General info

Time: 2020.12.03, 19:00 Beijing time
Address: Sino-Swedish Innovation Centre, B1 Innovation Building A, Hangxing Science Park, Dongcheng District Beijing
ZOOM ID: 815 2720 8202,Passcode: 624199
Language: French with consecutive translation
Organizer: Baturu for Beijing + 25
Sponsor: Embassy of the Netherlands in Beijing
Partners:  Wallonia-Brussels Delegation in Beijing, China Nordic Innovation Hub


TOPIC: FEMINISM and film. women in the industry and on screen

We are pleased to invite you to a forum titled “Film and Feminism. Women in the Industry and on Screen” that is held as part of the Baturu for Beijing + 25 festival (September 24 – December 10, 2020). The forum, the offline part of which will take place at China Nordic Innovation Hub in Beijing, will bring together the following speakers – Sarah Hirtt, a filmmaker from Belgium, Cynthia-Laure Etom, President & Founder of Women In Film – France, and Guylaine Maroist, a film director from Canada; it will be moderated by Beijing-based independent journalist, Aladin Farré. The informational partner of the event is the Wallonia-Brussels Delegation in Beijing.

The recent studies show that there is much room for improvement in terms of equality behind the scenes and on screen. Over the past decade, women have accounted for only 23% of film directors and they have been underrepresented in such roles as cinematographer, writer, producer etc.

Simultaneously, over the past decades, there has been an active discussion on gender equality and patriarchal order in cinema prompted by women’s movement and academical developments including the groundbreaking article by Laura Mulvey “Visual Pleasure and Narrative Cinema” (1973). Eventually, this year saw the appearance of a book by Iris Brey “The Female Gaze” which discusses portraying female characters as subjects that share their experiences in opposition to the objectifying “male gaze”.

At the same time, recently we witnessed social movements and protests (including those around controversial cinema figures and productions) that demonstrate that society and the industry are questioning the existing norms of minorities’ portrayal and lack of professional equality.

We would like to invite the panel participants to discuss interrelations between the women’s movement, changes in the industry, developments of academic thought, and the evolution of the female image on screen as well as the reasons behind certain trends in the film industry and institutional tools to overcome them.


speakers and host


Cynthia-Laure Etom (online)

Cynthia-Laure Etom is a journalist and consultant in public relations. With a strong commitment to human rights and gender equality, with a focus on women and gender issues, her expertise extends to the place and image of women within the media.
She is the President & Founder of  the international organization : Women In Film – France (WIF – FRANCE). Also a speaker, she delivers workshops for all, in Europe and North America. In october 2020, she was selected “Top 100 Black Women To Watch In Canada – 2020” (CIBWE). 

Sarah Hirtt (online)

After obtaining her diploma in Romance Languages and Letters at Université Libre de Bruxelles, Sarah Hirtt, guided by her passion for cinema, took a film directing course at INSAS (Institut National Supérieur des Arts du Spectacle et des techniques de diffusion). She completed her Master’s degree with distinction and her graduation film, “En Attendant Le Degel”, won the 2nd Ciné-fondation Prize at the 2013 Cannes Film Festival among other awards. In 2014, Sarah Hirtt produced a short film, “Javotte”, and in 2018 released on her first feature film, “Escapada”. The same year, she joined the board of the Association of French-speaking directors and in 2019, she became a member of a feminist collective “Elles Font des Films” that deals with issues of parity and diversity in the audiovisual sector. She is currently working on a script for her second feature film “Cyclopes” (co-written with Sabrina B. Karine) and a mini-series “Deluges” (co-written with Garance Meillon).

Guylaine Maroist (online)

Guylaine Maroist is a Canadian journalist, filmmaker, musician, scriptwriter and film director. She is well known for her documentary productions such as “Gentilly or Not To Be”, “Time Bombs”, “The Disunited States of Canada”, and “God Save Justin Trudeau”. In 2011 she received the Governor General’s History Award for Popular History (The Pierre Berton Award) for her TV documentary series “My Memories On a Roll”. She is President of Productions de la Ruelle, a documentary film production company in Montreal, and President of Les Artistes pour la Paix, a Quebec NGO advocating peace and nuclear disarmament.

Host (offline)

Aladin Farré is a French factual content producer and journalist based in Beijing. Founder of the company China Compass Productions he is the host of Middle Earth – China’s cultural industry podcast.


General info

Time: 2020.12.04, 19:00 Beijing time
Address: Sino-Swedish Innovation Centre, B1 Innovation Building A, Hangxing Science Park, Dongcheng District Beijing
ZOOM ID: 857 6050 9636,Passcode: 846320
Language: French with consecutive translation
Organizer: Baturu for Beijing + 25
Sponsor: Embassy of the Netherlands in Beijing
Partners:  Wallonia-Brussels Delegation in Beijing, China Nordic Innovation Hub



To continue the topic of film and feminism launched with a discussion about the interconnection of the representation of women in the film industry and their image on screen on Thursday, on Friday we will talk about the evolution of female image with film directors Sarah Carlot Jaber (Belgium) and Martin Laroche (Canada); the discussion will be moderated by Chinese director Li Jingxiang. The event will take place online and offline at China Nordic Innovation Hub in Beijing. The informational partner of the event is the Wallonia-Brussels Delegation in Beijing.

