Current language: English

Opening Destination: Tashkent

Experiences of Cinematic Internationalism

Program:
19:00 Greetings by Bonaventure Ndikung (HKW), Johannes Ebert (Goethe Institut), Can Sungu (HKW)

19:30 Filmscreening
With an introduction by Aboubakar Sanogo 
Emitaï (Gott des Donners)
D: Ousmane Sembène, 1971, Senegal, 103‘, Wolof, Diola, French with English subtitles, with live translation into German
During World War II, the Vichy regime recruits men from the French colonies. Under relentless pressure from the colonial leadership, the resistance in a Diola village in Senegal develops into an uprising and ends in tragedy. Ousmane Sembène's cinematic narrative follows the gradual escalation of the conflict. The movie does not draw its dramatic strength from the fates of the individuals but from the fatal clash between the well-established order of life of the local population and the ignorance, disrespect, and aggression of the white colonialists. As the village elder does not base his hope on Emitaï, the god of change, but on the uprising, Sembène bases his faith on the young generation.

21:30 DJ Set (Magnus Hirschfeld Bar)

Taking place at HKW and satellite venues across Berlin and Tashkent, Destination: Tashkent is a festival for film and discourse. Its programme draws upon the history and approach of the Tashkent Festival for Asian, African and Latin American Cinema, which was held between 1968 and 1988 in Uzbekistan. The debut edition of the festival hosted over 240 filmmakers, actors, critics, and political figures from 49 Asian and African countries and showcased a total of 115 fiction and documentary films. From 1976 onwards, filmmakers from Latin America also contributed to the festival. Though at the time, many participants’ home countries were pursuing strategic alliances with the Soviet Union against colonialism, capitalism, and western imperialism, the participating filmmakers were not reduced to being solely national representatives; the festival also accommodated so-called Third World cinema and allowed for South-to-South encounters that were non-aligned or critical of Soviet policies. These were made possible through roundtable discussions, receptions, and excursions that were an integral part of the festival.

Meeting point: Miriam Makeba Auditorium

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