Written 19-12-2014 19:48:22 by Sara Thelle
Shame on me that I in my turbulence after the screening did not remember the beautiful review that Sara Thelle wrote when she had watched the film in connection with cph:dox. I repeat two paragraphs here:
... I (Sara Thelle) wish I had never seen Silvered Water. Images will haunt me for the rest of my life, scenes in my head will never go away. Horror. Hell. And yet I strongly recommend you to go see the film... First, because it is Syria, there is so little access to information about life there and, of course, we have to see what the two directors Ossama Mohammed and Wiam Simav Bedirxan want to show us. But also because this is an exceptional film, I wouldn’t hesitate to call it a masterpiece. It is poetry, in the dialogues, in the images, in the editing.
You get to understand the pain and the guilt of the exiled. Mohammed expresses his agony in a strong cinematographic language of metaphors, he is the one who has lost his freedom, his life has stopped. In the first part of the film, we see horrible scenes of torture and executions that are unbearable to watch. Raw images captured with mobile phones by the torturers, the security forces of the regime, and put out on the Internet. You can only try to imagine what pain Mohammed have inflicted on himself in working with these images, seeing them over and over again when doing the editing. And we understand that, strangely enough, the besieged Bedirxan is the one who is the most free and alive. The courageous woman, who has turned cinematographer to survive the in the midst of the civil war, becomes his eyes and his hope. The title, Silvered Water, is the signification of her Kurdish name Simav.
The original music, beautiful and devastating, is composed and performed by Mohammed’s wife, the renowned Syrian singer Noma Omran, originally from Homs...
Sara Thelle had the courage and skills to put words on what she saw.
Written 19-12-2014 12:14:26 by Tue Steen Müller
by Wiam Simav Bedirxan & Ossama Mohammed.
It premiered at the Cannes Film Festival and has been to major festivals like Toronto, cph:dox and idfa. Two days ago it had a theatrical release in 30 cinemas in France, where the exiled Syrian director Ossama Mohammed lives. The reception in France... le Monde writes ”chef d'oeuvre”, masterpiece.
And what could I write but the same, after for months having hesitated to watch because I knew what horrifying images were waiting for me. I do not recall, when was the last time I have been so strongly affected by a film. To an extent that I find it meaningless to line up words to describe what I saw and felt. It would be reviewer clichés after clichés. I can not do so. So you get three brief comments followed by more laconic synopses:
Wiam Simav Bedirxan's filming in Syria is courageous and heroic. Ossama Mohammed has treated the unique material in an outstanding and personal way. The two have made true Cinema!
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Written 17-12-2014 18:41:45 by Tue Steen Müller
I love them all, the three year old grandchild Henry said, referring to the Krtek films made by Czech Zdeněk Miler. Even if he runs around saying Ninja Turtle all the time, his best moments are those with the animation films featuring the mole and his friends. Which one do you want to see, we ask him. The answer is ”the one with the bulldozers”. A couple of days ago he saw ”Krtek ve městě” (The mole in the city) (1982, 29 mins.) 3 times. He knows every cut, he asks us grown-up’s to be totally quiet so he can listen to the sound – nobody says anything, no dialogue, but the sound score of this and other Krtek films is excellent.
Why do you like that one so much? I just do, is the answer. So why do I, grown-up documentary fanatic love it. Let me try and let me guess why he, the three year old likes it, as does his cousin Thomas, half a year younger.
It starts dramatically. The mole and his friends (the mouse and the hedgehog) lose their homes as trees are felled and bulldozers move out to plow the land to make it ready for buildings for human beings. The bureaucrats arrive wearing their high hats and hearing the crying of the three small ones, one of them decides to give them an official paper that states that whereever they come, they are to be helped. They have to leave the forest that is no longer there, they arrive in the city after succesfully passing police and military authorities due to the signed document, they get an appartment, decorated as the piece of nature they left, but in plastic, they experience the noise and pollution of the city until one day they have had enough and when they get the chance it's back to nature flying on the backs of swans...
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Written 16-12-2014 16:47:44 by Tue Steen Müller
Stephen Smith, one of the directors of “Vanishing Point”, wrote to me a couple of months ago. He asked if I would care to watch his film, produced by the National Film Board of Canada. Apart from a very fine recommendation by late Peter Wintonick, there had been no real attention, he wrote, even if the film – see website, link below – has been going around to mostly Canadian festivals. I got the dvd and started to watch and was immediately brought back down memory lane – Greenland and the many Danish documentaries made from there, especially by Jørgen Roos (1922-1998), who for decades returned to adventurous Greenland to film the hunting culture and the conflicts between traditional way of living and what we Danes has taken with us to Greenland. If anyone Roos has visualised inuit in Greenland. My vision of the island comes from him.
Roos would have loved “Vanishing Point” that is a very well told and beautifully filmed story, non-sensational in a calm rhythm and with a charismatic leading Navarana K'Avigak Sørensen – more Danish can a surname not be! Navarana is the one who tells the story in first person tracking her own family roots back to Qitdlarssuaq, a shaman, who in the 1860'es migrated with a small community of Inuits from Baffin Island to the North of Greenland. Navarana is the descendant, who takes the viewer by the hand to show and reflect on the Inuit culture of today up there near Uummannaq, where her family used to live until they were displaced due to the building of the American Thule base (Jørgen Roos has made a film about this Danish-American scandal).
Naduk is the daughter of Navarana or did I get that wrong... doesn't matter, Navarana goes with her family (Naduk's husband is Ole... again more Danish
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Written 15-12-2014 19:55:32 by Tue Steen Müller
There has been quite a film party going on in the Latvian capital. Not only has the city, as Cultural Capital of Europe, hosted the EFA Awards - films have been shown at the Riga International Film Festival that ran from December 2-12, masterclasses and panel debates have been going on at the new National Library and awards have been distributed, among them the National Film Prizes, which – to my great joy – includes a number of awards for documentaries. My source is Film New Europe, link below for a list of all awards:
Best full-length documentary award went to Peteris Krilovs personal ”Obliging Collaborators” (photo), a personal historical film that as a motivation point has the death of the director's father due to ”the KGB repressions, which is closely linked to the devious game Soviet Latvia's KGB played against Swedish-British-American spy agencies”. Original in narration, the films uses clay animation. To be a bit patriotic, the editor of the film is Danish Julie Vinten, with whom Krilovs also worked on the film on Klucis.
Best Documentary Film 60 minutes was Davis Simanis ”Chronicles of the Last Temple”, that has been praised on this site: ”a superb interpretation of the new and much discussed National Library of Riga, a film that shows Simanis ability to capture the grandeur of a building and its details in a super aesthetic form.”
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Written 10-12-2014 15:52:05 by Tue Steen Müller
A couple of months ago I wrote a text about the upcoming second edition of the Cinedoc festival in Tbilibi, Georgia. The festival included a section called Ukranian Voices with several films, also one that I had not heard about, ”Ukraine_Voices”. The day after I was informed by Dmytro Tiazhlov and Ella Shtyka, what was hidden behind the title – ”a documentary almanach”, 8 short documentaries made during the workshops organized by the Indie Lab project initiated by the two filmmakers. Tiazhlov has been reviewed on this site before for his works ”Cornered” and ”I was a Monument to Myself”. So I downloaded the film and watched. Here is the synopsis taken from the Georogian festival site:
A collection of 10 documentaries (in my download there were 8, ed.) gives a glimpse into nowadays Ukraine just before the crisis started. These short films are all directed by different filmmakers and tell us various stories, through these films we observe Ukraine from different points of view and get to the heart of what really matters to millions of young Ukrainians, we also get to know some unknown heroes and learn their stories.
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Written 10-12-2014 11:45:35 by Tue Steen Müller
Got this mail from Carmen Cobos this morning referring to a screening in Aarhus, Denmark tomorrow; "IMPERFECT HARMONY - my debut film as director will be shown in your country this Thursday, maybe you care to see it" - the Doc Lounge Aarhus is the venue, FB link below and here is what I wrote about it on this site:
Louis Andriessen, charismatic Dutch composer, and Mariss Jansons, charismatic Latvian chief conductor of the Royal Concertgebouw Orchestra in Amsterdam. The two characters in the fascinating observational documentary drama, which is very well told, interesting and entertaining.
Written 08-12-2014 18:59:58 by Tue Steen Müller
Sergei Loznitsa was awarded one more time for his ”Maidan” (photo) at the festival in Firenze. The brief jury motivation goes like this: Timely in this current passage of History, the filmmaker calmly and masterfully engages in the unfolding of a people’s unrest with a conflicted system.
Click the link below and you will get an interesting interview (in English) with the director – 15 mins.
Alexander Nanau received the audience award for his ”Toto and his Sisters”. There is a clip from the film and an interview with the director – 10 mins. Click the link below.
For other awards check the website for the festival, that has ”Reality is More” as its motto. ... Is it?
Written 07-12-2014 10:22:00 by Tue Steen Müller
After a long career at festivals (winning the Grand Prix at Cinéma du Réel 2014) the feature length documentary by Mehran Tamadon opened in cinemas in Paris December 3. In many cinemas in the French capital, that is still unique in its repertory of art house films. I watched the film at 11 in the morning – 40 people in the cinema…… to a film that basically is built on 105 minutes of talking between the director and the four mullahs he convinced to take part in the film after a couple of years of filming discussions with other, who ended up saying no to take part – some (according to the director) because they did not want to be seen together with ”someone like me”, others out of fear for public reactions in Iran.
”Someone like me” – the director is atheist and his ambition with the film, and inviting the mullahs to stay with him for two days, was to find out if it was possible to find a way to ”vivre ensemble”, to ”live together”. The mullahs arrive to his house outside Tehran, they eat together, some have their wives and children with them, they sit for hours discussing and drawing on paper on the floor, discussing what kind of books could be on common ground, what kind of music could be played, what kind of photos could be on the wall, the veil etc. It’s all being discussed in an atmosphere without aggression and with the mullah number two from the left on the still photo as a very efficient leader of the mullahs in terms of rethoric talent. It’s actually at times quite entertaining to watch, also when the director is instructed on how to pray and wash arms, hands and face.
At the end of the film, driving back to Tehran, the director, who lives in Paris, tells the audience that he had his passport confiscated upon arrival to Iran, because of the official knowledge of his film project. He got it back but with the message that if he came back, his passport would be taken from him, preventing him from leaving Iran. ”Vivre ensemble”?
There is a long – in French – interview with the director on Le Blog Documentaire, worth reading. Link below.
His previous film about the ”Bassidji” (Orig.) (2009 / Frankrig, Iran, Schweiz / 114 min.) is available through DocAlliance, link below.
France/Switzerland, 2014, 105 mins.
Written 06-12-2014 12:35:39 by Tue Steen Müller
Is it wrong to characterize a film as lovely? Well, the young woman on the still photo is wonderful to be with, and she has been made lovely through the approach of a director, who dares to leave the main road, when it comes to a documentary from and about Congo. To give the viewer an insight to what some citizens, actually they are all civil servants, think about their jobs, primarily, and the future of their tormented country. It is fun to watch and warm in atmosphere, and reaches the audience brilliantly even if it raises some narrative problems that the director has chosen to bring comments and thoughts forward as voice-offs, stopping the flow sometimes. But by this choice he has made it possible to work with great tableau-like, composed images that you remember so well. Henriette on the still photo is waiting for the post system to be modernised, equally Simon from the railway station sits and waits as does his colleague from the fire brigade. Waiting for something to happen. It does for Henriette, things are moving, and she is the one, we follow to a religious meeting and to her home.
Bilsen showed his film at DOKLeipzig and at idfa this year and a premiere is now to happen in Belgium. He demonstrates an obvious talent for catching situations, create his own tone and visuals, and has a feeling for a montage, where you go from the noisy streets of Kinshasa to the quiet public service venues where something is to happen. Lovely!
Belgium, England, 2014, 72 mins.
Written 06-12-2014 12:24:39 by Tue Steen Müller
Zhanna, Lyosha and Maria. St. Petersburg 2013. Small apartment. Full of smoke from the cigarettes of Zhanna and Lyosha. Maria is the mother of Lyosha. She provides the two junkies with food – and love. She works, they do not – and yet, Lyosha is seen at the beginning of the film helping other drug addicts. He gets out of the appartment, Zhanna does not except for the ending of the film in a wheel chair pushed by Lyosha.
It is a chamber play of great intensity. A story about despair and misery, but also an intimate interpretation of a couple, who are still alive against all odds. Zhanna is the constant talker, Lyosha is thus more silent, they delve into the past where they had a better life.
It is a film that is difficult to watch was it not for the three strong individuals, who have given the director access to their lives. She has reacted to this generosity by making a non-sentimental, compassionate portrait. As intervals she has decided to have clips from a rock concert, probably thought as a companion in text and expression to the situation of the couple in the appartment.
Austria, 2014, 75 mins.
Written 06-12-2014 12:19:50 by Tue Steen Müller
Erich Lessing, born 1923, Austrian reportage and art photographer, associated to Magnum, famous for photos from Hungary 1956 and for photos of art in museums. And probably for much more – which is not the theme of this film that primarily wants to make a portrait of an old man, a fine artist, who is still going strong, when it comes to select his photos for a book, photos for an exhibition and who has clear opinions about, what he has wanted to catch with his camera.
Those scenes where he discusses and selects and formulates are the best. ”I’’m a storyteller. In my photos there has to be a story… All pictures have a political message” – some of the sentences expressed by Lessing, who is followed by his wife and helper in his métier, a warm side motif, one can say.
It is always inspiring for documentarians to see the work of a photographic artist, who has an eye for people and situations and can talk about his work. And to meet one more fine photojournalist next to Capa and Cartier-Bresson.
Austria, 2014, 75 mins.
Written 05-12-2014 11:42:42 by Tue Steen Müller
The other day I visited the National Gallery in London. I was there for three hours, generously being introduced to the fabulous collection by skilled art historians, who took me and others to watch and learn. We stood in front of one masterpiece after the other. I watched the reactions of my fellow visitors, the concentration they had, and some of them sat down to copy the works. I also had the chance to get behind the scene and discover how fascinating it must be to work with the restoration of paintings, the x-ray technique being used, and I met staff members who discussed budget matters for the museum, I saw how new exhibitions are being set up, I saw model painting classes by amateurs, blind people seeing pictures… all of it was arranged for me by Frederick Wiseman and his team, who again has made an inviting institution film with the right rythm, indicating the conflicts there are at a place like that – policy towards the audience, how populistic do you have to be etc. – but first of all this time with a focus on the art. It is simply wonderful to be there…
And then you can, as I did here in Paris, where ”National Gallery” is running in several cinemas, inspired go and watch Mike Leigh’s new film ”Mr. Turner”. Brilliant as well.
USA, France, 2014, 180 mins.
Written 05-12-2014 10:58:13 by Tue Steen Müller
Normally, there is no reason to bring a photo of two men signing a contract but in this case I want to honour my dear friend and colleague Joan Gonzalez (right) for making one more of his many dreams come through - here is the press release that came out:
DocsBarcelona creates DocsBarcelona Documentary School to strengthen international documentary training. To accomplish this project DocsBarcelona has associated with the School of Communication and International Relations of Blanquerna University.
DocsBarcelona has more than 18 years of experience in the training field in Spain, Europe and Latin America. Designing, coordinating and giving courses in universities, film schools, markets, festivals and televisions.
Written 03-12-2014 00:35:01 by Tue Steen Müller
The 55th edition of the Firenze based documentary Festival dei Popoli is running now – until December 5. A rich programme and it’s all very professionally presented on the website. And I liked the welcoming words of the festival director, so I made a copy-paste – his name is Alberto Lastrucci, who brings a modest, unpretentious text:
Humankind needs stories. It needs them to learn as well as recognize itself. To acquire information, nourish its inexhaustible curiosity, and respond to its innate instinct to share, to participate, and to hand down experiences, opinions, and fantasies to others. And, is there a better generator of stories than Reality?