Over the past decades, there has been an active discussion on gender equality and patriarchal order in cinema prompted by women’s movement and academical developments including the groundbreaking article by Laura Mulvey “Visual Pleasure and Narrative Cinema” (1973). Eventually, this year saw the appearance of a book by Iris Brey “The Female Gaze”.

Mulvey builds her analysis on Hollywood cinema and associates alternative ways of looking with the emergence of avant-garde cinema as well as the change of audience and the technological breakthrough. Iris Brey connects the appearance of an empathetic gaze with a growing number of women behind the scenes; she defines that female gaze as the one that brings to light a variety of female experiences but at the same time highlights that it is about how the character is depicted and not about who stands behind the camera.

We would like to invite the panel participants to discuss the evolution of female characters’ portrayal, its relatedness to the cinematography, narrative, script and other components of the film, as well as factors the shape it.


speakers and host


Sarah Carlot Jaber (online)

Of Belgian-Lebanese origin, Sarah Carlot Jaber grew up in the Middle East developing a taste for writing, photography and cinema. She holds a degree in Film and Performing Arts from the University of Montpellier III and a master’s degree in feature film from Institut des Arts de Diffusion (2014). Her two student films “Galia” (2013) and “Un parfum de Citron” (2014), as well as her video clip Le lagon (2018), were screened at festivals (FIFF, FIPA, Un point c’est court …) and were marked by awards.

In Brussels, in 2013, she co-founded a group of feminist activists, the LilithS. In 2017, she joined a collective of Belgian directors Elles Font des Films. Recently, Sarah Carlot Jaber has completed an interuniversity master’s program in Genre Studies (Social Sciences) delivered by six universities of the Wallonia-Brussels Federation.

After graduating from IAD, she participated in the production of fictional films, wrote several short films and worked for four years at RTBF (Radio Télévision Belge Francophone) as a film director in the marketing department. Now she is working on two fictional short films: “La Protagoniste and “Olga” at the same time she finalises the script for her first feature film “Promises d’Exil”, selected at Atelier Grand Nord in 2019 in Quebec.

Martin Laroche (online)

Martin Laroche is a Canadian film director and screenwriter from Quebec. He is most noted for his 2012 film “Fair Sex”, which received four Jutra Award nominations at the 16th Jutra Awards in 2014 including a nod for Laroche in the Best Screenplay category.

Originally from Victoriaville, Quebec, he is a film studies graduate of the Université du Québec à Montréal. He wrote and directed his debut feature film, “La logique du remords”, in 2007, and followed up with “Modernaire” in 2009.

Since “Fair Sex”, he has also directed the films “Tadoussac” in 2017 and “Laughter” in 2020.


Li Jingxiang (offline)

LI Jingxiang was born in 1984 in Beijing. In 2006 she graduated from the Central Academy of Drama in drama performance. She worked in the film industry for two years then decided to study filmmaking abroad. She followed courses at ESEC and University Paris 8 in France, then at University of Montreal and Concordia University in Canada, obtaining two Master’s degrees. She worked on several French and Chinese films in France and the USA. In 2015, she was part of the organization team of the 12th French Film Festival in China. In 2019, she finished her first feature film “Spring Sparrow” and won two awards: Fajr International Film Festival-Silver Simorgh for Special Jury Prize: Best Costume Design and Festival Nits de Cinéma Oriental de Vic-Jury Prize: Best Film.


Time: 2020.11.29, 19:00
Guests: Karin Fornander (Berlin Feminist Film Week), Jenny Man Wu (Beijing Queer Film Festival), Lior Elefant (Lethal Lesbian)
ZOOM: ID: 854 6086 5122,Passcode: 424197
Organizer: Baturu for Beijing + 25
Sponsors: the Embassy of Germany in Beijing, the Consulates of Germany in Shanghai and Chengdu


As part of “Berlin Feminist Film Week@Baturu” we are pleased to present a panel discussion “Do we still need queer film festivals?”

LGBTI*Q film festivals flourished in the 1970s and 1980s in Western Europe and North America following the rise of the Gay Liberation movement and later in an urge to speak up about HIV-positive people, and saw global expansion in the 1990s. Appearing as a reaction to the current state of society, LGBTI*Q film festivals remain relevant continuing to emerge in different parts of the world. Since 2010, more than 130 new LGBTI*Q festivals have been established globally, exhibiting a trend for a specific political focus – race/ethnicity, migration, gender etc.

Bringing together the curators of festivals focusing on queer and feminist films – Karin Fornander, the curator of Berlin Feminist Film Week (since 2014), Jenny Man Wu, the curator of Beijing Queer Film Festival (since 2001), Lior Elefant, the curator of Lethal Lesbian (since 2008), the forum will shed light on current trends in queer and feminist festivals, the conditions and reasons behind them as well as touch upon broader topics related to queer and feminist filmmaking.


