AS THE BERLIN International Film Festival turned sixty this year, selected films often looked to the past and amalgamated moments of an era or a movement. Over at the Panorama section, home to established masters, novice filmmakers and provocateurs of all kinds, programmer Wieland Speck was doing what comes as second nature after his 28 years at the Berlinale – sculpting a dauntless collection of progressive worldviews, of both fact and fiction, which unites artistic vision with commercial interest.

Zrzut ekranu 2016-09-03 o 20.01.02As a director, producer, writer, actor and curator, Wieland Speck has spent most of his life immersed in arts and culture, though more prevalently, the course of the evolution and agitation of socio-political movements they chronicle. With the Panorama Dokumente section as his pulpit from which to showcase some of the worlds most daring and poignant factual cinema, Speck could be considered a connoisseur of documentary epochs, from their trends to their transgressions.

AFTER THE BERLINALE dust had settled last March, DOX sat down with Mr. Speck to speak about his programme, the power of documentary and the radical worlds that move from the fringe to the cinematic center:

How would you describe a Panorama documentary?

– One that deals with social issues but does it in a way that not only preaches to the converted, but reaches out to an art-house cinema audience – achieving that with a very smart use of the aesthetical means that are needed to make a good film. So Panorama means good filmmaking and a good subject matter that is either aesthetically, artistically, or most of the time, politically interesting to Berlin audiences and to the expectations of the buyers.

Since its conception, was the Panorama always considered an essential showcase for poignant documentary cinema?

– That was always the case, especially in the ’80s when the Western world was more politically active. Back then we had lots of activist documentaries, especially since a constant focus in the program has been queer filmmaking. So there was always those films that dealt with fighting for the rights of queer people in Western societies, especially coming from the American documentaries. And then of course there was the topic of AIDS, which hit the films in 1985. So we had all the activist films of that period showing how much power there is in filmmaking. When we look at it from the queer angle, the queer movement actually started with film. The post-war queer movement in Germany got its major boost by Rosa von Praunheim’s documentary, It’s Not the Homosexual Who is Perverse But the Situation in Which He Lives, which he made in 1970. In America, there was Boys in the Band by William Friedkin, based on the theatre play whose historical background we had a documentary about this year, called Making The Boys. It’s a very beautiful documentary, exactly one of those docs that we love to have in Panorama. This means it’s a grassroots documentary. It’s a work with a lot of heart, a lot of understanding and a lot of outlook into history in such a way that it helps us to form the present and the future.

HAVE DOCUMENTARY trends changed over the years, in terms of activism?

– No, not really. You don’t see the oldfashioned fight films anymore, as I call them. But what you get of course are films from countries where five years ago it would have been unimaginable to get films with certain content – politically, be it Iran, or genderpolitics, be it India and Paraguay. So you can detect by watching the documentaries, at least in the selection we made, a kind of time-warp situation that is happening on the planet by seeing where and at what stage emancipation is happening. Political issues like democracy, the dictatorship of the majority, power and the power of men over woman. So you have all these issues everywhere in every society, just on different levels of a time scale. But in a film program you can watch it all, and see how the differences between cultures that are usually emphasized might even shrink to zero.

You mentioned a certain power in filmmaking. Do you feel documentaries have the power to influence socio-political action? Do you put that responsibility on film?

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