BIMBIMMA: Album Release | DokuNights

We are super-proud to announce that one of Kosovo’s finest rappers and songwriters, BimBimma, will release his upcoming album at DokuNights!

The twenty-piece album ‘Ç’a kâ risi’ will be released and performed together with Ergen, Elinel, and VLN on Drums on the 6th of August at our Andrra Stage.

The pioneer of Albanian-language rap Burim Kursani – recognized by the Kosovar public as BimBimma – is known for his explicit language and his powerful lyrics and allusions that criticize societal injustices.




Special Screening: Në Mes/ In Between

After its cinematic journey across Europe, we are happy to announce a special screening of Në Mes/In Between.

The film presents the first directorial debut of our own Samir Karahoda and Kosovo’s first entry at Berlinale shorts and will have its national premiere at DokuFest.

In 2011, I was working on a photography project entitled “Kosovar Brothers”. That project became the inspiration for this film. During that time, I had the opportunity to meet many family landowners who were willing to talk to me about the various reasons why they had built identical houses for each of their sons.

“Në Mes”/ “In Between” signifies the relationship and solidarity between brothers; the sacrifice and determination of the parents to maintain harmony within the family; and, the meaning and significance of the home. The film brings a story of families who invest in building identical houses. What specifies the film is the solitude. It is usually only a single house that is occupied, commonly by fathers or the eldest brothers. The rest of the family, in every case rest of the brothers, were living and working abroad, but their property in Kosovo is divided equally over a strong paternal supervision. So the film also touches on the aspect of migration and longing.

The team and some of the film protagonists will be in attendance at the film screening which will be followed by Q&A with the director Samir Karahoda and the producer Eroll Bilibani.

Në Mes/In Between will screen at Kino Lumbardhi, on August 09 starting from 20:15.

No Recess with Die Wilde Jagd | DokuNights

We joined forces again with Prishtina’s local art platform No Recess to bring you the Berlin-based dance-electronic band DIE WILDE JAGD, who will be performing their first show in Kosovo, on August 05 at our ANDRRA stage.

Die Wilde Jagd (The Wild Hunt) is a joint project of Ralf Beck and Sebastian Lee Philipp, named after an ancient Germanic myth. Beck is a musician and producer from Düsseldorf. He has released several albums as part of the duo Nalin & Kane, as well as under the name Unit 4. Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige. They joined forces after meeting in Düsseldorf’s club Salon des Amateurs. It seems no coincidence that Düsseldorf is the duo’s founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, the Krupps, and Propaganda.

Using numerous analog keyboards and recording devices, and combining them with a diverse range of percussion instruments, they create their own “hunting music”, which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance.

The night will be opened with Albania’s evolving musical project Via Tirana and their sound of electronic dance beats & synths with live instrumentation and quirky vocal hooks followed by Tirana’s Uj Pa Gaz and his mix of electronic, slow disco, acid, balearic and his unique composition.

DOKU.TECH | DokuFest

DOKU.TECH is coming back to Kino Lumbardhi, on the 9th of August, for yet another edition that will tackle issues related to the ever-growing struggles between humanity and digitization.

The annual event of DOKU.TECH brings together individuals and tech talents with top-tier international future makers, executives, and thinkers. This year’s conference explores and challenges the social implications of technological innovations through connectivity, content, masterclasses, workshops, and openness while inspiring youngsters by sharing experiences from the main speakers who will discuss topics of Ownership, Autonomy, Independence, Interconnection, Privacy, and Security.

Technological advancements have helped us make everyday tasks easier and effortless, but with what cost? The nowadays smart consumer electronics we buy, increasingly track us in some way. They promise to learn your habits and improve their features when you agree to share your data with the company. Televisions, toasters, coffee makers, beds, vibrators collect and share your data – sometimes more than you know. The rise of connected electronics raises a host of questions – What do we own? Who owns us? If we pay for something do we own it outright? What else do we agree to give up?

DOKU.TECH 2019 brings you a diverse selection of speakers people from all over the world, whose ability to see things differently, utilize tech as an advantage, envision new worlds and test that vision against reality enables them to make real changes at the intersection of technology, society, culture, media, and economy.

DOKU.TECH will present their work, their motivation, humanizing the digital, digitizing the human, and about the vision for change in the Balkans.



