International Competition / International Bayernwerk Short Film Award

Jury Preis 1.500 Euro

Sponsored by:

In the category International Competition, a prize for the best live action short film will be awarded. It is a jury award. Approved for the category are international productions from all countries in the world. In the competition are 56 short films from 28 countries.


Make Aliens Dance von Sébastien Petretti

Jury statement:

There is one scene in Make Aliens Dance that goes like this: a mother and her son are sitting in front of the TV on the sofa, she asks him about work, and he replies that it’s going well. But what is actually happening between the lines and in the way they look at each other, what is being dealt with in silence is so much more than other films tell in their totality.
Make Aliens Dance is a film about the absence of a person; a film that drags us into a circle of people and their way of living together or rather their attempt to do so: a handful of people who are grieving and fighting, struggling with each other, trying to relieve the other from his/her pain while they themselves are at loss.
The narration takes its time, it circles around someone that is not there and still the film manages to be totally concrete. There’s no exciting plot, there are no effects, just the mysterious ringing of a telephone, and music — a song accompanying us throughout the film although we won’t hear it until the very last scene. Little by little we get involved in the fate of a family and the people around them, carried by the wonderful camera and by actors and actresses who with their power and honesty touch us deeply. Every single character, even in the shortest appearance, lets the film pulse and helps to create a vivid cosmos between a living room and a sound studio, a stadium and a phone booth.

Anna Edelmann

Anna Edelmann was born in Munich in 1984. Her love of film developed even before she started school: the “Kinderkino” in the Forum2 cultural center in Munich's Olympic Village offered a compelling film selection that was by no means limited to typical children's films. The founders of the Kinderkino association, Hans und Christel Strobel, knew how to spark the children's interest in film by making them part of the team: She helped at the box office, as an usher, announced the films and analysed the results of the audience vote. She later wrote her first articles for the biannual children's film newspaper.
After finishing school she began to work as a freelance film critic. In 2009 she joined the team of the Artechock film magazine, where she teamed up with Thomas Willmann in 2012 to write articles and reviews under the title “Edelmann und Willmann sind sich einig”.
She gained practical experience in film production as an extra in student films and commercials. She also worked in the costume departement of Andreas Prochaska's film "The Dark Valley".

©Teresa Marenzi 2019

Anne von Keller

Anne von Keller draws her unique power and presence from detours. Deviations, where details and particulars are known to emerge in ways never to be found on a straight path. That’s how theatre studies led her to acting and an electric bass, given as a present, to music. And it is via these detours, that von Keller portrays characters with a rich inner-life, by skillfully revealing only one particle at a time out of respect for the complexities of her characters in films such as Julia C. Kaiser’s brilliant “Amoklove” and the dystopian sci-fi drama “Endzeit.”
In the meanwhile, she can look back on a considerable number of short and feature length films and is at home in art-house productions as well as along side Maria Furtwängler in “Das Wetter in geschlossenen Räumen” and Lucy Beech’s docu-fiction “Reproductive Exile”. She has released four albums with her indie-folk duo Sorry Gilberto and was an integral part of the soundtrack for the award winning comedy “Die Hannas.”

Selected filmographie

  • 2018 Reproductive Exile (Lucy Beech)
  • 2016 Flecken auf Weiß (Laura Schwickerath)
  • 2015 Die Hannas (Julia C. Kaiser)
  • 2014 Das Wetter in geschlossenen Räumen (Isabelle Stever)
  • 2013 Der Andi ist wieder da (Friederike Jehn)
  • 2012 Endzeit (Sebastian Fritzsch)
  • 2008 Amoklove (Julia C. Kaiser)

Dr. Sofia Glasl

PhD Sofia Glasl is a freelance journalist, author and curator based in Munich. She spent most of her youth in Munich’s Atlantis movie theater and her favourite video shop, working through the independent- and B-movie sections and learning who Steve Buscemi is. She studied literature and theater in Munich, loves to connect popcultural and classic discourses and, not only but also because of this, wrote her PhD thesis on Jim Jarmusch’s films. She is a regular critic on film, literature and theatre for news outlets such as Süddeutsche Zeitung, Filmdienst and Münchner Feuilleton and has written podcast episodes on film for Bayerischer Rundfunk. From 2015-2019 she was a curator for Filmfest München focusing on the English-speaking territories, Scandinavia and international series productions. Further, she organized specials and retrospectives in her field of program and led panel discussions with filmmakers such as Jennifer Fox, Sophie Hyde, Mads Brügger and Terry Gilliam. Apart from her journalistic work, she has since been developing projects for film and series festivals and offers editorial services for their catalogues and websites.