Vivian Zippel and Andreas Gläßer

01 Vivien und Andreas


Vivien Zippel and Andreas Gläßer founded the Eberswalde Film Festival

In 2002 we ended our eight-year work and cultural exile in Berlin and moved back to the Eberswalde area. During this time we had a lot of interesting experiences and contacts in the film and television world. But with our then newborn daughter Aurelie, we wanted to get out of the big city.
With a few exceptions, the Eberswalde cultural landscape was in a gentle slumber at the beginning of the 2000s. It was Udo Muszynski who was a pioneer in opening up new places in Eberswalde with Jazz in E. and other event formats, for example the old passage light shows on Eisenbahnstrasse and the even older St. George’s Chapel.

There was a lot of movement until the first festival took place. We got to know Sascha (!) and from that point on he threw himself into the project with us. Half of our circle of friends at the time came along. New contacts were made and numerous obstacles had to be overcome. Even the fact that Andreas, as co-responsible person, had to travel to Siberia for a documentary film production shortly before the actual festival and therefore couldn’t be there for the first edition of the festival, was taken care of by the team.

What was truly remarkable in this early phase of the festival was the obvious cultural spirit of optimism in Eberswalde. Many people were aware of the deficits in the landscape and were only too happy to provide support. In this respect, this birth was very fortunate. There was enough courage and also naivety to tackle such a project. But there were also numerous friends and acquaintances who were not above spending their free time working towards an event that no one knew whether it would work. You could perhaps call it a pioneering spirit. And that existed at that time. A common goal was pursued in a calm and fun way.

The second important step for the Eberswalde Film Festival was taken when, after a few editions, the euphoria of the beginning had faded somewhat. We asked ourselves how the festival could be led into the future. The idea of the Provincials and the festival club was born, new people came into the festival community again and in the following years the film festival began to develop a profile that radiated beyond regional borders. Province is also international.

Although the Provinziale has been referred to as the so-called lighthouse of the Eberswalde cultural landscape for years, it has always remained a group project. At the beginning of the film viewing phase, the actors slowly come together again and work on the program. Having an idea is one thing, but such a large-scale project definitely requires the energy of many people. We are grateful that it worked!

Andrea Stapel

02 Andrea


Andrea Stapel, as a founding member, still works at the cash desk and entrance to this day

I still remember clearly that we were sitting at Vivien and Andreas’ house with friends and were asked whether we could imagine starting a film festival and then taking part. A film festival in Eberswalde? I couldn’t even imagine that, but I said yes straight away. Why not, it was an exciting time with friends, the future “film festival family”: a club was founded, there were small film art evenings (in the small St. George’s Chapel that was still open at the time), sponsors had to be found, advertising at the Brandenburg Day in Eberswalde…

The most beautiful task for me was designing the Passage cinema. Every single chair was cleaned by hand, the anteroom was painted, the huge velvet canvas curtain had to be washed, some of the furniture was found from bulky waste and refurbished and there were crafts. Torsten and Steffi printed tons of fabric, and of course they also made the stamp they needed themselves. Oh, I’m remembering more and more:

The film prizes were born in our heads and then produced, the Piggy Young Film Prize made of plexiglass with shiny silver screws and a “film strip” inside, the main prizes “the e” made of stainless steel from Glawion and a marble base from Steinmetz Thieme , hundreds of posters were distributed throughout the city and a BBG bus, completely covered in stickers, advertised the upcoming film festival.

My task was, among other things, the film festival café – of course not alone. I discovered unexpected talents, or others discovered them in me: decoration (it feels like half of my house stuff) and loving mixing, including Kiba and the hot chocolate, decorated with lots of cream and cocoa. As a child I liked playing in the dollhouse, and I was able to do this again in the café with my great imagination.

By the way: Back then, all film contributions were submitted on VHS cassettes or burned CDs; digital was the future…
Sascha was “bought in” with his Rent a Cinema and a very heavy film-playing monster.

The first film festival was a success! So we were allowed to continue. This time, however, in Haus Schwärzetal (the Passage cinema was unfortunately closed by building authorities).

I didn’t think the film festival would still exist after 20 years…
Luckily, yes!, it still exists, with a new name for a few years: the Provincials and I still exist, still actively involved as a Provincialist.
Oh man, I still have soooo many wonderful memories, talk to me, I’m happy to tell them, you can usually find me at the entrance when tickets are sold…

Torsten Stapel



I don’t even know what it was like exactly. In general, my memories consist of scraps or fragments. I was probably most likely to remember what was somehow relevant to me and what ultimately shaped me.