Reality produces situations, incidents, and events with an incredible fecundity: it is a tight web of lives, thoughts, actions, and passions. ‘Film-makers of the real’ are deeply aware of this because they are its keenest observers. They explore it, they scan it, they investigate it, and then pick those thin threads that will wind into a story. The vicissitudes of certain individuals at a given time and in a faraway place take shape and become a narrative: a new story to tell. Thus, that event takes off and starts a journey to go and strike the imagination, fantasy, and heart of thousands of people. It becomes universal.
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Written 02-12-2014 11:29:52 by Tue Steen Müller
Denmark’s oldest film journal Kosmorama (first issue in 1954) presents a slate of articles (online and in English as well) that could interest the true film buffs among our readers. The articles are written by film historians and academics. The titles are ”Body Language and Media Context” (Lennard Højbjerg), ”Figures in Landscapes” (Casper Tybjerg), ”Expression Suppression” (Henry Bacon), ”Making Love Detumescently” (Mariah Larsson) and ”Movie Stars in the Flesh” (Helle Kannik Haastrup). The information about this December issue of Kosmorama I received this morning, so no time yet to read, only to browse. It is all very appealing, with good illustrations and clips from films.
The link below also refers to other articles at Kosmorama, in Danish or English.
And the photo, well you know the man in the middle: ”Occupations” by von Trier – to be found on the internet.
Written 01-12-2014 11:47:24 by Tue Steen Müller
Got this press release from Andrea Pruchová from DocAlliance this morning – concerning an early super-generous xmas gift to all of us documentary fans:
His films tend to attract general attention. While festival juries churn out awards, as seen in Cannes, Karlovy Vary and at Jihlava IDFF, viewers are charmed by the quiet pace of his poetic images he has recently employed to capture the revolutionary events at the MAIDAN square in Kiev. Sergei Loznitsa, director of the remarkable feature films My Joy and In the Fog, now receives another honour for the first time; the launch of his online world film retrospective. Ten documentaries by Sergei Loznitsa, including his yet unpublished film master class, are available from December 1 to 14 at the DAFilms.com portal for free.
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Written 29-11-2014 17:09:52 by Tue Steen Müller
How should a jury work? Is there a recipe? No, of course not. Should a jury talk after each screening or… how to remember the films you have seen?
The idfa jury 2014 for First-Appearance competititon did like this, an idea to copy? Read about it:
On the first day we were clear about one matter: not to talk about the films right after we had seen them. We all needed to digest the films properly and not too quickly.
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Written 29-11-2014 09:07:26 by Tue Steen Müller
Here is the full press release from idfa - it came in late last night:
The winners have just been announced in IDFA’s various competition programs in the Compagnietheater in Amsterdam at the awards ceremony of the 27th IDFA. Of Men and War by Laurent Bécue-Renard won the VPRO IDFA Award for Best Feature-Length Documentary. Naziha’s Spring by Gülsah Dogan won the BankGiro Loterij IDFA Audience Award.
The film Giovanni and the Water Ballet by Astrid Bussink was chosen by a jury of children as the best Dutch youth documentary of the past year.
Laurent Bécue-Renard won the VPRO IDFA Award for Best Feature-Length Documentary (€ 12,500) for Of Men and War (France / Switzerland). The film is about a group of American Iraq veterans with post-traumatic stress disorder. Director Bécue-Renard follows the group for many years during therapy sessions in a clinic for veterans.
From the jury report: The Jury recognizes a film that confronts us with our fragility as human beings, revealing that we must treat each other with gentleness and love. In a way that is never intrusive, the camera participates in therapy sessions for traumatized veterans. (…) A more powerful anti-war film is hard to imagine.
In addition, the jury presented the Special Jury Award to Something Better to Come (Denmark / Poland) by Hanna Polak, who for fourteen years followed
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Written 27-11-2014 12:31:26 by Tue Steen Müller
I met her in Damascus during the DoxBox festival and later again in Cairo for a workshop, so I know how hard Nadine Sahib has been working to complete her film, that now (bravo!) is at idfa, in the First Appearance Competition. I am not there but will watch the film on the brilliant Docs for Sale Online.
Melanie Goodfellow made an interview for the idfa daily – I have picked some quotes, please go and read it all, link below:
… the film explores prejudices towards infertile women in Upper Egypt through the plight of Hanan, a childless woman living in an impoverished village in the region. “I was intrigued by the Egyptian ancient tradition of naming infertile women ‘Mother of the Unborn’, or ‘Um Ghayeb’ in Arabic," explains director Nadine Salib on the origin of the documentary.
Written 26-11-2014 14:13:04 by Tue Steen Müller
From November 30th till December 7th the DEFC (Documentary & Experimental Film Center) organizes the 8th edition of Cinema Vérité Iran International Documentary Film Festival.
There have previously been appeals for boycott of this festival, that of course is supported by the government, several have asked me whether they should let their film go there or not, my answer is yes, ”take a look at the programme of the festival” and I have listened to what EDN’s film consultant Ove Rishøj Jensen has said, he has been there and knows the people behind the festival.
And this year he and EDN (taken from EDN website) ”… are in collaboration organising the first edition of Cinema Verite DocPro. It is a three-day seminar focusing on the international documentary market. Taking place in the framework of the 8th Cinema Verite documentary film festival, Cinema Verite DocPro will offer Iranian filmmakers three days of seminar sessions, focusing on a variety of aspects connected to working with international documentary projects. Among the topics covered during the seminar are pitching of documentary projects, international financing possibilities, how to construct documentary narratives and project consultations…” The workshop runs December 4-6.
The festival has a fine programme – let me mention Oppenheimer’s ”The Look of Silence”, ”Deep Love” by Jan Matuszynski, ”The Man who Made Angels Fly” by Wiktoria Szymanska , ”Two Ragin Grannies” by Hpåvard Bustness, ”A Diary of a Journey” by Piotr Stasik, ”National Gallery” by Frederick Wiseman, ”Five Broken Cameras” by Guy Davidi and Ema Burnat, ”Concerning Violence” (photo) by Göran Olsson, ”Happiness” by Thomas Balmes as well as there are retrospectives from Visions du Réel and a panorama of Japanese documentaries. Read more on the website, which is still a bit incomplete.
Written 26-11-2014 10:03:36 by Tue Steen Müller
The 22nd edition of Camerimage in Poland, a festival that has its focus on cinemetography ended on the 22nd of November. The festival includes documentaries in its award-giving and distributes life-achievement awards as well. One was given to a well-known, world famous documentarian:
“It gives us great pleasure to announce that the recipient of this year's Camerimage Award for Outstanding Achievement in Documentary Filmmaking will be Kim Longinotto (photo), one of the most acclaimed cinéma vérité filmmakers in the world, a true activist whose life's mission is to shed light on the problems of women in different parts of the globe, and to inspire people to seek the change within themselves first.”
In the documentary category of this year’s competition two films were awarded, to the cameraman/men, two from Russia and one from Colombia:
Golden Frog — Grand Prix: Blood
cin. Yura Gautsel, Sergei Maksimov
dir. Alina Rudnitskaya
Special Mention: Monte Adentro
cin. Mauricio Vidal
dir. Nicolás Macario Alonso
Written 24-11-2014 17:52:21 by Tue Steen Müller
It's never too late to review an important documentary. I had for years known about "Judgement in Hungary", seen clips, some very rough cuts, always in doubt whether it would be possible to make a feature length documentary (primarily) located in a court room. I hesitated but a day during the Jihlava festival, at the videotheque, I watched it, I saw no more films on that day deeply impressedby what I saw. Hajdu and her team has succeeded to make a film, shot over several years, into a drama that will stay as an artistically formulated document over xenophobia in our times in a European country. A story about horrific attacks on an ethnic minority.
Content - taken from the One World Festival catalogue:
For three years, a film crew followed the trial of four members of a Hungarian criminal gang accused of a series of racially motivated murders of six Roma, including children. It took more than a year just to apprehend the culprits, and the case dragged on, mainly because of a lack of evidence and gross police misconduct. Thanks to the constant presence of cameras in the courtroom, director Eszter Hajdú succeeded in capturing the dramatic progress of the closely watched trial, which created a media frenzy. Will the trial conclude with a verdict that brings the survivors of three Roma families some measure of closure? Can they trust in the fairness of the Hungarian state?”
The verdict is given on Day 167 of the trial! For those who have not seen the film, I will not reveal what the judge states in this final scene. Watching the film you wonder, what will be the final result. What I can say is that the building of the film is unique. You get to know the 4 accused of killing six people, including one child, you see the relatives being questioned in the court room, and first of all you have a main character, the judge, who presides over it all like a conductor of an orchestra or like the director of a play on good and evil. He shouts at both parties, the accused and the witnesses, making them understand that they should behave according to his codex. The judge is ”a mental sadist”, one of the accused says! Sometimes it is like a performance of an absurd theatre piece followed by a constant sound of a typewriter/computer, where every word being said is put down. In and out the court room the accused are being led by guards with covered faces. In and out the stage. Step by step the drama is built. Accompanied by music here and there. Sentimental, no, but bringing the tough images of the crimes to the eyes of the viewer.
No wonder that this film has got so many awards and after its international premiere at idfa 2013 still travels.
Written 24-11-2014 01:27:34 by Tue Steen Müller
Festival director and film critic Amir Labaki is in Amsterdam for IDFA (International Documentary Film Festival Amsterdam) and is interviewed for the fine Daily News of the festival – an online press service of the festival, in general to be recommended, in this case specifically to know why the high quality documentary festival has the name it has. Here is a small quote from the interview by Nick Cummingham:
”… And then there’s the festival name, inspired by Orson Welles’ unfinished ‘masterpiece’ about Rio. “Welles came to Brazil and tried to make his film, but he couldn’t finish it. The Americans called him back, cut his budget, took away the prints and he could never work on it again. When I was starting the festival two things happened.
Indeed it is – the 20th edition takes place April 9-19 in Rio de Janeiro and Sao Paolo – I was a jury member in 2002, pure pleasure, and the winner was ”August” by Avi Mograbi, a film that by no means has lost its actuality.
Written 22-11-2014 18:27:19 by Tue Steen Müller
This is how the ICP (International Center of Photography) introduces the exhibition: ”Genesis is the third long-term series on global issues by world-renowned photographer Sebastião Salgado (born Brazil, 1944), following Workers (1993) and Migrations (2000). The result of an eight-year worldwide survey, the exhibition draws together more than 200 spectacular black-and-white photographs of wildlife, landscapes, seascapes, and indigenous peoples—raising public awareness about the pressing issues of environment and climate change.”
Right they are in using superlatives. It is an outstanding presentation of a great photographer’s fascinated interpretation of nature and people. So full of love, the black and white photographs are. Of course there is a message: Look at what a beautiful world we have!
The film by Wenders, “The Salt of the Earth”, co-directed by the son of the photographer Juliano Ribeiro Salgado, gives a fine insight to the way Salgado works and what he thinks about his profession, try to watch that when it comes to a cinema near you, and if you visit New York, it is a must to go to the ICP.
I have taken a still photo from Wenders film to accompany this text – there are cp on all Salgado’s work – but google him and you will find the Genesis photos. An inspiration for all documentarians.
Written 21-11-2014 16:57:46 by Tue Steen Müller
I was there yesterday – on the bowery in New York. And of course remembered the 1956 docufiction classic by Lionel Rogosin. That carries the title “On the Bowery”. Back in the hotel I watched the trailer of the film, beautiful images, strong social document. You can get it from the distributor Milestones, and that is exactly what it is according to Martin Scorcese:
"A milestone in American cinema… On the Bowery is very special to me… Rogosin’s film is so true to my memories of that place and that time. He accomplished his goal, of portraying the lives of the people who wound up on the Bowery, as simply and honestly and compassionately as possible. It’s a rare achievement."
The changed Bowery has a great museum, New Museum, that right now hosts a colour- and joyful exhibition of the British artist Chris Ofili, to be strongly recommended for his sensual portraits of African women. His small “Afromuses 1995-2005”, 26 diptychs, watercolor and pencil on paper, are attractive and unpretentious, as are the huge paintings. The exhibition runs until end of January 2015.
Written 20-11-2014 04:42:47 by Tue Steen Müller
All members of EDN received this mail yesterday before the General Assembly to be held at the General Assembly at idfa in Amsterdam. The proposal will be presented by PeÅ Holmquist:
Dear EDN member,
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Written 20-11-2014 04:04:56 by Tue Steen Müller
Idfa started yesterday, the International Documentary Film Festival Amsterdam, the 27th edition, amazing it is in itself, and ” what differentiates IDFA from other European doc festivals is its appeal to public audiences and professionals alike”, a quote from realscreen (link below), very right so, there is definitely an audience for documentaries in Amsterdam, in the Netherlands, and idfa has had a key role in building it to what it is today.
Realscreen has an interview with Ally Derks (photo), who founded the festival and is its charismatic leader, recommends some films and admits wonderfully that even if she comes from the country of football, from where Johan Cruyff comes, the man who stood behind a new way of playing football and implemented his philosophy at FB Barcelona, that she did not know Messi!
She talks about Álex de la Iglesia’s documentary about the best football player in the world: …“I liked the film but I had no idea who [Messi] was. He’s like God,” she says – explaining that all screenings of Messi sold out an hour after its selection to IDFA was announced on local television…”
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Written 19-11-2014 00:45:42 by Mikkel Stolt
This is by every standard a remarkable film – not because it tells us about the extensive surveillance of all but everybody, but because we get to meet an otherwise obscured person of such significance to today’s society and because the access and the tension are unsurpassed. Even if the whole film only consisted of the scenes in the Hong Kong hotel room where the director meets whistleblower Ed Snowden and journalist Glenn Greenwald, it would still be a remarkable film. Come to think of it: It would be an even better film. And with THAT approach (and a small buildup to those hotel scenes) it would possibly have been one of the most thrilling documentary films with a capital F.
The filmmaker is enough of a filmmaker to acknowledge this but in my view also too much of an activist-journalist to completely trust us to gather info elsewhere on the subject matter. But we all have, haven’t we? And I don’t need it here. I want to be in that hotel room – I want to feel the natural excitement, the anxiety and the occasional relief.
Yes, the subject matter is of great importance, and too much awareness is not a bad thing. Only here I feel, that what we non-criminal regular-Joe-spectators need is to feel the power of the authorities – not to be told about it. I know I oversimplify things in the film a bit here, but the core of hotel scenes does it so splendidly. It’s a radical form of observational cinema which is really getting to you, and that’s the way I’d rather think about this film.
This review will self-destruct 10 sec. after your reading.
USA, Germany, 114 mins.
Written 18-11-2014 16:47:00 by Tue Steen Müller
Sundance Documentary Film Program director Tabitha Jackson talked at the DOC NYC, the documentary film festival that runs in new York right now, until the 20th of November. Jackson who used to work at Channel 4 in London, and was one of those commissioning editors that I always loved to have at a panel in EDN workshops, because she was able to formulate constructive criticism and not just say ”yes” or ”no”, presented the profile and policy of the Sundance Documentary Film Program saying that “The lingua franca of non-fiction filmmaking should be the language of cinema and not the language of grant applications.”
There is a fine report on Jackson’s keynote speech at the festival in the “Filmmaker” – what I loved to read – a quote – was this:
… she found a rallying cry for sensitive and artistically compelling documentary practice in the work and words of Latvian filmmaker Herz Frank, whose 10 Minutes Older, an excerpt of which she screened, contained for Jackson “every emotion you might experience in an entire lifetime” in the single shot of a child watching a puppet show.
