How can a new kind of cinema be collectively created within a transnational society? SİNEMA TRANSTOPIA, the cinema-experiment by bi’bak, explores cinema as a space of social discourse, exchange, and solidarity. The curated film series brings together diverse social communities and connects places both near and geographically distant; it links pasts, presents and futures and moves away from a eurocentric gaze towards transnational, (post-)migrant and postcolonial perspectives. SİNEMA TRANSTOPIA is a different kind of cinema, one simultaneously committed to local and international communities, that understands cinema as an important public sphere of sociality; it considers film history as crucial to the work of cultural memory and is committed to a diversity of film culture and film art. In Haus der Statistik at Berlin-Alexanderplatz, SİNEMA TRANSTOPIA builds a bridge between urban practice and film to create a space that opens access, stimulates discussion, educates, moves, provokes and encourages. 

SİNEMA TRANSTOPIA is funded by Haupstadtkulturfonds, Conrad Stiftung and the Programm NEUSTART KULTUR

Past event series can be found in the archive.



Children's cinema from SİNEMA TRANSTOPIA

Concept by Malve Lippmann and Dr. Martin Ganguly


Common Cold

un.thai.tled Film Festival 2021

Curated by Sarnt Utamachote and Rosalia Namsai Engchuan


Sounding Womanhood

Feminist Gestures in Film

Curated by Pia Chakraverti-Würthwein & Eirini Fountedaki


To the archive


Director Senka Domanović Serbia / Croatia 2018

87 Min., OV with English subs

Occupied Cinema

Occupied Cinema is an observational documentary that chronicles the activists’ occupation of the cinema Zvezda in Belgrade, one of the 14 cinemas that had once belonged to the Yugoslavian state and was then sold to a private investor. Senka Domanović is the witness of this rare gathering of artists, activists and the cinema’s former workers who came together through a shared dream. But collective activism has its irks and quirks In the director's own words: “The occupation of the cinema was an opportunity for people to come together, to self-organize and manage a contained micro-economy, to essentially bypass the market logic and break away from the ideological apparatus of the state. A moment later, everything collapsed.”

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