We played at the beginning. Like how you play building a booth as a child. All around the room, usually in bad weather when you can’t go outside, all kinds of utensils are collected to transform the living room table. Blankets, blankets, pillows, large sweaters, cuddly toys and, ideally, other items are used. You move on all fours, crawling through the living room. I always thought that was great, especially when the adults got involved. In no time at all, as we now know, a new space will emerge.

And that’s how it was with the start of the film festival. Among my other memories is this: We were convinced that we absolutely needed a red carpet at the entrance. Who had something like that back then? Who could we ask? Someone knew there was a copy in the Porsche dealership. Yes, Eberswalde had a Porsche car dealership. And they lent us the red carpet for the first film festival. Katrin and I picked the thing up there. Just like those at the car dealership, a number of companies in Eberswalde supported us to the best of their ability. I wrote the list of sponsors with permanent marker on the backlit outdoor billboard of the toy store that used to be next door.

Someone brought a long piece of black fabric. You could definitely have sewn some pants out of it. But Stefi and I made stencils and painted the fabric with our logo at the time. The thing then hung below the stage as a quasi-film strip. Just like Piggy, the big piggy logo for the young talent competition, which later appeared in multi-color in the entrance café. I didn’t know Stefi until then. That’s how we came together here. Most. And then you bring someone else with you. Zack, done.

And now philosophically again: we enter this room. At first everyone was in their own bubble. Appropriately, on the opening night the band presented themselves in a kind of “Kraftwerk” look. We design the space, inside and outside and all around. Only the visible festival is temporary. But it exists beyond that and has now existed for twenty years. Preparations, follow-ups, closed meetings, filmmaker submissions, correspondence, meetings. And everyone who now knows PROVINZIALE is looking forward to this cultural week in autumn and in Eberswalde, I say.

Assembly and disassembly. Every now and then I see someone crawling on all fours on the ground. The image is, or has long been, linked to my childhood memories. Then something smiles, invisible and yet noticeable.

Sven Wallrath

Sven Wallrath


Sven Wallrath has been on the program advisory board from the start

Sometime 20 years ago… On the way to Bäcker Wiese, at the level of the ice cream shop that didn’t yet exist, Lars came towards me in a good mood with a slightly larger cloth bag. When asked what he planned to do with the video cassettes sticking out of the cloth bag, the answer was “Looking through the first films for the new film festival… would you like to watch along?”.

“Mmmm… yes.” So the advisory board activity was unanimously decided without any application formalities and from that moment on I became a member of the program advisory board.

Over the course of the next 20 years, there were certainly fleeting moments that I have now forgotten. But there are also some beautiful pearls in the coils. The following three films are included:

One of the most touching moments for me was the interview with a Bertsolari (Basque language poet who rhymes, sings and improvises on stage) during the presentation of the film “Bertsolari”. After our film discussion, I agreed with Sascha by nodding my head to release the stage. Afterwards, this little woman filled the hall of the Paul Wunderlich House with a lecture by a beautiful Bertso. How she stood there alone on the film festival stage and recited her verses with force and yet again so carefully – so beautiful! Even if you didn’t understand a single word…

Then, of course, “Ala Vita” remains in memory, a film about the brief revival of a traditional way of working by woodcutters by today’s generation. The trees slide from the mountain into the valley on a specially made wooden track. With the warning call “Ala Vita” the signal was sent to everyone further down that a tribe was now coming towards the valley. Tree by tree a call, and there were a lot of trees in this film! When the film’s crew stood on stage and the last bars of the stage conversation had been spoken, the audience was asked to shout a one-off “Ala Vita!” into the curves of the Paul-Wunderlich-Haus. This choral exclamation: Gorgeous!

And then there was that wonderful Basque film “Oskara”, dripping with beauty. A film about the preservation of Basque culture, captured in a series of impressive images, with a breathtaking final sequence to the title “So It Goes” by Greg Haines.

If the entire team were to sit at a large table and leaf through all the years of the festival catalogs that have been published so far, the most frequently spoken sentence would probably be: “Oh yes, can you remember that one?”