She quoted from Frank’s writings: “The first rule of the documentary filmmaker is, have the patience to observe life. If you are observant, if you look not only with your eyes but also with your heart, then life for sure will present you with some particular discovery. And then the reality recorded by you will gain an artistic point of view, become inline with art and always excite people. The facts and events will become old — they become history — but the feelings we felt regarding those events stay with us. Therefore, art is the only living bridge between people of various generations and time periods.”
Written 17-11-2014 16:06:13 by Sevara Pan
Around three weeks ago I had a pleasure attending Leipzig Networking Days, a much anticipated annual pitching event brought about by Documentary Campus in the framework of its development workshop Masterschool. It was my third time at the event and I always see it as a wonderful opportunity to get informed about the up and coming films that are still in the making. Since I no longer work for Documentary Campus, nor do I partake in the selection process of Masterschool projects, I was pleasantly surprised to see it venture out the beaten path. Besides classical documentaries of human interest and social issues, this year's programme perked up with a couple of nature/wildlife documentaries (“Killing Bambi” and “Scarface”), occasional thematic amalgams (“Sex and Oysters” and its transdisciplinary 'food/sex/science' bend), and projects of a cross-media nature (“Dressed To Kill”).
Since Masterschool is a development workshop that presents its projects to the public in the form of a conventional 8-minute pitch, I feel in no position to offer an exhaustive review of the films' dramaturgy or their visual approaches. Nevertheless, I would not want to miss an opportunity to introduce you to two of the pitched projects that I personally consider compelling. The first and one of my personal favorites is the project “My Son, The Terrorist” by a UK-based production company Latimer Films. “My Son, The Terrorist” is directed by Nick Marcq, the person behind the BAFTA-nominated film The Real Notting Hill (which, as I have learned, was his first feature) and produced by the former Channel Four commissioning editor Tamara Abood and Matthew Hay, whose name some might recollect thanks to his rather polemical “Going To The Dogs” for the Cutting Edge documentary strand on Channel Four.
As the title explicitly suggests, the film recounts a story of “radicalization through the prism of the mothers” whose sons had sunk into the cycle of on-going brutality and ravaging. The statement borrowed from the film's synopsis that goes, “Behind every horror is a perpetrator and behind every perpetrator – a mother,” seems to propel the film. Set against
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Written 16-11-2014 18:23:35 by Tue Steen Müller
Hurry up, Breaking News: CPH:DOX has announced the list of films that will be available for free streaming in cooperation with Doc Alliance. Over the course of 48 hours, on 16 and 17 November, the following five films will be screened online: "Web” (photo), "The Iron Ministry", "Palestine Marathon", “American Interior" and "Me and Dad – No Expectations of Applause". You can read more about the films and stream them on
Written 14-11-2014 22:46:07 by Tue Steen Müller
The main competition awards of this year’s cph:dox, the DOX:AWARD went to two brilliant documentaries according to the jury – and the filmkommentaren.dk editors, who have praised both ”The Look of Silence” by Joshua Oppenheimer and his many named and anonymous collaborators – the main award – and the special mention award that went to Camilla Nielsson for her ”Democrats”.
Nielsson also received the Real Talent Award to be shared with Lea Glob, who was awarded best NORDIC:VISION AWARD for ”Olmo and the Seagull”, a film made together with Petra Costa-
Furthermore the NEW:VISION AWARD was given to ”The Dent” by Basim Magdy, and the FACT:AWARD to Katy Chevigny and Ross Kaufmann for ”The E-Team” with a special mention for ”Virunga” af Orlando Von Einsiedel.
Written 14-11-2014 19:43:08 by Tue Steen Müller
As someone close to the philosophy of Eurimages (the cultural support fund of the Council of Europe. Established in 1989, currently numbers 36 of 47 member states), that is not the EU, I am happy to bring this message from yesterday's award ceremony:
For the second year running the Eurimages Co-Production Development Award of €15,000 was awarded for the best project pitched at CPH:FORUM - CPH:DOX’s international financing and co-production event.
The winner is ‘On Screen Off Record’ by Rami Farah (photo) and Lyana Saleh produced by Signe Byrge Sørensen of Final Cut For Real. The project is a reflective film about the Syrian conflict in a media-conscious manner. It focuses on how we act and interact with media in current time, especially in a conflict that was over mediatized and little comprehended.
The jury has chosen ’On Screen Off Record’ for the following reasons:
”For the way familiar footage was presented, allowing deeper understanding of the complexities of the conflict that affects us on so many levels, for the quality of the project and the team, the organic co-production structure the Eurimages Co-production Development Award goes to ‘On Screen Off Record.’”
The film has been developed with support of IMS, Danida and Timbuktuprisen and it is produced by Final Cut for Real, in partnership with the Birmingham Centre for Media and Cultural Research at Birmingham City University.
Eurimages is a support fund for the co-production, distribution and exhibition of European cinematographic works, established by the Council of Europe in 1988. Since then, Eurimages has supported 1488 European co-productions for a total amount of approximately 451 million EUROS.
Written 14-11-2014 11:06:07 by Tue Steen Müller
Press release from the Copenhagen festival "that has yet again experienced a severe demand from the audience and a great number of films has guaranteed full theaters during the festival - now CPH:DOX sets up even more screenings of the most popular films like ‘Foodies’, ‘Nas’, ‘Me and Dad - No Expectations of Applause’, ‘In the Basement’ and ‘Little People Big Dreams’ - and not least ‘Citizenfour’ with up to 7 extra screenings!
Documentary films are popular. And especially one film in particular has been popular at this year's CPH:DOX. Laura Poitras' film about Edward Snowden, ‘Citizenfour’, is the fastest selling film at CPH:DOX ever and the film's premiere was sold out even several weeks before the festival.
To cater the enormous demand to watch the film, it has now gotten no less than seven extra screenings from Saturday the 15th of November up to Wednesday the 19th of November - the highest number of screenings a film has ever gotten at the festival.
CPH:DOX’s festival director Tine Fischer is extremely enthusiastic about both the film, which she regards as one of the most important documentaries recently - and the fantastic reception it has had:
“We are pleased and overwhelmed by the huge interest for Laura Poitras' splendid film. The film is without comparison one of the most important historic testimonials about/of NSA’s mass-surveillance of all of us, and we have chosen to offer seven extra screenings because we as a festival recognise the need to tell the story about the attack on democracy that that mass-surveillance is an expression of, which is both captivating and has a political aspect”.
The extra screenings of ‘Citizenfour’ already starts this Saturday - the other screenings start from this Monday. You can see the entire list below or here
Written 13-11-2014 21:29:59 by Tue Steen Müller
Jeg havde egentlig tænkt mig at anmelde Camilla Nielssons ”Democrats” på engelsk, men da jeg så Kim Skottes slappe afvisning af filmen, på ti linier i dag i Politiken, skiftede jeg mening og skriver dette som en stærk anbefaling til alle dokumentar-fans: Se filmen i morgen i Cinemateket eller lørdag i Grand Teatret. Den er et mesterstykke.
For filmen placerer sig ind i den trio af fremragende nye danske dokumentarfilm, som har haft sin premiere i forbindelse med cph:dox: ”The Look of Silence”, ”1989” og så nu ”Democrats”. Den er et smukt opbygget stykke klassisk dokumentarisme, som nænsomt introducerer to vidt forskellige karakterer, i temperament og udtryk, to mænd som får til opgave at skrive en ny forfatning for Zimbabwe i den periode, hvor landet lededes af en koalition mellem Mugabes parti og oppositionens leder Tsvangirai. Camilla Nielsson og hendes fotograf Henrik Bohn Ipsen har sensationelt fået adgang til de to hovedaktører Paul Mangwana and Douglas Mwonzora og det er tydeligt, at de har haft tillid til filmholdet, som skildrer hvordan de to modstandere, Mangwana fra Mugabes parti og Mwonzora fra oppositionen nærmer sig hinanden. I et interview som jeg har lavet med instruktøren for Det danske Filminstituts blad, der udkommer i forbindelse med idfa festivalen I Amsterdam, hvor filmen naturligt nok er udvalgt til hovedkonkurrencen, siger instruktøren: you’ve got to have love for your characters and do everything you can to give them confidence in the job you’ve been assigned.
Der er masser af varme og kærlighed i filmen, som skildrer hvordan en forfatning i et diktatur bliver til under store anstrengelser og med stor modstand, men den bliver til og blot det må give håb for landet. Når der er en sådan energi og så kloge mennesker I det politiske system, så må der da ske noget, når den onde mand, som Mwonzora kalder Mugabe, stiller træskoene.
Som de bedste observerende dokumentarister har Nielsson og Ipsen fanget detaljerne, de små dramaer med og omkring de to forhandlere, de har læst ansigternes udtryk, fanget hviskende samtaler – ind imellem tager man sig selv i at overvære en komedie samtidig med at man kniber en tåre, da de to når til vejs ende og står med den trykte forfatning, som skal til afstemning hos befolkningen. Konklusion: denne film er simpelthen en bedrift og den vil få et langt international liv.
Danmark og mange andre lande, 2014, 109 mins.
Written 11-11-2014 19:56:26 by Tue Steen Müller
East Beats West... that is what I have often written on filmkommentaren.dk and this year in Jihlava I again saw fine Eastern European works and attended workshops with Wojciech Staron and Peter Kerekes, and had meetings with talented people from the Ex Oriente training scheme that I used to work for. So, breaking the rule is easy for me when Mása Markovic from IDF (Institute for Documentary Film) asked me to advertise the upcoming East Doc Platform. This is her text:
If you have a project in development/production/postproduction and want to pitch it, find a co-producer or a commissioning editor, NOW is the time to apply for EAST DOC PLATFORM! It gives you a chance to present your project to more than 350 professionals. One of the projects in development will receive 7500 EUR.
For application forms and details, see our website:
Written 11-11-2014 09:34:06 by Mikkel Stolt
Wim Wenders, Juliano Ribeiro Salgado:
THE SALT OF THE EARTH
Arrogant as I am, films about still photography (or paintings) are not something I usually pay much attention to. The relationship between the timeless photography and the time-dependent moving image is something film directors only rarely find a way to transmit in a truly satisfying manner.
Ever so more, there’s reason to be satisfied with this portrait of photographer Sebastião Salgado. The film’s sense of time and space turns out to be the perfect conveyor of Salgado’s pictures and words. The horror and the beauty in the protagonist’s work are presented to us in a way that reveals how great interpreters of reality both the still photographer and the directors are.
And horror there is: killings in Rwanda, burning oil fields in Kuwait, countless refugees and victims. It’s too appalling, too much – in the end also for Salgado himself - and you want something pretty and uplifting. And, thank god, you get that too. The pictures of the horrific are also too beautiful to some but that dilemma is part of taking the decision of snapping pictures of real horror to begin with. It’s not fiction, mind you, and you don’t need to make things up to show what the hell man is doing to himself and others and the world.
Nor does Wenders and his co-director (Salgado’s son) make stuff up. They lend their ears and their time to the protagonist and they arrange the material and write a voice-over that weaves their film and Salgado’s life together. Because they all want us to see – really see – the world and what’s in it.
Written 10-11-2014 10:53:03 by Mikkel Stolt
IS THE MAN WHO IS TALL HAPPY? by Michel Gondry
Wow, the theatre is almost packed. Average age is around or even under 30 and several hipster beards are in sight. I suspect these are fans of either Gondry or Noam Chomsky or both… or linguistic students at least. This film is namely basically a dialogue between the two – filmed over three visits, it seems – but you only see Chomsky (or Gondry) in little vignettes or inserts in the almost entirely animated pictures.
Certainly Gondry is a fan of Chomsky and he sets out to make a film about some of his theories and thoughts. He wants to make an entertaining film on epistemology and philosophy which is a highly appreciative idea, but I’m not quite sure he succeeds completely.
Let me see if I can explain why to myself. Can I see if I can explain why to myself?
The title refers to a linguistic puzzle which apparently shows that even a child can change the sentenceo “The man who is tall is happy” into a question by picking the right “is” (the second, not the first) and put it in the beginning of the sentence. This is actually very interesting but like most of the theories and ideas that are covered, the amount of words and animations are so overwhelming that we hardly get a chance to think for ourselves. It becomes almost like a lecture, which I am pretty sure was not Gondry’s idea.
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Written 10-11-2014 10:47:07 by Tue Steen Müller
For those who can watch Danish television – DR2 viser i morgen ”1989” i det sædvanlige tirsdag-slot ”Dokumania” og i de kommende to uger en række af de film, som vises på festivalen cph:dox. Da cph står for Copenhagen = København, som ikke er hele Danmark (!), er det et initiativ, der kun kan betragtes som et naturligt og rigtigt valg. Her er titlerne og så kan I kan læse om dem på festivalens hjemmeside. Det starter i aften, klokken 23:
Tirsdag: We are Journalists
Onsdag: Mig og min far - hvem fanden gider klappe
Torsdag: Palestine Marathon
og i næste uge
Mandag: Bronx Obama (photo)
Tirsdag: Hornsleth – på dybt vand
Onsdag: Et civiliseret land
Written 10-11-2014 10:21:16 by Tue Steen Müller
ESCAPING RIGA by Davis Simanis
One of those screenings where everything worked out as it should. Young Latvian director Davis Simanis (looking at you from above on this page) travels to Copenhagen, where he has never been before. He walks from the hotel through the city together with the one, who has posted this text, they have a glass of wine in one of the autumn dressed squares in the centre of the city. The director – and I – are a bit worried that there will be nobody at the screening of ”Escaping Riga”, a film in b/w, shot on super 8, about two local heroes, who both left the Latvian capital: the passionate and wild artist Sergei Mikhailovich Eisenstein and Isaiah Berlin, philosopher, historian and essayist. Not an obvious attraction for a festival audience, one should think…
But we were wrong. More than 100 were in the cinema to a screening that was introduced by Karsten Fledelius, Danish university professor, a man who seems to know all about the Balkan countries, who is a tour guide to Turkey and other countries, and who in an elegant way gave the audience basic knowledge about the two in the film. After that a fine projection quality, good reactions from the audience and a warm welcome to Davis Simanis at the Q&A that he managed so well with a competent festival moderator next to him.
At the end Fledelius asked a question to Simanis – you have a personal intro in the film, having worked on the film for such a long time, who are you closest to? Simanis answered that he had always aimed to be like Eisenstein, involved and controversial, but “I always end up as Berlin”, the reflecting observer. Bravo, thank you cph:dox for bringing the film, that has one more screening at the festival, see link below.
Written 09-11-2014 12:11:39 by Tue Steen Müller
Cph:dox fills our columns these days – reviews, reports etc. BUT the second largest city in Denmark, Aarhus, has its own festival, Aarhus Filmfestival that includes shorts and docs, the latter with themes like ”fights”, ”life”, ”female”, ”ex-Soviet” and titles like ”The Look of Silence”, ”Once I Dreamt of Life”, ”Happiness” and ”Maidan”.
Of special interest is a programme section of Middle Eastern films with directors and producers visiting. It is curated by H.C. Korsholm Nielsen, former director of The Danish Institute in Damascus, at that time a strong supporter of the Syrian documentary makers – and from January 1st 2015 director of ”Dansk-Egyptiske Dialog Institut i Cairo (DEDI)”.
The days include the visit of Mohamad Malas with the film “Ladder to Damascus” (photo), Amir Ramses with “Jews of Egypt”, the producers and festival directors of DoxBox Diana el Jeiroudi and Orwa Nyrabia – and their productions “Return to Homs” and “Silvered Water” Wiam Simav Bedirxan and Ossama Mohammed. The latter will attend the screening.
Sara Thelle, scroll down, reviewed ”Silvered Water” today. A must-see film!
