Written 06-07-2015 08:56:53 by Allan Berg Nielsen
Jeg kan slet ikke komme i kontakt med den film. Jo, jeg forstår da nok at tegneren stiller sin krop til rådighed for et barn og at der kan siges at være både en lighed og en modsætning med det at bruge sig selv og sin koncentration i frembringelsen af en tegning, mens den ikke gravide danser med den meget lettere krop nok kan udføre sin dans i en frihed, mens en graviditets tyngde ville reducere eller umuliggøre hendes kunstneriske skaben. Nu skildrer de tilsammen med kombineret kropslig tyngde og lethed én fortællende kvinde og kunstner. Der kan sikkert tænkes langt dybere i titlens betydninger, men jeg savner aldeles forudsætninger for at forstå tegningens kvalitet (international popkunst) og forudsætninger for at opleve dansens kvalitet (international street dance) begge dele vist af høj kvalitet. Og det er nok også flerkameraproduktionens mål at præsentere disse to medvirkendes arbejde i en tv-produktion, nok for et kræsent publikum af kendere.
Der er især gjort meget ud af scenografi og belysning. Jeg oplever imidlertid anstrengelserne med lyssætningen af dansescenen og med kameravinklen på malerens pensel gennem en glasplade der males på som en æsteticering der ikke udvider undersøgelsen af den kvindelige eksistentielle overvejelse, ikke tilfører skildingen af to berømte kunstneres værk væsentligt. Jeg ser det netop som æsteticering som noget der er tilført filmen udefra, ikke vokset frem indefra, fra Roja Pakaris møde med sine medvirkende i studiet. Der sniger sig en fornemmelse af arrangement, omklamring og usandhed ind på mig.
Alene malerens koncentration og bevægelser hen foran lærredet virker derimod umiddelbar. Autentisk og oprigtig og smuk faktisk. Altså sand. Og så er jeg fascineret af skålen tegneren har sin farve i, dypper sin pensel i. Det er en smuk skål og så er den sand. Der ville ikke kunne males med farve fra en hvikensomhelst skål, næppe fra nogen anden. Den betyder, at jeg ser tegnearbejdet, maleriet som et ritual. Jeg er bragt tilbage til hulen.
Danmark 2015, 55 min.
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Written 04-07-2015 14:07:58 by Allan Berg Nielsen
Jeg kan rigtig godt lide Olivia Chamby-Rus’ afgangsfilm. Jeg kan især godt hendes medvirkende Anne Sofie Marisa Jensens præstation. Og hos hende er det først sproget, som griber mig, hendes sproglige opfindsomhed og præcision, en mellemting mellem smukt borgerligt dannet sprog og let antikveret og aldeles nutidigt digterisk sprog som breder sig ud i hendes væsen og gestik som en særlig opmærksom nænsomhed, som en skønhed simpelthen. Anne Sofie Marisa Jensen er en gave til en filmscene, til alle filmscenerne. Det er let at høre og se nu, men Chamby-Rus har hørt og set det først og klogt og afdæmpet bragt dette indtryk, denne sum af iagttagelse på plads i sin film.
Fotografen Jasper J. Spanning har også set det særlige ved den medvirkende unge kvinde. Det er blevet til en opmærksom og nænsom og forelsket fotografering. Og klipperen Sofie Marie Kristensen har lyttet til Anne Sofie Marisa Jensens smukke særprægede talesprog, til hendes overraskende formuleringer og skanderinger, stilfærdigt elegante som hun selv i sin tøven, nej, tilbageholdenhed lige fra åbningens præcisering, at filmen er om ”min beskedne personlige blindhed…” Beskedne! Ordet har adskillige nuancer, det ved hun godt.
Hendes scener er også hendes bevægelser, større og mindre og minimale som for eksempel hendes hænders afsøgen Tegners erotiske skulpturs former og detaljer, ”hvordan det er kvinden hviler sit hoved, det kan jeg ikke rigtigt finde ud af…”, som hendes og venindens humørfyldte finden frem til en musikforretning, hvor de vil prøve instrumenter til salg, som til sidst hendes forunderlige måde at synge Volmer Sørensens og Otto Franckers Dansevise på, hele dansevisen, selvfølgelig. Det er en film, som er lavet af og med færdige scener.
Danmark 2015, 30 min.
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Written 03-07-2015 09:49:32 by Tue Steen Müller
Normally we do not not advertise, but rules are there to be broken…
It’s last chance today if you want to take part in the EDN workshop in Turin called Outreach and Distribution – ”a three-day workshop where producers and directors shape the strategies for the release of their next documentary, including the industry launch and getting the film out to a general audience. The format combines general talks by outreach experts with hands on work with shaping a concrete plan for each of the six (maximum) selected documentary projects.”