Karin Fornander / Berlin Feminist Film Week (Germany)
Karin Fornander is the founder of the Berlin Feminist Film Week, a feminist film festival, which challenges patriarchal norms of storytelling and gives a platform to cinematic feminist experiences. Since its foundation in 2014, she is the director and a curator of the Berlin Feminist Film Week team. She studied political science and sociology in Sweden, Russia and Germany.
Berlin Feminist Film Week is a feminist festival founded in Berlin in 2014. Its mission is to challenge the hegemony of patriarchal storytelling through feminist films. Not only are women, queer and PoC filmmakers and protagonists heavily underrepresented in mainstream cinema, but often misrepresented as the characters rely on stereotypes. Discussions on feminist theory and discourse often take place within academia, by using film as a medium the BFFW wants to ensure access to feminist conversations for those outside of academia as well.

Lior Elefant / Lethal Lesbian (Israel)
Lior Elefant is a feminist activist dedicated to support and promote women in the media industries in Israel. Since 2008 she co-founded and/or took part in projects related to women and the media. such as “P. See”, the Israeli Women in Film and Television Forum, the Lethal Lesbian film festival and more. She is currently co-CEO of Women in the Picture Association and working on her Ph.D. in sociology at Ben Gurion University of the Negev.
Lethal Lesbian is an Israeli Lesbian film festival that was founded in 2008 by Dana Ziv and Anat Nir, joined by Lior Elefant in 2009. Since its establishment, it has been screening short Israeli LGBTQ films made by Israeli women, for women, and about women. The festival is not publicly funded, and all involved in it are volunteers. It is the biggest cultural event in Israel for queer women.

Jenny Man Wu / Beijing Queer Film Festival (China)
Independent director, producer and curator. Studied at Beijing Film Academy and Li Xianting Film School. She was in charge of the China Project at Bridging the Dragon Sino-European Producers’ Association, Committee member and Director on Duty of Beijing Queer Film Festival. The films she directed and produced were screened at the Berlinale, Viennale, Women’s Film Festival of Brussels, Dortmund International Women’s Film Festival, SEOUL International Women’s Film Festival and FIRST Film Festival, Beijing Independent Film Festival, Friss Hús Budapest etc. As producer, she has participated international workshop including Biennale College Cinema 2020, Berlinale Talents Program in 2019, Shanghai International Film Festival Training Program 2020 and FIRST film festival training program in 2014.
Beijing Queer Film Festival, is an LGBT film festival, held annually in Beijing. It was the first LGBT film festival to be established in mainland China, founded in 2001 by the Chinese author and LGBT film director Cui Zi’en, a professor at the Beijing Film Academy.

Gender Equality in the Film Industry – Welcome remarks

挪威大使馆副馆长Tom Knappskog出席并致辞:

Dear guests,

Thank you all for joining us here at the Norwegian Embassy for the event tonight about Gender Equality and female representation in the film industry.

The event tonight is co-organized between the Embassy and our partner Baturu International Culture Festival. The Embassy has cooperated with Baturu –formerly known as China Women’s Film Festival, for a number of years and on a variety of projects. We are happy about our solid cooperation and relationship, something that we highly value. We applaud you for having, and keeping, a strong focus on women’s rights throughout the years– and especially for highlighting women and female voices in creative industries and art! Thank you to the founder Li Dan, and to Tanya, for your efforts and dedicated work.
Gender equality is a cross-cutting issue for all activities of the Embassy, and it is important in our cultural work, in what we do to promote business and trade, in development work and for human rights and political issues.

Art and culture are expressions that build society. In a world where the public sphere is becoming increasingly fragmented, art and culture shape and strengthen the societal structure around us.

Films, in particular, have the potential to touch people in ways that media and politics cannot, and they can shed new lights on topics – and make us see things from a different perspective than we normally would.

We live in societies that are diverse and multicultural – in terms on ethnicity, culture, social class, sexual orientation, gender identity and age. And films reflect this fact. Lack of insight into each other’s point of view leads to polarization and reinforces what separates us.

Having female voices present in the film industry – in any industry, is important not only for gender equality’s sake – but because variation leads to new thinking, innovation and creativity. Better content – and better films!

Tonight we are going to listen to two keynote speakers from Norway and two from China. First Aesha Ullah, project manager for the Norwegian Film Institute’s UP project and then Maria Bock – Norwegian actress and director. Director Bai Xue cannot be with us tonight, but we are happy and honoured to have Wang Yanyun, an independent artist, producer and director, as well as Lin Meiru – scriptwriter for the film “The Crossing”.

We are looking forward to the exchanges and discussion tonight – and hope you will all enjoy yourselves. Thank you!

FILM: MY Talk With Florence

The Baturu Cultural Festival in partnership with Austrian Cultural Forum, Beijing and Eyepetizer will hold a screening of a film by Paul Poet “My Talk With Florence” at IOMA Art Centre. The screening will be followed by an online Q&A session with Paul Poet.