NSDN brings sixteen films to DokuFest

In cooperation with the American Documentary Film Festival (AmDocs) and DocsMX, DokuFest announces its North-South Doc Network slate.

The North-South Doc Network or NSDN is a unique cooperation between three festivals in America, Kosovo, and Mexico, allowing filmmakers to share their films and experiences, as well as enabling wider audiences to see documentaries about their culture and identity.

The NSDN slate at DokuFest weaves together a list of 16 films from each of the respective festival’s geographical regions, allowing for a greater comparison of socio-cultural and individual phenomena.

The panoply of NSDN films that will screen at DokuFest allows viewers to intimately experience real-time stories of characters such as Liliana, a patient with borderline personality who continues the treatment at her home, the story of Ashley, a middle-aged woman who is tired of her workaholic husband and wants to move to the Amazon Jungle and, the heartfelt acts of characters that aim at erasing the hate in their communities.

The slate also presents social documentaries following influential bands and musicians and other historical momentums capturing unprecedented and startling insight to the inner workings of the KKK in the 1970s.

View From the World

This year’s selection of View from the World unfolds 15 films that echo up-to-date worldwide stories that investigate perplexed characters as well as capture their intertwined realities and intimate worlds.

Filmed over three years and conceived as a cinematic ode to Afghan civilians, ANGELS ARE MADE OF LIGHT traces the lives of young students and their teachers at a school in the old city of Kabul. The director James Longley interweaves the modern history of Afghanistan with a present-day portrait of a working-class neighborhood by offering an intimate and nuanced vision through the viewpoints of many characters.

In MIDNIGHT FAMILY, the director Luke Lorentzen wanders around the Mexico City’s wealthiest neighborhoods, where the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. As the Ochoas try to make a living in this fraught industry, they struggle to keep their dire finances from compromising the people in their care.

Beniamino Barrese’s THE DISAPPEARANCE OF MY MOTHER follows the life of Benedetta, known as an iconic fashion model in the 60s, the muse of Warhol, Dali, Penn and Avedon and also as an activist of women’ rights. But at the age of 75, she becomes fed up with all the roles that life has imposed upon her and decides to leave everything and everybody behind. Her son Beniamino witnesses her journey and wants to make a film about her which turns into a battle between mother and son.

Director Thomas Heise picks up the biographical pieces of a family torn apart through the end of the 19th and into the 20th century. HEIMAT IS A SPACE IN TIME is about people who by chance found each other, only then to lose each other. Now it is their descendants, their children, and grandchildren who are beginning to disappear.

Iván Osnovikoff and Bettina Perut’s film unfolds in Los Reyes, the oldest skatepark in Santiago and it brings together teenagers from very different social and cultural backgrounds. The human world appears in stories of adolescents in transit to adulthood. In LOS REYES, we listen to their voices and see fragments of their bodies as part of the environment that surrounds the world of dogs.

Vitaly Mansky’s PUTIN’S WITNESSES is based on unique and strictly documentary testimonies of the true causes and consequences of the operation “Successor”, as a result of which Russia ended up with the President who still rules the country. The protagonists of the film are Mikhail Gorbachev, Boris Yeltsin, Vladimir Putin, and the Russian nation, as always being a silent witness of its own destiny.

From award-winning documentary filmmaker E. Chai Vasarhelyi and world-renowned photographer and mountaineer Jimmy Chin, comes FREE SOLO, a stunning, intimate and unflinching portrait of free soloist climber Alex Honnold, as he prepares to achieve his lifelong dream: climbing the face of the world’s most famous rock … the 3,200-foot El Capitan in Yosemite National Park … without a rope.

Suhaib Gasmelbari’s TALKING ABOUT TREES explores the friendship of Ibrahim, Suleiman, Manar, and Altayeb who have been friends for over 45 years. They left their motherland in the 1960s and 1970s to study film abroad and founded the Sudanese Film Group in 1989. After years of distance and exile, they are reunited, hoping to finally make their old dream come true; to bring cinema to Sudan.

How do you break centuries of tradition from within a religion? This is the question that accompanies Marie Skovgaard’s THE REFORMIST – A FEMALE IMAM as she follows Sherin who is opening one of Europe’s first mosques run by female imams. The members of the Mosque aim to confront and challenge the fear surrounding Islam and call for a new kind of it including a feminist agenda.