It takes place end of September and the reason I want to promote it has three legs: 1) We need to find new ways to reach the audience, especially for films which fall outside the mainstream.
The two main tutors are 2) Ove Rishøj Jensen who stood behind the launch of the two Swedish documentaries “Harbour of Hope” and “Every Face has a Name” (photo), directed by Magnus Gertten and 3) Ben Kempas who stood behind the launch of the Scottish “I am Breathing” by Emma Davie.
Very strong films that reached/reaches the audience because of well-thought and performed serious campaigns far away from “normal” loud-shouting, classical marketing.
Go for it!
Written 02-07-2015 20:58:50 by Tue Steen Müller
I read somewhere that NYTimes plans to cut down in their movie reviews policy that so far has been working in the way that ALL films released theatrically in NY are reviewed. What that means remains to be seen, but it will not make me give up my subscription that includes the newspaper and the thursday/friday ”Movies Update” that is a pleasure to read for a documentary addict as well.
For instance the one from today, where you find a review of Asif Kapadia’s documentary (the man who made "Senna") on ”Amy” (photo) Winehouse (for the Danes, soon to be released (July 30) in Copenhagen), a very inviting review – …an intensely intimate experience, which is delightful as you’re getting to know her early on, when she’s all shy, charming smiles and having her first successes. In its rise-and-fall arc, her star-is-born/star-is-dead story is painfully familiar; she is, bluntly, just one more name now etched on our pop-cultural mausoleum. Yet, as this movie reminds you again and again, the commercial entity… was also a human being, and it’s this person, this Amy, whom you get to know through all the lovely little details, knowing winks, funny asides and barbed observations that help make the movie memorable… Read it all, please!
And a theatrical release of a Les Blank film from the early 1970’es is written about, “A Poem is a Naked Person”, about musician Leon Russell. Blank, who died in 2013, is a name to be remembered in the history of documentary for his films on music and culture, with his own non-pretentious style, made this film “over three years, his first feature, “a vital part of a unique and durable body of work”.
And more documentaries are reviewed – and there is a long and informative, and superbly illustrated, article on the phenomenon Robert Frank, “The Man Who Saw America”.
Written 02-07-2015 11:35:58 by Tue Steen Müller
Still waiting for Israeli film critics having watched and evaluated the film by Herz Frank and Maria Kravchenko – that is to be screened in Jerusalem July 8, the day before the Jerusalem Film Festival officially starts but still as part of the documentary competition – here is a clip from a competent review from Hollywood Reporter, read the whole, link below:
“…the filmmakers are less concerned with political context than with Tremblover, an Orthodox Jew and Russian émigré to Israel who fell in love with Amir, fought for years to marry him in prison, and is now mother to his young son. Though muddled and elusive at times, Beyond the Fear is an absorbing meditation on the emotional and psychological aftershocks of violent political events. With Mideast tensions constantly in the news, further festival play seems guaranteed, possibly leading to niche distribution and small-screen interest…”
Written 01-07-2015 17:50:16 by Tue Steen Müller
A newsletter arrived presenting an impressive selection of films to be broadcast in Africa…
A year ago we wrote about the Afridocs initiative taken by the Steps foundation in Cape Town, which is run by Don Edkins, who initiated Steps for the Future and was involved in the global series ”Why Democracy” and ”Why Poverty”. Afridocs is supported by the Bertha Foundation and ED, which is (quote from the website, link below) ”Africa’s newest information and knowledge portal. Immediate and interactive, it seeks to engage and inspire…
To refresh your memory: ”AfriDocs is the name of a broadcast initiative that has a focus on “The best documentaries made in Africa and the first documentary strand across Sub-Saharan Africa... real stories weekly. Primetime.” Through the channels
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Written 29-06-2015 15:17:03 by Tue Steen Müller
The 37th edition of the Moscow International Film Festival ended two days ago and the winner in the documentary competition was American “Cartel Land” by Matthew Heinemann.
According to the festival’s main communicator, filmmaker and festival programmer, Georgy Molodtsov: “Overall, with 19 films (7 in competition and 12 out of competition in the Free Thought section) we collected 4338 votes. Together with press screenings we've counted around 5500-5750 viewers for documentaries only. It was a great festival, great films and, of course, great audience...”.