Date and time:  26 November, 2020
Venue:  IOMA Art Centre, Chaoyang District, Jiuxianqiao Road, 2, Section D, 01
Partners: Austrian Cultural Forum, Eyepetizer platform

Title:  My Talk With Florence

Director:  Paul Poet

Runtime: 129 min

Year:  2015

Country:  Austria

Genre: Documentary

Language:  German with Chinese subtitles

Stars:  Florence Burnier-Bauer, Paul Poet

Award: Best Cinema Documentary at Sydney World Film Festival 2016

A minimalist interview-film, dealing with one of the most disturbing life-stories of the 20th Century. Florence fled from the sexual and psychological abuse by her post-war bourgeois home into a vagabond life of crime and freedom. She ended up in the Austrian counterculture community Friedrichshof, led by the infamous Vienna Actionism-Artist Otto Mühl, where her own children were subsequently taken away and the cycle of violence and mistreatment continued. This is the narrative of a woman who needed 50 years to learn to say No. An oral history about abuse, resistance and survival.

This film is a prepared staged talk that grew out of many years of friendship between Florence and Paul Poet, during which the director helped Florence to liberate herself from the ghost of her past and find a voice for her troubling story.

Paul Poet is an internationally acclaimed Austrian film director and author, studied philosopher, curator and culture journalist. Poet was selected into a canon of international political cinema by the Biennale Istanbul in 2013 with following showcases at Istanbul IFF, Doc Aviv and at MoMA New York. “My Talk with Florence” is his third cinema documentary.


Gender Equalityin the Film Industry

Wednesday November18, 2020
Royal Norwegian Embassy in Beijing


Baturu Festival & the Royal Norwegian Embassy inBeijing

On the occasion of the 25th anniversary of theBeijing Declaration – a landmark document on women’s rights, the NorwegianEmbassy in Beijing, together with partner Baturu Festival, will host a forum on the topic Gender Equality in the Film Industry.

The purpose of the event is to share experiences between representatives fromthe film industry in Norway and China to address the common challenge ofunderrepresentation of women in the film industry. What is the status of femalefilmmakers in the Norwegian and Chinese film industries? What are thechallenges and possibilities? Why are women not as visible as men, and how canwomen’s opportunities for success be strengthened?


Bai Xue (China):

Bai Xue is a Chinese film director and screenwriter. Bai graduated from Beijing Film Academy (BFA) in 2007 and was admitted to the Academy’s MFA program in 2013.

Her first feature film The Crossing was completed in 2018 and premiered at Toronto Internationak Film Festival the same year. The Crossing won awards for Best Film and Best Actress at the 2nd Pingyao International Film Festival (China), and was a Generation selection at the 69th Berlinale. The film won Best Screenplay at the Dublin Film Critics Circle Awards at the Dublin International Film Festival 2019 (Ireland) and Most Promising Talent Award at the 14th Osaka Asian Film Festival (Japan). In March 2019, The Crossing was presented at the 43rd Hong Kong International Film Festival and nominated for the Best Director of Firebird Awards.

Aesha Ullah (Norge):

Aesha Ullah is the project manager for UP- a development program for underrepresented filmmakers in the Norwegian filmindustry. Ullah has worked for the Arts Council Norway as a senior advisor forthe Nordic project “Inclusive cultural life in the Nordic countries”,as well as focusing on challenges and developing methods for a more inclusivecultural life.Ullah has also workedwith communication, advertising and events for telecom company Telenor for anumber of years, and as a journalist, editorial and press consultant at NRK (NorwegianBroadcasting Corporation). Ullah has also been associated with the MelaFestival for the past 20 years, as a host, writer and contributor.

Description ofUP project:
UP is a development program for underrepresentedfilmmakers in Norwegian film industry. The first project period was for onlyfemale participants, and a strategic measure to improve the gender balance inthe Norwegian film industry.Thesecond project period, UP 2.0, is a strategic measure for increased diversity,broader recruitment, and inclusion of talent inside Norwegian film industry. UPis a cooperation between NFI, Talent Norge and Norsk Tipping.

The program is for 12 selected filmmakers(fiction and documentaries) and stretches over a period of 18 months. It is fordirectors, writers, and producers and is designed to focus on the creativeprocess and the filmmaker’s individual development. The longterm target is that80 % of the participants will produce a feature film or series within the threeyears after the end of participation in the program.

Maria Bock (Norge):

Maria Bock is a Norwegian actress and filmdirector, known for Baldguy (2011),Revenge (2015)and 22 July (2018).From 2017 – 2019 she led the women’s skills development at Talent Norge,supported by the Norwegian Ministry of Culture. She has lead a pilot projectwith a focus on dropping out of young female talents early in a career. Bockhas investigated why women are not as visible as men – and what investments in femaletalents should include. She has been a board member of the Norwegian Actors’Association, in the Industry Council for Film, and deputy board director of theTromsø International Film Festival.