Director’s Roberto Minervini’s WHAT YOU GONNA DO WHEN THE WORLD’S ON FIRE happens in the summer of 2017 where a string of brutal police killings of young African American men sent shockwaves throughout the country. A Black community in the American South tries to cope with the lingering effects of the past and navigate their place in a country that is not on their side. Meanwhile, the Black Panthers prepare a large-scale protest against police brutality.

A MOON FOR MY FATHER charts a deepening artistic and personal relationship exploring the nature of skin, family, death, water, desire and, throughout, a powerful will to form. Akbari looks into the connection between her body and the political history of Iran, investigating the relationship between her own physical traumas and the collective political memory of her birthplace.

Werner Herzog and André Singer’s riveting documentary MEETING GORBACHEV, filled with unforgettable archive materials and based on three long interviews provides incredible access to, arguably, the world’s greatest living politician. Herzog, as an on-screen interviewer, does not disguise his affection, celebrating Gorbachev’s three remarkable accomplishments: negotiations with the U.S. to reduce nuclear weapons; cessation of Soviet control of Eastern Europe and the reunification of Germany; and the dissolution of the Soviet Union and Eastern Bloc.

Eva – 25, drifter, Berliner, poet, pet-owner, sex worker, Virgo, recovering addict, housewife, feminist, model – declared privacy an outdated concept at the age of 14. This is the tale of a young woman growing up in the age of the internet, turning the search for oneself into a public spectacle, challenging you on what a woman „should be“. In Pia Hellenthal’s SEARCHING EVA you see the emergence of a generation, in which the concept of a fixed identity has grown old. A portrait of modern existence.

DIEGO MARADONA is an unforgettable story of God-given talent, glory, despair, and betrayal is the third film from Asif Kapadia, the Oscar-winning director of Amy and Senna, and is constructed from over 500 hours of never-before-seen footage from Maradona’s personal archive, used with the legend’s full support.

PUSH sheds light on a new kind of faceless landlord, our increasingly unliveable cities and an escalating crisis that has an effect on us all. This is not gentrification, it’s a different kind of monster. The director Fredrik Gertten follows Leilani Farha, the UN Special Rapporteur on Adequate Housing, as she’s traveling the globe, trying to understand who’s being pushed out of the city and why. “I believe there’s a huge difference between housing as a commodity and gold as a commodity. Gold is not a human right, housing is,” says Leilani.


DJ Nobu x Jane Fitz | DokuNights

We are happy to announce our first DokuNights acts, a night featuring DJ Nobu and Jane Fitz, two key figures in the electronic music scene.

Japan’s DJ NOBU is one of a kind; a DJ with no fixed style but instead a very real ability to draw on a wide world of music and cook up his own unique sound spaces. Known as the organizer of the legendary party called Future Terror and his own label Bitta in his home town, NOBU’s stance as a DJ can be best described as underground — distinguished for an undisputed persistence. However, that should not be confused with stylistic inflexibility for his approach is singular and ever-changing, constantly modified and adjusted to the quality and the concept of each gig he plays. He keeps it all underground, yet he manages to mutate it with abilities that make him stand out.

Our other guest has been DJing for over 25 years. JANE FITZ is resident at London’s Pickle Factory, legendary UK festival Freerotation and her own Night Moves, the party she co-runs with Jade Seatle. Unique in creating her strong reputation from DJing alone, Jane plays a hard-to-categorize mix of music that can take in early UK acid tracks, deep, spacey house, psychedelic techno, and trance or ambient. Recent, unhurried productions have begun to surface under the Invisible Menders name (co-produced with Dom Ahtuam) on cult labels such as Porn Wax, Boe, and Animals On Psychedelics. But playing records in obscure locations remains a focus. As always, there is plenty to discover, much to learn and more to come.

They will be both performing on August 3rd at ANDRRA stage.



Prizren, 05 July 2019  – DokuFest has announced today the full slate of films in competitions for its 18th edition, running from August 2 – 10 in the city of Prizren, Kosovo.

More than 100 wonderful documentary films, as well as a great array of short fictions and experimental cinema representing 40 countries, is what characterizes the film competition. What highlights this year are the filmmakers that are returning to the festival as well as a growing number of new filmmakers, whose films will be debuting across competition sections.

In the upcoming days, the festival will continue to announce other, specially curated strands. These will include its highly popular ‘View From the World’ strand and a specially curated strand on Truth to coincide with this year’s theme of the festival.

