The Forum Expanded program, featuring new work by Sharon Lockhart, James Benning, Ken Jacobs and Philip Scheffner, is now complete. And seven projects will be pitching during the third annual Drama Series Days.




Aapothkalin Trikalika (The Kali of Emergency) by Ashish Avikunthak (India / Germany, 79’).

Asbestos by Sasha Litvintseva and Graeme Arnfield (United Kingdom, 20’).

A Tall Tale by Maya Schweizer (Germany / Ireland, 16’).

The Brick House by Eliane Esther Bots (Netherlands, 16’).

Camera Threat by Bernd Lützeler (Germany, 30’).

Dark Adaption by Chris Gehman (Canada, 14’).

HASHTI Tehran by Daniel Kötter (Iran, 59’).

Heliopolis Heliopolis by Anja Dornieden, Juan David González Monroy (Germany, 26’).

Im Gehäus (In His Room) by Eva C. Heldmann (Germany, 27’).

Jokinen by Laura Horelli (Finland, 45’).

Not Every Day is Spring by Haig Aivazian (Lebanon, 46’).

Off Frame AKA Revolution until Victory by Mohanad Yaqubi (Palestine / France / Qatar, 63’). Yaqubi "rummaged through archives across the entire globe to try and find films by Palestine Film Unit (PFU), a filmmaking collective whose militant practice accompanied the Palestinian Revolution and brought it into international view. Only a small number of the numerous films created between 1968 and 1982 still exist today, which makes rediscovering and interrogating them in relation to their current relevance all the more vital."

One Plus One Makes a Pharaoh's Chocolate Cake by Marouan Omara, Islam Kamal (Egypt / Switzerland, 37’).

Popeye Sees 3D by Ken Jacobs (USA, 21’). Jackson Arn for Reverse Shot: "Arguably his greatest invention is the procedure he dubbed Eternalism, which U.S. Patent 7030902 B2 characterizes, less lyrically, as 'a method for creating an appearance of sustained three-dimensional motion-direction of unlimited duration, using a finite number of pictures.' … At the start of the 20-minute Popeye Sees 3D, an intertitle helpfully defines Eternalism for the uninitiated, labeling the footage of midtown Manhattan that follows."

Ride Like Lightning, Crash Like Thunder by Fern Silva (USA, 9’).

Rudzienko by Sharon Lockhart (Poland / USA, 53’). "Lockhart examines a recurring theme of her artistic practice in this new work: the experience of childhood and adolescence. For a period of three years, she worked with the inhabitants of the Youth Centre for Sociotherapy in Rudzienko, Poland. Milena is one of the girls featured, who Lockhart met while shooting Podwórka (Forum Expanded 2010). The film emerged from the work with the teenagers and shows a mixture of conversations which deal with everyday teenager worries and philosophical questions in equal measure."

Seif Tagreeby (Experimental Summer) by Mahmoud Lotfy (Egypt, 69’).

Serce Miłości – Director's Cut (A Heart of Love – Director's Cut) by Łukasz Ronduda (Poland, 88’).

Set by Peter Miller (Germany, 10’).

The Shortest Day by Karø Goldt (Austria, 3’).

Sokun Al Sulhufat (Turtles are Always Home) by Rawane Nassif (Qatar / Lebanon, 12’).

SPIN by Ginan Seidl (Germany, 80’).

Tashlikh (Cast Off) by Yael Bartana (Israel / Netherlands, 12’).

Ten Mornings Ten Evenings and One Horizon by Tomonari Nishikawa (Japan, 10’).

Studies on the Ecology of Drama by Eija-Liisa Ahtila (Finland, 26’).

Ulrike's Brain by Bruce LaBruce (Germany / Canada, 55’).

Ulysses in the Subway by Paul Kaiser, Marc Downie, Ken & Flo Jacobs (USA, 59’).

The Welfare of Thomás Ó Hallissy by Duncan Campbell (United Kingdom, Ireland, 31’).


Confessions of an Actress by Susanne Sachsse.

Group Exhibition at the Akademie der Künste am Hanseatenweg

Bawabet Yafa (Jaffa Gate) by RIWAQ (Conzept: Khaldun Bshara) (Palestine) "examines the history of the Jaffa Gate in Jerusalem, which was completely redesigned in line with the wishes of the new colonial rulers after the British conquest of the city."