Visit also the FB page ”Middle Eastern Film Days”.
Aathus Film Festival runs from November 11-16.
Written 06-11-2014 21:51:36 by Tue Steen Müller
A copy-paste from the fine Cineuropa of today:
Just the Right Amount of Violence (photo) Denmark Written and directed by Jon Bang Carlsen Produced by Helle Ulsten and Jon Bang Carlsen
Master of the Universe [+] Germany/Austria Directed by Marc Bauder Produced by Marc Bauder and Markus Glaser
Of Men and War [+] France/Switzerland Written, directed and produced by Laurent Bécue-Renard
Sacro GRA [+] Italy/France Directed by Gianfranco Rosi Written by Nicolo Bassetti Produced by Marco Visalberghi and Carole Solive
Waiting for August Belgium Written and directed by Teodora Ana Mihai Produced by Hanne Phlypo and Antoine Vermeesch
We Come as Friends Austria Written, directed and produced by Hubert Sauper
The nominated films will now be submitted to the more than 3,000 EFA members to elect the winner. The European Documentary 2014 will then be presented at the 27th European Film Awards Ceremony in Riga on Saturday 13 December – it will be streamed live on www.europeanfilmawards.eu.
Written 06-11-2014 21:32:10 by Tue Steen Müller
Is the headline of the generous invitation made by unique vod DocAlliance, that until November 9 (you better hurry up!) offers excellent documentaries, all nominated for the Silver Eye Award, read more about it on the site that you have to go to in order to have access to five films, for free.
The films are Bahkmaro by Georgian Salome Jashi (her portrait is on the head of filmkommentaren.dk, in the middle), Father and Son by Polish Pawel Lozinski, A Diary of a Journey by Polish Piotr Stasik, Linar (photo) by Russian Nastia Tarasova, I don’t Love You by Pavel Kostomarov and Alexander Rastorguev and Homo Ciris by Slovak Jana Mináriková.
Yes, East Beats West! This selection proves it convincingly!
Written 05-11-2014 11:24:30 by Tue Steen Müller
THE LOOK OF SILENCE by Joshua Oppenheimer
It's horrifying, it hurts to watch the scenes that shows these brutal perpetrators re-enact their killings committed around 1965 in Indonesia, where the slaughtering of communists were performed by a military regime and its gangs that had come into power. One million were killed. The Americans (and the rest of the world?, at least we did not hear about it, or did we?) made no objections as an American NBC news clip shows in this second Descent to Hell, Indonesia 1965 and today, the first being ”The Act of Killing”. This time seen from the point of view of an opthalmologist, Adi, a man in his forties with wife and two children, a mother and a father – and a brother, Ramli, who was killed back then.
The overall theme of the film is the same, yet ”The Look of Silence” is completely different from ”The Act of Killing”, that framed the story of the perpetrators horror by having them make their film about the act of killing. Surrealistic scenes came out of that, to say the least. Whereas ”The Look of Silence” brings Adi to the centre to make him meet old men in the neighbourhood, men who took part in the atrocities. He comes to check their sight and starts to ask about the past. He gets to know more and more and ends up discovering the involvement of his own family – an uncle was a guard in the prison that Ramli was taken to before he was – that is the word
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Written 03-11-2014 10:45:47 by Tue Steen Müller
Scenes to remember… one of the many good things about being at a festival is the conversations you have with colleagues in the breaks. Conversations that very often bring up scenes that have impressed you, scenes that will stay in your mind.
Example: You might not remember the title of the film but you will remember the scene with the man at Maidan Kiev, who silently puts his body over the broken statue of Lenin, protecting the head of the father of the 1917 revolution and what he stood for in Soviet times. He does not want to move or be moved. The youngsters around him either shout invective words to him, ”go home, your time is over”, trying violently to get him away, while others express ”leave him alone”. The scene is from the Ukrainian ”All Things Ablaze”, a shocking documentary descent to Hell, alarming to watch. ”Let me have a piece of Lenin”, many scream with a hammer in hand, they are photographed next to the Head or with one leg on the same statue Head – the old man is brutally taken away by hooligans, he no longer has his hat, we see him on the ground, one shouts ”help him he got a heart attack”, the music is dramatizing, it’s very strong and all sympathy lies with the man, who is being humiliated.
That was one way of looking at Maidan, Sergei Loznitsa had quiet a different one with his ”Maidan”. He is distantly observing and not involved (not meaning that he does not have a point of view, indeed he has), he makes the viewer observe and have the eyes go around his images that are like paintings, as the jury stated in their motivation for giving an honorary award to the film. Several long shots included the singing of the Ukrainian anthem, where you let your eyes wander within the frame, as was it a work by Brueghel! Unique moments they are.
Or the start of Ulrich Seidl’s ”Im Keller” (”In the Basement”) where a snake slooowly moves towards the mouse for attack, you know what is to happen, and yet you are jumping in your seat when it happens, as you are shaking your head when the nice Austrian Bürger enters his basement rooms full of Hitler and Nazi trophies. Not to forget the chained naked man, who licks the toilet clean on demand from ”die Herrerin”. One scene after each other, tableau-like, a pity they do not become a whole.
Written 02-11-2014 08:59:18 by Tue Steen Müller
Here follows the jury motivations for the main competition winners and for the German competition winner, Domino Effect, a film that has been reviewed on filmkommentaren.dk
Golden Dove: Claudine Bories und Patrice Chagnard (Frankreich) for the film Les règles du jeu (Rules of the Game) Jury Statement: Adapting to society and the strange demands of the marketplace is the theme of this subtle, poetic documentary comedy about a group of young Frenchmen, who cannot hide their contempt for THE RULES OF THE GAME.
Honorary Mention: Alexander Nanau (Romania) for the film Toto şi surorile lui (Toto and His Sisters) Jury Statement: In spite of the total deroute of their impoverished, drug ridden family Toto and a sister fight to create a decent future for themselves. A straight forward, non-sentimental story about having to leave your family to survive.
Honorary Mention: Sergei Loznitsa (Netherlands, Ukraine) for the film Maidan (PHOTO) Jury Statement: An iconographic piece of filmmaking about a society in despair framed and timed masterly. A cinematic depiction of a troubled moment in history that reads like a grand painting.
German Competition Winner: Elwira Niewiera and Piotr Rosołowski (Germany, Poland) for the film Domino Effekt (Domino Effect Jury Statement:The East European Riviera at the Black Sea, a former war area, wistfulness and decay. The filmmakers get to know an Abkhazian-Russian pair who fiercely argues about their love. Elwira Niewiera and Piotr Rosołowski tell the story of this absolutely impossible love with great warmth and a visual feeling for tragicomical, surreal scenes. And, at the same time, about the absurdity of an absolutely impossible society on the edge of Europe.
Written 01-11-2014 22:29:40 by Tue Steen Müller
The winners have been found. And apart from "my" main prize the juries agreed with me, awarding "Les Regles du Jeu" and "Toto and his Sisters". Here is the press release and notice that you can find the motivations on the site of the festival:
DOK Leipzig awarded the prestigious Golden Doves on Saturday night. 17 prizes worth a total of 66,500 Euros were presented at the 57th edition of the International Leipzig Festival for Documentary and Animated Films. This makes DOK Leipzig the most highly endowed documentary film festival in Germany. The biggest German documentary film festival has been screening 368 films during the festival week which ends tomorrow.
The Golden Dove in the International Competition Documentary Film was awarded to "Les règles du jeu" ("Rules of the Game") by French directors Claudine Bories and Patrice Chagnard. The Prize is endowed with 10,000 Euros, donated by the MITTELDEUTSCHER RUNDFUNK, and was presented by the MDR’s artistic director, Prof. Dr. Karola Wille.
The Golden Dove for the best Animated Film, endowed with 5,000 Euros, was awarded to the Swedish entry "Still Born" by Åsa Sandzén. The Silver Dove in the International Competition Animated Film, endowed with 2,000 Euros, went to Daisy Jacobs from the United Kingdom for her film "The Bigger Picture".
The Golden Dove in the German Competition Documentary Film, endowed with 10,000 Euros, was awarded to "Domino Effect" by two Polish directors living in Germany, Elwira Niewiera and Piotr Rosołowski.
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Written 01-11-2014 12:45:45 by Tue Steen Müller
The title refers to the 9th of May, where Russians celebrate the end of the WW2, the nazi capitulation, a day that is not celebrated by the gay and lesbian couples in the new film of Rudnitskaya. Maybe that angle is a bit subtle, anyway it is a well constructed film where the couples tell their private stories: where and how they met, how long they have been together, and they express their reactions to the law banning ”propaganda” for homosexuality. Their fear – what if something something happens to you, they say to each other – is mixed with television clips bringing outrageous opinions from politicians, hateful homophobia in its most ugly form.
It’s not a film that has the same high artistic quality as the director’s many previous works, but it is a precise statement, has a rythm and brings articulate people to our eyes and ears.
Watched at DOKLeipzig 2014.
Russia, 2013, 29 mins.
Written 01-11-2014 12:42:38 by Tue Steen Müller
Allow me to be nostalgic – this film brings me back to my days at Statens Filmcentral (National Film Board of Denmark), where brave women were sitting in a row, repairing the 16mm copies that had been returned from screenings. Very often with scratches or torn apart with the need to be spliced. Wearing white gloves they did, what the Ukrainian ladies do in this sweet homage to Film and to those behind the scene. Who are in this documentary the protagonists in front of the camera – in their cosy working place next to piles of film cans, with a cat running around, with a window view to the world outside, they eat next to the editing table and they are a bit shy but of course they love for once to be in front of the camera. There are some fine montaged music-born sequences (mostly from Ukrainian chronicles) in the film, whereas I am not sure it was the right decision to bring them to watch a 3D film.
Watched at DOKLeipzig 2014.
Ukraine, 2014, 29 mins.
Written 31-10-2014 16:53:09 by Tue Steen Müller
Your filmkommentaren.dk correspondent has seen the 12 long documentaries in the Dok International Competition 2014. He thinks it would be fun to make HIS list of winners for that category. I.e. a main prize and two honorary mentions. The films have been seen at the Dok Market during the last week, and it has to be said that the general level of quality for the 11 is high and that I appreciate the diversity in themes and storytelling.
”Suddenly My Thoughts Halt” (Portugal) (by Jorge Pelicano) (2014), 100 mins.
For its cinematically conveyed love to its characters at the hospital in Porto and the humorous and original storytelling approach with an actor, who moves in and tries to understand and to interpret insanity, helped by intelligent patients with wise words and authenticity.
”Rules of the Game” (France) (by Claudine Bories & Patrice Chagnard) (2014), 106 mins.
This well made, excellently photographed and edited human documentary catches, what it means to be young and unemployed, and to be involved in a training programme, where you are taught to write applications and ”sell” yourself at job interviews. It’s light in tone, it’s universal, the youngsters keep their own personality in this apparent no-go situation.
”Toto and His Sisters” (Romania) (by Alexander Nanau) (2014) 93 mins.
Heartbreaking. Mum is in jail, one sister is on drugs, the other fights for herself and for Toto in this film about a lost childhood, misery and poverty. With a society that tries to get the small boy away. Yes, away but to what? Toto is good at hip hop, that takes him away… A film with a strong sensibility for character and narrative.
Written 31-10-2014 15:45:00 by Tue Steen Müller
I have just left a nice chat with a former Zelig film school student – one of a handful who go to Leipzig to watch films and meet people, build contacts and enjoy masterclasses. It helps that Leipzig is such a pleasant city full of people in cafés, a market on the main square, churches to enter (Orgel Koncerten), good food many places, and Curry Wurst of course und so weiter… in other words what surrounds DOKLeipzig makes you in good mood before you enter the cinemas or the market to watch the current horrors of the world we live in!
Back to the first sentence, yes the programme of DOKLeipzig is rich, not only of films on the big or small screen (10 parallel screenings!) but also of masterclasses/presentations/debates related to the documentary. Impressive it is, indeed.
I went to the masterclass with Jon Bang Carlsen yesterday, lots of young people, who had a good time (2 ½ hour) with a director, who has been part of my professional life since he started his long career. Danish Bang Carlsen was in Leipzig because of a retrospective homage to him, 8 films, on top of that he is also a member of the main jury. The audience was spoilt with several clips and with words/sentences from the director to explain his method. Let me give you some of them: ”I don’t want to be a victim of life’s coincidences” (referring to his ”staged documentary”), ”we all become part of the landscape” (referring to his Northern Jutland background), ”I have to be able to control the visuals”, ”I love framing”, I have to find a way ”to write the visuals”, ”our personal scars give us the energy”, ”there has to be a keyhole between me and my character”, ”I find it hard to believe in pure narrative”, ”you have to make yourself vulnerable… ”Blind Angels” (2007) was made by me in a period of contemplation”, ”you have to use the stuff that happens before the brain comes in”. Clips were shown from ”Before the Guests Arrive”,
”It’s Now or Never” and the connected ”How to Invent Reality”, ”Addicted to Solitude”, ”Blinded Angels”, ”The Right Amount of Violence”.
Photo by Jon Bang Carlsen from ”How to Invent Reality” (director left, main character Jimmy right).
Written 31-10-2014 00:06:29 by Tue Steen Müller
Czech Andrea Prenghyova, the founder of DOK.Incubator, was on stage to welcome the participants to the presentation of the 2014 film projects that had been developed during half a year with the help of Claas Danielsen and Ilo von Seckendorff from DOKLeipzig and a gallery of tutors – producers and editors and distributors – led by Danish Sigrid Dyekjær.
A clip from the press release from the website of DokIncubator: ”For the first time, the nine extraordinary feature-length documentary films were presented to over 180 the decision-makers of the international industry at the ceremonial atmosphere of the Leipziger Kabaret Pfeffermühle. The DOK.Incubator Workshop 2014 ends with a confirmed premiere of three of the films at the biggest documentary film festival at IDFA: Always Together /CZ/ as a story of a dream of an ideal family life that just went too far; Drifter /HU, DE/ an intimate portrait of a young rebel in desperate need of a lacking, supportive father and Queen of Silence /PL, DE/ – a documusical starring a deaf girl from an illegal Roma settlement, who escapes the reality into the Bollywood world...”
The creative idea of the organisers is to bring in film projects that are in or close to a rough cut stage and have them profit from comments from colleagues and so-called experts. And – at this final session – pitch their projects to (in this case) decision-makers from festivals, distribution side and television. In the pitch several of the nine called for sales agents, and there were many of them in the room. The idea of having the filmmakers make a verbal presentation, show a trailer and one or two scenes worked well and there are very promising films coming up: The three mentioned above and the Italian called ”Between Sisters” - go to the website where you can also watch the trailers.
The third edition of a well thought and developed training programme – if I may lift one little finger: Please play down the self-praise a bit, some of the project presentations by the tutors were overcooked marketing, if that still exist... more sobriety, please. Photo from a previous Dok.Incubator session.
Written 29-10-2014 23:26:39 by Tue Steen Müller
Copy-pasted press release from the festival: The documentary film CITIZENFOUR about the NSA scandal and Edward Snowden’s revelations was awarded the “Leipziger Ring” on Wednesday night. US American filmmaker Laura Poitras received the film prize of the Peaceful Revolution Foundation, which is endowed with 5,000 Euros, in the Nikolaikirche (St. Nicholas Church) in Leipzig. The “Leipziger Ring” is the first prize to be awarded during the ongoing 57th International Leipzig Festival for Documentary and Animated Film. With this prize, the Foundation honours an artistic documentary film that shows exemplary civic engagement for democracy and human rights or was made with great personal commitment and courage in the face of resistance and restrictions of the freedom of opinion and the press.
