Welcome to the 2026 edition of Cinema of Commoning! - Accreditations now open and available here!
Welcome to the 2026 edition of Cinema of Commoning! - Accreditations now open and available here!
Cinema of Commoning 2
Symposium, Screenings, Talks
schedule

Thursday, 02.07.2026

OPENING: CINEMA OF COMMONING

17:00

On-site Registration

18:00

Welcome Drinks

18:30

Short Film Screening
무제 77-A (Untitled 77-A), Okhi Han, South Korea 1977, 6 min.

Greetings
Can Sungu and Malve Lippmann,
SİNEMA TRANSTOPIA
Hermann Parzinger, Hauptstadtkulturfonds (HKF)

19:00

Keynote
Aesthetic Agency and the Art of Decolonization
Nikita Dhawan, Chair in Political Theory and History of Ideas, Technical University Dresden (Dresden, Germany)

Considering the historical role of art within colonial and fascist regimes, can art be entrusted with the task of emancipatory politics? Can it awaken us from indifference and irresponsibility, making us more political and ethical beings? Might critical artistic practices facilitate transnational justice and democracy, thereby protecting and promoting human rights? Or should art remain autonomous and non-purposive, resisting being harnessed for political and ethical agendas? Given that art operates within structures of capitalism and neo-colonialism, its political, social, and economic roles—as well as those of artistic practices and institutions—remain ambivalent and controversial amidst global inequalities. This talk will explore the role of aesthetic education in advancing global ethics. Can the political labor of training the imagination nurture democratic structures and practices?

20:00

Performance
Hydra Sightings

marum and olivia jack

In response to ongoing conversations about the future of AI and cinema, Berlin-based artists marum and olivia jack present a live performance of audiovisual improvisation and live coding. Using Hydra, an open-source, web-based video synthesis tool developed by jack, alongside text prompts, sound samples, and visual compositions, the performance explores notions of transparency, access, intentionality, and intimacy—qualities often absent from discussions surrounding AI and digital technologies. Through the process of live coding and audiovisual composition, marum and olivia jack invite audiences into the act of making itself. Their live performance transforms cinema into a collaborative realm that carries viewers into imagined worlds. The tools behind the performance remain freely available and open source, extending an invitation to communities and individuals alike to participate in being part of such worlds.

20:30

Get Together

 

21:30

Film Screening (Open Air)
حبيبي حسين (Habibi Hussein), Alex Bakri, Palestine, Germany, Saudi Arabia, Sweden 2025, 96 min. Arabic, German, and English with English subtitles
Followed by a talk with producer Thomas Kaske

Friday, 03.07.2026

DAY I
SHAPE: Building resilience for future uncertainty

As cinema-going habits shift and cities are reshaped by gentrification, political change, and censorship, how can cinemas continue to hold space for collective cultural life? How are legacy venues being reimagined by new generations, and what strategies can support their long-term sustainability? Can alternative models of ownership, solidarity, advocacy, and funding help cinemas remain resilient in an uncertain future?

Day One of Cinema of Commoning 3 will revolve around practical, future-oriented approaches to sustaining cinema spaces, building alliances, diversifying resources, and redefining the role of cinemas in contemporary society.

09:30

On-site Registration

10:00

Keynote
For a Caribbean Cinema of the Commons
Jonathan Ali, independent film curator and writer (London, United Kingdom)

Audiences in the Caribbean have long engaged with cinema in ways that challenge conventional expectations. Rather than simply receiving films as they are presented, people have often adapted, reinterpreted, and reshaped cinematic experiences to their own ends. This has been true in both commons-oriented spaces and commercial cinemas. Any discussion of a cinema of the commons in the postcolonial Caribbean must take seriously a cultural tradition in which discontinuity, impermanence, and opacity are not necessarily problems to overcome, but values that can foster creativity, resilience, and alternative forms of connection. This presentation argues for understanding Caribbean cinema through the lens of marronage: practices of resistance, autonomy, and collective self-determination. In doing so, it explores how a visible, dynamic, and sustainable cinema of the commons might emerge in the Caribbean today.

