DAE Talent Award
DAE Talent Award, the award offers a one-off 60 minute consultation with a DAE - Documentary Association Europe industry professional for a Marketplace project, to help them navigate their way through the international marketplace.
DAE Talent Award 2023
To this year's DOK.forum Award Ceremony
Award winners 2022: I LOOK LIKE MY MOTHER by Amina Maher (director), Lorena Junghans, Fabian Altenried und Sophie Ahrens (producers)
In search of the creation of an autonomous body, Amina Maher, a trans woman director, retraces the trauma buried within the relationship she has with her mother, as she reveals her unspoken desires in a process of honest self-exploration.
PADALA JE KISA I ONDA SE SETIM DA JE BILA OGNJENA MARIJA / IT WAS RAINING AND THEN I REMEMBERED IT WAS THE DAY OF FIERY MARY by Branislav Jankic (director) and Jelena Angelovski (production)
In addition, the project IT WAS RAINING AND THEN I REMEMBERED IT WAS THE DAY OF FIERY MARY received a 100% discount on the first year of DAE memberships for Branislav Jankic and Jelena Angelovski.
Footage of my mother before her death in a Munich apartment. A play of costumes matching my wife and daughter to photographs of my young mother. Through physical transformation, recollections of war, borders, rape, abuse, poverty and love come alive. A maelstrom of identity, an unforgettable impression of Balkan womanhood.
Award winners 2021: 8 TO 18 by Cosima Frei, production: Nadine Lüchinger
Over a period of ten years we are acompanying a family with two sons. At birth, gender and identity are coherent for one of the sons, while the other is mistaken for a girl because of his feminine physical features. 8 TO 18 is a film about acceptance in the family and society, but above all about how one can accept and develop oneself, even if this means breaking down social norms.
Award winners 2020: AMALIE'S SHADOW by Esther Niemeier, Dirk Decker, production: Andrea Schütte, Dirk Decker
Amalie, the great-grandmother of director Esther Niemeier, was killed by the Nazis in a psychiatric hospital in 1941. Whether she was indeed mentally ill is uncertain. Her ex-husband had her committed after she divorced him. A woman with a mind of her own had to be crazy after all. Esther sets out on a cinematic quest for evidence.