Sascha Leeske



Sascha Leeske is the organizational manager of the Provincials and (among many other roles) a member of the program advisory board for
Short fiction films

The Eberswalde Film Festival has been called PROVINZIALE for 14 years. In 2009 we decided to take a constant look into the living spaces of people from all over the world. At first I didn’t know what that meant at all. For me, landscape, space or home were terms that I used and understood in my life. But to what extent these things were connected to my decisions and my life’s highlights and low points was hardly apparent to me.

When I joined the activists of the SEHquenz association in 2004, it was new and exciting for me. Until then I only knew the Movie Magic cinema, where I also worked. Or I was once taken by a friend to a very “strange” event called “Jazz in e” at the Passage cinema. Back then I met Vivien and Andreas, who enchanted me with their openness and sympathy. I met Udo, who seemed so mysterious to me at the time, and I didn’t yet know how important this relationship would be for my later life. I played theater for the first time in the group “Textnot” in the Altranft Castle Park, and I started showing films in different locations. It was the time when my view of the culture in Eberswalde changed – it was like a cultural coming out.

When I look at the pictures from the 1st Eberswalde Film Festival with the motto “The Private View”, I am overcome with awe. We were at the very beginning and were carried by a wave of harmony and community. I was there from the beginning and have been passionate about the festival ever since. My life, my annual rhythm was and is determined by this film festival. In recent years I have often been unsure whether this is a curse or a blessing.

Relationships have broken down and new affections have arisen. I met my girlfriend at the 9th PROVINZIALE. We have two children who are growing up with the festival. The sympathy for the people who accompany the festival and especially the affection for those who can no longer be with us show me that it was and is a beautiful life. A fulfilled life.

I now understand what it means to live here in this place, which to me means province. What influence the political, social and cultural conditions have on our festival and on my life. The past 20 years with the film festival, the incredible number of films viewed and the collaboration with so many people, all of this has shaped and strengthened my self-image of community, openness and continuity. I feel great gratitude for that.

Kenneth Anders



Kenneth Anders is festival director of the Provinziale and a member of the program advisory board for the long-form documentary film competition

I experienced the first Eberswalde Film Festival in the old Passage cinema as the moderator of the individual competition blocks. It was difficult for me to present the films because I did not choose them myself and had no connection to the material. So I was dissatisfied with myself and withdrew. It wasn’t until three or four years later that I joined the film festival team again. It was Sascha Leeske who opened this path for me, and alongside him it was Vivien Zippel and Andreas Brille who gradually gave me responsibility. They did this with care and trust so that I could grow into my new role.

A festival management requires strategic considerations and public statements. I didn’t always hit the nail on the head or find the right words. The team always helped me take the next step. Little by little, something unique was able to emerge: a film festival with a profile, with a real question: How do we build the world, the space – as a garden or as a prison? A certain level of film aesthetic competence grew throughout the entire team, not just two or three curators. We gave up celebrity as a currency for public recognition. The focus throughout was on communication, on encounters and understanding. And we were always willing to question, discuss and develop everything.

2021 was the most difficult year for me as a film festival director. As the organizer of an autumn event, we had to expect to fall under Corona policy regulations that would severely restrict free access to the screenings. Because I have a deep-rooted understanding of what constitutes a public event, I found myself in dire straits. In my opinion, the public is the essence of democracy. It only exists because everyone can take part in it. Not just because everyone makes public culture possible with their tax money – also because it is intended for everyone. What practice could I be responsible for here?

As is the case everywhere, the fellow members of the film festival team assessed the social situation at the time differently. So we had to find a solution that everyone could live with. So we went outside, into the courtyard of the Schwärzetal house, and celebrated the film festival with free access, but in the cold October fog. Not everyone liked it, some didn’t even come. But for us, who supported the provincials through commitment and solidarity, it was probably the right thing. Despite our differences, we remained in relationship with each other.

Since then we have developed further organizationally. Everyone who takes part in the film festival can be club members and also elect the festival management. The individual roles are better described and understood and can therefore be passed on better to those who follow. The journey can continue.

I would like to thank everyone who has accompanied and supported us this far from the bottom of my heart.

Udo Muszynski

Udo Muszynski


Udo Muszynski organized the Provinziale festival club from 2008 to 2019 and was a member of the program advisory board for the long-form documentary film competition

In the summer of 2004, Vivien Zippel and Andreas Gläßer came to my house with their little daughter Aurelie and reported on their plans to launch a film festival in Eberswalde. They were probably also looking for one or two pieces of advice, after all, with the “Jazz in E.” festival, which was founded in 1995, I had a head start of almost ten years.