10:45

Coffee Break

11:00

Presentation
Meet the Partners of Cinema of Commoning 3: Presenting Spaces and Practices

Kült Kavaklıdere, İlhan Kaya and Okan İlhan (Ankara, Türkiye)
Videobet, Beza Hailu Lemma (Addis Ababa, Ethiopia)
Cine Mayaka, Philbert Aimé Mbabazi Sharangabo (Kigali, Rwanda)
Minikino, Fransiska Prihadi (Bali, Indonesia)
Maysles Documentary Center, Kazembe Balagun (New York, USA)
Cine Tonalá, Juan Pablo Bastarrachea (Mexico City, Mexico)
El Galpón Sala de Cine, Diana Daf Collazos (Lima, Peru)
SİNEMA TRANSTOPIA, Malve Lippmann and Can Sungu(Berlin, Germany)
Union Docs, Jenny Miller and Christopher Allen (New York, USA)
La Clef Revival, Kira Simon-Kennedy (Paris, France)
Cinema Con Nhà Nghèo (Cinema of Peasants), Lê Ngọc Duy (Da Nang City, Vietnam)

Moderation: SİNEMA TRANSTOPIA, Malve Lippmann (Berlin, Germany)

PechaKucha (“chitchat” or “chatter” in Japanese) is a fast-paced, image-led form of
storytelling. In this introductory session, representatives from our Cinema of Com-
moning 3 partner venues will each have 10 minutes to present their spaces and practices, followed by an open Q&A session. Through these quickfire introductions, ideas and inspiration from a diverse range of experiences will be shared. We might not be able to physically visit every space, but through these PechaKucha sessions we will be able to get a sense of how these innovative organizations operate within their unique contexts.

13:00

Lunch
By Glory’s Kitchen

14:30

Short Film Screening
Honey, My Love, So Sweet, JT Trinidad, Philippines 2025, 20 min. Tagalog with English subtitles

To introduce the panel that follows, Honey, My Love, So Sweet, moves through a decaying cinema in Manila through a series of vignettes drawn from the memories of a queer child growing up there. In doing so, it underscores the ongoing importance of cinema as a space and the ecology of those that inhabit it.

15:00

Panel
Holding the Space: On Fragile Structures With Stubborn Persistence

Okan Ilhan, Kült Kavaklıdere (Ankara, Türkiye)
Beza Hailu Lemma, Videobet (Addis Ababa, Ethiopia)
Philbert Aimé Mbabazi Sharangabo, Cine Mayaka (Kigali, Rwanda)
Kira Simon-Kennedy, La Clef Revival (Paris, France)

Moderation: Can Sungu, SİNEMA TRANSTOPIA (Berlin, Germany)

Alternative cinema spaces are sustained through a balancing act between fragility and persistence. As cinema-going habits shift, political climates change, and urban development accelerates processes of gentrification and displacement, cultural spaces are increasingly required to adapt while remaining rooted in their communities. This panel examines how cinemas navigate these pressures and what it takes to hold space over time. Bringing together practitioners from different contexts, the discussion explores how legacy venues are being reimagined by younger generations who inherit not only buildings and spaces, but also the responsibility of carrying them forward. How are inherited structures transformed to meet the needs of new audiences and changing cultural landscapes? The panel will address the practical and political dimensions of sustainability: from securing long-term access to physical space through ownership, cooperative models, or other organisational structures, to developing flexible programming and alternative forms of governance. 

16:30

Coffee Break

17:00

Short Film Screening
Taxi Moto, Gaël Kamilindi, Switzerland, France 2026, 21 min. French with English subtitles

Taxi Moto introduces us to the conversation that follows, utilizing cinema as a space that explores possibilities within limiting conditions—particularly in relation to queerness, performance, and the negotiation of identity.

17:30

Panel
How to Proceed: Strategies of Navigating Dependencies and Commoning Political Crises

Trương Quế Chi,  Như Trăng Trong Đêm (Like the Moon in the Night Sky) (Hanoi, Vietnam)
Jake Flowers, Palinale Film Festival (Berlin, Germany)
Lina Bembe, Porn Film Festival (Berlin, Germany)

Moderation: Sarnt Utamachote, SİNEMA TRANSTOPIA (Berlin, Germany)