The jury stated that Snowden had risked his life and freedom to make the world aware of intelligence service practices that hardly anyone would have believed possible. With her film, Laura Poitras had rendered a great service to the freedom of all people.
CITIZENFOUR is a US-German production from 2014 which celebrated its German premiere at the opening of DOK Leipzig. In a short video message, Snowden honoured Leipzig’s role in autumn 1989 and emphasised that “Leipzig reminded us that the wall and the GDR didn’t go
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Written 29-10-2014 08:35:33 by Tue Steen Müller
In his opening speech to the audience of DOKLeipzig Monday the 27th, departing festival director Claas Danielsen reflected on ”freedom” and gave good advice to the public broadcasters! I have copy pasted some sequences of the speech, the whole one can be read on the site, link below:
… One of the things that make it so rewarding for me to work with documentary and animated films is that in these genres there was always a great freedom to experiment and tell extraordinary stories in a very individual way. These films are free and resist censorship, predictability and formatting. Which latter point makes them such an unwieldy commodity for television.
Many documentary filmmakers rate their intellectual and creative freedom higher than their profit. They are often passionate people who act out of conviction. And yet: making a good documentary film today, from research to concept development to the protracted financing process up to the shooting and the long post-production period takes two or three years. A filmmaker can’t really work on more than two projects at the same time. The average author’s and director’s pay for a feature-length documentary in Germany is about 30,000 Euros. That’s not enough to support a
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Written 29-10-2014 00:12:21 by Tue Steen Müller
Time runs. From Jihlava to Leipzig monday, from one documentary film festival to the next one with a special bus, a symbol of festival friendship, this initiative has been called. And we were many, who accepted the generous offer of transport. 6 hours, internet, free coffee, beer and water to be paid for. Many slept for hours, some small-talked, some read or watched films online.
Arrival in Leipzig, accreditation at the festival centre at the Art Museum and off to the opening ceremony at Cine Star 8. Totally full with an extra cinema occupied. Speeches and jury presentation and then “Citizenfour” by Laura Poitras. An impressive documentation, I need to watch it again, it was late after the bus ride and I took what I think is called a “nickerchen” in German!
But before the film a video message from Edward Snowden was shown: I’ve never agreed to do an introduction to this film. Not in the UK, not in the US – not in New York or San Francisco or anything like that. But when somebody asked me if I would do it for Leipzig, I said yes and that`s because your history is an inspiration to me. It`s critical that we remember the lessons from history. And Leipzig reminded us that the wall and the GDR didn`t go down because of bombs or guns or violent resistance. It was brought down by ordinary people on the streets in the square on Mondays. Ordinary people against extraordinary powers reminded us that the legitimacy of governments is derived from this consent of the people that they are governing. And today when that principle is so often forgotten, we have so many governments, even in liberal democracies, western democracies, not just authoritarian regimes, that so frequently favor tactics of deception and secrecy we do remember that the consent of the government is only meaningful if it`s informed. Thank you and I hope you enjoy the film.
I am writing this in a new Motel One super-designed hotel next to Nikolaikirche, where the peaceful Monday-demonstrations took place 25 years ago.
Snowden's speech to be found on
Written 28-10-2014 08:42:15 by Tue Steen Müller
The website of the Jihlava IDFF announced last night:
OPUS BONUM – Best World Documentary Film Award
Best Film: Je suis le peuple (I Am the People), dir. Anna Rousillion
Member of the jury: Želimir Žilnik
CZECH JOY – Best Czech Documentary Film Award
Best Film: K oblakům vzhlížíme (Into the Clouds We Gaze), dir. Martin Dušek
Special Mention: Několik Let (Lets Block), dir. Martina Malinová
Members of the jury: Bohdan Bláhovec, Ivo Mathé, Tereza Czesany Dvořáková, Martin Kolář, Petr Hruška
FASCINATIONS – Best Experimental Documentary Film Award
Best Film: Hacked Circuit, dir. Deborah Stratmen
Special Mention: Sexuální boj zboží (The Sexual Struggle of Commodities), dir. r. Pavel Sterec, Vilém Novák
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Written 28-10-2014 08:23:28 by Tue Steen Müller
News taken from the website of the IDF (Institute of Documentary Films): For the sixth time at Jihlava International Film Festival, Institute of Documentary Film announced Silver Eye winners at the Closing Ceremony. The holders of the awards are three extraordinary documentaries from East Silver Market, selected in three categories, as well as three Special Mentions.
The aim of the Silver Eye award is to introduce the new talents to the international audience and to bring the attention of industry professionals to the new interesting films from Central and Eastern Europe, and to help the nominated films to find sales agents, broadcasters and festival releases. All Silver Eye winners receive the trophy designed by Czech artist Tereza Durdilova, as well as 1 500 EUR prize money. On top of that, the awarded films are about to enjoy the year-long distribution support within East Silver Caravan festival service, shipping them to more than 108 international film festivals.The awards are supported by MEDIA programme.
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Written 26-10-2014 09:26:06 by Tue Steen Müller
Take a look at the photo. It’s about Love, isn’t it? It comes from the film of Polish Wojciech Staron, ”Siberian Lesson”, that he made in 1998. On film stock. Here is the Jihlava catalogue description of the film: In an attempt at renewing the national identity of emigrants, after the fall of communism, Poland began to send teachers to areas, where Poles had settled. The director’s wife was one such “missionary”, and her commentary recounts her experiences of living on the remote Siberian plains.
Indeed it does recount and you get a fine impression of people and life in tough living conditions, but the film is also a declaration of Love from film director and cameraman Wojciech Staron to his girlfriend Malgosia. Caught by a caressing camera of the young Wojciech, who more than a decade later has established himself as one of the most prominent European documentarians with a unique ability to ”follow through emotions”. One of many quotable
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Written 25-10-2014 08:38:35 by Tue Steen Müller
Gustav Mahler was in Jihlava. His face is looking at me from the wall in the breakfast room of Grand Hotel, which was grand once, an art nouveau building from the outside but how could they put that terrible furniture into the lobby! Tasteless. Anyway, service is fine and kind. Back to business, well actually pleasure:
After having three one hour meetings with filmmakers participating at the training programme Ex Oriente, a masterclass was held by Peter Kerekes and it lived up, to what I had expected. Kerekes showed clips from the three films that have given him the well deserved reputation as a documentary auteur with his own style, ”66 Seasons”, ”Cooking History” and ”Velvet Terrorists”.
The Slovak told the audience why he is not able to make observational documentaries, he feels uncomfortable by being there and telling his characters that ”just don’t notice that I am here”! Reality is not in front of the camera, it’s in my head. For the ”66 Seasons” I did a deep research to make sure that they would talk about the past, what happened way back around the swimming pool in Kosice. I wrote everything down when having filmed, a good
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Written 24-10-2014 17:07:28 by Tue Steen Müller
Click below and you get the local organisers of the pan-European screenings of ”1989”, and in many cases also the location of the screening that takes place on November 5th. What a great effort that lies behind this initiative. The click also gives you access to watch the trailer of the film.
Written 24-10-2014 09:19:36 by Tue Steen Müller
SECOND CHANCE / THE ETERNAL LIGHT / AUDITIONING FOR PARENTHOOD
I am back in Jihlava after 5 years. I stopped working for the training programme Ex Oriente in 2009, where the final session with pitching took place in this cosy provincial town, where time seems to stand still. But where a documentary film festival is taking place for the 18th time. From the start under the leadership of energetic Marek Hovorka, who is always going for the different films and have established interesting sections for his programme. The festival has a huge industry programme, the excellent DocAlliance is here, the Silver Market, loads of masterclasses with directors like Godfrey Reggio, Peter Kerekes and Nicolas Philibert.
I went to the Silver Market and watched some short documentaries. Peter Kerekes came up – again – with a surprise, entertaining and thought-provoking. Title ”Second Chance” (photo, 12 minutes, he visits an old lady, whose birthday is October 28, the independence day of Slovakia (1918). To ask for her advice. His plan is to fight the corrupted policy of current Slovakia and his idea is to ask a country to invade Slovakia to establish better conditions – as communist leader in Czekoslovakia Bilak did in 1968, when he and others in the top of the communist party asked Brezhnev to help! Kerekes goes to Finland for help! It’s excellent!
More observational is Vitaly Mansky’s ”The Eternal Light”, shot in Ukraine on Victory Day, May 9, where the war veterans join around the memorial statue and the eternal flame that unfortunately has gone out. He meets a veteran in his home, stories from the war are told. 15 minutes, whereas Laila Pakalnina has made a two minutes piece, that in her classical search for weird situations has one shot on football players lined up side by side waiting for the result of a penalty shoot… for football freaks like me funny, will others understand.
At night a walk through the quiet and softly lighted town, following the white lines that take you from cinema to cinema, a fantastic idea that the festival has performed year after year. To a three hour opening of the festival, a show for more than one hour and a film about families adopting children, ”Auditioning for Parenthood” by Alica Nellis. For me a mainstream tv documentary full of talking generalities, have to talk to Marek Hovorka why a festival that advocates for film Art starts like that.
Written 22-10-2014 13:29:39 by Tue Steen Müller
1989 by Anders Østergaard & Erzsébet Rácz
Of course the film had to start with 1956 and it does so with very fine and moving archive footage of people searching for the remains of Imre Nagy, whose government was not accepted when the Russians invaded the country. Nagy was executed in 1958. That historical reference is important to include as the re-burial of Nagy, the rehabilitation of him, happened in the years around 1989, and with the support of Miklós Neméth, who served as prime minister 1988-1990 and is the main character of ”1989”, an intelligent, informative, entertaining and provoking documentary.
Yes, it deserves all these superlatives for its fresh look at what happened 25 years ago, when the wall went down as did the Soviet Union. Neméth, economist, coming into power, looked at a country close to bankruptcy and found the border control mechanisms extremely expensive – so he decided to have the borders opened, to tear down the iron curtain. He did so and had strong opposition from the hard-liners in his communist party, his rooms were bugged, and his manouvres were looked upon with more than skepticism from the GDR leader Erich Honecker, as the result was that thousands of Eastern Germans flew to the West through Hungary, before the wall went down in their own country.
They are all there in the film – Gorbachev, Helmuth Kohl, Honecker – and
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Written 21-10-2014 09:54:11 by Tue Steen Müller
”Finding Vivian Maier” is ”documentary of the Month” at the Cinematheque in Copenhagen with screenings from the 23rd of October, so Copenhageners – this is a must-see, it is lovely portrait of a mysterious woman, who her whole life was working as a nanny or governess, serving others at the same time as she, always with a camera around her neck, was taking photographs that she never showed to others. A person who ”never fit in”, an eccentric. She lived from 1926-2009. Close to her death, a quote from the website of the film...
”... Maier’s massive body of work … came to light when in 2007 her work was discovered at a local thrift auction house on Chicago’s Northwest Side. From there, it would eventually impact the world over and change the life of the man, who championed her work and brought it to the public eye, John Maloof.
Currently, Vivian Maier’s body of work is being archived and cataloged for the enjoyment of others and for future generations. John Maloof is at the core of this project after reconstructing most of the archive, having been previously dispersed to the various buyers attending that auction. Now, with roughly 90% of her archive reconstructed, Vivian’s work is part of a renaissance in interest in the art of Street Photography.”
Of course one might say that it is the work of an artist that is interesting and not her/his life. In this case, however, the putting her life together piece by piece through the photos and interviews with those, who employed her and
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Written 20-10-2014 16:05:06 by Tue Steen Müller
The festival in Georgian capital Tbilisi ended yesterday and I found this message on the FB page:
The award ceremony is over and we would like to announce the results:
International Competition: The main prize of this section goes to "Judgment in Hungary" (dir. Eszter Hajdu). The special mention to "Ne me quitte pas" (dir. Sabine Lubbe Bakker & Niels van Koevorden)
Focus Caucasus: The main prize of this section goes to "Blood" (photo) (dir. Alina Rudnitskaya). The special mentions to "Zelim’s Confession" (dir. Natalya Mikhaylova) and "Biblioteka" (dir. Ana Tsimintia)
Cinedoc Young: Our special jury - the youth - gave the main award of this section to "The Barrel" (dir. Anabel Rodriguez Rios)
Our opening film "Do you believe in love?" (dir. Dan Wasserman) received the Public Prize.
Written 19-10-2014 06:10:58 by Tue Steen Müller
The premiere was in 2008, in Riga, the film about Klucis, ”The Deconstruction of an Artist”. Directed by Peteris Krilovs. And here I stand in front of the Arsenals Exhibition Hall of the Latvian National Museum of Art, where there is an exhibition of the artist (runs until October 26), a very good one and for one who knows his work from the film it is a pleasure to walk around and see all the posters and collages from the film, here hanging with no movements, in the film set in motion in an intelligent presentation and with a superb flown and rythm in the montage.
This is a quote from one of many texts, that has appeared on filmkommentaren.dk about the film:
”Latvian director Peteris Krilovs' documentary about legendary artist Gustav Klucis took several prizes at the National award ceremony in Riga a week ago: best director, best editor (Danish Julie Vinten), best script (Pauls Bankovskis) and best sound mix (Andris Barons). A big triumph for the company Vides Film Studio and its energetic leader Uldis Cekulis.
So well deserved. The same team has just completed a film from Krilovs. ”Obliging Collaborators”. Here is a promotion text from the internet:
With this full-length documentary, director Pēteris Krilovs delves into an
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Written 17-10-2014 08:03:59 by Tue Steen Müller
I am in Riga – again – to take part in a “Baltic Sea Region Documentary Film Research Seminar” arranged by LAC Riga Film Museum. It starts today and my job is to give a brief introduction to the Danish documentary fllm history. More about that in the coming days.
Last night I met with producer Guntis Trekteris to catch up on the theme: When is the premiere of ”Beyond The Fear”, the last film of Herz Frank, made in collaboration with Maria Kravchenko, who finished the work after the death of Frank.
Trekteris told me that idfa had rejected the film so the premiere will be in Riga as the opening film of the new Riga International Film Festival on the 2nd of December. The festival runs until the 12th of December and includes the European Film Academy Awards Ceremony. Also the film will be the opening film of the ArtDocFest in Moscow (December 9), run by renowned director Vitaly Mansky. It was Mansky, who said the following about Herz Frank: "Years will go by, and only 2-3 documentary film-makers will be remembered from each century." But even today it is clear – Herz Frank is on that list for the 20th century!”
… and the photo is me in front of the beautiful plaque of Herz Frank in Lacplesa Street 29, Riga. Photo taken by Lelda Ozola early September when we still had "indian summer"!
Written 15-10-2014 14:29:13 by Tue Steen Müller
Cecilie Bolvinkel from EDN is responsible for extensive ”Member of the Month” – interviews, that can be found on the website of the association. A fine one came out two days ago with Claas Danielsen because ” DOK Leipzig 2014 will be Claas’ last edition as Festival Director - EDN has talked to Claas about the festival’s past and present and his own future.” I have taken a text quote, but please read the whole interview, link below:
“The funding is and has been a huge challenge. It is as complicated as putting an international co-production together and the requirements literally get more bureaucratic every year. It’s unbelievable how many small sources of income we have to generate to make the festival happen.
Secondly, it was not easy to win the trust of many people closely connected to the festival who were suspicious of me as a “Wessi”, a person from western Germany. Having worked for an organisation branded by Discovery Channel before, some thought that I wanted to change their “Dok Film Week” into a TV festival. To modernise a festival with such a long tradition was a huge task for me.
Another challenge for every festival organiser is the competition between festivals for films and professionals attending. With IDFA only three weeks away, this of course is a problem for us like it is for the other autumn festivals.