女性电影月 | 影片放映《爱情和其他魔鬼》


En el marco del festival «Baturu Pekín + 25», se ofrece la cuarta película del ciclo dedicado a directores en español:


Del amor y otros demonios

哥伦比亚驻华大使馆为我们带来影片《爱情和其他魔鬼》,其同名小说是哥伦比亚文学家、诺贝尔文学奖获得主加布列尔•加西亚•马尔克斯(哥伦比亚1927- 墨西哥2014)于1994年创作的,于2009年由电影人希尔达•伊达尔戈(哥斯达黎加,1970-)搬上荧屏。


La Embajada de Colombia en China, ofrece la película Del amor y otros demonios, novela escrita por el Nobel de Literatura colombiano Gabriel García Márquez (Colombia 1927 – México 2014) en 1994 y llevada al cine en 2009 por la cineasta Hilda Hidalgo (Costa Rica, 1970).

La película se basa en el relato de la vida de una niña que vivió en Cartagena de Indias, Colombia en plena época de esclavitud.

A partir de las 18 h, antes del comienzo de la película, la Embajada de Colombia ofrecerá una copa de vino o una taza de café para todos los asistentes.



Más información sobre la película


Viernes 6 de noviembre, 18:30 h


Instituto Cervantes de Pekín


V.O. con subtítulos en chino



Aforo reducido al 75%.

Actividad con reserva previa a través del siguiente código QR.

Confirmaremos a través de un correo electrónico.



Reserva viernes 6 de noviembre


Protocolo de seguridad sanitaria


Próximo viernes 13 de noviembre: Climas, quinta película del ciclo de directores en español.

Berlin Feminist Film Week @ Baturu

The film program “Berlin Feminist Film Week @ Baturu” took place in Beijing, Shanghai and Chengdu on October 17 and 18, 2020 with the support of the Embassy of Germany in Beijing and the Consulates of Germany in Shanghai and Chengdu. The program included screenings of six short films selected by the BFFW team  – Revolvo” (2019) by Francy Fabritz, “End-O” (2019) by Alice Seabright, “Two Bodies on a Beach” (2019) by Anna Paavilainen, “Marisol” (2019) by Zoé Salicrup-Junco, “Mc Jess” (2018) by Carla Villa Lobos and “Mixed Race” (2019) by Tai Linhares – and Q&A with the filmmakers. The films of the program reflect BFFW’s intersectional approach to gender, race, class, bodies and culture demonstrating complex and contextual images of contemporary women.

On October 17, screenings and discussions were held simultaneously in Goethe-Institut China (Beijing), Department of Culture and Education of German Consulate General in Shanghai and Tongzilin International Community Center (Chengdu) in two sessions.

During the first session the audiences in Beijing, Shanghai and Chengdu watched “Mixed Race”, “Marisol” and “Revolvo”. The screening was followed by a live introduction by the BFFW curator Karin Fornander and a discussion with the creators of “Revolvo” – the director Francy Fabritz and producer Sara Fazilat. The audiences in three cities had a chance to ask questions to Fabritz and Fazilat and enjoy an interactive discussion.

During the second session, which was held in Beijing and Shanghai, the screening of “Two Bodies on a Beach”, “End-O” and “Mc Jess” was accompanied with a Q&A with the script-writer of “End-O” Elaine Gracie and the producer of “Mc Jess” Julia Araújo. Both sessions were moderated by the Chinese translator, writer and poet Chen Bo. During the discussions the filmmakers talked about the stories told in the films, their plot structure and social meaning, and moreover, revealed the meanings hidden in the details of the films.

The screenings were opened by introductory speeches, in Beijing – by Britta Dehnel, Attaché in the Cultural Section in the German Embassy, in Shanghai – by Oliver Hartmann, Director of Department of Culture and Education of German Consulate General in Shanghai and Maximilian Hallensleben, Consular and Head of Cultural and Press Affairs at the German Consulate Shanghai, in Chengdu – by Paul Sander, Cultural Attaché of the German Consulate in Chengdu.

On October 18, NU SPACE in Chengdu held the screening of five films – “Marisol”, “Revolvo”, “Two Bodies on a Beach”, “End-O”, and “Mixed Race” that was accompanied by a Q&A session with the director of “Mixed Race” Tai Linhares. The screening was opened by the speech by the Sebastian Dern, Deputy Consul General.

Österreich ist ein Land großer Töchte

Österreich ist ein Land großer Töchter. Die Dokumentarfilmreihe von Inspiris Film in Kooperation mit ORF III möchte die einflussreichen Frauen des Landes sichtbar machen. Die Reihe widmet sich dem Selbstverständnis der Frauen – Damals und Heute. Jeder Film widmet sich der Lebensgeschichte einer Frau und erschafft ein Bild der weiblichen Lebensumstände in der Gesellschaft der jeweiligen Lebenszeit und der Gegenwart.

Hedy Lamarr: die Wienerin galt in den Dreißigerjahren als „schönste Frau der Welt“ und wurde als Teenager schlagartig berühmt – durch die erste Nacktszene der Filmgeschichte.