This panel addresses some of the most pressing political challenges facing cultural work today: not only censorship and control, but also the many forms of dependency that shape how cinema is produced, programmed, and sustained. Whether financial, institutional, structural, or curatorial, these dependencies are realities that space-makers, curators, and producers must continually navigate. Rather than dwelling solely on examples of how states or institutions suppress, regulate, or undermine festivals and cultural spaces, this conversation turns toward practice. It asks what strategies can enable the curation, financing, and advocacy of alternative, experimental, and politically challenging cinema under such conditions. What unites these practices is a commitment to creating possibilities where constraints exist. Rather than becoming trapped in cycles of reaction, they develop concrete models of cultural production, collective organisation, and institutional resistance. This panel will offer not only practical strategies, but also examples of how struggles can be shared, collectivised, and transformed into forms of common practice from which we can all learn.

19:00

SİNEMA HANE

At 19:00, the SİNEMA HANE Meze Bar will be open. Inspired by “hane,” the Turkish and Persian suffix used to describe places of gathering, the space remains open: adaptable, hospitable, and in constant transformation. At the bar we offer affordable meze plates to share, perfect to enjoy alongside a drink and connections new and old. SİNEMA HANE is more than a foyer — it is a flexible space that hosts workshops, talks, readings, concerts, karaoke, communal meals, dancing, and more.

21:30

Film Screening (Open Air)
Continuous Struggles

From These Roots, William Greaves, USA 1974, 28 min. English

Last May in Theaters, Arief Budiman, Indonesia 2025, 22 min. Indonesian, Korean with English subtitles

Bilge and Her Apprentice, Belmin Söylemez, Türkiye 2014, 21 min. Turkish with English subtitles

I Got My Things and Left, Philbert Aimé Mbabazi Sharangabo, Rwanda, France 2018, 22 min. Kinyarwanda with English subtitles

This short film programme brings together works nominated by partners of CoC 2026, exploring the intersections of collective space, filmmaking, and acts of resistance. Through diverse geographies and histories, the selected films examine how cinema can document, reclaim, and activate shared experiences.

From These Roots, nominated by the Maysles Documentary Center (New York), revisits Harlem through Black oral histories interwoven with archival materials from the 1920s. Representing Minikino (Bali), Last May in Theaters continues the struggle over public and cinematic space, combining archival footage and AI technology to connect social resistance movements in South Korea and Indonesia. Nominated by Kült Kavaklıdere (Ankara), Bilge and Her Apprentice uncovers often-overlooked histories of women directors and film workers, reflecting on the labour and working conditions of Turkish cinema in the 1980s. I Got My Things and Left, selected by Cine Mayaka (Kigali), centres on grief and unspoken trauma in contemporary Rwanda, approaching cinema as a space for gathering, reflection, and collective memory.

Together, these films frame cinematic space as a site of commonality and encounter, rooted in marginalised perspectives and connected through ongoing journeys of remembrance, solidarity, and action.

Saturday, 04.07.2026

DAY II
SHARE: Exploring strategies for everyday collaboration

How can cinema spaces move beyond a top-down approach to programming and instead build programmes with communities they serve? What forms of collaboration, shared decision-making, and collective authorship can challenge hierarchical models of cultural production? And how can cinemas become spaces where audiences, workers, artists, and local organizations actively shape the institution itself?

Day Two of Cinema of Commoning 3 will focus on participatory approaches to cinema-making and cinema-keeping, exploring strategies for collaboration, community accountability, and shared cultural ownership.

09:30

On-site Registration

10:00

Keynote
Cinema, Artificiality, and the Space of the Commons

Amanda Egbe, artist, filmmaker, and researcher at UWE Bristol (Bristol, United Kingdom)

In the spaces where images are made and unmade, artificiality reveals itself as a shared condition. What happens when we understand cinema not simply as a place for images, but as a space where technology, artificiality, and collective experience converge? In this keynote, artist and researcher Amanda Egbe explores cinema as a meeting place where people, histories, and technologies intersect. Drawing on her moving-image practice, she reflects on how archives, film, and personal memory can enter into dialogue with emerging digital tools. Rather than treating AI as something entirely new, she places it within a longer history of image-making that has shaped how we see and how we are seen. Using film clips from her work, Egbe introduces her approach of “listening between the gaps”: working with fragments, silences, and incomplete histories as openings for other ways of seeing and understanding. The keynote asks how cinema can bring technology and community together through attention, presence, and exchange, and what it might mean to experience artificiality collectively rather than alone on a screen.

