tobias Faust, Roman Weiss). Kulturbüro, Basel. 

Kunsthalle Basel (Elena Filipovic, Beatrice Hatebur, Rudi 

Pelger). Kunsthalle Restaurant, Basel (Claudia Danuser). 

Sound & Light Pool, Basel (Regine Wetterwald), 

Stadtgärtnerei, Basel (Mareike Holluba). Subs, Hamburg 

(Thorsten Birk). Theater Basel (Mario Fuchs, 

122 

Beat Weissenberger). Verein Le Bon Film (David Glauser, 

Isabel Heiniger, Elisabeth Metzger, Catherine Reinau, 

Christoph Stratenwerth). 

Austrian Films, Vienna (Anne Laurent). Balthus, Paris 

(Malena Pellion). Beta Cinema GmbH, Oberhaching/ 

Munich (Cosima Finkbeiner). Cinémathèque Suisse, 

Lausanne (Frédéric Maire, Caroline Fournier, André 

Schäublin). Coproduction Office, Berlin (Christina 

Demetriou). C.R.I.M., Lisbon (Joana Ferreira, Isabel 

Machado). Deutsche Kinemathek, Berlin (Anke Hahn). 

Doc & Film International, Paris (Théo Lionel). Filmes do 

Tejo, Lisbon (Maria João Mayer). Heretic Outreach, 

Athens (Christina Liapi). Latido Films, Madrid (Marta 

Hernando). Langjahr-Film GmbH, Root (Erich 

Langjahr). New Europe Film Sales, Warsaw (Ewa 

Bojanowska), Outside the Box, Renens (Christian 

Ströhle). Protagonists Pictures, London (Mounia 

Wissinger). Reel Suspects, Paris (A. Alvarez Aguilera). 

sixpackfilm, Vienna (Gerald Weber). Makino Takashi, 

Tokyo. trigon-film, Ennetbaden (Walter Ruggle, Martin 

Aeschbach). Universal Pictures International, London 

(Kate Wyhowska). Warner Bros. Entertainment 

Switzerland GmbH, Zurich (Marcel Lanthemann). 

Last but not least we would like to thank our staff, 

moderators and volunteers, who have helped create and 

carry out this festival thanks to their enthusiasm and 

dedication. 

123 

THANKS

TICKET PRICES 

• Single Entry CHF 17/13 * 

• Early Bird Ticket CHF 13/8 * 

(Screenings before 15:00) 

• Multi-Pass CHF 56/44 * 

(4 Entries) 

• Festival Pass CHF 110/90* 

* Students, Old-Age Pensioners, Members of Stadtkino, 

with Super-8-Card or Passepartout 

• The Opening Screening is free of charge for Passepartout 

members of Stadtkino Basel/Landkino. 

• The Thinking/Space at Stadtkino costs CHF 17/13*. 

The Mertens & Marti Panel, the Formula-Super-8 

Projector Race, die Awards Ceremony and all events on 

the piazza are free of charge. 

TICKET SALES 

Pre-sales tickets (starting on 7 June 2019) are available 

online on www.bildrausch-basel.ch and the box office of 

Stadtkino Basel. 

Festival passes and multi-passes are sold exclusively at the 

box office of Stadtkino Basel. 

Single entry tickets for all screenings can be bought at 

Stadtkino Basel or kult.kino atelier. 

OPENING HOURS 

• The bar of Stadtkino Basel, the Bildrausch Salon and the 

Piazza open half an hour before the first screening. 

• DJs will be spinning the turntables until 2am – on Friday 

and Saturday until 4am. 

