press release

Film is the perfect medium to visualize the doppelgŠnger motif. Every figure that romps about the silver screen in the darkened movie theatre seems exceedingly alive, as if it was not a copy but the revenant of the original instead. Filmmakers discovered early on that they could duplicate deceptively realistic characters by means of double exposure so that every nook and cranny of the filmic space is filled with ostensibly identical figures.

In the over 40 films to be screened at the festival, viewers will encounter all sorts of doubles, clones and robots, mirror images, distorted and puzzle pictures. The films inquire about the difference between original and copy, negotiate the political dimension of the interchangability of both and fathom how doppelgŠnger become projection surfaces and orientation points in a world where copies are more omnipresent than originals.

The filmic personifications of doppelgŠngers are just as diverse as doppelgŠngers themselves: The question concerning where the ÒselfÓ end and ÒyouÓ begin is dealt with in feature-length films, documentaries and experimental films in precisely the same way as in animations, video art and music videos. In the process, simple tricks with mirrors encounter complicated digital animations. The artists often appear in their own films, thus confronting copies of the self with the outer or inner world, sometimes in the shape of a lively slapstick, sometimes as a disturbing vision.

The eight film programs were curated by Marcel Schwierin (Berlin) and Luc-Carolin Ziemann (Leipzig).