10:45

Coffee Break

11:00

Interactive Knowledge Sharing Tables

Click here to view tables and descriptions.

Expanding the conventional workshop format into a dynamic space of exchange, the Interactive Knowledge Sharing Tables bring together a series of themed discussion and activity stations hosted by practitioners, curators, and filmmakers from across the Cinema of Commoning network.

Participants are invited to contribute their own experiences, questions, and perspectives. Each table employs its own methodology—from social games, practical demonstrations, and collective mapping exercises to provocations, challenges, and hands-on activities. Topics range from budgeting, alternative distribution strategies, analogue film preservation, film education, and community-building, to questions of technology, AI, archives, and pinkwashing.

The session is organised as a rotating format. Participants sign up for four thematic tables and take part in four 25-minute rounds. At the end of each round, they move to a different table, allowing them to engage with a variety of topics, methods, and perspectives throughout the session. Each table will host approximately 15 participants per round, creating an intimate setting for meaningful exchange and active participation.

Participants should identify tables that are interesting to them. On Saturday morning, they will have the chance to pick 4 tables in which they will participate for the Interactive Tables format.

Contributors include: Juan Pablo Bastarrachea (Cine Tonalá), carrick bell and Johanna Markert (anorak), Themba Bhebhe, Alexa Cardaş and Georgiana Madin Vrăjitor (F-Sides), Rehana Esmail (Cinelogue), Gawan Fagard and Gwendolyn Lootens (Cinemaximiliaan/Fireplace Cinema), Florian Höhensteiger (SİNEMA TRANSTOPIA), Silicone Pussy (Lube Visions), Lisabona Rahman, Brigid O’Shea (Documentary Association of Europe), Galo E. Rivera (SİNEMA TRANSTOPIA), Patrik Thomas (Ciné Veló Cité), Giang Quang Vinh, Tessa van Grafhorst (Taartrovers), Mosa Mpetha (Hyde Park Picture House)

13:00

Lunch
By Sarajevo Börek

14:30

Short Film Screening
Workers’ Wings, Ilir Hasanaj, Kosovo 2024, 19 min. Albanian with English subtitles

Workers’ Wings not only documents the dangers, injuries, and physical toll faced by Kosovar construction workers, but also further humanizes them by foregrounding their dreams, aspirations, and inner lives. The film shows not simply how they labor, but how they move through the world, imagine their futures, and see themselves reflected on the cinema screen.

15:00

Panel
Community and Curation: From Authority to Listening

Kazembe Balagun, Maysles Documentary Center (New York, USA) 
Diana Daf Collazos, El Galpón Sala de Cine (Lima, Peru)
Lê Ngọc Duy, Cinema CNN (Danang City, Vietnam)
Galo E. Rivera, SİNEMA TRANSTOPIA (Berlin, Germany)

Moderation: Nora Bess, SİNEMA TRANSTOPIA (Berlin, Germany)

Community cinema programming cannot be guided by principles, strategies, or goals that are disconnected from the diverse communities it seeks to serve. Yet the traditional role of the film curator often complicates this relationship. Curatorial models have historically relied on hierarchical decision-making, determining what films are shown based on assumptions about community interests rather than meaningful dialogue with those communities themselves.

A community cinema must instead be built through strong, sustained alliances with the people who inhabit and shape its space. The goal is to create together an ecosystem of solidarity and collaboration. This approach helps prevent the extractive practices that cultural institutions have too often reproduced: taking stories, knowledge, and labor from communities without redistributing power or benefits in return. Community cinemas must work around, within, and against hierarchical structures so that audiences, workers, community groups, and civil society organizations are genuinely heard. The aim is not simply participation, but shared influence and mutual benefit. These strategies already exist, they have proven effective, and they are most powerful when adapted to the specific contexts and needs of the communities involved.