The “Passage – Lichtspiele” film theater, built at the beginning of the last century, was chosen as the venue for the festival premiere. The traditional building at Eberswalder Eisenbahnstrasse 83 had been empty since the mid-1990s. As part of a four-part concert series “Eberswalder Stadtbespielung”, we “Jazzers” had already started our first attempt at reviving it in November 2001 with a concert by the Australian cult band The Necks. Encouraged by their success, the Jazz in E. festival years 2002 and 2003 found their home here, but in 2004, shortly before the festival started, we were banned from holding concerts in the Passage Kino by the city’s building regulations office. There was another special permit for the first film festival in autumn 2004, but this special cinema festival, as we now know for sure, marked the end of the almost hundred-year history of the cultural location. Looking back, it seems to me that I already had an inkling of the uniqueness of this event; everything felt easy and like a game. Was it a dream?

I discover similarities between the two Eberswalde festivals, are they unwritten rules?

1. Years two and three were the most difficult and probably the worst attended festivals. Remember: stick with it. After the euphoria of the opening, the struggles of the levels follow.

2. At Jazz in E., the search for the content direction resulted in specific annual themes, the Eberswalde Film Festival became the PROVINZIALE. This focusing is an important aid in achieving concentration in the sea of impressions and information. A special perspective, experienced in community, grows on what we hear, see and experience. Remember: You can also leave something out.

3. In addition to the artistic impulses set, the festivals also wanted to be a meeting place from the beginning. What wasn’t tried, especially after show, some things worked, others not so much. Remember: Open the doors and be ready to receive!

Steffen Neumann



Time doesn’t pass any faster than it used to, but we move past it more quickly. (George Orwell)

Steffen Neumann started with a variety of services (including admission and vacuum cleaning) and eventually worked on the program advisory board for the animated film competition

When I left my hometown in 2002, the film festival in Eberswalde didn’t even exist. I didn’t experience the exciting pioneer times. When the 6th Film Festival celebrated its second year in the Paul-Wunderlich-Haus in 2009, I wanted to take a look and decided to treat myself to a week of culture. Somehow I was integrated into the team straight away. Back then I tried to make myself useful in every corner. It was so much fun, yes, including vacuuming, that I kept coming back in the years that followed. The decisive reason for this was the team, a harmony of professionalism, passion and relaxation.

From 2013 onwards, I even took responsibility for program design as a member of the animation advisory board. I always found the possibilities of animated films very exciting. And in the 8 years of program work you could see a lot of fascinating, crazy ideas. The rapid technical development, even in a relatively short period of time, was also impressive.
It was also great working with my two colleagues Nele Fischer and Almut Undisz. Thank you girls, it was really fun with you! What great films we were able to show on the big screen. Starting in 2013 with THIS LAND IS MINE by Nina Paley and OH SHEEP by Gottfried Mentor, through the Serbian RABBITLAND, a kind of 1984 with pink rabbits, KLEMENTHRO on his raft, AFTER ALL, HIGH WOOL, A SINGLE LIFE and so many pearls up to completely crazy RERUNS that probably only a few people remember.

Times are changing. My voluntary work as a youth coach in my adopted hometown was now taking up more and more time. And doing two things half-heartedly never seemed right to me. I am no longer part of the Provincials now, but I continue to follow developments and am still there, at least in my mind and heart! It’s great that you found a new home and that you survived the difficult last few years so bravely! My respect! And I keep my fingers crossed for the next 20 years!

Julia Heilmann



Julia Heilmann worked voluntarily and later professionally for the festival’s organizational management

PROVINZIALE had a decisive influence on my life. The films, the program of the festival club, the gateway to the province, the home window and the film discussions at the Eberswalde Film Festival have always stimulated and inspired me. But above all, I was influenced and impressed by the encounters with the people from the festival team.

With my partner at the time, Tim Altrichter, I was part of the voluntary “Provincialists” a good ten years ago – while I was still a student – ​​and sold my first tickets. It was Sascha Leeske’s approachable, appreciative and open art that immediately made me feel welcome and gave me security. The warm and experienced women at the checkout counter took me with them as a matter of course and at eye level. So I gradually got to know and appreciate the entire team. First I worked at the cash desk and at the entrance, later at the public and guest information. For several editions of the festival, as an employee of the organizational management, I was intensively involved in many processes before and during the PROVINZIALE and was often an interface between the many different “trades” of the film festival.

