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    Dok.fest München announces guest country & homage retrospective

    Dok.fest München is set to take place online from 05 to 23 May. With its complete programme announcing very soon, the Munich based documentary film festival has announced new details including guest country and homage sections.

    For guest country, Dok.fest München welcomes Canada. As part of the Guest Country Series, seven documentaries from and about Canada will be screened. Across them, audiences join protests against police violence, uncover sexual abuse in Canada’s Catholic Church, accompany ex-prisoners on their long journey back into society, experience the struggle of the First Nations, empower ourselves with feminists, and dream about the city of the future.

    DOK.guest Canada films

    • Je M’Appelle Humain (dir. Kim O’Bomsawin) – 2020
    • Judy Versus Capitalism (dir. Mike Hoolboom) – 2020
    • Kímmapiiyipitssini: The Meaning of Empathy (dir. Elle-Máijá Tailfeathers) – 2021
    • Les Libres (dir. Nicolas Lévesque)- 2020
    • No Visible Trauma (dir. Marc Serpa Francoeur, Robinder Uppal) – 2020
    • The Silence (dir. Renée Blanchar) – 2020
    • There’s No Place Like This Any Place (dir. Lulu Wei) – 2020

    Czech Director Helena Třeštíková’s «timelapse cinema» is the 2021 Dok.fest München homage. Her self described «timelapse cinema» is apropos given Třeštíková mastery of long-term studies. Often following subjects over decades, Třeštíková’s process involves collecting large amounts of material, only taking their final shape in the intricate montage when filming is over.

    Helena Třeštíková homage films

    • Anny (dir. Helena Třeštíková) – 2020
    • Forman vs. Forman (dir. Helena Třeštíková) – 2019
    • Doomed Beauty (dir. Helena Třeštíková) – 2016
    • Mallory (dir. Helena Třeštíková) – 2015
    • Private Universe (dir. Helena Třeštíková) -2012
    • René (dir. Helena Třeštíková) – 2008
    • Marriage Stories – Ivana and Vaclav (dir. Helena Třeštíková) – 1987 / 2005
    • Miracle (dir. Helena Třeštíková) – 1975
    Modern Times Review
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