16:30

Coffee Break

17:00

Short Film Screening
JuJu vs The Possibilities of Life, Love and Death,
Htet Aung Lwyn, Thailand 2024, 15 min. Burmese with English subtitles

Juju vs Possibilities of Life, Love and Death, recipient of the XPOSED Lolly Award for Best Short Film (2025), beautifully encapsulates queer acts of cinematic dreaming and resistance. The film follows a transfeminine person from Myanmar living in Thailand as she imagines alternative scenarios for herself and for communities yet to come. Its setting carries an additional resonance: the film was shot at Doc Club & Pub, a partner of Cinema of Commoning in 2022. As an opening gesture, the film invites us to consider learning not simply as the transmission of knowledge, but as the collective imagining and making of possible futures.

17:30

Panel
(Un)Learning: Preparing Futures / Development

Christopher Allen, Union Docs (New York, USA)
Malve Lippmann, SİNEMAPlural (Berlin, Germany) 
Mosa Mpetha, Hyde Park Picture House (Leeds, United Kingdom)
Fransiska Prihadi, Minikino (Bali, Indonesia)

Moderation: Djamila Grandits, CineCollective and D—Arts (Vienna, Austria)

How is knowledge passed on, transformed, and shared within independent cinema cultures? This panel explores the ways practices are sustained through fellowship programmes, labs, workshops, and other educational initiatives, while asking how information flows multidirectionally between audiences, communities, filmmakers, and cinemas. Rather than emerging from hierarchical models of expertise, knowledge often develops through doing, adjusting, and responding to changing circumstances. It circulates informally between teams, collaborators, participants, and audiences, generating forms of learning that are collective, and continually evolving. By examining different approaches to development and capacity-building, the panel considers how cinemas can prepare futures by creating the conditions in which new relationships, practices, and imaginaries can emerge.

19:00

SİNEMA HANE

At 19:00, the SİNEMA HANE Meze Bar will be open. Inspired by “hane,” the Turkish and Persian suffix used to describe places of gathering, the space remains open: adaptable, hospitable, and in constant transformation. At the bar we offer affordable meze plates to share, perfect to enjoy alongside a drink and connections new and old. SİNEMA HANE is more than a foyer — it is a flexible space that hosts workshops, talks, readings, concerts, karaoke, communal meals, dancing, and more.

21:30

Film Screening (Open Air) 
Continuous Tones

El polvo ya no nubla nuestros ojos (After The Dust), Colectivo Silencio, Peru 2022, 25 min. Spanish, Quechua with English subtitles

Ki}{inema, Đào Thu Uyên, Vietnam 2020, 7 min. Vietnamese with English subtitles

Casa Roshell, Camila José Donoso, México, Chile 2017, 71 min. Spanish with English subtitles

This film selection brings together works nominated by partners of CoC 2026. It opens with After The Dust, a collective cinematic manifesto composed of readings on Peruvian resistance and shot on Super 8, reflecting the curatorial interests of our partner El Galpón Sala de Cine in Lima. The following film, Ki}{inema, a collaborative work between curators and artists emerging from the first iteration of Like the Moon in the Night Sky by Trương Quế Chi, examines histories of kissing scenes in Vietnamese cinema and their relationship to intimacy in public space. These resonances continue in Casa Roshell, a filmic playground shaped by Mexican transgender communities around Cine Tonalá in Mexico City. Together, these films invite us into a space that echos and continues the tones sung by all those who came before.

23:30

DJ Set
By Edna Martinez

Sunday, 05.07.2026

DAY III
SUSTAIN: Gathering stories from the city

What can past and present geographies of cinema teach us about its future? How do the spaces, communities, and histories that surround film culture shape new possibilities for collective cultural life? And what emerges when we turn towards the city as a site of cinematic memory and imagination?

Day Three of Cinema of Commoning 3 will unfold through a series of guided cinema tours, exploring Berlin’s film histories and cultural infrastructures as starting points for envisioning future cinema cultures. As the symposium draws to a close, these journeys offer a space to reflect on the conversations and connections fostered throughout CoC, considering what insights, questions, and collective ambitions we might carry forward into the cinemas of tomorrow.