ARRIVAL 

• From Bahnhof SBB: 7 minutes by foot or with trams 

2, 8, 10 or 11 to the Bankverein tram stop 

• From Badischer Bahnhof: Tram 2 to the Bankverein 

tram stop or tram 6 to the Theater tram stop 

• Car parks: Elisabethen, Steinen, Bahnhof 

VENUES 

1 Stadtkino Basel, Piazza and Bildrausch-Salon, 

Festivalzentrum, Klostergasse 5, 4051 Basel 

2 kult.kino atelier, Theaterstrasse 7, 4051 Basel 

3 Formula-Super-8 Projector Race, 

Theaterplatz, 4051 Basel 

4 balzer projects, Wallstrasse 10, 4051 Basel 

< BARFÜSSERPLATZ 

THEATERSTRASSE 

2 

TINGUELY 

BRUNNEN 

THEATER- 

PLATZ 

3 

KLOSTERGASSE 

1 

STEINENBERG 

KUNSTHALLE 

ELISABETHEN- 

KIRCHE 

FREIE STRASSE 

4 

ELISABETHENSTRASSE 

HENRIC PETRI- 

STRASSE 

FESTIVAL INFO 

124 

KLOSTERBERG 

125

9th BILDRAUSCH 


· Bildrausch is an initiative of the Bildrausch association, 

Theaterstrasse 22, 4051 Basel, Tel: 061 205 98 81 

· Board: Isabel Heiniger, Hanspeter Giuliani, Brigitte Häring 

· In collaboration with the association Le Bon Film. 

· Board: David Glauser, Isabel Heiniger, Elisabeth Metzger, 

Catherine Reinau, Christoph Stratenwerth 

· Festival Directors: Nicole Reinhard, Beat Schneider 

· Programme Delegates: Olaf Möller, Susana Santos Rodrigues, 

Bernd Brehmer 

· Back Office: Rebecca Szediwy 

· Formula-Super-8 Projector Race: Primo Mazzoni, 

Nicole Reinhard, Mario Fuchs 

· Production Management/Technical Management: Fabian Frei 

· Intern: Dolma Vanetti 

· PR, Social Media: Valerio Bonadei 

· PR and press texts: Ursula Pfander 

· Marketing: Waelti Content & PR, Christine Waelti 

· Guest Coordination: Luzia Böni 

· Trailer: Lav Diaz 

· Website: Angela Reinhard (Design), Bütler BIZ, 

Bruno Bütler (Web Programming) 

· Web Master: Kaspar Aebi 

· Accounting: IMAGO Treuhand 

· Print Shipment: Flavio Caldana 

· Team Catering: Angela Knor 

· Design of Bildrausch Salon: Cécile Grieder 

· Flowers: Maya Rikli 

· Photographers: Piotr Dzumala, Daria Kolacka, Nicholas Winter 

· Festival Team: Adeline Sirlin (Barchefin), Johannes Wolfsperger 

(Chefoperateur), Sarah Amelie Bodner, Lucy Gmünder, 

Claudia Gruntz, Viktor Klima, Sandro Mazzoni, Catia dos Santos, 

Tobija Stuker, Axel Töpfer, Niggi Ullrich, Tobias Voss 

· Authors: Bernd Brehmer (bb), Patricia Hinkelbein, Patrick Holzapfel 

(ph), Pamela Jahn (pj), Olaf Möller (om), Nicole Reinhard, 

Beat Schneider (bs), Alexandra Seitz (as) 

· Editors: Patricia Hinkelbein, Beat Schneider, Nicole Reinhard 

· Proofreading: Dominik Süess 

· Translation: Andrew Blackwell, Kate Whitebread (Proofreading) 

· Adverts: Barbara Keller-Bergheimer 

· Graphic Design: Ludovic Balland Typography Cabinet, 

Ludovic Balland with Anna Bierler 

· Typesetting: Ludovic Balland Typography Cabinet, Anna Bierler 

· Prepress and Printing: Gremper AG 

126

7 

9. BILDRAUSCH 


19.06.—23.06.19 

1 2 

8 

3 

10 

9 

11 

6 

4 

5 

21 

22 

12 

13 

23 

24 

25 26 27 28 

18 

17 

16 

15 14 

20 

19

Bildrausch Filmfest Basel 9, Catalogue 2019

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