Talking about the votes, enthusiastic Molodtsov refers to the decision on who should have the audience award. I am sure he won’t protest that I quote from his FB page:
When I saw tears on the faces of the most cynical documentary filmmakers after the screening of this film, I hoped that it would win. Yesterday I've been told, that in the third screening of the film in a 90 seats screening hall of Documentary Film Center 119 votes were collected and some people just weren't able to get to the screening even on stairs…
The film in question, winner of the audience award, is “My Love, Don’t Cross That River” (photo) from Korean Mo-Young Jin that got 4.81 out of 5 points from the audience, whereas “Racing Extinction” by American Louie Psihoyos was next with 4.77 out of 5, Joshua Oppenheimer got 4,69 for “The Look of Silence” and Laura Poitras 4,61 for “Citizenfour”.
Written 28-06-2015 16:31:21 by Tue Steen Müller
Years ago, when in Israel as a tutor for the documentary CoPro event organised by Orna Yarmut, I visited the Jerusalem Cinematheque. I was there with Herz Frank, whose favourite cinema of his home town it was. Herz was proud that 35mm prints of his films were in the prestigious collection. We met the charismatic founder and leader of the Cinematheque Lia van Leer, who died 90 years old this year, always praised as a true supporter of the art of film. She talked warmly about Herz Frank and his films.
Her name has come up in connection with the controversy around the film of Herz Frank and Maria Kravchenko, ”Beyond the Fear”, that has been selected for the upcoming Jerusalem Film Festival, July 9-19. According to i24News (link below) the Israeli Minister of Culture Miri Regev has threatened to withdraw funding for the festival if the film is screened at the festival, making film critic Gidi Orsher write on his FB page: "Had Lia van Leer still been with us, she'd tell Regev where to go…” and many have suggested that filmmakers with films at the festival withdraw their films.
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Written 26-06-2015 19:09:12 by Sara Thelle
Thank you to Cinemateket in Copenhagen who, in collaboration with the Copenhagen Photo Festival and Danish writer, filmmaker and beat expert Lars Movin, organised the Robert Frank program here in June. And thank you to Lars Movin for sharing his knowledge and his personal anecdotes with us when introducing the films. This was the first big Robert Frank retrospective and also the first official screening of the legendary Rolling Stones documentary Cocksucker Blues (1972) on Danish ground. 15 of Robert Frank’s films and 3 about him.
I was in for a small marathon last Saturday. First the documentary Leaving Home, Coming Home – A Portrait of Robert Frank (2005) by Gerald Fox, a rare intimate portrait, since Robert Frank has never been keen to being filmed or interviewed. Then the feature-length hybrid film Me and My Brother (1968) and last, a collection of his later short films The Present (1996), I Remember (1998), Paper Route (2002), True Story (2004/2008) and Fernando (2008).
Me and My Brother was a slap in my face. It opens up with a very disturbing scene that takes you right to the bottom of a deep and complex matter. Soon it is turned into a film within the film and becomes a sort of meta-reflection and investigation into the questions: how do you film other people, how do you use others in your art, how do you use yourself, what do you make money from, how does it feel to be filmed, what does it do to you, when are you yourself and when are you acting. It is a hybrid film, mixing real life with staged acting, colour with black & white, at times the characters are “played” by themselves and at other moments by actors.
Originally, Frank was set out to make a film adapting Allen Ginsberg’s poem Kaddish, written about his mentally ill mother. But over time, the project becomes a film about Ginsberg’s partner Peter Orlovsky’s brother Julius, who after having spent 15 years in a psychiatric hospital is let out and left in care of his brother. So the setting is Julius, a catatonic schizophrenic, living with Peter Orlovsky and Allen Ginsburg. The film is about how to live with and among mental illness, about how the brother Peter deals with it, and in this way – maybe – it becomes indirectly an adaption of Ginsberg’s poem. And at the same time it is a film about Frank’s doubts about filming this.
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Written 26-06-2015 14:39:54 by Tue Steen Müller
It was a privilege to follow the development and production of Peteris Krilovs ”Gustavs Klucis: The Deconstruction of an Artist”. And it was a privilege to see how the producer of the film Uldis Cekulis fought for the film to have the necessary financing to be completed. And to be able to see the end result live up to the high ambitions. The film had its premiere in Riga in May 2008 and now – 7 years later - it has a new premiere as a very inviting 2 dvd set, a collector’s edition it is called, including a booklet, well it is all there for you to enjoy, experience and learn from!
The visual part first: The 90 minutes version is there in English vo and subtitles, as are the Latvian vo with subtitles and the Russian vo with subtitles. Plus a 90 minutes version with Peteris Krilovs and editor Julie Vinten in conversation with me, in the best English we know! It was the first time we did that, commenting on what you see in this and that sequence, hope it works! And then on the second dvd
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