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Written 15-10-2014 13:43:55 by Tue Steen Müller
No week without good news from The Flaherty, this time the following newsletter came in:
The Flaherty is very pleased to enter into a new collaboration with Colgate University named the Colgate/Flaherty Distinguished Global Filmmaker. This project will fund a filmmaker's travel to the US and a four-day residency including a series of interdisciplinary screenings and lectures.
Integrated into the itinerary is a Flaherty NYC screening, and, during the Colgate residency, a public event facilitated by the Flaherty NYC programmers. Each year the filmmaker visit will provide a significant means of examining the complexities surrounding documentary film, including the conceptual, logistical, political and aesthetic decisions involved - as well as contemporary theoretical concepts of the "global."
This fall the Colgate/Flaherty Distinguished Global Filmmaker collaboration will bring acclaimed Russian filmmaker Sergei Loznitsa to the Flaherty NYC screening series on Monday, November 3 at Anthology Film Archives in New York City, and to Colgate University for an intensive weeklong exploration of film and filmmaking. The project will run for three years, thanks to support from the Colgate University's Office of the Provost and Dean of the Faculty and the Christian A. Johnson Endeavor CORE Fund.
If you click the link above you get to know about the films of the director to be presented, as always good and useful information.
Written 13-10-2014 11:06:25 by Tue Steen Müller
After DOKLeipzig and Jihlava IDFF have announced their programme, these (idfa and cph:dox) two significant documentary festivals have press released selection decisions, ambitions and visions.
Idfa (November 19-30) first – take a look at the website, link below – seven competition sections, six non-competitive and eight so-called ”special focus”, including one on Heddy Honigmann, so well deserved, and Honigmann is also the one who has made the ”top ten”, which is always interesting: Which films have important directors chosen? Lovely to see films by Victor Erice, Fernando Birri and Wang Bing on the list as well as two films by Johan van der Keuken, one ”The Reading Lesson”, 10 mins., that I have never heard about. By the way, Honigmann’s great new film ” Around the World in 50 Concerts” opens the festival this year.
It is impossible to go through all categories, and title-dropping is boring but let me just express joy that Danish Camilla Nielsson’s ”Democrats” is in competition as well as Hanna Polak’s ”Something Better to Come” and Nima Sarvestani’s ”Those Who Said No”, all three films that I know about from workshops and pitch sessions, and all three films that characterise idfa as a place for social and political interpretation of our world today. Also happy to see Davis Simanis (photo ”upstairs” on our website) represented in the Panorama programme with his cinematic ”Escaping Riga” and Egyptian Nadine Salib’s ”Mother of the Unborn” (photo) in the ”First Appearance” competition.
Cph:dox (November 6-16) is launching its full programme today, monday the 13th, and we will talk about that as we have already done, announcing the opening film, ”1989” by Anders Østergaard. The festival, however, wants to be
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Written 11-10-2014 10:24:20 by Tue Steen Müller
They have always been and they are still made, these gripping documentaries about people being arrested and sent to isolated islands for punishment. By the people in power. On this occasion, I remember several films on the camps on Makronissos in Greece, the best being one by Ilias Yannakakis and Evi Karabatsou from 2008. And now this important film from Croatia produced by the production company Factum, that has never hesitated to focus on controversial themes, untold stories from the past and the present. This time told by a granddaughter, who wants to know her family story. Starting point: Why was grandfather’s body full of scars?
It was not talked about, when he was alive. It was a taboo what happened in Yugoslavia during those years in the beginning of the 1950'es, when grandpa, ”an enemy of the state”, was away for four years. It took a generation to deal with it, it was the granddaughter, the film's director, who wanted to bring the story to the world. Which became a painful journey in itself. She had to address her mother, her sister, her father and a couple of ”aunts and uncles”, who were also sent to the island and were close to Marijan, the grandpa.
The mother carries pain from her life. She has, to say the least,
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Written 09-10-2014 13:08:47 by Tue Steen Müller
Sergey Sukhanov is the hero of this film. When in Eastern European countries for workshops I very often ask the filmmakers to say or write ”main character” or ”protagonist” instead of hero. But in this case Sukhanov is a hero. He is totally dedicated to his job, to be a cardio surgeon doing open heart operations and he has saved thousands of lives. It is a call for him, who is tough but fair when he discusses with his staff – or complains that they are not competent or attentive enough: I will deduct from your salary! He wants his colleagues to have the same dedication as himself: Being sick here is uncool! Tough but fair, well also heroes have unpleasant sides of their personality.
The chain-smoking surgeon (!) has problems with the local authorities. A new cardiac centre seems to be ready but there are still budget matters to be solved before it can open. He walks the empty corridors, checks the facilities, but when? An offer to head the presidential campaign for Putin locally is presented to the popular man, who, although doubtful, can see an advantage for his new centre, supported by Putin, and the population in the region of Perm.
This is the main theme of the film – a doctor, until then, far away from politics, decides to play the game of politics, not for personal gain but from an altruistic reason. The director of the film puts it
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Written 09-10-2014 12:05:22 by Tue Steen Müller
First an explanation of the title of the film, enigmatic and fascinating it is: It refers to the ten centimeters of space below the ceiling where there was no water... the space that saved lives at the unbelievable dramatic flood tragedy in the Krasnodar region near the Black Sea in Russia, in July 2012, an event that killed up to 200 people and left thousands homeless.
However, it is not statistics that interests the debutant director Anna Yanovskaya, it is the human dimension. She is using some archive material from 2012 – some shot via a cell phone from a roof top – to frame the visits she made to the city of Krymsk, where people more than one year after remember it all, while trying to rebuild their lives. The director uses a first person narrative, she is sometimes in the picture, ”I was in the epicenter of grief”, yes this is what it is about in a film that includes moving scenes of deep deep pain but also demonstrates the human being's will to go on...
A grandmother is in focus. Her grandson comes home from military service, the family gathers around the table, singing and drinking, drinking and singing, a wonderful typical Russian gathering, there is a tone and an atmosphere in these scenes – but the conversations keep on going back to what happened in July 2012. There is a lot of anger towards the authorities, ”they did nothing”, we see a mother holding a picture of her small son, a picture taken two hours before he disappeared, unbearable, as is the archive footage showing a man swimming, trying to grap a pipe, ”hold on”, they scream to him, but he can not, he is taken by the water and we are told that he did not make it, he drowned. A young man from the municipality (I guess) goes around to visit to see how the reconstruction is progressing. His meetings with old couples are caught by the camera, sweet bitterness.
Grandma is sitting outside her house, you read her face, grief but also survival will... a fine work, this is, personal, terrifying theme, maybe sometimes a bit messy in structure, still, the most important is that the director brings the viewer into the souls and minds of those who suffered and still do so.
Russia, 2014, 66 mins.
The film was in the national competition at the
Written 08-10-2014 17:43:16 by Tue Steen Müller
The day after DOKLeipzig (below), the Jihlava International Documentary Film Festival (IDFF) announces its programme schedule, October 23-28. The newsletter from the Czech festival does also, as DOKLeipzig, focus on statistics in its first paragraph. After headline ”57 world, international or European premieres at this year’s Jihlava IDFF”, it goes like this ” This year, the traditional competition sections will offer a unique blend of auteur documentaries, most of which as world, international or European premieres. In the competition of world documentaries Opus Bonum the IDFF Jihlava will present 5 world premieres, 5 international premieres and 1 European premiere. In Between the Seas, the competition of Central and East European documentary film, there will be 4 world premieres, 2 international and 2 European premieres. The Czech Joy competition will present 10 world premieres.”
All right, let’s go to content, the films, where I can only salute that there are films from Guinea-Bissau, Brazil, Argentina, South Korea, Philippines, Japan and – I know I am repeating myself – “Euromaidan. Rough Cut” from Ukraine.
I will be in Jihlava 3 full days and apart from taking part in a couple of industry activities, I am looking forward to watch films and why not dig into the section “Czech Joy”, where there are films by Veronika Liskova, Miroslav Janek (photo) and Jan Gogola. I am a big admirer of Janek, whose films on Vaclav Havel and on Olga Havlova have been praised on filmkommentaren.
I have been to Jihlava several times, mostly for the workshop of Ex Oriente, but also for the festival, once in the jury, and a compliment to the film selection: it is always surprising and out-of-mainstream festival profiles.
Written 07-10-2014 15:59:50 by Tue Steen Müller
Today DOKLeipzig announced its programme for the festival, that runs from October 27 to November 2. Whether you like to highlight it or not, the press release stresses that the festival offers 41 world premieres – 29 documentary and 12 animation films. And there are several international premieres and all 80 films in competition are for the first time to be seen in Germany!
All right, duty done, statistics and ambition/rules of the game mentioned, yes I know that it is a competitive environment for a big festival like DOKLeipzig – what is more important is the content, the films that the festival has chosen and there is indeed a clear profile this year: Laura Poitras film on Snowden opens the festival, there are several films from and about Ukraine, there are Syrian filmmakers in the programme, films from South America, Asia, from Arab countries and Africa. The world is at its worst, documentaries are describing the situation, that’s how it should be, DOKLeipzig lives up to its reputation and tradition. In the officlal programme 198 films are being shown, in the “Sonderreihen” another 170 are listed, we have mentioned the retrospective of Jon Bang Carlsen as just one of them. He is one of very few Nordic documentarians to visit Leipzig, from the Baltic countries there are no documentaries. Seems like the Nordic go to cph:dox and idfa, the Baltics to Visions du Réel.
I have booked myself in to 5 full days in Leipzig during the festival, lot of watching, meeting people and saying goodbye to Claas Danielsen (photo), who stops as festival director with this edition. Some title-dropping from the feature length documentary competition: Sergei Loznitsa with “Maidan”, Ulrich Seidl with “Im Keller”, the French Bories and Chagnard who made the fine “The Arrivals” (winner in Leipzig in 2012) is back with “Rules of the Game”, Fernand Melgar who was in Leipzig in 2011 with “Vol Spécial” is there with “The Shelter” and Alexander Nanau (“The world According to Ion B.”) presents his “Toto and his Sisters”.
By clicking at the bottom of the link below you can get a pdf of the official programme of the festival.
Written 06-10-2014 12:01:56 by Tue Steen Müller
Sonia, the daughter, sits down at the computer to write the headline “My Family's European Genocide Story”... one of many stories, where a majority of a family ended up in Auschwitz, but in her case she is lucky to have her 93 year old mother Regina next to her, to tell her what happened. And it has to be told now while Regina is still able to remember. She is on her way to dementia.
It's a warm and moving life story that the two of them unfold in the flat in New York, and the director succeeds to have their personalities come out. Regina is wonderful, you sense how strong she must have been, a survivor and a fighter to give her daughter a good life. Sonia indicates that the mother stays alive because she is afraid that she – Sonia – can not manage it – the life – herself! That is one of the beautiful scenes in the film. Sonia comes out a bit pushy sometimes, talking down to her mother – like we do to relatives, who are getting old, don't we? But she is also the one to tell the story of her ill father, who when she was a child, was taken to an asylum, where she came to visit him. She saw him for twenty minutes, then he left.
Regina likes to sing, in Jiddisch, and a music teacher comes with his guitar to sing with them. These are not the most succesful scenes in the film. It sounds maybe paradoxical but I feel that the young man is an intruder to the scenes of intimacy that the director is able to establish between a mother and a daughter, who wants to know her family's story before it is too late. This is something we can all relate to, why did we not ask mother and father when they were there...
Having said so, and also having some reservations towards some small visual dramatizations that I don't find necessary: the documentary is a fine example of how close you can get and how respectfully and sensitive the director has dealt with the mother and daughter relationship.
Russia, USA, 47 mins., 2014
Written 06-10-2014 11:08:59 by Tue Steen Müller
It's one of those films, that had to be made and that you hope will be shown everywhere to pass the information about the absurd and inhuman condition that the LGBT community lives under in Russia after a law was set up that forbids "promotion of nontraditional sexual relations to minors".
… and to pass the information that brave people do something for the teenagers, who meet anger and violence, insults and intimidation from parents and school mates. “People like you should be burned” is one of the remarks that are brought forward in the film, that gives space for statements by mostly anonymous children, who contact the network/ internet group 404, named after the message we often get on the internet, “404-error, not found”. Many of them have tried to take their own lives.
Elena Klimova is the young woman behind the initiative and one of the two main characters. She talks well and the scenes with her and her partner Zhenya in their kitchen have a warm and intimate conversation atmosphere. They left their journalistic jobs or rather were pushed out because of their homosexuality and have taken on this mission to help – 22.000 joined the group, 1364 shared their stories the first year. The other main character is a young man – with open-minded parents and wonderful grandparents – who has decided to leave the country for Canada.
It affects you a lot this fine documentation that has a simple humanistic non-sensational approach to a theme, where you want to shout: Shame on you Putin et co.!
Russia, 2014, 76 mins.
Written 06-10-2014 10:56:36 by Tue Steen Müller
They have some verbal battles in the office, Natalya and Eugenia. They get on each other's nerves. They both work at the museum, have done so for a long time, but where one is for the material side of the life (Natalya), the other (Eugenia) is heading for the spiritual values.
The scenes with the two are among the finest in a film that in an observational style catches the museum for Lenin, that was set up in 1987, had a great time in the beginning and now is trying to regain a visiting audience. Natalya does her best – are you filming Askold, she says to the director, she obviously sees the film as a chance to promote the museum – and shows us around in the rooms in Gorki, where Lenin died 90 years ago. Come and have an ”Soviet-era experience”, says Natalya, who brings school kids to the place where they pay respect to the great leader in finest pioneer style.
Otherwise, they take it easy at the museum, the rythm is slow, the stairs are cleaned as is the statue, but at the meetings of the board, the voices are raised, and a new director is brought in. Who cancels one plan for modernisation to bring in a Chinese opera show – and belly dance could maybe also bring more visitors. Alas! By the way, indicates the film, next to the museum a church is being built...
It would have been easy for Askold Kurov to make fun of the museum. He does not. He brings forward the institution, lets the viewer see it, meet the ones, who work there and let them take the floor. A fine choice.
Russia, 2013, 52 mins.
Written 04-10-2014 21:15:56 by Tue Steen Müller
As a follow-up to the post below... here is a personal essay that I wrote for an academic book on festivals. It did not fit in, so here it is for you, a reflection on what is written on documentary festivals from outside and inside – promotion, reports but real critique on the festivals, does that exist? Hope it is interesting for you. (Photo from this year's ZagrebDox).
But first some film-biographical stuff: You need to know a bit about my background as a festival visitor, organiser and reporter/critic. Yes, I have a close relationship to the world of documentary film festivals. I have been privileged to cooperate with colleagues in Denmark to set up and conduct several national and international festivals in my own country. One of them changed my film life, the Balticum Film & TV Festival on the island of Bornholm in the Baltic Sea. It came to life as a consequence of the fall of Soviet Union and ran from 1990-2000, when the Danish support to the independence of the Baltic countries around 1990 made it possible to start the festival with financing from our government,. Voilá, we started a festival for the countries around the Baltic Sea. Many of
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Written 03-10-2014 20:44:50 by Tue Steen Müller
It happens quite often. Mails arrive with sad news – ”they” did not take my film, nobody likes it, what should I do? Filmmakers are disappointed, the film that took them a couple of years to make are rejected by festival after festival. Why, is there something wrong with the film. The mail often deals with a film that I have seen and maybe even written positively about on filmkommentaren. I mostly choose the easy answer, which in most cases also is the right one: don't worry, you have made a good film, it will find its festival(s). And there are a lot of festivals and if you are not taken for idfa or DOKLeipzig or cph:dox or Sundance, there are other quite as good for your film. And there are so many good festivals nowadays, in Europe and in other parts of the world.
Nevertheless, the question remains whether we know enough about the festival's profiles and if the selection process is open to everyone. How many are involved in the first selection process before you reach those programming, the programmer(s) or curators as they are called today. Do those who screen as the first see the whole film or just the first 10 minutes...
