Wolf Edition 2 Workshop


Participation: Send us an email to rudel@wolfberlin.org and explain in a few sentences

why you would like to take part. The participation fee of the workshop is €50 including

films and lunch (2x) by Machiko’s Japanese kitchen at Wolf.

Programme Part 1:


Jul 15. Saturday / 4pm / Wolf Kinosaal 1

We will show IN THE LAST DAYS OF THE CITY (with English subtitles) as a preview at

Wolf. Director Tamer El Said as well as the Wolf team will be present to introduce the

concept of the workshop.


The opening and main part of the workshop will be lead by Gareth Evans, see details

about this in the attachment!

 Jul 25 Tuesday / 7.30 pm / Wolf Kinosaal 1

FURTHER BEYOND by Joe Lawlor and Christine Molloy, Irland, 89 mins, 2016

Public screening and lecture about film curation presented by curator and producer

Gareth Evans (Whitechapel Gallery’s Adjunct Moving Image Curator, Co-curator of

Flipside Festival, Swedenborg Film Festival,Estuary 2018 and Whitstable Biennale).

"Irish co-directors Joe Lawlor and Christine Molloy take their unique approach to cinema

to the next level with Further Beyond. An aptly titled work in every sense, this sui

generis piece is by turns an essay film in the tradition of Chris Marker (San Soleil) and

Patrick Keiller (London), a documentary, and a quirky drama about loss and exile.

There’s moving footage of Lawlor’s late mother whose life is sketched here, riffs on ideas

about photography and representation found in Susan Sontag and Walter Benjamin, and

a series of cinematic “notes” or tests towards a biopic about the 18th-century Irish

adventurer Ambrose O’Higgins (played by Jose Miguel Jimenez) that Lawlor and Molloy

may or may not have ever intended to produce for real. Exceedingly playful and

intellectually stimulating, Further Beyond is not for lightweights. But for those who care

about film-making that pushes against what’s possible – and fundable – in an age of

cautious, cookie-cutter comic-book franchises and safe-bet awards bait, this is essential


- Leslie Felperin, The Guardian

 Jul 26. Wednesday / 10am to 6pm / Wolf Studio

9.30pm: Arriving

10 to 12.30 pm and 1.30 to 3pm:

Gareth Evans presents his "Strategy for Distribution in an Altered Age: CARE“ and will

discuss with workshop participants why the established model of distribution doesn’t

work anymore for the majority of films. In the workshop, he will lay out why new way of

thinking about what the cultural production of cinema means, in a globalised, multiplatform

world, is urgently required.


Karin Chien of dGenerate Films presents alternative and new models of distribution in

China and North America.

 Jul 26 Wednesday / 7.30pm / Wolf Studio

Public film screening of PLAY ME SOMETHING by Timothy Neat, UK, 72 mins, 1989

"Novelist, poet, playwright, artist, critic and commentator, John Berger is something of a

Renaissance man. Here he adds a couple more strings to his bow, collaborating with

director Timothy Neat to bring one of his own short stories to the screen, and appearing

in the film as the mysterious storyteller: wandering across the sands in black suit and

hat, suggesting both an enigmatic man with no name drifted in from the Highlands and

Orson Welles avuncular MC in ‘F for Fake’. A story, he says, is like an open ticket, and so

it is, as a handful of men and women await the plane for Glasgow on the Hebridean isle

of Barra, which boasts Britain’s only tidal runway. Amongst them are visitors, a young

woman (Tilda Swinton) setting off for a job on the mainland, the locals who have charge

of the airport and in their midst, Berger. Jaunty, vibrant and expansive, he makes a

mesmerizing storyteller, and his tale, on the face of it a simple yarn of a peasant’s

weekend trip to Venice, becomes a complex exploration of people and places, factories

and farms, sex, politics, musicways of being. The film quite naturally takes on myriad

textures: colour and black/white, 35mm and blown-up 16mm footage, and, for the story

within the story, still photographs by the exemplary Jean Mohr. Berger and Neat have

discovered that there is a useful application for post modernism after all, the better to

tell a tale."

- Tom Charity, from Time Out

 Jul 27 Thursday / 10am to 4pm / Wolf Studio

10am to 1pm:

Recap and discussion with Verena von Stackelberg about cinema programming

distribution strategies and IN THE LAST DAYS OF THE CITY.

2 to 4pm:

Jürgen Pohl (Salzgeber Film Distribution) gives insight into the world of film distribution.

 Aug 1 and 2 Tuesday & Wednesday / 11am to 3pm/ Wolf Studio

The workshop participants meet and draw up alternative PR strategies for IN THE LAST

DAYS OF THE CITY. They are also encouraged to organise events around the film

themselves. These can take place in August and September and extend to after the

release date of the film as well.






GARETH EVANS: CARE – A Strategy for Distribution in an Altered Age

When will we begin to learn from what is being born instead of what is dying?

– Murray Bookchin

It is widely known now that the long-established model of film distribution - a journey

from festival premiere, to national theatrical release, home entertainment release and

even television broadcast - is now over for the majority of works. Financially,

technologically, socially, politically: everything has changed. A new way of thinking

about what the cultural production of cinema means, in a globalised, multi-platform

world, is urgently required.

One possible way forward might appear at first glance to be a navigation back, to

sources: of creativity, purpose,community, finance and even language.

Curation derives from the Latin, curare, meaning 'to care'.

In this context, curation does not only mean the arrangement of finished works but the

attention given to the entire spectrum of production, from idea to audience, and beyond,

to the ripple effect of the work's presence in the world, at whatever scale.

The most important quality one can display in this new mode of engagement with the

challenges and successes of collective, creative making is attention...

Attention is the rarest and purest form of generosity.

– Simone Weil

...Attention to all parts of the process outlined above.

In this day long workshop - bracketed by two evening film events, Gareth Evans will

work with participants on how these significant questions might be addressed to multiple

forms of filmic production, from short and artists' film, through documentary and hybrid

forms, to world and independent cinema. With screenings, discussion, exercises and by

example, the sessions will consider how one can best direct one's creative, emotional

and life energies towards the making of work that itself might make a difference.

To be truly radical is to make hope possible, rather than despair convincing.

– Raymond Williams