Internationale Filmemacher und Medienkünstler thematisieren in dokumentarischen
und fiktiven Arbeiten die Lebensverhältnisse von Migranten heute. Ein Programm mit
überraschenden Einsichten über Identität, Kulturtransfer und was aus Träumen werden
kann. Hier kommen vor allem die Flüchtlinge selbst zu Wort.


Regie: Marjoleine Boonstra
Frankreich/Niederlande 2003
35min, OF­eUT


Das kontroverse Flüchtlingszentrum in Sangatte, einer nordfranzösischen Stadt
in der Nähe des Eingangs zum Eurotunnel, wurde im Dezember 2002 geschlossen.
In „Britanya” sprechen die Flüchtlinge über ihre Situation. read more


An existential comedy of a Spanish man trying to apostate from the Catholic Church.

Regie: Federico Vejroj
Urugay/England/Frankreich 2015
80min, OF­eUT


Schon seit Jahren ist Lampedusa das Ziel von Männern, Frauen und Kindern, die in viel zu kleinen Booten und altersschwachen Schiffen aus Afrika überzusetzen versuchen. Lampedusa gilt als Metapher für die Fluchtbewegung nach Europa, die Hoffnungen und Nöte, das Schicksal hunderttausender Emigranten. Sie sehnen sich nach Frieden, Freiheit und Glück und werden oft nur noch tot aus dem Wasser geborgen. So sind die Einwohner von Lampedusa tagtäglich Zeugen der größten humanitären Tragödie unserer Zeit. read more


Tunisia, before the revolution. A man on a motorbike, razor blade in hand, prowls the streets of Tunis slashing women’s buttocks. They call him The Challat, aka “The Blade”, and the mere mention of his name provokes fascination and terror. Is he a lone criminal, an urban legend, or could he be the creation of a political group or religious fanatics? 10 years later, in the aftermath of the Arab Spring, a stubborn young female director sets out on an investigation to unravel the mystery and discover the true Challat of Tunis… read more

La Sirène De Faso Fani

Since the textile factory Faso Fani in Koudougou, the third-largest city in Burkina Faso, was shut down in 2011, it has been left to rot. Michel Zongo grew up in Koudougou and in his impressive documentary film he visits former employees. Through their eyes and voices the movie tells the tragic tale of globalisation. However, Zongo does not focus on the demise of the town, but portrays an African resistance against the madness of globalisation.

OBV/F/D/KAT 2015
Regie: Michel K. Zongo
89 min, Colour, DCP, Original with English subtitles
In Cooperation with Caritas Tirol
read more


17th century, West Africa: King and tyrant Adanggaman burns the neighboring village of young Ossei. Many are killed, others are taken prisoner. Searching for his missing mother, Ossei is also being captured and finds himself among the many men, women and children in chains, humiliated and beaten. Adanggaman is filled with joy at the results of his manhunt – it is evident, that his kingdom has not escaped the hands of European slave traders by accident … The scenes of Africans marching in chains and stocks, monitored by other Africans, are a shock and linger in mind for days afterward. read more


Agadez: a town in the desert. Its streets are narrow, its houses built entirely of mud. Bachir and Salamatou work as reporters for a small local radio station: Nomade FM in Agadez. They wander through the town interviewing its inhabitants. It’s fasting time, so religion plays an even more important role in daily life than it normally does.  

France/NE/CH 2003
Regie: Christian Lelong
75 min, 35 mm, Farbe, OF mit dt. UT

ALF CHAHR (Mille Mois/Tausend Monate)

Taking place in 1981, the film focuses on Mehdi, a young boy living in a mountain village in the Moroccan Atlas. He is waiting for his father who is supposed to return from working in France. At least, this is what his mother and his grandfather tell him. In reality, Mehdi’s father is in prison. At any moment, the child’s mental balance is about to be disturbed …

Marocco/F/B 2003
Regie: Bensaïdi Faouzi
124 min, 35 mm, Farbe, Farbe; arab. OF mit dt. und franz. UT


A small town in Burkina Faso: A society that lives in the rhythm of heartbeats creating their future. Knowing how to love one another, anywhere in Africa – this also means recognising our own love through a mirror. “Focused on pictures of a heartless continent and reducing the people to anonymous and underfed silhouettes with flatulent looking bellies as the media tend to present the African people, one forgets that there are millions of beating hearts which swing exactly the same like everywhere in the world.” (Africultures) read more

AOUD RIH – Das Windpferd

AOUD RIH, is a portrait of an older and a young man who share a very peculiar outlook on life. As part of their emotional baggage they carry a small substitute soul that may not guarantee their continued existence, but at least makes their search more meaningful. (Quest France, Rennes, November 2001)


Marokko/F 2001
Regie: Daoud Aoulad Syad
86 min, 35mm, 1:1.85, Farbe, arabische OmU