Die auch „jüdische Marilyn Monroe“ genannte Schauspielerin führte ein Leben, das ebenso turbulent wie tragisch war. Sie war Shooting Star in den großen Tagen  Hollywoods, eine der ersten als Marke aufgebauten Schauspielerinnen der Welt, die gezielt mit Filmrollen und ihrem Privatleben von den Filmstudios ins Scheinwerferlicht  gestellt  wurde.

Die Schauspielerin kam bei MGM unter Vertrag, musste aber ihren Namen ändern.MGM wollte nicht mit dem Nacktskandal in Verbindung gebracht werden. Deshalb wurde in den USA aus der Wienerin Hedwig Eva Maria Kiesler Hedy Lamarr.

Um den Kampf gegen den Nationalsozialismus zu unterstützen, entwickelte sie gemeinsam mit einem Freund das sogenannte Bandspreizverfahren und meldete ein Patent an. Ursprünglich als “geheimes Kommunikationssystem entwickelt, bildet das Verfahren heute die Grundlage für WLAN oder auch Bluetooth.Die Dokumentation folgt Lamarr als Verkörperung der Weiblichkeit im Zerrspiegel gesellschaftlicher Erwartungen und Ansprüche und erzählt von ihrem Leben, das dramatischer kaum hätte sein können: Sechs Ehemänner, unzählige Liebschaften, später viele Schönheitsoperationen und schließlich der Abstieg in die Armut und Bedeutungslosigkeit gealterter Filmstars der goldenen Zeiten Hollywoods. Und mittendrin eine der wichtigsten technischen Erfindungen der Welt.


Die Wiener Schauspielerin Dorothea Neff versteckte während des Nationalsozialismus mehrere Jahre ihre jüdische Freundin Lilli Wolff in ihrer Wohnung in Wien. Daran zerbrach ihre Liebe – aber das Leben von Lilli wurde gerettet.

Dorothea Neff war eine mutige Frau ihrer Zeit – eine Künstlerin, die unkonventionell dachte und der die religiöse Ausrichtung ihrer Kolleginnen egal war. So wie von Lilli Wolff: Sie war eine jüdische Schneiderin, die Dorothea Neff bei einer Kleideranprobe kennenlernte. Lilli war mit ihrer eigenen Schneiderei eine erfolgreiche Geschäftsfrau, beschäftigte 25 Angestellte.

Kurz nach der Reichsprogromnacht wurde Lilli Wolff als Jüdin enteignet und beschloss, nach Wien zu reisen, zu ihrer Bekanntenvund späteren Geliebten Dorothea Neff. In Wien angekommen musste sie erkennen, dass auch hier die Judenverfolgungen nicht weniger schlimm waren als in Deutschland. Als Lilli im Herbst 1941 die Deportation drohte, beschloss ihre Freundin Dorothea, sie nicht gehen zu lassen. Damit begann eine schwierige Zeit: Lilli versteckte sich in Dorotheas Wohnung, während diese weiterhin am Volkstheater spielte und nach außen hin den Anschein der Normalität aufrecht erhielt. Es gab immer zu wenig zu essen, Lilli lebte in der ständigen Gefahr, entdeckt zu werden, gleichzeitig war sie immer wieder krank. Selbst einen Krankenhausaufenthalt und die Luftangriffe auf Wien überstand sie unerkannt. Die Beziehung der beiden Frauen war intensiv, aber auch schwierig: Die Eine war frei, die Andere eingesperrt. Nach der Befreiung trennten sich ihre Wege und sie sahen sich nie wieder. Der Krieg hat sie doch noch entzweit… Durch die Dokumentation führen Ausschnitte aus dem Theaterstück „Du bleibst bei mir“, das Felix Mitterer über Lillis und Dorotheas Geschichte verfasst hat. Die Hauptrolle Dorothea spielt die Wiener Schauspielerin Andrea Eckert – die tatsächlich auch eine Schülerin Dorothea Neffs war. Im Interview spricht sie über ihre Lehrerin Dorothea. Experteninterviews mit Persönlichkeiten wie Hannah Lessing, Danielle Spera und Herwig Hösele, dem Historiker Michael John und Verantwortlichen aus der Gedenkstätte Yad Vashem vertiefen die Einblicke in die Geschichte.

Der Film „Dorothea Neff“ ist Teil der Dokumentationsreihe „Gerechte unter den Völkern“. In vier Filmen werden außergewöhnliche Lebensgeschichten von Helfern & Rettern in der Zeit des Nationalsozialismus erzählt, die Mut machen sollen, dass Courage und Mitgefühl immer möglich sind – auch unter den widrigsten Umständen.

Trude Fleischmann war Fotografin, Jungunternehmerin und ihr Fotoatelier schillernder Treffpunkt der Wiener High Society der 20er Jahre.