Right from the start of my work at PROVINZIALE, I knew their program advisory board and festival club operator Udo Muszynski, whose event agency was responsible, among other things, for the cultural series Guten Morgen Eberswalde and the program for the Jazz in E. and PurPur festivals. I found joy in supporting and helping to shape these formats in Eberswalde. After a few years of voluntary and freelance festival work, I started working full-time at Udo Muszynski’s agency in 2019. I remained connected to PROVINZIALE even in the following times, which were characterized by upheavals and therefore challenging.

In the meantime, I have changed my focus and shifted my priorities, which has resulted in completely new developments in my life. However, PROVINZIALE created a social network for me that continues to this day despite all the changes. Every year I am delighted by this festival team, which has grown over the years and is always open; the busyness, attention to detail and dedication of everyone. I am grateful for all the trust, encounters and experiences.

Juliane Seeliger-Ahlhelm

Juliane Seeliger Ahlhelm


Juliane Seeliger-Ahlhelm began her film festival career as a visitor

For 20 years there has been a week in autumn in which everything in Eberswalde revolves around the province.

I lived in Berlin for a long time, taking advantage of and enjoying the hustle and bustle of the big city. I came from a small town in the Spreewald. And like many young people in such cities, I felt constrained and out of place.

And then came Berlin with its cinemas, museums, bars… What a life!

And then came the children, family life instead of bar evenings.
Life in the big city turned into life in the village – out into the provinces.

I experienced the first film festival in 2005 at Haus Schwärzetal. I had no idea what to expect, wasn’t familiar with the cinema landscape and had no idea what kind of films would be offered to me.

And I was completely overwhelmed.
Okay, they weren’t movies at all. It wasn’t about the big screen stars.

I remember crazy short films, some in foreign languages, with stories that left me perplexed.

In the years that followed, I kept checking out the film festival. At first a little furtive, a little strange. Conversations and acquaintances arose, I got to know film festival activists and was fascinated by their commitment, visions and openness.

The irregular visits turned into a permanent appointment – this week in the fall belongs in my calendar.

And then I decided to get involved. Not just watching films, I wanted to be there, hear, see, think. With the people who make the film festival what it is for me – a place for exchange, thinking outside the box, tolerance and trust.

I learned that this film festival shows me places, people, spaces that are not just made of thoughts and dreams. I look into worlds and learn about events that are sometimes very small and yet have infinite consequences. And I learned, and am still learning, that there is nothing provincial about life in the provinces.

I can tell you what it is for me: it is the confrontation with one’s own living space, with respect for the actions of others, with the knowledge that despite differences of opinion there is a basis for understanding.
It’s a celebration for mind and soul!

Sven Ahlhelm



Sven Ahlhelm was already standing at the entrance and today works on the program advisory board for the short documentary film competition. A highlight was certainly the artistic design of the gate to the province.

My first visit to a film festival in Eberswalde was a long time ago. I think it was 2005 in Haus Schwärzetal. A few years later I stood at the door to the cinema and checked tickets and helped set up and dismantle the festival club. In 2016 I was asked if I would like to design the gateway to the province. I had a lot of respect for the size. But I found the challenge appealing. I had often thought about whether another species might not be looking at us as humans, observing us with amusement or fascination, just as we more or less respectfully admire, for example, insects or birds in the way they lead their lives to move, build nests or look for food. So I created figures more than 6 meters high, which visitors to the film festival looked at with interest as they entered the Provinziale.

I have now been involved in the selection of short documentaries twice – and I always feel like a representative of an alien species, observing unknown worlds from a safe distance. A mixture of travel replacement and voyeurism, but also out of deep interest and the awareness that this way I would become a little more familiar with the world.

A sentence from Antoine de Saint-Exupéry’s “The Little Prince” sometimes scares me or embarrasses me.
“You are responsible throughout your life for what you have become familiar with.”

