A quarter century of activism with a parallel city of film

The first edition lasted three nights. It screened a small number of films, mainly from Kosovo and the region, and operated on a budget of around a thousand euros. There was no previous experience to draw on, there was no developed film festival industry, and the internet was just beginning to enter everyday life. There was, however, something that was more important than infrastructure, money, or experience: willpower. It is now a platform of activism that is celebrating 25 years, and the plans are for the fight for creativity and better days to continue.

In September 2002, when a small film festival was about to start in Prizren, it was raining. A lot of rain. For the organizers at the time, this could have been a strange omen: it was not known whether it was a warning of a difficult start or, on the contrary, a kind of blessing that would accompany an initiative born in unusual conditions. 

Without people with a background in cinema, and in the city at that time without cinemas. The festival had only one cinema. The first edition lasted three nights. It showed a small number of films mainly from Kosovo and the region and operated with a budget of about a thousand euros. There was no previous experience to rely on, there was no developed film festival industry, and the internet was just starting to enter everyday life. There was, however, something that was more important than infrastructure, money or experience: the will. All this to do something meaningful, and not decor, as was said at the opening ceremony, Friday night. 

A group of people decided to open the doors of the “Lumbardhi” cinema and screen films. Twenty-five years later, it is precisely this will that seems to have kept “DokuFest” alive. Now, when cultural festivals are measured by budgets, numbers, stages and spectacles, the story of “DokuFest” begins with a much simpler act: with people who decided to work voluntarily and believe that a city like Prizren could become a place for film, for discussion and for another form of public life.

The spirit of volunteerism as a constant 

"The festival started in 2002 with a very modest budget, but with extraordinary will and volunteer work. The spirit of volunteerism continues to be one of the main values ​​of 'DokuFest'. This festival is built on the contribution of volunteers and without them it would not be possible. It is a value that we have cultivated and continue to protect," says the festival's artistic director, Veton Nurkollari.

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In this memory of the beginning there is something more than nostalgia for a festival that has grown to the size it is now. There are ideas about how a cultural institution can be built in a society that has just emerged from war and is still trying to build its cultural infrastructure. “DokuFest” did not start as the unprofessional institution it is now. It grew by learning, making mistakes, looking for films, bringing people, creating an audience and, above all, convincing the city that cinema can be part of its life.

"In the first year we only had one cinema, the festival lasted three nights and a small number of films from Kosovo and the region were shown. There were no concerts, there were no additional programs and, above all, none of us had experience in organizing a festival," recalls the artistic director of "Doku Fest", Veton Nurkollari.

The festival as a parallel film city

The phrase, “something you haven’t seen before,” can serve as a metaphor for the entire history of the festival. In a Prizren where cultural spaces were limited, a film festival began to create a parallel city, a temporary city that appeared every summer through screens, conversations, music, people, and stories coming from other parts of the world.

"With the help of some people from the film industry, we managed to bring a small number of films, mainly from Kosovo, but also from North Macedonia and Bosnia and Herzegovina. We gradually learned how to build a festival, created the organizational structure and developed it year after year," says Nurkollari.

Today, during the festival, Prizren seems to live in two times at the same time. It is the ordinary city, with its own rhythm, with its streets, cafes, river, bridges and daily life, but it is also the city of “DokuFest”, which changes its rhythm and density for several days. The days begin with films that are shown during the morning and continue with programs, discussions, workshops, master classes and meetings. Then, when evening falls, the cinema leaves the buildings and invades the spaces of the city. The river becomes a screen, the squares become halls, while the plateaus and public spaces turn into places where people gather to watch a film, listen to music or simply be part of an atmosphere that is difficult to find during the rest of the year.

Thus, “DokuFest” is not just a festival that takes place in Prizren. For a few days, it is a different way of living in Prizren. In a sense, the festival turns Prizren into a large cinema without a roof.

Cinema as a way of life 

But this relationship between the festival and the city is not only aesthetic. It has also been political. The festival has helped to understand public space as a space of culture, discussion, and coexistence. 