Indiewire has made an article (link below) on this issue - ”5 questions you always wanted to ask a documentary festival programmer” - it deals with American festivals and is very informative, but the same questions could be directed to European festival programmers.
I have been invited to ask questions to festival people at the upcoming Jihlava International Film Festival (photo) – hope to get wiser on the role and way of working of different festivals.
Written 02-10-2014 10:19:48 by Tue Steen Müller
It's an inviting start: Beautiful Istanbul, boats on Bosphorus, people fishing on the bridge, a man in a car, a man doing dummies for clothes, a woman taking out her photo album and more people getting ready to tell what they remember... Back to the man in the car. He is on his way to the place, where he was decades ago, in the 1960'es, to an Armenian camp in Istanbul. “I spent my childhood here”, he says emotionally affected upon arrival to the abandoned building.
Cut to the next storyteller and the next and the next. Slowly the mosaic is put together. There was an Armenian school, there was a charismatic leader of the school, Hrant Gyuzelyan, who did not allow the children to speak Turkish, hard discipline at that time, and according to one of the characters he was the one who insisted on the camp to be built. Otherwise the children would go back to Anatolia, to their villages and forget about the Armenian language and culture they had learned in the school. Some lived at the camp for months, some for years.
Gyuzelyan is the hero of the film, many recall how he went from village to village in Anatolia to find Armenian culture still alive after 1915, where those
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Written 02-10-2014 10:05:35 by Tue Steen Müller
DOKLeipzig 2014 presents an ”homage to Jon Bang Carlsen”. A long text from the festival site follows below. The director is also to make a masterclass at the festival. To be recommended. Masterclasses with Bang Carlsen are always lively and entertaining and fine invitations to enter his world. We two editors of filmkommentaren.dk – Allan Berg and Tue Steen Müller – have followed the work of the director for decades, as film consultants who have supported on behalf of the Danish Film Board and Film Institute, and in writing. Allan Berg has made – primarily in Danish – a ”Jon Bang Carlsen. Collected Posts on His Work” (in Danish and English), it will take you a good amount of time to read about the many films of Bang Carlsen, and you will enjoy it.
A retrospective in 2014 – I attended the first international retrospective of the director in 1988 in Montecatini in Italy, quite an honour it was, the same year as Nagisa Oshima was there with his feature film series. Two years later, in 1990, Jon Bang Carlsen was in Montecatini again, where he with ”Baby Doll” won the ”Airone d'oro”, the golden heron, symbol of the city. I was there on both occasions and remember that Jon asked me in a press release to change the heron into a swan, sounds better he said, as ”hejre” in Danish at that time was a not very nice chauvinistic reference to women.
Back to Leipzig retrospective, here is the text from the site:
How authentic can a documentary be? Jon Bang Carlsen of Denmark delves into this question in his films. His work is deliberately perched on the
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Written 01-10-2014 13:48:02 by Tue Steen Müller
As one who does not have English as native language this film demands attention and concentration. You have to get used to the constant bombardment of words, archive photos and films, interviews but if you succeed to do so, it really pays off. This rich film gives you so much American cultural history that you feel deeply informed – and entertained. Because it is not – as many films full of words – a boring film, it has a light tone led by co-producer Warren Leming's wonderful, relaxed voice-off commentary that is miles away from an usual authoritarian television speak.
The starting point of the film is this poem by Walt Whitman: Afoot and lighthearted I take to the open road. Healthy, free, the world before me. The long brown path before me, leading wherever I choose. (Song of the Open Road).
From this the film travels through literature and music and politics and philosophy having Mark Twain, Woody Guthrie (close-ups on his guitar text label: this machine kills fascists!) and Jack Kerouac of course, with his iconic inspiration Neil Cassady, as strong characters of the story that again and again refers back to Whitman. Not to forget Allen Ginsberg and Bob Dylan. It's social history, it takes us to the horrible images from the Vietnam war and some veterans appear in the film. A gallery of people are interviewed, asked
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Written 01-10-2014 11:29:09 by Tue Steen Müller
The Georgian international documentary film festival has launched its programme for its second edition (October 14-19), well thought and competent, with competitive sections and side bars like ”Ukranian Voices”.
Here you find ”Euromaidan” put together by Darya Averchenko and Roman Bondarchuk, “Cornered” (photo) by Dmitro Tyazhlov, “Sickfuckpeople” by Juri Rechinsky – all praised on filmkommentaren – and “Ukraine Voices” from 2014 that I don’t know. Bravo, I wonder how many other festivals have a section like this, a tribute to the brave filmmakers in the haunted country.
In the main competition with 9 films you find good works as “Life Almost Wonderful” by Svetoslav Draganov from Bulgaria – Draganov has developed a special style, also used in his previous film “City of Dreams” – the warm human portraits in “Ne me Quitte Pas” by Sabine Lubbe Bakker & Niels van Koevorden and the impressive “Judgement in Hungary” by Eszter Hajdu.
In the “Focus Caucasus” only three out of ten films are known to me, all fine films: Emel Celebi’s cinematic homage to cleaning ladies in Turkey, “Ain’t No Cinderellas”, Georgian Ana Tsimintia’s brilliant “Biblioteka” and Alina Rudnitskaya’s “Blood” that was awarded some days ago at the Message2Man festival in St. Petersburg. Rudnitskaya is for me the chronicler of social Russia today. Again – to have a focus on films from Caucasus (including Russia and Turkey) is the right move for the festival in Tbilisi that hopefully will have as good an audience as I experienced last year at the first edition.
Read all about it on the website:
Written 30-09-2014 11:58:32 by Tue Steen Müller
Nordisk Panorama 25! - a documentary tour down memory lane. Yes, the first one was in Grimstad, this idyllic and romantic spot on the South coast of Norway. I was there and so was she, with whom I have shared my life since then. Grimstad 1990, unforgettable, a place in my heart... I was there on behalf of Statens Filmcentral (National Film Board of Denmark) and as part of the group that was to set up Filmkontakt Nord the year after. Therefore, a thank you for asking me to write about what has happened to Nordic documentaries in the quarter of a century that has passed. I have chosen to primarily go back to focus on directors and films, which I remember and which have made an impact on the Nordic and/or the international scene. You will probably miss some, especially ”newer” ones, I can’t cover it all. You will agree that nothing is so boring as extensive name- and title-dropping. I will try to control myself. And of course it is a personal choice that I have made.
SOCIAL AND OBSERVATIONAL
There was a pretty strong line-up of documentaries in 1990. When I look at the list of films and directors in competition (there were no films from Iceland and only one from Finland!), in my view, three stand out and have indeed put their mark on Nordic documentaries.
Sigve Endresen was there with ”For your Life” (”For harde livet”), 98 minutes of strong social documentary on drug addicts, a film that reached a huge audience in the cinemas of Norway and opened the door for the director to make another critical statement on how the society treats its outsiders – ”Big Boys Don’t Cry” (”Store gutter gråter ikke”) on young prisoners taking part in a rehabilitation project. It was at Nordisk Panorama (NP) 1995, followed by ”Living Among Lions”(”Leve blandt løver”) at NP 1998, on three young people who suffer from cancer. In 2002 he took part in NP with the portrait of singerKari Iveland, named ”Weightless” (”Vektløs”). The style of his films is direct, mostly with no sentimentality.
I remember that we Danes were jealous on the Norwegians, who could get documentary films reach the cinema. And also have them used in educational contexts - here we touch upon a typical Nordic issue that I have always highlighted at workshops abroad: the non-theatrical use of films for public education and debate.
As Jørgen Roos (also in my school time) took me to Greenland with his many films, giving me an insight to their culture and people, Ulla Boje Rasmussen is the documentarian, who has taken me and audiences around the world to her beloved Faroe Islands (Færøerne). ”1700 Metres from the Future” (”1700 meter fra fremtiden”) includes gorgeous nature sequences and fine portraits of the 16 (!) inhabitants, who get a tunnel connecting them to the rest of the world. The film is a classic in Danish documentary history with superb cinematography by Andreas Fischer-Hansen, also the producer. The two stood behind Nordfilm (right name!) that also made the follow-up ”The Light on Mykines Island” (”Tre blink mod vest”) (NP 1992), equally from the islands towards the North... I will send you to another island, said a filmconsultant years later, he happened to be me, to the director, let’s find an island in the South for a new film. Ulla chose Sardinia and out came ”Coro di Bosa” (NP 1998), which as the Faroe films had a fine international career. Boje Rasmussen has later on returned to the North making films in Greenland and Iceland, and one about the independence movement in Faroe Islands. The latter was at NP 2003, entitled ”Rugged Road to Independence” (”Færøerne.dk”).
1700 Metres from the Future
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Written 29-09-2014 17:18:55 by Tue Steen Müller
Filmen vises i morgen tirsdag den 30. september på DR2’s Dokumania kl. 20.45. Den kan stærkt anbefales. Den danske titel er forklarende, ”Ruslands værste fængsel”, en direkte oversættelse af originaltitlen ville være ”De fordømte”. Her følger en kort anmeldelse på engelsk, da filmen har haft og vil have et bredt internationalt liv.
You can choose to make a film about life in a Russian prison by picking one character as did Alexander Gutman years ago with his ”17 August”, a masterpiece, or you can do like Nick Read, director and cameraman - put the focus on a gallery of inmates (and one guard) and have them talk about what it means to be locked up, for most of them, for lifetime for the murders they have committed. (In 1996 death penalty was not practised any longer).
The cinematography and editing of the film creates a tense, claustrophobic atmosphere with a strong sound score of doors being locked, keys put into the keyhole, with voice-off’s of Maxim, Vladimir, Temirov, Albert, Sergei – whatever their names are. They talk well, they regret, not all of them, they put words on what it means to be in a 5m2 cell and very rarely see the light of the day. They are given the opportunity to express themselves.
The film is informative. It tells about the difference in the prison - in sitting alone and being with others. It lets the man who has been locked up for 40 years of his 62 year life describe the rules that the older inmates set up to avoid trouble and fighting. The hierarchy is outlined, those lowest are the rapist and pedophiles.
Two times the film leaves the prison (260 men, 800 murders, situated far away from everything in a forest big as Germany…) to accompany the wife and son of one of the inmates, as well as a mother for the short visits (3-4 hours) they are allowed to have. They meet their husband/father/son and the camera catches some small emotional moments before it retracts to let them have privacy.
An honest work, away from the many tabloid prison films that are just looking for trouble. A quote: It’s not hard to kill a man, it’s hard to live with it.
UK/Russia, 80 mins., 2013
Written 28-09-2014 17:26:36 by Tue Steen Müller
Politics. Freedom to say what you want. In films as well. The Message2Man – that had its 24th edition this year – and its organisers are of course backing this basis for any film festival. Nevertheless the festival cancelled a screening of ”Pussy against Putin”, made by the anonymous group called Gogol's Wives. Without any explanation I was told. The festival jury – read by the member Philip Gröning (”Into Great Silence”) – presented a statement raising this question but it was unfortunately wrapped into enigmatic and metaphoric language so the protest message did not come through. Why not say it directly that this is wrong... Even if the minister of culture and his entourage was present? Was it wrapped to protect the festival?
I talked to a jury member of the national competition and asked if he had found any critical or controversial films in the selection. Not really, he said, even if (my words) you can indeed say that the winner of the national competition deals with politics. The title says it all, ”Cardiopolitika” (photo) by Svetlana Strelnikova, who has a skilled surgeon as main character, who enters politics hoping it will help his profession to have better facilities. (See below).
We talked politics in St. Petersburg. Of course. At a moment where there is a war going on
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Written 28-09-2014 10:03:56 by Tue Steen Müller
It was a Swedish documentary that got the Grand Prix at the Message2Man 2014 festival: Forest of the Dancing Spirits (photo), directed by Linda Västrik (104 min. | 2013 | Sweden, Canada).
I copy-pasted a description of the film from a festival catalogue: In the deep jungle of the Congo, untouched by civilisation, live the Aka, a tribe of pygmies. Linda Västrik lived among the Aka from 2005 to 2012, and captured the fascinating life of this hunter-gatherer tribe. It is a life governed by magical rituals, myths and traditions just as it was centuries ago. Against the background of the personal story of couple Akaya and Kengole, whose greatest desire is to have children of their own, is a depiction of the harmony of human coexistence with the jungle, the source of all life and death. But thanks to the plans of the state forestry company, this coexistence will probably be short-lived.
In the short film category two films shared the award: the documentary Beach Boy by Danish Emil Langballe (28 min. | 2013 | UK, Denmark) and the short fiction Sunny by Barbara Ott (30 min. | 2013 | Germany)
In the national competition the winner was Cardiopolitika by Svetlana Strelnikova (64 mins., 2014). At a press conference in connection with the
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Written 27-09-2014 08:19:37 by Tue Steen Müller
A scoop for DOKLeipzig. Read the festival’s press release: The 57th International Leipzig Festival for Documentary and Animated Film will open on 27 October 2014 with the long-awaited film “CITIZENFOUR” by Laura Poitras. In the last instalment of her 9/11 trilogy, the multiple award-winning director shows how the United States’ so called “War on Terror” is directed against their own citizens.
In January 2013, Poitras received a number of encrypted e-mails from an anonymous sender who identified himself as “citizen four” and claimed to have evidence of massive covert surveillance operations of the NSA and other intelligence services. In June 2013, she flew to Hong Kong with journalists Glenn Greenwald and Ewen MacAskill for the first of many meetings with the man who turned out to be Edward Snowden. She brought her camera. The resulting film is a documentary thriller in which events unfold minute by minute before our eyes.
“CITIZENFOUR is a film that leaves a lasting impression”, says festival director Claas Danielsen. “Laura Poitras succeeds in making us feel the totality of modern surveillance almost physically. At the same time, she gives
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Written 26-09-2014 07:01:14 by Tue Steen Müller
Yes, she is a documentary superstar, Helena Trestikova. Filmkommentaren has had many posts about her films, which are shot over decades, always with a warm heart for its protagonists, and a social perspective. Now the DocAlliance gives you an offer you can not refuse:
From September 22 to October 5, 2014, the DAFilms.com documentary portal presents (FOR FREE) the first world online retrospective of unique Czech director Helena Třeštíková under the telling title “A Long Journey”. The works by the popular documentarist who has won a whole range of international awards, including Europe’s highest film award Prix Arte, are introduced on the portal in the form of more than 25 films made since the mid-1970s. Moreover, Czech viewers can vote for their favourite film by the filmmaker at www.dafilms.com and win an invitation to an exclusive film meeting with Helena Třeštíková… A quote from what we have written about Trestikova:
About Helena Trestikova at the Magnificent7 Festival 2013: ...a masterclass with a very well prepared presentation with 11 scenes from her films, through her work of long-time observation. She showed us clips from ”Marcela”, ”Katka” and ”René” (Best European Documentary in 2008) and talked about the ethical questions connected to being so close to her characters, helping them ”outside” the film as well, to get on the right track in their lives. Trestikova said that she did not really consider herself as a filmmaker, more as a chronicler, who has new films coming up this year and has plans to continue to film René and maybe also the family in ”Private Universe”. Deep respect for Trestikova for a constant non-tabloid humanistic focus on people outside the celebrity spotlight.
Written 25-09-2014 07:58:56 by Tue Steen Müller
Well, I was definitely away from my comfort zone… Around the table were Russian critics, journalists, a writer of a book on the banning of films in Soviet Union – and some younger filmmakers, who were there to say something about censorship today. They did not deliver many words, the old boys took the floor and kept the word for long, arguing with each other, quite dramatic sometimes. I was the last one to speak, told the story that I had heard a couple of weeks ago from Uldis Brauns, whose ”235.000.000” was censored and re-cut after a meeting between him and Goskino in Moscow in 1967. Otherwise I could talk about self-censorship and advertise films in the Danish series at Message2Man, a couple of the films deals with suppression of the free expression like ”Ai Wei Wei” and ”Burma vj”.
