Back to All Events

XPOSED Film Festival


  • Wolf 59 Weserstraße Berlin, Berlin, 12045 Germany (map)

Vierzehn Jahre Formen, Formieren, Entdecken und Finden - bei XPOSED geht es um queeren Film in all seinen Formen, seiner Pracht, seine Scham, seine Widerständigkeit, seinen Trash und seine Schönheit. Freitag 10. Mai um 23h: Luk Luk'I von Wayne Wapeemukwa Samstag 11. Mai um 23h: Ciała bez ciał w kosmosie (Bodies Without Bodies in Space) von Rafal Morusiewicz.

EN

Fourteen years of shaping, forming, breaking, discovering and finding, XPOSED is about QUEER FILM in all it’s forms, glory, shame, distaste, trash and beauty. Sometimes it’s all in one and sometimes it’s spread out like Blanche at the Rusty Anchor.

XPOSED was started as a passion project, a passion for Queer Film, for Berlin and the ever expanding possibilities of storytelling within the world of Queer Film­ and the festival remains to this day a passion project. This festival is made by people who enjoy making festivals, who enjoy queer films, filmmakers and queer Berlin, and this is reflected within the programming of the festival.

By not only screening some of the newest films around, XPOSED always mix their programs with new and old films, be it in a short film program or a feature screening with a short. XPOSED enjoys creating programs and these programs can only be created by looking at the queer perspective from all corners of the world, perspectives that challenge normative views, propose an alternate way of thinking, and approach life and story telling from another way.

Created in 2006, the XPOSED International Queer Film Festival has built itself with the aim of creating entertaining, odd, left of centre Queer Film Programs that also in turn eXPOSE the Queer Filmmakers out into the international world of Queer Festivals and beyond. You can only be you when you are truly XPOSED. This festival, in the end, is about and for YOU. Enjoy!

XPO19_LLI_Promo_005.jpg

Fr 10.6. 23h
LUK’LUK’I
Regie:Wayne Wapeemukwa, KA 2017, 90 Min., OV englisch

It’s February 28th, 2010: the last day of the Vancouver Winter Olympics. At 12:15PM the puck drops for the Gold Medal game between Canada and the USA. In just a few hours this prolific event will undergo an apotheosis as one of the most remarkable games in hockey history. Yet all the while, in areas obscured by the patriotism and affluent façade of the game, another state of nature buzzes: the Downtown Eastside.

“Luk’Luk’I” is the name for the swampy area known today as Vancouver’s ‘Downtown Eastside’. This film begins with the Downtown Eastside and the people who live there: the descendants of a long–and ongoing–invasion, taking upon their shoulders the colonial legacy of the most violent and repressed aspect of Canadian national identity. Angel Gates is a mother and part-time sex worker. Eric Buurman is a father juggling his son and landscaping job with his heroin addiction. Angela ‘Rollergirl’ Dawson is a larger-than-life street celebrity and icon, roller-skating around town and interacting with virtually all of Vancouver. Mark has recurring visions of being taken away to another world. And finally, there’s Ken, a man with a disability who’s just trying to find companionship and to get to see the games.

Weaving their stories together over the course of one day, LUK’LUK’I is a film which reciprocally engages the real-life stories of five resident non-actors playing themselves under fictionally re-created scenarios, all taking place during the 2010 Gold Medal Men’s Hockey Game. The film refuses linear narration, refuses explanation, refuses biography. The queer comes through as the abject in society.

bodies.jpg

Sa 11.5. 23h
CIAŁA BEZ CIAŁ W KOSMOSIE (BODIES WITHOUT BODIES IN SPACE)
Regie: Rafal Morusiewicz, Österreich/Polen 2019, 45 Min., OmeU polenisch mit englischen UT

CIAŁA BEZ CIAŁ W KOSMOSIE (Bodies Without Bodies in Space) is a temporarily scattered trip into the childhood and teenage past of filmmaker Rafal Morusiewicz. Growing- up, his queer anxieties and affects were largely informed by the plots of the moving images he would watch on the two, color and black-and-white, CRT TV screens at his family home. The frame of the film’s plot is a mock situation of gradually falling asleep, of remembering a myriad of text, sound, and images as increasingly fragmented and distorted yet, at the same time, mashed up in a structure of its own idiosyncratic logic, style, and narration.

The film combines the 1952-1989 Polish realities as depicted in the films of the era with the semi-fictional auto-ethnographic story. It is an audio-visual and textual mixtape that combines footage from over 20 films with the original text and multiple layers of audio samples.