Constructed Futures: Haret Hreik by Sandra Schäfer (Germany).

Hawamesh Aan Al-Hegra (Footnotes on Migration) by Take to the Sea (Egypt).

Isla Santa Maria 3D by Oliver Husain (Canada).

Izadora (listening to versions of herself) by Philip Scheffner, Merle Kröger, Izadora Nistor (Germany) "describes a moment that belongs to 14-year-old Izadora and her alone. Scheffner and Kröger already worked with Izadora and her family in their films Revision (Forum 2012) und And-Ek Ghes… (Forum 2016)."

Pana Ha'Geshem (The Rain is Gone) by Noam Enbar (Israel / France), "in which a theatre group performs a structured, improvised vocal composition. The installation is based on material created as part of Avi Mograbi’s film Between Fences (2016)."

Purple, Bodies in Translation - Part II of A Yellow Memory from the Yellow Age by Joe Namy (Lebanon).

Twelve by Jeamin Cha (Republic of Korea).

UHF42 E01+E02 by Mike Crane (USA / Palestine).

Untitled Fragments by James Benning (USA).

When Things Occur by Oraib Toukan (Palestine / United Kingdom).

Wutharr, Saltwater Dreams by Karrabing Film Collective (Australia).

And: Towards Memory by Katrin Winkler (Germany).

Marshall McLuhan Salon of the Embassy of Canada

Lago by Joshua Bonnetta.

SAVVY Contemporary

The Law of the Pursuer by Amos Gitai.

Think Film No. 5: Archival Constellations


"What role does the location of an archive play, whether as a shelter, repository, production facility or sometimes even as a danger zone?"

Material to Investigate the Present, the Future Past - An Encounter with the Archive by the Harun Farocki Institut.

Lab Space – Film Lab as Physical Space and Its Influence on Creative Process by Lisabona Rahman (Indonesia).

Reclaiming History, Unveiling Memory Part II by Didi Cheeka (Nigeria).

Archive visits to:

SAVVY Contemporary: The Law of the Pursuer by Amos Gitai.

Arsenal – Institute for Film and Video Art: Living Archive - 10.000 Films & Subkultur Berlin80, a !K7 video archive.

The Solid Image by Filipa César (Germany / Portugal) and Sana Na N’Hada (Guinea Bissau).

For an Imperfect Archive by Reem Shilleh and Mohanad Yaqubi (Palestine).

Performing Moments of an Archive by Jasmina Metwaly and Philip Rizk (Egypt / Germany).

Kinotron: The Kyiv School of Scientific Film by Oleksiy Radynski (Ukraine).

Reclaiming History, Unveiling Memory Part II by Didi Cheeka (Nigeria).

Saltwater Dreams: Archives of the Present by Karrabing Film Collective (Australia).

Vaginal Davis Presents: Rising Stars, Falling Stars.


Over the past few years, every major festival has cleared swaths in its programming to accommodate the creative and popular revival of television. So far, we haven't seen as much TV in the Berlinale's lineup for the public as we have in the past, but for the third year straight, the European Film Market, Berlinale Co-Production Market and Berlinale Talents are organizing Drama Series Days, an event that gives projects a shot at pitching to potential partners. Seven have been announced so far:


    • Cognition, "a crime thriller concept from director Alex Garcia Lopez (Misfits, Utopia)."


    • Till Kleinert’s Hausen "combines elements of the mystery, horror and drama genres in a story set in a run-down high-rise estate."


    • Freud, in which the founder of psychoanalysis helps catch a serial killer.


    • Metro, "a historical thriller set in the days of the first efforts to construct the subway system in Paris."


    • Omerta, "whose characters must constantly walk a fine line between trust and betrayal."


    • State of Happiness, "in which a small Norwegian city gets caught up unexpectedly in the oil boom."


    • And from Christoffer Boe (Reconstruction), Warrior, which, according to Drama Quarterly, "tells the story of a former soldier who struggles to find his way back into society after returning home from war. When he learns that a friend and fellow former soldier has committed suicide, he sets out to learn the truth behind his death."