From September 2020 on bi’bak will embark on a cinema experiment at Haus der Statistik.
SİNEMA TRANSTOPIA explores cinema as a space for social discourse, a place for exchange and solidarity. SİNEMA TRANSTOPIA brings together diverse social communities, links geographically distant and nearby places, the past, present and future, and decentres an eurocentric view through transnational, (post-) migrant and postcolonial perspectives. SİNEMA TRANSTOPIA is a transtopia, a place where “cross-border ties and connections converge, are reinterpreted and condense into everyday contexts” (Erol Yıldız). As part of the pioneering urban policy Initiative Haus der Statistik, the cinema experiment bridges the gap between everyday urban practices and film to create an alternative art form that connects different social perspectives.
bi'bakino is a curated film program that focuses on transnational narratives, migration and mobility discourses in film and seeks to stimulate differentiated discussions and changes of perspective. The program highlights films from outside Europe that have often not been shown in Berlin before, as well as archive excavations and rediscoveries. Following the film screenings, moderated discussions take place with filmmakers and experts.
Past event series can be found in the archive.
While the corona pandemic kept the privileged part of the world population in quarantine, precarious living conditions meant that many could not afford to stay at home. But the global economic inequalities that became more visible through this polarization point to a longer history of authority, confinement and unequal distribution of labour and wealth, all entangled within neoliberal power relations. With films that leave room for nuances, A Dream for Each deals with the colonial residues of globalised trade, technology and tourism, whose reverberations are still felt today.
Funded by Stiftung Nord-Süd Brücken aus Mitteln der LEZ
Özge Calafato is a curator, editor and writer. She has worked for numerous film festivals and institutions, including Cinema Akil, the Abu Dhabi Film Festival (ADFF), SANAD Development and Post-Production Fund, Documentarist, DOK Leipzig, DokuFest, The Arab Fund for Arts and the Imagine Science Film Festival. She is co-founder of the National Film Library of the United Arab Emirates.
This programme follows the trajectory of Mahdi Fleifel’s work over the past decade, featuring four of his award-winning short films including Xenos (2014), A Man Returned (2016), A Drowning Man (2017) and I Signed the Petition (2018). Fleifel’s compelling films challenges how we think about fundamental questions regarding the human condition, ranging from what it means to have a home and a homeland to being a refugee. Fleifel’s works also urge us to reexamine how we conceptualise Palestine and Palestinian identity.
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Born in Dubai, Mahdi Fleifel lives and works between Denmark, England and Greece. A graduate of the National Film & Television School NTFS, Fleifel's critically acclaimed debut feature, A World Not Ours, premiered at the Toronto International Film Festival and received over 30 awards. In 2016, he won a Silver Bear for A Man Returned. His follow up, A Drowning Man, was selected for the Official Competition at Cannes and was nominated for a BAFTA. I Signed the Petition won Best Documentary Short at IDFA.
In Lebanon, for every four million inhabitants there are about 200,000 foreign domestic workers who are deprived of their basic rights and live under constant surveillance. Rather than as service providers, the employees are treated more as economic goods imported by special agencies, living under conditions that resemble a modern variant of the slave trade. With the full consent of the owner Zein, Maher Abi Samra films the offices of the El Raed Agency. He vividly dissects this system approved by the state: the demands of the employers, the sales talent of the agents and how the female workforce are viewed as pure objects.
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Maher Abi Samra was born in Beirut in 1965. He studied Drama Arts at the Lebanese University in Beirut and Audio-Visual Studies at the Institut National de l’Image et du Son, and has worked as a photo-journalist for Lebanese newspapers and international agencies.
The German-Egyptian directing duo Johanna Domke and Marouan Omara accompany the young employees of one of the numerous luxury hotels in Sharm El Sheikh. Post-revolutionary unrest and terrorist attacks have left the resort on the Red Sea deserted: the hotel complexes are uninhabited, the pool gymnastic units are unattended, the nightlife areas are spookily empty. The tourist flights fly over the city, but they do not land here anymore. With a somnambulistic attention, this film explores the realities of the life, longings and hardships of young Egyptians whose pasts are suddenly no longer connected to their futures.
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Marouan Omara and Johanna Domke have been collaborating as a directing duo since 2012. Their films are cinematic hybrids, wandering around the unmarked territory between fiction and documentary, crafted beautifully through magical realism. Their previous film CROP received international acclaim at festivals including IFF Rotterdam, Yamagata IDFF, Jihlava IDFF, and DOK Leipzig. They have been supported by several institutions including La Biennale di Venezia, Hot Docs-Blue Ice Fund, and IDFA Bertha Fund.