Preisverleihungen bei Begrüßung der Erstsemester zum Beginn des neuen Studienjahres 23/24

Die Jury-Begründungen zu den Förderpreisen:

Aida Alimadadi has accomplished much and executed her practice at a high level as author, director and producer of her own work with three films produced in Iran and two currently in development in Germany and Iran. Aida is a filmmaker of serious acuity and uncommon force, demonstrating a fearlessness in taking on some of the most pressing issues of the day - socio-political conflict, migration and asylum in her screenplay cold & sweet and child abuse in her short film a boy has disappeared. they are both driven by an experimental approach and a wholly cinematic grammar. Her abilities to work with actors in thorough, nuanced and meticulous ways demonstrates a unique talent in pursuing the complexities of human drama.

The work of Evie Reckendrees is a blistering kaleidoscope of resilience and an urgent insistence of the trans perspective and trans body to be heard and seen as both subject and agent in a violently gendered system which routinely silences them. siting themselves within a landscape of writers characterised by their acts of literary radical refusal - sarah kane, ann carson, anne sexton, jean genet - who bend myth and origin stories into unpredictable literary interrogations. Evie takes the history of nineteenth century sexology, dating apps, hormones, chemicals, sex and desire in all their recognisable mess, and the fluidities of transition as their explicit themes. In the beak’s made for plucking and irgendwann kommt dann auch der kaffee, lieber: lachen, küssen (at) we experience in visceral ways the exaltation of the overlooked potentials of the common pigeon as a useful symbol for transformation whilst baring the perversity that underlines and runs throughout the fundaments of western civilised and graeco-roman literature.

Fynn Ribbeck creates experimental animations which investigate totalitarian societies and their architectures with an aphex-twin-like nightmare of desire, betrayal and their entwined limits. This is realised through a wholly conscious and superbly studied cinematic vision with a robust intellectual apparatus at its heart. we are privy to the provocative and pointed ambivalence of the nocturnal dreamscapes of ulrike meinhof in lesson of the airplane or schoolgirls in dictatorial, fascist systems in an eggshell mind. fynn’s intentional marriage of analogue and digital animation brings a deliberate naivety and an exacting attention to detail in image and score which articulates and sustains the unsayable.