“Bold and innovative, timely and important, is how I’d identify many of the films from this year’s competitions” said Veton Nurkollari, Artistic Director of the festival.

“DokuFest continues its mission to bringing the best and the brightest in contemporary filmmaking to Kosovo and we are thrilled to welcome a number of first-time directors as well as many returning ones to the festival.”











This is the seventh successive year that Dokufest brings to its audience the nominated short films, part of European Film Academy’s short film tour. This year’s edition will present a panoply of young contemporary European film-making competing for the prestigious EFA Short Matters Award.

The array of films is comprised of bold storytelling that provide the viewers with rich-cinematic experiences ranging from films documenting characters that grieve between loss and hope, the stoical preservation of women from Kobani to the southern Spain to see a peculiar race of colorfully painted pigeons.

The eighteenth edition of Dokufest will include all 15 films that were nominated for the prestigious European Film Awards (EFA) Best Short Film in 2018 award.

The EFA Shorts award is organized in co-operation with fifteen partner festivals each year, at each of which an independent international jury presents one of the European short films in competition with a nomination for European Short Film EFA Short Matters award.


The year 2019 is only half way over and already we have lost four enormously talented and influential film artists who have impacted the documentary form. DokuFest takes a moment from this year’s program of recent non-fiction contributions to pause and mourn their passing.

Since the beginning of this year, four avant-garde heroes have died – feminist experimental filmmaker Barbara Hammer, curator, poet and artist Jonas Mekas, Yugoslav Black Wave innovator Dusan Makavejev and the grandmother of the French new wave, Agnes Varda, Mekas and Makavejev within only a days of each other.

At the time of their death, Varda and Hammer were still releasing work while continuing to shape and influence the next generation of doc makers. DokuFest honors the extraordinary life and films of these masters with a selection of their most striking films, some remastered and restored.

Though he had not made a film since 1996, Belgrade-born Dusan Makavejev remains the towering figure of socialist Yugoslav cinema. With his roots in both psychology and documentary, Makavejev confronted, head-on, communist leader Josip Broz Tito’s red pashas with his satirical Innocence Unprotected (1968). By fusing anarchic Marxist ideology to daring narrative discourse, Makavejev took his homeland’s cinema into the stratosphere with the boldly radical masterwork, WR: Mysteries of the Organism (1971).

While the experimental artist and filmmaker Barbara Hammer’s corporeal presence might be gone, she has left behind an oeuvre that is staggering not only in its fecundity, but in the way her legacy as a life-long working artist lives on in hundreds of filmmakers creating work today. Since 1972, Hammer had made close to ninety film and video pieces, non-linear, metaphorical, among them Generations (2010) and Maya Deren’s Sink (2011). In the 1970s, Hammer came out at a time when it was “a political act to work and speak as a lesbian artist in the dominant art world, and to speak as an avant-garde artist to a lesbian and gay audience.” Each decade marked a new direction in her work since she never ceased to explore and delve deeply into the innermost reserves of her being to talk about sexuality, womanhood, illness, aging and mortality.

With virtually no film education, the curious, self-taught, thirty-four-year-old Agnes Varda wrote and directed her breakout Cleo from 5 to 7 (1962). For six decades, running concurrently with her fiction films was a dazzling panoply of playful and potently personal doc offerings. Her final film, a documentary, Varda by Agnes (2019), is a master class, a first-person summation of Varda at ninety, who infused art and vitality not only into her films but her photographs and highly imaginative multi-media work.

For over half a century, New Yorkers knew Lithuanian-American Jonas Mekas as the founding director of the red brick East Village Anthology Film Archives, an avant-garde salon that regularly exhibited a century of experimental cinema. But Mekas, the acknowledged godfather of American independent filmmaking also created a brilliant assortment of doc diaries, hand-held movie notebooks that are both immersive and captivating. His Reminiscences of a Journey to Lithuania (1972) artfully captures Mekas return to the country from which he and brother fled during the Second World War. From one of the many of his journals, diaries, letters as well as numerous articles on film criticism, theory and technique. Jonas Mekas published he was once quoted as saying, “In the very end, civilizations perish because they listen to their politicians and not to their poets.”

We hope you will join us as we honor these irreplaceable radicals, Makavejev, Mekas, Hammer and Varda, filmmakers who left a deep imprint on all the images we have seen and those we will see.  We have no reason to feel sorrow for them —only for ourselves for having lost them.