"DokuFest has always been a platform that not only screens films, but also discusses important topics for Kosovo and the world. Wars, crises, human rights and global challenges are part of our debate. We try to create a space through films and guests where the audience not only sees the film, but also discusses the issues it addresses," said Nurkollari.

"Today, 'DokuFest' is not just a film festival. In addition to films, it includes debates, workshops, educational programs, master classes, an industry forum and many other activities. It has developed into a festival with a full vision, comparable to the most important international festivals," Nurkollari further said. 

This year, the festival city has a noticeable absence. The Lumbardhi Cinema is under renovation. For a festival that has built its identity right there, its absence is not just a matter of infrastructure. It is a void in the festival's physical memory.

"Unfortunately, this year we do not have the 'Lumbardhi' cinema, which has undergone renovation. It is the place where DokuFest started and has been the home of the festival for 23 years. We hope that it will return very soon and we will have it available again in future editions," says the festival's producer, Alba Çakalli.

But Çakalli's story with "Lumbardhi" goes beyond her current role at the festival. She experienced "DokuFest" first as a volunteer and then as part of its professional structure.

"I was a volunteer in 2005–2006. At that time, I was part of the team that collected signatures for the protection of the 'Lumbardhi' cinema. 'DokuFest' was the place where I first learned what civic activism is, how to protect cultural values ​​and heritage, but also how important the spirit of community is. That experience has taught me much more than traditional school. 'DokuFest' has been my school of activism and cultural organization. Today, after six years as a festival producer, I feel proud to still be part of this journey," she says. 

In this narrative, "Lumbardhi" becomes a symbol of the idea that cultural heritage is preserved by also preserving the memory, function, and relationship of the community with it.

"This jubilee will be a celebration, but also a moment of reflection and nostalgia. We are proud of everything we have built over these 25 years, but at the same time we feel a responsibility to protect these values ​​and the festival itself," says Çakalli.

"I believe that as a society we need more festivals that promote positive messages, cooperation and cultural development. 'DokuFesti' has always been a platform that pushes society forward and I hope that it will continue this role in the years to come," she adds.

Persistence as a policy of "Continuous Disobedience"

The theme of this edition - “Continuous Disobedience” - does not seem like a random choice. In fact, it can be read as a definition of the history of “DokuFest” itself. Twenty-five years ago, the festival began in the rain, with no certainty about the future and without the conditions usually required for a cultural institution. But the doors opened. The films were shown. And so it has continued. Until today. 

This year's event places this story in a broader context. The world continues to be in crisis, wars continue, power structures remain strong, and the "perfect moment" to celebrate or act never comes. Therefore, disobedience here does not only mean opposition. But also a refusal to wait.

“Twenty-five years is a proud moment. It is a quarter of a century of 'DokuFest' and, of course, we have had many reasons to celebrate. This is also reflected in this year's program, in the guests we have invited and in the people with whom we want to share this jubilee. 'DokuFest' has always dealt with complex topics related to social changes in the world. This year we wanted to turn our attention a little more to joy, without forgetting the reality we face, both in the world and in our own country”, says Eroll Bilibani, co-director of the Short Film Forum and leader of “DokuLab”.

"We hope that these days will be days of celebration, but also an opportunity to reflect on the work that has been done over the past 25 years. It is an opportunity to see where Kosovo cinematography has come, of which we are extremely proud, as well as to create even more space for the development of young authors and for building a program of the highest quality," he said. 

Further, Bilibani directly linked this spirit to the edition's slogan: "The motto of this edition is 'Continuous Disobedience', while the closing message is 'We're not done yet'. This means that we will continue, because through 'DokuFest' we have managed to instigate important social changes in the city and beyond."

From the "generator festival" to the cultural city

The history of "DokuFest" is, in a way, also the history of the transformation of Prizren. 

