Bill Morrison is a New York-based filmmaker and artist. His films often combine rare archival material set to contemporary music, for which he has collaborated with some of the most influential composers of our time. Morrison's films are also in the collection of the Museum of Modern Art, Walker Art Center, and the EYE Film Institute.
Little Yellow Boots
John Webster is a writer and director born in 1967, in Helsinki, to English teachers who later moved to Finland. John graduated from the University of Art and Design in Helsinki in 1996 with an MA in documentary filmmaking. Since 1990 he has directed independent documentaries that have won numerous awards nationally and internationally. He has run his own production company, JW Documentaries, since 1993.
Stefanie Brockhaus is an independent filmmaker from Munich. She graduated from London College of Communications, University of the Arts with a BA in Film and Television in 2002, and the Munich University of Television and Film in 2016. She has worked on numerous awarded documentaries as a producer and director.
Andreas Wolff studied at USC's Graduate School of Cinematic Arts in Los Angeles, and at HFF University for TV and Film in Munich. His debut On the Other Side of Life, co-directed with Stefanie Brockhaus, premiered in 2010 at SXSW film festival. His second feature documentary, The Captain and His Pirate (2013) won the German Camera Award for Best Editing at Berlinale and further awards in Leipzig, Zagreb, Saarbrucken, Munich and Brussels.
Watani: My Homeland
Marcel Mettelsiefen is a director, cameraman, photographer and producer. His films on the civil war in Syria, such as Syria: Children on the Frontline (2014), Children on the Frontline: The Escape (2016) and Watani: My Homeland (2016), earned him critical praise and recognition. Mettelsiefen won two BAFTA and two Emmy awards, and was nominated for an Academy Award in the category Best Documentary Short Subject for Watani: My Homeland.
1917 - The Real October
Born in 1981, Paweł Ziemilski graduated from the the Łódź National Film School and the Wajda School in Warsaw. His short documentary and fiction films have received widespread publicity at numerous film festivals around the globe and have earned many prestigious awards. His documentary, Rogalik received an IDFA nomination in 2012. It has also been shown and awarded at festivals such as Zagreb Dox, Alcine Festival (First Prize), festivals in Oberhausen, Beijing, Bucharest, Cracow and others. Apart from directing, Paweł Ziemilski is involved in social animation and organizing workshops for those deemed “troubled youth”.
David Borenstein is an American director currently based in Copenhagen. He has directed films for ARTE, Al Jazeera English, Horisonts, NYTimes, and more are underway. He was a cinematographer and producer for the Sundance-funded film, The Hand that Feeds, which won the audience award at the Full Frame Film Festival. A China scholar, he received PhD training in Anthropology at the City University of New York. He began developing China Dreamland while on a Fulbright scholarship in China to study urbanization and real estate speculation. David speaks fluent Mandarin Chinese.
Bag Mohajer - Refugee Bag
Adrian Oeser is a Frankfurt-based journalist and filmmaker. He has studied television journalism at the Filmakademie Baden-Württemberg since 2015. In the past few years he has made documentary movies including, With heads held high. Living and surviving in kibbutz Ma'abarot (www.docview.org), and the cross-media project, "An exception" (www.eine-ausnahme.de). Oeser recognizes the importance of bringing underrepresented perspectives to public discourse, and emphasizing both the political dimension and the ambivalence of human experience. He likes to listen to stories, and sees his films as an outlet for his interviewees’ perspectives.
Why Colonel Bunny was Killed
Miranda Pennell worked in contemporary dance before making films, and later studied visual anthropology. Her film and video work exploring different forms of collective performance has been broadcast internationally and presented in festival and gallery contexts. Her recent moving-image work uses archival materials as the starting point for a reflection on the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) was awarded best international film at the 2011 Images Festival, Toronto, and Courtisane Festival, Ghent. Pennell’s feature-length film The Host (2015), which reworks material drawn from the archive of the Anglo-Iranian Oil Company (now BP), won the Punto de Vista Award for Best Film (Pamplona) in 2017. She has worked as a contemporary dancer, a freelance commercials director, a teacher, and she also writes and curates.