Fiktionsbescheinigung (literally “fiction certificate/certificate of fictionality”) is a concept used in German officialese. When people from non-EU countries apply to have their residence permits extended, they receive this particular certificate to cover the period during which their application is processed, thus enabling them to prove their temporary right of residency in Germany. Yet this period is a time of insecurity for them nonetheless. Will the application be rejected or approved? Processing can take several months and sometimes even years. The application itself would actually be more than enough to prove the right of residency, but the German authorities seemingly prefer a more bureaucratic approach. With this in mind, the film series Fiktionsbescheinigung. 16 Cinematic Perspectives on Germany, poses the question: who is able to enter German cultural history, cinemas and the film canon and who is left outside? Who determines what is shown? The series sees itself as a snapshot of an ongoing, self-determined process of intervention and protest. Each of the films functions as a suggestion as to how the white German gaze can be countered with diverse, intersectional perspectives, with all of them having one thing in common: their own visual and textual practice of testimony from within, not from the margins. In the process, Fiktionsbescheinigung encourages viewers to ask themselves where these films have been previously hiding and why the majority of them have not been accessible to a wider audience.
In collaboration with the Berlinale Forum and Arsenal - Institut für Film und Videokunst
Funded by Berliner Senatsverwaltung für Kultur und Europa and is part of Draussenstadt
Biene Pilavci began the directing programme at the DFFB in Berlin in 2005 where she made numerous short films. Pilavci completed her studies in 2012 with her third-year film Alleine tanzenabout the power of family. In 2013, she made Chronik einer Revolte – Ein Jahr Istanbul together with Ayla Gottschlich with support from ZDF and ARTE. She is co-founder of the film-political initiative NichtmeinTatort and the film network Neue Deutsche Filmemacher*innen.
Can Sungu studied film and visual communication design in Istanbul and at the Institute for Art in Context at the Berlin University of the Arts. He has given workshops and seminars in the field of film and published texts on film and migration. As an artist, he participated in numerous exhibitions, including at MMSU Rijeka, Künstlerhaus Vienna and REDCAT Los Angeles. He is co-founder and artistic director of bi‘bak.
Enoka Ayemba is a film curator and film critic focusing on African cinematographies, the Nigerian video industry and anti-colonial movements. He has been a consultant for the Berlinale Forum since 2019.
Jacqueline Nsiah is a freelance film festival, arts and cultural consultant. Her years of experience across the world include her work as co-director of the Cambridge African Film Festival in 2008 and as producer of the Real Life Documentary Film Festival in Accra. Nsiah currently works as a curator for the Berlinale Forum and as a project manager for the Goethe-Institut’s African industry film platform cinidb.africa.
Karina Griffith’s work has been shown at international galleries, theatres and festivals. She has curated film and interdisciplinary programmes for the Goethe-Institut and Ballhaus Naunynstraße among others. She teaches at the Berlin University of Art Institute for Art in Context and is a PhD candidate at the University of Toronto where her research on Black authorship in German cinema interacts with theories of affect and intersectionality.