"When 'DokuFest' started, it was known as a festival of generators and film in a city without a functioning cinema. Today the situation is completely different. Back then, Prizren had only one hotel, while today it has become one of the most important tourist cities in Kosovo, with a large number of hotels and visitors," said Bilibani.

"You only have to walk around the city to see how much Prizren has changed. DokuFest has had a great impact not only culturally and socially, but also economically. It has contributed to the development of the city and has served as inspiration for many other initiatives," he continues in an interview with KOHĪN. 

This is one of the interesting paradoxes of a cultural festival. An event that started as a small, voluntary initiative has influenced the development of a city. It creates reasons to come, to stay, to meet people, and to see the city differently.

"From the beginning, DokuFest has been a collective effort. On this occasion, I would like to thank the thousands of people who have been part of the festival over the years, as staff, volunteers or collaborators. Without their contribution, we would not have reached where we are today," says Bilibani.

But precisely because of this history, disobedience is not just a slogan, but also a concrete practice of activism.

"Through the spirit of disobedience, we have managed to protect important cultural and cinematic heritage assets, such as the Lumëbardhi Cinema. Through the initiative for its protection, we have also raised awareness of the importance of Prizren's cultural heritage - the Castle, the Hamam and many other public spaces," Bilibani continues. 

Returning to the previous space as a nostalgic act

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In the evening, “DokuFest” changes pace again. Cinema and music coexist and the city becomes a space for another kind of discovery. “DokuNights” is not intended only as an entertainment program, but as another way to create cultural memory.

"As 'DokuFest' and 'DokuNights', we have always tried to present underground music and artists who are not necessarily part of the commercial scene. Our goal has been to bring names that the public may not yet know, to present them at 'DokuNights' and make them part of people's musical memory", says Leart Rama, curator of the "DokuNights" program. 

“It often happens that, years later, when an artist is mentioned, someone says: 'I discovered him on DokuNights.' This is precisely one of our goals. Another goal is to create a balance between the best local artists and international artists who are active on the European and world scenes. We believe that this is the best way to enrich the program and offer the public new musical experiences,” he adds. 

The 25th anniversary is, of course, also a moment of looking back. But Linda Llulla, the festival's general director, sees this look back as a process of collective memory.

“This anniversary reflects the work of the entire team over the years. We wanted to look back and remember everyone who has been part of DokuFest over these 25 years. We will soon publish interviews with people who have contributed to the festival, with regular visitors and with volunteers who have been part of it since the beginning,” she says. According to her, this edition is a celebration of the festival, a celebration of success and a 25-year journey. This time the celebration takes place again in a world filled with wars, tensions and uncertainty.

"This year's theme is related to the 25th anniversary of the festival, but at the same time it also reflects the reality of the world we live in. We are seeing what is happening in Iran, in Ukraine, in Gaza and in many other countries. Even in Europe we are facing tensions and uncertainty. It is a time when life is not equal for everyone. Through films we talk about these concerns and about the world we live in today. However, the main focus of this edition remains the celebration of the 25th anniversary of 'DokuFest'", says Llulla. 

In this atmosphere, "DokuTalks" takes on the role of a space where the film does not end with the final credits. 

The panel "Hybrid Cinema as Political Language", moderated by Dea Gjinovci, kicked off the program of conversations and discussions on Saturday afternoon. It centered on the question of what happens when history is incomplete, when archives are inaccessible, and when existing images are themselves products of power.

"What can filmmakers do when these cultural legacies are inaccessible, or when they need to be questioned and challenged? Can hybrid cinema, in some way, help us create new narratives and new spaces for those things that have been left out?" asked director Dea Gjinovci, who moderated this panel. 

She introduced the panel members: Sabine Groenewegen, artist and filmmaker, author of “The Clearing,” a film that deals with the history of colonial rubber plantations in Sumatra; Sanaz Sohrabi, artist, researcher and assistant professor at Concordia, author of “An Incomplete Calendar,” Michael Barwise, documentary director and editor from Northern Ireland, author of “That Sanity Be Kept”; and Aurélia Martin, designer and set designer from Paris, who has worked in theater, opera and film and has collaborated with Gjinovci on her hybrid films. The films mentioned are in the official competition of “DokuFest.” 

