From feminine rage to mysterious dancing to intimate animal representation to deconstructing a famous image, DOK Leipzig splits the body apart.
DOK Leipzig Day One: Disembodied Documentaries

Exploring the Outer Edge of Film
From feminine rage to mysterious dancing to intimate animal representation to deconstructing a famous image, DOK Leipzig splits the body apart.
A man’s grief-induced amnesia provides excellent inspiration for a journey through the past in Sara Fgaier’s powerful debut Weightless.
Sean Baker continues his deeply humanist exploration of sex workers’ complex inner lives with the touching and charming Russian-American fairytale Anora.
Coralie Fargeat’s The Substance boasts impressive technical sound design and monster work but suffers from a lack of compelling female characters.
Francis Ford Coppola’s long-awaited, soon-to-be-endlessly-debated, epic Megalopolis asks you to consider the power of art to change the course of time.
Hippos become a metaphor for Colombia, the state of humanity and the world’s capacity for cruelty in Nelson Carlo De Los Santos Arias’s unclassifiable Pepe.
As messy as its synopsis is understated, Claire Burger’s Foreign Language is a heady mix of teenage sexuality and muddled political engagement.
Architecton has some awe-inspiring visuals, but its let down by its distracting high frame rate and suspect choice of images.
Funnier than most out-and-out comedies, Sterben captures the messy absurdity of life in all its glory, despite, or perhaps, because of, the sad subject matter.
Suspended Time (Olivier Assayas, 2024) is the lockdown comedy that finds little dramatic potential in its set-up, feeling like a 100-minute episode of a sitcom.