Scott Miller Berry, lead programmer of Toronto's Rendezvous with Madness Film Festival and a long-time collaborator of Goethe-Instituts from Toronto to Jakarta to Bangalore, attended to Oberhausen 2021 --virtually of course (see his head floating on the right of the Oberhausen Festival Space). We asked him to report back on his best-of-show and critical takeaways.My first visit to the Oberhausen Short Film Festival, the world's oldest and largest short film extravaganza, was in 2008 if I remember correctly. After the requisite overnight flight with lovely Images Festival colleagues we piled into a shiny new Volkswagen and the festival driver proceeded at a modest 180km/h clip from Düsseldorf north into the Ruhr valley's post-industrial pocket. At that speed I felt like my face was melting off, which became an inspired metaphor for the entire Oberhausen festival experience --face- and all senses-melting over concentrated days stacked with upwards of 7 slots of short film programs followed by very late nights at the festival lounge. As a film festival worker and lover, I've been incredibly inspired by Oberhausen over the years, its mammoth program and their smooth ability to host hundreds and hundreds of guests from festivals, galleries, distributors, broadcasters and artists. Continue reading "Reflections on the 67th Oberhausen Short Film..." »
For our big “Post-Oil City” cluster this season, I have curated a program of shorts called 
Watching the mesmerizing, stunning, disturbing and touching punk poem A LOST AND FOUND BOX OF HUMAN SENSATION at our GOETHE FILMS series opening last night --and it worked so well before CRAZY--, I realized I was short-changing (pun intended) our two shorts in this 3-night program on the young, the old and intergenerational relations:
One of the world's most important children's film festivals, 