For Gjinovci, this question is particularly important in contexts where historical heritage is not always accessible.

Sanaz Sohrabi spoke about her film "An Incomplete Calendar" and the variety of materials on which it is built.

"The film has many different forms. This is also because the film works with an archival fund that is extremely diverse. There are magazines and publications from Iran, from the Arab world, from Latin America, as well as postage stamps, letters, interviews and footage shot in the field. So, the film material itself required this variety of forms. And, because of the presence of all these different archival materials, I really wanted to show the process of building this relationship with them," she said. 

When the archive is propaganda

Sabine Groenewegen has raised this question to a kind of alarm. 

"I think, in the case of 'The Clearing', or the film that eventually became 'The Clearing', there really isn't an official archive. The film focuses on the history of the 1910s and 1920s, on the colonial rubber plantations under Dutch colonial rule. And, without going into a whole history course, in my opinion, this was a period in which slavery was rebranded as forced labor, while the practices of slavery continued until the late '40s," she said. 

 "I really see these films as propaganda that worked against the structures of solidarity and truth that have always existed," she further stated. 

Groenewegen also explained this by searching for materials that have been omitted.

"Then the search begins for all the other sources that are relevant to talking about this history: not only official archives, but also oral history, traces of women's experiences, as well as a large amount of material preserved in written documents, pamphlets, manifestos and other materials," she continued. 

In Michael Barwise's film, the question shifts from archive to observation, as he explains. 

"I was very interested in his idea, the fact that the '90s were a period towards the end of the conflict in the North and there was this situation where people were so used to being watched and recorded by the British state, by the British military. And then the question was: what does that do to you as a person? In the sense that you are always aware that you are being watched, that you are being observed," he said.

This issue of recreating memory without claiming to be mechanically recreating history was linked in the panel to Gjinovci's experience in making "The Beauty of the Donkey," a film based on her father's memories of childhood in a Kosovo village during a period of repression.

Aurélia Martin, a costume designer and designer, is part of the film's production team. She described the process through theater and co-creation with the villagers.

"For Dea's film, we worked with theater and the theatrical stage. This means that we set up a theatrical stage in the village and all the fictional parts were played by the villagers themselves. They played the characters of that time. We watched documentaries or images of the house, of the oda, which is a typical space of traditional houses in Kosovo, and we thought: 'Okay, we want to reconstruct something that resembles a historical scenography,'" she said. 

But, according to her, before you rebuild something, you have to repair it. 

"The idea of ​​restoration was extremely important throughout the entire work process. We did not come with a ready-made scenography that we had built in Pristina, Paris or Geneva. Instead, we spent weeks and months in the village, working and creating together with the residents. We found all the materials in the village itself and many of them were given to us by the residents. So, it was a very local scenography, based on the materials and objects of the place," she continued. 

“Continuous Disobedience” seems more like a working method than an annual theme. It also appears in the very idea of ​​hybrid cinema. So that when one form is not enough, another is created.

Artistic director, Veton Nurkollari, connects this with the historical experience of Kosovo and the reality of today's wars.

"We must not forget what we have experienced. It is not that we have to live with war constantly, but we have been through it and it is not easy to see that wars and tragedies continue to increase in the world. This is precisely why we bring films to the festival that deal with these topics," he says. 

Documentary as a dismantler of fascism

And then he puts the documentary in a direct political position by saying that the documentary has the power to defeat fascism. 

"I believe that it is the truth that defeats fascism. Fascist ideologies are fueled by lies and manipulation, while documentary, when true to the truth, has the power to challenge and dismantle them. For this reason, I believe that documentary is one of the most powerful tools against fascism," Nurkollari considered. 

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"isms" must continue to be fought. Among other things, as "DokuFest" has been doing for 25 years now. With documentaries and films that have an identity of activism.