Araf – Somewhere in Between

Pretty Zehra and handsome Olgun spend most of their young livesworking in a service station cafeteria near a lonely highway. Everythingseems transient about their surroundings. Most of the area‘soccupants have all escaped to the big city in search of opportunity.But Zehra, Olgun and their friends still remain, caught somewherein between the past and an uncertain future. Zehra dreams that lovewill take her away from her meaningless job and life at home withher strict old-fashioned mother. She becomes fascinated by an oldertruck driver, Mahur, who spends much of his time on the road. AsZehra‘s desire for Mahur turns into a tragic first love, her rebelliousfriend Olgun becomes more and more frustrated. Zehra and Olgunwill experience a hard time. But as they say goodbye to their childhoodinnocence, love and hope will help them to move forward. read more

ARAÏS AL-TEÏN (Poupées d´Argile)

The village families entrust their young daughters to Omrane, a former household employee. The girls are taken to Tunis to work as maids. Little Feddha, who has just been engaged, is unable to adapt to her new life. When Rebeh, another village girl, runs away, Feddha has a break. Off she goes on a venture with Omrane, who is in love with Rebeh, searching the town for the one who escaped to be free. With a rare mastery of form, the film suggests more than it says; it creates atmospheres rather than situations and summons without giving ready-made solutions. Metaphors of action – that keep an adequate distance between vocation and translation – eloquently express the characters’ moods, rendering dialogues scarce. Thus little Feddha puts together and undoes her clay dolls, plunging herself in an imaginary world that allows her to save a bit of the childhood from which she was prematurely deprived. Far from endulging in moralism or doctrinal discourse, the director prefers for the viewer to explain things for himself; he wishes to remain at the level read more


Located at the heart of the Nigerian desert, Arlit was an eldorado in the middle of the Seventies. Called «The Second Paris» by its inhabitants, it owes its existence to the imperialistic impulse of French uranium extraction factories. But the drop of uranium prices and the Touareg rebellion have transformed it into a ghost town in which the old hang on to their thwarted hopes, and the young to their improbable dreams of a future in Algeria or in Europe.

Benin/F 2005
Regie: Idrissou Mora-Kpai
78 min, 35 mm, Farbe, OF mit dt. UT
read more

BAB EL MAKAM (Passion)

Imane lovingly takes care of her children, her husband and her niece. She punctuates her daily life and that of her family by humming Oum Kalsoum’s tunes. Her husband, who is busy working as a taxi driver as well as a state employee, encourages his wife’s new passion. But her own family eyes her love of music much more suspiciously.

France/Syria/Tunesia 2004
Regie: Mohammad Malas
98 min, 35 mm, Farbe, OF mit engl. UT

BAB’ AZIZ (Le prince qui contemplait son âme)

Following the tradition of „A Thousand and One Nights“, the film contains several stories – of princes, palaces and frustrated quests – in a magical tale about a dervish and his grand-daughter’s travels in the Sahara. BAB’AZIZ is a dazzling portrait of the desert and its legends, rarely shown in such eloquent manner in a feature film.

France/Ger/Iran/Tunesia/GB 2005
Regie: Nacer Khemir
98 min, 35 mm, Farbe, OF mit engl. UT
Prix de l’Institut Français; Festivals: Locarno 05, Nantes 05, Fribourg 05; In Kooperation mit dem Tiroler Landesmuseum Ferdinandeum, Südwind Tirol und Izola Cinema – Kino Otok
read more


Aidai is a baksy – a natural healer – who with her shamanic powers makes the lame walk and gives infertile couples children. Her clinic, set in the middle of the Kazakh steppe, is regularly frequented by the sick and worried from all over the country. When a gas station and motel are supposed to be built at that very place, Aidai disappears mysteriously. In a world that is driven by technical progress and seems to be forgetting the old tradition of the Kazakh people, Aidai fights with her dances to conserve the faith in the supernatural in her fellow people. read more


In the back garden of the communal dwelling in a poor district of Bamako, Mali, a people’s tribunal is set up to lay charges against the IMF and the World Bank on behalf of the people of Africa. The life of a female vocalist and her unemployed husband, who live in the house, are also influenced by the court case.

