The nine-and-a-half minutes before the violent death of George Floyd has also become a symbol of US police racism around the world due to its distribution as video clips on mobile phones. On the other hand, the case of Kiomars Javadi, who died in August 1987 in the courtyard of a Tübingen grocery store after eighteen minutes in a similar stranglehold as Floyd, has barely bypassed the deeply divided Swabian audience. Javadi was a young Iranian asylum seeker, and the perpetrators were the manager of the same store and an obedient apprentice in the store where the young man was accused of theft. Almost a year after the crime, both were given an 18-month suspended prison sentence for manslaughter by a judge who was actually known to be cruel. Perhaps even worse was the fact that most of the store’s staff stood aside and a few passersby tried to intervene, at least verbally.
18 minutes of moral courage It is the satirical title of the eighteen-minute film, in which Rahim Sharmad vividly documents and poetically accuses him of the incident and its aftermath three years after the violence. Thirty years later, the sad truth has become clear that the racism inherent in German society has not been mitigated as history has progressed. But what has changed is the confidence of the excluded in themselves and their existence. Today there is greater public awareness of the mechanisms of dominance and exclusion – even in areas where many have long appeared to be non-discriminatory, such as culture. In recent months, racist events in theater and ballet have become public. A study on diversity in films published in March showed that film’s problem is not only stereotypical casting politics. The directors of Europe’s major film festivals have become less male-dominated in recent years, but have otherwise remained less diverse.
But things are moving. At the Berlinale, the new management team, Carlo Chatrian and Mariette Rissenbeck, want to be a “diversity engine”. Right at the start of her tenure, new Forum Director Christina Nord brought Ghanaian curator Jacqueline Nesya up to four – a member of the selection committee and selected her to participate in the upcoming Berlinale Summer Show with independent curators Inuka Ayimba, Karina Griffith, Benny Belavshe and Kan Songo to plan an additional comprehensive program dedicated to guiding the work of People of Color in German Film History: “Every film is a proposal, the white German perspective with diverse and intersecting perspectives, and what unites them all is their visual and textual practice of viewing from the inside, not from the edge,” says the program statement from the curators.
Who sees what and how
Moreover 18 minutes of moral courage Part of this series that started in 1980. The title of the series indicates fictional certificate As a borrowing from the official language (it is the name of the document that is issued to people from non-EU countries when examining their application for a residence permit), the focus is objectively made in the direction of the German exclusion bureaucracy. However, it can also be understood as a satirical reference to the dystopian content of the films presented, whether they are officially identified as feature films or documentaries.
like in GOLG, an early example of immigrant self-confidence, which was made as a film by Sophocles Adamides and Sima Poyraz at the DFFB in 1980. An autobiographical story of coming of age with an almost sarcastic look at the environment of Turkish migrant workers in Berlin-Kreuzberg at the time. Mala Reinhart Documentary second attack He tells the voices of those affected, from the far-right attacks in Rostock-Lichtenhagen to the NSU, about the failure of the German authorities in the aftermath of the crimes. On the other hand, it opposes the resistant treatment of the victim groups themselves. Angelica Nguyen tells The sister country has burned down With a personal attitude and a thorough search for the people who, from the 1980s onwards, were brought into East German industry from Vietnam as contract workers and who, after reunification, were the first to fall victim to racism and social decline.
Three of the many films on the program have been co-curated with Sinema Transtopia, which on their own contain substantial things to say about how Germany sees itself in the twenty-first century. They are best expanded discursively during their double appearances (online and on screen) at the Berlinale by a companion program with cinematic talks, panel discussions, and lectures. Certainly a good reason to discuss the structural mechanisms of exclusion in the film sector beyond the realm of films themselves. However, the thesis curators, who in fictional certificate Previously shown films were “hidden”. It was definitely not a blockbuster genre. But some of them have great jobs of their own. That was for example second attack After its premiere at the German Dokwoche Leipzig competition, it can be seen at more than a dozen festivals and in many art cinemas. It seems to me that it is more productive to admit it than to underestimate it.
fictional certificate. 16 cinematic views of Germany. Until June 30th via live broadcast at Arsenal 3 (arsenal-3-berlin.de ); In August outdoors at Sinema Transtopia