11:30

On-site Registration

12:00

Brunch
By Kübra Sarı and Sophia Liu

14:00

City Tours Starting at SİNEMA TRANSTOPIA

Cinema(tic) Encounters: Cinema Spaces and Initiatives in the North of Berlin
With Malve Lippmann

This tour invites participants to discover northern Berlin through the lens of its diverse cinema and film culture. The focus lies on independent cinemas and initiatives, archives, and transnational cultural venues that conceive of cinema not merely as a site for screenings, but also as a social space—a place for knowledge production and exchange. Stops include Arsenal – Institute for Film and Video Art at Silent Green, one of Germany’s key institutions for film culture and experimental cinema; bi’bak, where the idea for SİNEMA TRANSTOPIA first emerged; the Documentary Association of Europe; Impression Taiwan; Kino Krokodil, dedicated to Eastern European film culture; Brotfabrik, a long-standing independent cultural centre; and Theater im Delphi, a former silent-film cinema transformed into a unique venue for film, music, and performance. The tour approaches cinema as a vibrant urban practice: a place of encounter, memory, aesthetic experience, and political imagination. It offers insights into Berlin’s unique infrastructure—a dynamic interplay between independent initiatives, international networks, and established institutions.

Babylon Berlin: Atlas of Arab Film in Early 20th Century Berlin
With Irit Neidhardt

Between the 1910s and 1930s, the area around Unter den Linden and Friedrichstraße, as well as the Filmstadt district at the southern end of Friedrichstraße, served as a key site of Arab-German encounters within the film industry. At the intersection of Unter den Linden and Friedrichstraße, an Egyptian entrepreneur operated the cinema in the Imperial Gallery, a future pioneer of Egyptian cinema worked as an extra for Gloria Film, a Moroccan casting agent recruited “Orientals” and Black performers for German adventure and colonial films, and the Baidaphon Company built its international music and sound-film empire. This walking tour brings into view this largely forgotten “tropical Germany” (Zafer Şenocak): a society that, in the words of Elias Canetti, was marked by “a chaotic and unarticulated mass of growth, full of color and life, which effectively precludes any sensation of order.” By uncovering these entangled histories, the tour reveals unexpected connections between Berlin’s past and the social and cultural realities of the present.


The Flânoire’s Berlin: Re-reading the City Through Movement

With Maresa Nzinga Pinto and Karina Griffith

Strolling through the urban landscape, the figure of the flânoire describes a Black person who navigates the city and its surroundings in ways that foreground mobility rather than unquestioned belonging. In her research into Black German cinemas, Karina Griffith defines the term flânoire to differentiate from the classical flâneur, whose gaze often remains unnoticed, the flânoire is both observer and observed, moving through spaces while simultaneously being shaped by histories of visibility, surveillance, and exclusion but also resistance. Through the lens of the flânoire, this four-hour city walk hosted by Maresa Nzinga Pinto weaves together short films, archival traces, and poetic, site-specific interventions to explore Berlin as a landscape of Black memory and movement. Through shared reflections and walking together attentively, participants are invited to collectively re-read the city, tracing how Black histories continue to shape urban space while (re-)imagining its pasts, presents, and futures. Please bring your mobile phone and headphones. Please note that Schokofabrik is not wheelchair accessible.

Please bring your mobile phone and headphones. Please note that Schokofabrik is not wheelchair accessible.

19:00

Wrap Up With Aperitivo
What’s Next for Cinema of Commoning?
Nora Bess and Teresa Xie, SİNEMA TRANSTOPIA (Berlin Germany)

The Cinema of Commoning project, like the concept of commoning itself, has a life which extends beyond the finite period of our Symposium. In this wrap up, Cinema of Commoning manager Nora Bess and editor Teresa Xie will moderate a collaborative informal session over aperitivo, in which we will come together to share our experiences of the weekend. In this open conversation, we will discuss how we can carry the spirit of commoning and connection fostered over these few days into our future practice. We will also share the next steps for the Cinema of Commoning editorial platform and digital archive, and how we can work together to build a meaningful and lasting legacy.

20:00

Closing Dinner
Dumplings by Jiab

21:30

Film Screening (Open Air)
Redlight to Limelight, Bipuljit Basu, India, Finland, Latvia 2025, 100 min. Bengali with English subtitles

Redlight to Limelight is one of the few recent documentaries that not only captures the harsh realities of sex workers in Kolkata, but also highlights their agency in self-organisation. The film depicts the founding moments of CAM-ON, a collective of sex workers, their sons, and families dedicated to making films and building their own cinema. Together, they confront stigma and create a mobile cinema in which they can see and recognise themselves, their past, and their future on screen.