I have the feeling that the rest of the table did not understand what I said – the interpreter was not a professional – or were not really interested or were exhausted after the long arguments.
Andrei Smirnov (photo), film director and actor, was the first to speak. He did so passionately, arguing that hundreds of films, in Soviet time, were taken away from public screenings in most cases without any explanation. And if there was any, it was mostly pretty absurd why they were censored. Some photocopies of historical official letters banning films and film directors were distributed – they dealt with the fate of Klimov and Parajanov and were sent by the ”Committee for the State Security of the Council of Ministers of the USSR”. Critic Victor Matizev linked to the current situation saying that we ”are close to the formal installment of censorship”. Another critic, Andrei Shemayakin, pointed out that the censorship today was mostly of an economic nature, there is little money for documentaries which was confirmed by the couple of young filmmakers at the table, one of them made a film about gay and lesbians through crowdfunding.
Towards the end of the two-hour session a journalist started to talk politics, Smirnov got angry and left. Have to confess that I did not really get what the journalist said – but he was pointing at Russia being more advanced than France and Germany, where censorship is more in practice…
Written 24-09-2014 09:01:29 by Tue Steen Müller
My wise advisor asks me to de-personalise the important debate about whether DOX has a future or not. I will do my best to suppress my frustration. Starting with a concrete, constructive proposal: Don't stop DOX and - inspired by what they do at the Danish Film Institute - make a print issue to come out when the festival idfa is on and one when there the festivals/markets Sheffield/Sunny Side take place. That can attract advertising and you can have ad hoc editors/writers (and not a full-time employed editor) to contribute. Publication costs are not high in several countries. The paper editions are for longer, deeper texts, the online activity can include shorter contributions.
But does EDN want to continue DOX? Director Paul Pauwels is not clear in his communication. In the last printed issue of the magazine, that just came out, he writes:
“EDN will spend a lot of energy on defending the documentary genre in the ultra competitive (but often under-financed) media landscape and on becoming an advocate of its members and their interests. This added objective – approved by the EDN Executive Committee – calls for a new strategy and adapted tools, and in all honesty I had to conclude that DOX Magazine doesn’t fit with this new objective..”
… and in EDN Weekly 37, he says that the future of DOX will be discussed internally. One of his staff members has expressed that there will be an online DOX, an EC (Executive member) of EDN told me some days ago that this is doubtful.
Anyway, above is a proposal, there are probably many others. I will ask EDN to put this text on their Facebook page. This is where a letter to the members from Paul has been published stating that he does not want to respond to “a facebook campaign”. He refers to the debate on filmkommentaren.dk and the connected comments on FB that I use to bring readers to the blog. All debate on DOX should take place on EDN territory according to Paul. Which should not prevent you readers to contribute on this blog, all are welcome – EDN members and lovers of DOX – and come up with other proposals to continue the magazine.
Written 24-09-2014 08:11:41 by Tue Steen Müller
Second day in St. Petersburg started with a lovely tour to Russian Museum downtown at the square where a statue of Pushkin stands, always with birds resting on his stretched-out arm. The newly renovated rooms with the Russian avant-garde I had not seen before – what a pleasure to revisit masterpieces of Malevich, Filonov, Kandinsky and Tatlin.
After that off to Velican theatre where we watched young Danish Emil Langballe’s graduation film from the National Film School in England, ”Beach Boy”, a well balanced, cinematic non-moralistic portrait of a young black man and his relationship to a middle-aged British woman in Kenya. The young man makes a phone call to his girl friend, who is pregnant but is aware of his profession. The film is light and pretty much less demonstrative than the feature of Ulrich Seidl.
And then to Gare du Nord in Paris guided by veteran director Claire Simon, whose ”Human Geography” (104 minutes) appealed strongly to me, both because it is a very well made film but also because Gare du Nord is very familar to me. I have arrived there several times at 8am in the morning after 12 hours in train from Copenhagen, I have welcomed my mother when she visited us on vacation in ”la ville des villes”, and – alas – in November last year this was the place where co-editor of filmkommentaren.dk, Allan Berg, had his computer stolen, when we got out of a taxi…
Claire Simon is behind the camera, her friend Simon, of Algerian origin, is there with her to help her ask questions to people passing by. Small stories with people before they enter a train, observations, and talks with people working on the station. It becomes a film on Life and Love, superficial, what else could it be, but small stories placed in the heads of the audience for us to work more on. The focus is on people who ended up in France coming from all over the world, happy or not happy, with fine educations from back home, but apparently useless in the European country they have arrived to. IN that way the film is also a portrait of Europe of today.
Written 22-09-2014 20:45:02 by Tue Steen Müller
We already told that for the second time the AegeanDocs festival is running, it opened on the 20th of September (and runs until the 28th) with a screening of “The Act of Killing”. Producer of the festival Chara Lampidou sent me yesterday information about the festival programme and this welcoming text of festival director Kostas Spiropoulos:
If someone was trying to describe in two words the content of ΑgeanDocs2014, I would suggest: Looking straight into reality. Face to face, with no ifs and buts, eloquent blandishments or rounding offs. 70 Greek and foreign directors face reality. They see, or more correctly, they read the world and the people. It’s a composition of problems, situations, adventures, in which people are involved either as part of collective subjects or as characters.
How useful is the sight – or more correctly: the different glances - of the artists?
The first seventh part of our century heralds a future dominated by the asymmetry. The inability to understand and predict. It is not only the inequalities and the contradictions that spawn, aggravate or rekindle. It is, in particular, the inability of the political and scientific elite to understand, to interpret, let alone to deal with a complex universal reality. At such times the
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Written 22-09-2014 08:09:32 by Tue Steen Müller
Do you know the situation for Russian artists, was the first question that came from the audience at the Q&A after Danish Andreas Johnsen’s ”Ai Wei Wei” screening last night at the St. Petersburg documentary festival. The film about the Chinese artist was the first to be shown out of 8 Danish films picked for a programme called GlobalDoK = the Danes go abroad to find stories that can work globally.
No, I do not, the Danish director honestly answered – and the artist in the audience confirmed that there were pretty many similarities between the situation of Wei Wei and the one experienced here in Russia – censorship, aggression from the authorities etc… this is what a director wants to happen, isn’t it, that audiences can transfer what they see to their own life.
The opening was attended by around 40 people. Director of the Danish Cultural Institute in St. Petersburg, Finn Andersen, expressed his gratitude to be able to help the film festival to have the retrospective happen. The same thank you was adressed to the Danish Film Institute.
Message2Man is a huge festival. The main screening venue is Velikan Centre in a beautiful park, where families were having their sunday walk yesterday. The Centre has multiple screening halls and there are also cinemas in other parts of the city that show films from all over the world. To give you an impression of today’s programme: There is Michael Obert’s ”Song from the Forest”, Estonian humorous ”The Gold Spinners” by Kiur Aarma and Hardi Volmer, ”Ukraine is not a Brothel” by Kitty Green, ”Blood” by Alina Rudnitskay, ”Shado’man” by Boris Gerrets, ”Human Geography” by Claire Simon and ”The Will” by Christian Sønderby Jepsen. I check in for the last three mentioned. And there are many, many other films screened from mid afternoon to late evening.
Written 21-09-2014 21:20:24 by Tue Steen Müller
I attended the opening of the 25th edition of Nordisk Panorama friday night in Malmö, Sweden. It was a grand event because the organisers had picked the right film to start the festival. Below is the website description of Garden Lovers by Virpi Suutari, a film that is about love and full of love towards the characters, the many old couples, whose warm relationships still flourish, in beautiful garden surroundings. The film has a unique flow going from couple to couple, from situation to situation, some of them very ”Finnish” meaning wonderfully weird, always surprising, supported by constant wonderful camera movements (dop: Heikki Färm) and an amazing music score composed by Sanna Salmenkallio, who you will know from (among others) ”3 Rooms of Melancholia” by Pirjo Honkasalo.
The site description: …a documentary love story about Finnish couples who have a passion for gardening. The film with comic undertones looks at their stories behind the hedges. The garden provides a framework for tales of relationship conflicts and joys; it depicts the many ways in which life can flourish; it gives strength and unites, but it also becomes a meeting place for farewells. There is an invisible bond that grows between the couples in the film; they comment and comfort each other with their own stories.The film’s gardening stories celebrate fertility, play and love.
25 years of Nordisk Panorama. As one who was there at the first edition in Grimstad, Norway in 1990, I was asked to make a presentation of films from the 25 years that I liked, I called it ”from ”1700 Metres from the Future” till ”Belleville Baby” by Ulla Boje Rasmussen – and Mia Engberg. I ended the talk by showing a clip from ”3 Rooms of Melancholia”, for me the best Nordic documentary in the last 25 years.
Written 20-09-2014 07:58:42 by Tue Steen Müller
There is no photo attached to this post, you have to look up to the right, where you get three of them. Co-editor of filmkommentaren.dk, Allan Berg, suggested that I chose three obvious talents, who have made films which travel and are awarded, and who will – hopefully – give us more great works in decades to come. Here they are:
To the left Sara Ishaq, two films of hers have been on filmkommentaren.dk, both dealing with Yemen: ”Kamara has No Walls”, nominated for an Oscar 2013 and ”The Mulberry House” from 2013, a quote from the review of the latter: A family film? Yes. Private? No. Personal? Yes, as it is a film about a daughter, who returns to her roots... oops, now the words start to be klichés. Roots, yes but conveyed in a way so we non-yemenites easily can identify with the family, the three generations and its situation, in a film that captures the warmth and passes it on to us in a light tone that is broken when reality knocks on the door.
In the middle Salome Jashi, who after the short films ”Their Helicopter” and ”Speechless” made the middle length ”The Leader is always Right” an ” observational documentary from one of the patriotic youth camps in Georgia” before turning to what is her international breakthrough, ”Bahkmaro”, that gave her the main award in Jihlava 2011. The jury motivation was precise: “With an attentive and personal approach the filmmaker transforms an ordinary microcosm into a unique narrative and playful visual experience. Through an effective and assured cinematic language this film reveals the mood and the spirit of a society struggling with its internal hopes and contradictions. For its respect, artistry and quest for surprise the award for the Best film of “The Between the Seas” Competition goes to Bakhmaro by Salome Jashi.”
To the right Davis Simanis, Latvian documentary director and editor, whose film about the new national library in Riga won the Baltic award at the festival in Vilnius in 2013: ” ”Chronicles of the Last Temple”, a superb interpretation of the new and much discussed National Library of Riga, a film that shows Simanis ability to capture the grandeur of a building and its details in a super aesthetic form. His newest work ”Escaping Riga” presents in an original cinematic form two world-class 20th century geniuses, the British philosopher Sir Isaiah Berlin and the Russian film director Sergei Eisenstein.
Written 18-09-2014 11:07:14 by Tue Steen Müller
Emanuele Vernillo, didactic tutor at Zelig School for Documentary, Television and New Media in Bolzano calls the decision “absurd”. Here is his text:
I am reading with big interest the discussions about the closing of DOX on paper. I want to add to these also my and our (ZeLIG) concern... If you think that the 'circulation of our concern' may help a discussion about this absurd decision, please feel free to publish it on your blog and wherever it would be useful.
As you know, we are a trilingual documentary film school, a very special institution where students from all over the world join together and attend seminars in german, italian and english. As you know and as anybody can easily understand, english becomes suddenly the main spoken language: inside this context DOX 'was' the only magazine which can strongly support the circulation of ideas, comments, critics about the documentary film scene all over the world. It is such an enormous loss for all the film-makers and particularly for our school. Which magazine can serve as substitute to it? We have made a subscription to 'Sight and Sound', but what DOX has been for the documentary film scene is not substitutable.
In these days I have taken in my hands the issue nr. 100, 'DOX in Dialogue': it was simply marvellous, the conversations between Luciano Barisone and Nicholas Philibert, Joshua Oppenheimer and Werner Herzog. Who is going to tell to our future students that this won't be published anymore?
Yes, there will be probably the digital editions... But I have the impression that we are not yet in an era where digital magazines are easily usable...
I can understand the financial situation worldwide, from which EDN is probably suffering like many other institutions... But a bigger effort not to renounce to such a big resource would be very welcomed!!
Written 17-09-2014 14:58:02 by Tue Steen Müller
PeÅ Holmquist, director and producer of documentary films, first President of EDN has written a letter about DOX:
In EDN Newsletter, week 37, I get the news about our magazine DOX:Doesn’t exist anymore! DOX has been there nearly from when we started EDN - quite a long time ago. In EDN Weekly, 37, I read “with deep regret I have to announce that I had to decide to terminate the publishing of Dox Magazine.?”
I think the EDN-director Paul Pauwels is making a big mistake. And as one of the founders of EDN I find it strange that this decision comes with a very low-key way and with an “I had to decide”.
I think/thought this kind of a decision would be much more profound and I think it’s not enough that this is a “one man decision”. About the reason to stop DOX we just get a few sentences from PP about the loss of money from Creative Europe. No discussion from the EDN Executive committee, no exact calculations are shown to us! It’s also typical that I myself didn’t find this news with the EDN newsletter? I missed it. I found it on filmkommentaren.dk and a very concerned note from Emma Davie, also one of EDN:s old members.
I think one problem lately with EDN is that the Business behind documentary film has taken more and more place. Less and less about the culture behind our genre. Why are we making these films? It’s certainly not because of the money. I spent 35 years of my filmmaking in the Middle East (10 of them also teaching Palestinian filmmakers) - this was also not because of money! We need to discuss our films and the reasons behind, and what kind of reactions we and our film get , etc ?
That’s why we need something like DOX . We have enough of Pitching Forums already.
I sincerely hope and I urge the EDN executive committee to initiate a discussion about Dox or a new DOX at the General Assembly in Amsterdam in November this year.
PeÅ Holmquist, documentary filmmaker. First chairman for EDN
Written 17-09-2014 10:25:57 by Tue Steen Müller
Last week Michael Moore, at the Toronto International Film Festival Doc Conference, 25 years after his "Roger and me" (photo) was released, presented 13 rules for making documentary films. A manifesto. He stressed that documentary filmmakers should not be called documentarians but filmmakers, and ”Also, I don't want people leaving the theater depressed after my movies. I want them angry. Depressed is a passive emotion. Anger is active. Anger will mean that maybe 5 percent, 10 percent of that audience will get up and say, "I gotta do something. I'm going to tell others about this. I'm going to go look up more about this on the Internet. I'm gonna join a group and fight this!"”
His full speech is to be found on Indiewire, link below, where you will also find colleague, documentarian, sorry filmmaker Jo Berlinger’s response to Moore, as thoughtful and analytical as Moore’s contribution is entertaining and provocative. Other filmmakers are also asked to comment in the fine IndieWire articles. A long quote from Berlinger:
“Not calling ourselves "documentarians" is a very old argument that ignores the amazing expansion of the form and the pushing of boundaries that
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John: I loved Linar the film and Linar the boy. Best of luck Nastia and Irina....
Carl E. briscoe jr, PhD: I saw the film last night at the E st. theater in DC...I loved it and hated it. Not enough info but enough to make me invesitgat....couldn't find any...
John Burgan: The Whitman poem is also used near the beginning of Robert Kramer's 1989 doc road movie "Route One/USA", read on camera by Paul McIsaacs....
Jake: Great, great post. Insightful and educational as always, thank you....
Natasha Dudinski: I totally agree with the article, Dox magazine is such an inspiring magazine! I've been eagerly waiting for each issue and read it always from A to Z....