Die Geschichte der Künstlerin ist geprägt von ihrem freien Willen – weder gesellschaftliche Konventionen noch geschlechtsspezifische Rollen und Muster, oder gar der Antisemitismus hinderten Trude Fleischmann daran, unkonventionelle Wege zu beschreiten. Als Fotografin, als Geschäftsfrau, als jüdische Frau im Wien des aufkeimenden Nationalsozialismus. Mit ihren ästhetisch inszenierten Nacktaufnahmen von Tänzerinnen machte die damals erst 25-jährige Besitzerin eines Fotografiestudios Furore: Ein Skandal – war doch die Herstellung von Aktfotos zu dieser Zeit ausschließlich Männern vorbehalten. Erst zwei Jahre zuvor war Frauen in Österreich überhaupt erst das Wahlrecht zuerkannt worden. Und um Geschäfte zu führen, mussten sie immer noch das Einverständnis ihrer Männer einholen. Ihre Bilder wurden von der Polizei beschlagnahmt, die öffentliche Ausstellung verboten. Das bewirkte allerdings das Gegenteil: Trude Fleischmanns Fotografie-Salon wurde nur noch bekannter. Rasch wurde er zum Fixpunkt des Wiener kulturellen Lebens: sie fotografierte Theaterstars, Tänzerinnen und Intellektuelle. Berühmt wurden ihre Porträts von Zeitgenossen wie Karl Kraus, Adolf Loos oder Albert Einstein.

Von der Fotografin selbst gibt es allerdings kaum Bilder – sie war kamerascheu. 1938 bereitete der “Anschluss” Trude Fleischmanns Karriere ein jähes Ende; sie musste Österreich verlassen und emigrierte nach New York, wo es ihr gelang sich ein zweites Mal eine berufliche Existenz als Fotografin aufzubauen. Unter  ihren neuen Kunden waren auch europäische Emigranten wie u. a. Elisabeth Berger, Oskar Kokoschka, Lotte Lehmann, Otto von Habsburg, Arturo Toscanini. Nach vielen Jahren in New York zog sie sich 1969 nach Lugano in der Schweiz zurück.

Knappe 20 Jahre später kehrte sie in die USA zurück und lebte dort bis zu ihrem Tod 1990.

Trude Fleischmann war eine unkonventionelle Beobachterin und gilt als stille Kämpferin für die Gleichberechtigung – ungeachtet Religion, Geschlecht, Herkunft oder Konventionen.

Nach dem Anschluss Österreichs an Nazi-Deutschland und dem Einmarsch der Truppen entscheidet sich Ella Lingens bewusst, in Wien zu bleiben.

Zusammen mit ihrem Mann Kurt setzt sie sich aktiv für ihre jüdischen Mitmenschen ein. In der Reichspogromnacht 1938 versteckt das Ehepaar zehn Juden in ihrer Wohnung. Gemeinsam versuchen sie Menschen zur Emigration zu verhelfen oder sie in Privatwohnungen zu verstecken. Als sie von einem Spitzel der Gestapo verraten werden, wird Ella verhaftet und nach Monaten im Gestapohauptquartier in Wien schließlich ins Konzentrationslager Auschwitz deportiert. Zurück lässt sie ihren kleinen Sohn und den geliebten Mann, der nicht verhaftet wird. Im KZ nutzt sie als Häftlingsärztin ihre privilegierte Stellung und versucht ihre Mithäftlinge vor der Vernichtung zu bewahren. Nur knapp entrinnt sie selbst dem Tod, als sie an Flecktyphus erkrankt.

Nach der Befreiung aus dem KZ fällt es Ella Lingens schwer, sich in ihrem neuen Leben zurechtzufinden. Ihr Mann hatte gedacht, sie sei tot – und war eine neue Beziehung eingegangen. Ihre Ehe ist vorüber. Der Gedanke an ihre Familie hatte Ella im KZ aufrecht gehalten. Jetzt ist davon nicht mehr viel übrig.

Sie beginnt ihre Erinnerungen aufzuschreiben und verarbeitet in ihren Publikationen die Verbrechen der Nationalsozialisten. Später geht sie an Schulen, um die Jugend über die dunkle Geschichte des Dritten Reichs aufzuklären. 1980 wird Ella Lingens von der Holocaust-Gedenkstätte Yad Vashem der Ehrentitel als „Gerechte unter den Völkern“ verliehen. Mena Scheuba-Tempfers Film „Ella Lingens – Die Macht der Entscheidung“ wird durch „Ellas“ Stimme als Voice-Over geprägt. Die Schauspielerin Claudia Kottal spricht Originalzitate, Berichte und Gedanken von Ella Lingens. Cornelius Obonya übernimmt die Rolle des Erzählers. Ellas Sohn Peter Michael Lingens, Profil-Journalist, erzählt aus seinen Erinnerungen über seine Mutter. Experteninterviews mit Danielle Spera, Hannah Lessing, Herwig Hösele, dem Historiker Michael John und Verantwortlichen aus der Gedenkstätte Yad Vashem vertiefen die Einblicke in die Geschichte. Dokumentarische Aufnahmen von Originalschauplätzen, wie dem Morzinplatz in der Wiener Innenstadt und dem Baum in der „Allee der Gerechten“ in Jerusalem, verbinden die Orte der Vergangenheit mit jenen der Gegenwart. Die Geschehnisse werden durch Spielszenen gezeigt: u.a. gespielt von Ella Lingens Enkelsohn als Kurt Lingens und der Schauspielerin Helena Scheuba als Ella Lingens.