France/Mali 2006
Regie: Abderrahmane Sissako
118 min, 35 mm, Farbe, OF mit dt. UT
In Kooperation mit Südwind Tirol


BAYIRI – LA PATRIE shows the life of people who once had to leave Burkina Faso and tried to start a new life in Côte d’Ivoire. When civil war starts in Côte d’Ivoire in 2002, the Burkinese have to flee again. They are brought to the refugee camp Operation Bayiri in Burkina Faso, where particularly the women have to endure hunger, violence and arbitrariness by rebels and policemen. Biba, a strong young woman also has to stay in Bayiri. Despite her unwanted pregnancy due to rape commited by a rebel boss she tries her best to provide for her friends and herself. Zodo, a tug, helps her as good as he can. read more


Der Junge Azate lebt im ländlichen Kirgisistan, wo die Zeit – zumindest für westeuropäische Verhältnisse – stehen geblieben zu sein scheint. Gemeinsam mit anderen Jungen entdeckt er die Welt. Als sein bester Freund ihn eines Tages mit jenem Mädchen schäkern sieht, auf das auch er ein Auge geworfen hat, kommt es zu einer Keilerei. Azate sei ein Waisenkind, bekommt er vom gekränkten Freund zu hören, ein Adoptivsohn, ein „Beshkempir“, wie man in der Region sagt: Sohn von fünf Großmüttern. Der Name „Beshkempir“ deutet auf ein Ritual hin, das am Beginn steht: Fünf Frauen nehmen auf einem aus bunten Stoffstücken zusammengeflickten Teppich Platz; sie beten und weihen das gefundene Kind der Erde. Nach kirgisischem Brauch stellt jedes Stoffstück des Teppichs die Erinnerung an einen verstorbenen Verwandten dar. In schlichter Natürlichkeit, schnörkellos, bedächtig und mit wundervoll komponierten Schwarzweißbildern erzählt Abdikalikow vom Erwachsenwerden. Nur punktuell kehrt der Film zur Farbe zurück, immer dann, wenn ein Erinnerungsmoment besonders stark wird: Das kann ein so kleines Detail wie ein Stoffstück im Lehmwasser sein. (nach: trigon-film magazin 9; Film 4/2000) „Das Außerordentlichste an BESHKEMPIR ist für den westlichen Zuschauer jedoch, dass man den Eindruck hat, endlich einmal wieder bloß schauen zu dürfen. Abdikalikow komponiert so sinnlich und sinnstiftend wie die Frauen, die den Teppich betreten und dem Kind einen Namen geben. Und das ist ein Genuss.“ (epd Film 12/99) read more


Soukey is just taking her final exams at a secondary school in Dakar when she learns that her father has chosen a better fate for her: She is to become the third wife of the old director of a peanut factory, the very elegant Mr. Gueye. Soukey refuses and runs off. Her friends decide to foil the plan. When Soukey meets a young lawyer from Paris, it is love at first sight. And when, in addition, Mr. Gueye is arrested for getting rich too quickly, Soukey is beside herself for joy. Only her parents are in the depths of despair. But the young people forgive them and force them to follow Farandole, which also leads to Gueye’s release. „With Jean-Claude Carrière and Peter Brook, we thought it would be fascinating to transpose this musical comedy, performed at the Café de la Danse in Paris, to a natural setting and to film it as a ‚live‘ happening. It was an attempt to conciliate a stage production with street theatre, a theatre of the wind, sun and sea, respecting the elementary rules of documentary film-making: to shoot only one take per frame, with no rehearsal, leaving a door open for the ‚wind of events‘“. Jean Rouch and Tam-Sir Doueb read more


The Mexican Maya works as janitor in the offices of the skyscrapers in Los Angeles just as hundreds of other illegal immigrants from all around the world do. She cannot resign herself to the inhuman labour conditions and the effectively non existing wage. Furthermore, she doesn’t know that she only got the job because of her sister Rosa thanking her boss with sexual favours. By the time unionist Sam Shapiro appears Maya starts to organise resistance with his support.

GB/France/Germany/Switzerland 2000
Regie: Ken Loach
110 min, 35mm, Farbe, OmU
read more


A radically personal film dealing with memories in a society ordered to forget.

Chile/F/Cdn 1997
Regie: Patricio Guzmán
56 min, 35mm (blow up 16mm), Farbe, spanische OmenglU


Damouré Zika, Lam Ibrahim Dia and Jean Rouch formed their own company, DALAROU, in order to produce this picaresque, feature-length narrative film in which a market peddler (Lam) takes a friend (Damouré) to the countryside for an outing. Instead, they meet with a series of supernatural adventures, including an encounter with a sorceress, and don’t return to Niamey for a year. The three travel through the countryside selling chickens in an old 2CV that takes on an almost character-like role in the film. Structurally, the film is composed of ten-minute sequence shots with very little editing.
“The subject of this film is the “marginals” of Africa. I have come to the conclusion that changes in society are due primarily to those few people who are on the fringe of society, those who see the economic absurdity of the system… They have to find some way to make a living without being trapped by the system. The plot deals with how three men go with their car into the countryside to buy chickens for resale in a large city… The car you see belonged to Lam, the main character… The car had no license, no brakes, no lights. I thought it would be most interesting to show the routine of the marginal economy.“ Jean Rouch read more