Florian Heilmann

Florian Heilmann


Florian Heilmann once received the “Piggy” young talent film award

“Piggy” delights young directors, it was said in the weekend edition of the “Märkische Oderzeitung” (MOZ) from October 7th and 8th, 2006. The article also stated, among other things, “Young Film Prize awarded in three categories at the Eberswalde Film Festival” and “Contributions have never been so demanding before” the speech. I was one of those award-winning “young hobby filmmakers” back then. For my, I’ll carefully call it “avant-garde” short film “There are stones in every heart” (not hearts!) I was awarded the “cult piggy” young talent film award in the “Best Camera” category. The film, which I can no longer stand to watch because of shame, is loosely based on the poem of the same name by enfant terrible Klaus Kinski, published in his volume of poetry “Fever – Diary of a Leper”. So it was the distinguished outsider in me who couldn’t have felt bigger and more confirmed that beautiful evening. Finally “my genius” had been recognized and appreciated. My mind clouded by youthful self-overestimation and post-romantic melancholy, I thought I was already on my way to Hollywood. In fact, I was strongly influenced by the experimental US and Italian genre cinema of the 1970s and 1980s, which can be clearly seen in my “work of art” in its naive and arbitrary dramaturgy as well as its “aesthetics of ambitious amateurism”. “We already thought back then that the boy had problems,” a former jury member recently whispered to me. Hollywood hasn’t come calling yet, but “Piggy” still stands in a place of honor among all the works of other famous directors in my opulent film collection. It will probably remain the only film award of my career as a passionate cineaste. By the way, I immediately invested the 200 euros in prize money in a select selection of international zombie splatter films as well as an extensive DVD edition of Werner Herzog’s work.

It has now been a few years since the memorable 3rd Eberswalde Film Festival, I have gotten older and the festival has been called “Provinziale” for some time now. The “Piggy” is no longer awarded, but I was accepted into the festival team – despite my dubious artistic outpourings of the past. I am very pleased by the annual cinematic promise that the “Provinziale” has established in Eberswalde in my opinion and has lost none of its fascination.

I also cherish the MOZ article from 2006 so that I can prove to my son at some point that his father is an excellent filmmaker and that the breakthrough to the Hollywood “dream factory” seemed within reach for a short time.

Kathrin Gollin

Kathrin Gollin


Kathrin Gollin is taking vacation so that she can work at the film festival

It’s 2004. How strange. There are posters hanging around the city. There should be a film festival. With us? In Eberswalde? That’s supposed to be in the old ‘Passage Cinema’. Is that still possible? That’s been closed for a long time! Let’s see. And then… again and again… I’m curious… in the ‘Haus Schwärzetal’. And ZACK! 2007 in the new Paul Wunderlich House. Now I would like to look at it – get involved in individual film blocks. Hey! I know a few people who are involved in this. And I ask, ‘What are you doing?’; I’m very impressed. So much organization. And the cinema hall is so chic.

When I look at the posts, I’m in other regions. So many countries. So many familiar situations on the other side of the world and also unknown ones – here, very close.
Then in 2012. There is a festival pass. Oh cool! I’ll get that. I’m counting – but I’ve been there for a long time. In the wake of ‘wanting to see everything’. I laugh, cry, am full of skepticism, have goosebumps, am stunned, afraid, love, think, angry, admire… All the feelings. Happen. The head is full. And the heart.

My work is difficult. I get up early. The evenings are long. With the discussions and conversations that follow the films; with the exchange with the people who are struggling and the others who are looking. Also in the festival club. So I’m taking a vacation! Then I can enjoy it better.

I’m full of excitement at the award ceremonies and have secret lists of favorites.
Posts from past years still play in my mind’s eye today. ‘The Deer’, ‘Battle of the Queens’, ‘Foreign’, ‘Germania Wurst’, ‘Eva’, ‘The Barber Shop’…

The years go by. The conversations are becoming more intense. Friendships emerge. ‘Will you help too?’. I sniff it. How good the community is. And then – in 2018 I’ll join in. I listen to the program advisory boards. That’s how critically they select the contributions.
I am happy to see the guests as ‘our guests’ and enjoy designing and looking after them.

There were times when people considered whether there should be a break. The circumstances are too difficult. And yes. The ‘outside’ then brought us even closer together. And gave warmth when it was so needed.
I’m glad to be there. It goes on! I still take vacations. Try this! Comes!
We’re at number 20!

I have now been involved in the selection of short documentaries twice – and I always feel like a representative of an alien species, looking at unknown worlds from a safe distance. A mixture of travel replacement and voyeurism, but also out of deep interest and the awareness that this way I would become a little more familiar with the world.

A sentence from Antoine de Saint-Exupéry’s “The Little Prince” sometimes scares me or embarrasses me.
“You are responsible throughout your life for what you have become familiar with.”