Der Film „Ella Lingens – Die Macht der Entscheidung“ ist Teil der Dokumentationsreihe „Gerechte unter den Völkern“. In vier Filmen werden außergewöhnliche Lebensgeschichten von Helfern & Rettern in der Zeit des Nationalsozialismus erzählt, die Mut machen sollen, dass Courage und Mitgefühl immer möglich sind – auch unter den widrigsten Umständen.

Margarete Schütte-Lihotzky: erste Architektin Österreichs und kompromisslose Widerstandskämpferin.

Sie gilt als Pionierin der sozialen Architektur und Heldin im Widerstand gegen die Nazi-Diktatur. Und sie entwickelte die „Frankfurter Küche“, die als Vorläufer der heute weltweit eingesetzten Einbauküche gilt. Einen „Marketing-Gag“ nannte es Schütte-Lihotzky, dass ihr als einzige Frau im Architekten-Team die Aufgabe des Küchendesigns zugeteilt worden war. Und: “Wenn ich gewusst hätte, dass alle immer nur davon reden, hätte ich diese verdammte Küche nie gebaut!”. Die erste universitär ausgebildete weibliche Architektin, Stadtplanerin und spätere Widerstandskämpferin Schütte-Lihotzky arbeitete mit Adolf Loos, Béla Bártok und Max Reinhardt in Wien und Frankfurt, in Rotterdam, Paris, Sofia, Moskau, Magnitogorsk und China1938 schloss sie sich dem antifaschistischen Widerstand an und verließ ihren derzeitigen Arbeits- und Lebensmittelpunkt Istanbul, um zurück in ihre Heimatstadt Wien zu gehen. Dort konnte sie nur wenige Wochen im Widerstand aktiv sein, bevor sie verraten und verhaftet wurde. Sie wurde zum Tode verurteilt und entging dem Schicksal vieler ihrer Kameraden nur um Haaresbreite. Eine Verkettung glücklicher Umstände, Zufälle und der Einsatz ihres Mannes verhinderten um Haaresbreite ihre Ermordung.. “Wäre ein einziger dieser Umstände ausgefallen … ich wäre seit Jahrzehnten tot.”

Margarete Schütte-Lihotzky starb kurz vor ihrem 103. Geburtstag. Über ihre unzähligen Wohnbauten und Kindergärten in Deutschland und Russland, über ihre Tätigkeit in Kuba, in der DDR sowie für die Uno, über die ihr aufgrund ihrer kommunistischen Gesinnung entgegengebrachte Ignoranz im Österreich der Nachkriegsjahre sprach sie wenig.

In ihren Erinnerungen aus dem Widerstand schrieb sie: “Oft fragten mich nach 1945 verschiedenste Leute, auch solche, die keineswegs Nazis waren, warum ich denn aus dem sicheren Ausland nach Wien gefahren bin. Immer wieder empört mich diese Frage, immer wieder bin ich entsetzt über die mir so fremde Welt, in der diese Frage überhaupt eine Frage ist.”

Die Dokumentation lässt Wegbegleiter und Experten wie Christine Zwingl vom Margarete Schütte-Lihotzky Club zu Wort kommen und erzählt von den beiden Leben Margarete Schütte-Lihotzkys; dem als erster Architektin und dem als Widerstandskämpferin.



Baturu Cultural Festival together with the China Women’s Film Festival presents a film program “Berlin Feminist Film Week (BFFW) @ Baturu” organized as part of “Baturu for Beijing + 25”.  The program includes screenings of the BFFW short films in Beijing, Shanghai and Chengdu followed by online Q&A sessions on October 17, 18 and online screenings later in October. “BFFW @ Baturu” is held in partnership with Berlin Feminist Film Week and is supported by the Embassy of Germany in Beijing and German Consulates in Shanghai and Chengdu.

The films for the program “BFFW @ Baturu” were selected by BFFW’s curator Karin Fornander and reflect BFFW’s intersectional approach to gender, race, class, bodies and culture demonstrating complex and contextual images of contemporary women. The program includes Revolvo (2019) by Francy Fabritz, End-O (2019) by Alice Seabright, Two Bodies on a Beach (2019) by Anna Paavilainen, Marisol (2019) by Zoé Salicrup-Junco and Mc Jess (2018) by Carla Villa Lobos.

“Baturu for Beijing + 25” is an online/offline festival that aims to celebrate women’s achievements in arts and spark a discussion on issues women face around the world; with its title the event commemorates the 25th anniversary of the Fourth Conference on Women held in 1995 in Beijing.

Time: October 17 – 18, 2020
Venue: Goethe Institut (Beijing); Department of Culture and Education of German Consulate General in Shanghai (Shanghai); Tongzilin International Community Center(Chengdu Oct 17), Nu Space (Chengdu Oct 18)