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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Written 15-09-2014 10:19:10 by Tue Steen Müller
A ”EDN Weekly” newsletter came out. In a subordinate clause there was shocking news: ”… I had to decide to terminate the publishing…” of DOX Magazine. Just like that. Voilà. A big big mistake! After more than 100 issues the magazine that has been a key element in the profile of EDN, the death of the magazine was declared by Paul Pauwels (PP), the director of EDN. An online issue is under discussion, coming from the office, probably more a member´s magazine than what DOX was – the international documentary FILM magazine. PP, the terminator, who always communicates on behalf of EDN in first person, had made the decision after consultation with the executive committee of the association. The reason: first of all due to financial reasons.
A mistake. Yes, a wrong priority from PP. When EDN way back took over the publishing of the magazine, we did so because there was a need for a documentary FILM magazine and because we thought this was the right way to tell our members that EDN is not “only” about money, where to find them, workshops, pitching etc. but also about the art of documentary. Side by side of Sight & Sound, that comes out on paper and online, like several other national film magazines, DOX, published by EDN but always independent editorially to avoid it being a mere communication tool for EDN, the magazine has had EDN members as main readers but it has also been spread around to non-members as it was this last week in Riga where Eastern European documentarians were offered a free copy – a service to filmmakers who can not afford to be members of EDN.
In Riga Emma Davie, always a true supporter of EDN, and I, former director
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Written 13-09-2014 16:24:47 by Tue Steen Müller
Copy-paste quote from RealScreen on Martin Scorcese talking about his new documentary “The 50 Year Argument” on New York Review of Books, co-directed with David Tedeschi. A talk taking place in Toronto at the international film festival, read more, link below:
Despite his reservation over the characterization of non-fiction films, Scorsese said he enjoyed making such films. “There’s a sense of freedom in that I’m not shackled to a conventional narrative,” he said. “I find that the challenges are everywhere, but there’s more of a sense of freedom.” With The 50 Year Argument, the director said he and Tedeschi “had no plan” at the start of the project. “We had to find our way through. With non-fiction, it’s a bigger responsibility, it’s a bigger gamble.”
The director also discussed the impact that The New York Review of Books – and literature in general – had had on him over the past half-century. “Books fascinated me – and still do,” he said. “But they fascinate me also as objects; books themselves become very precious to me. “It took me a long time to learn to read a book, to live with a book.”
The 50 Year Argument marks Scorsese’s sixth doc collaboration with Tedeschi, and their first as co-directors. Tedeschi previously served as editor on 2011′s George Harrison: Living in the Material World, 2010′s Public Speaking, 2008′s Shine a Light, 2005′s No Direction Home, and an episode of Scorsese’s 2003 doc series The Blues.
Written 12-09-2014 18:43:04 by Tue Steen Müller
“GlobalDoK: Danish Film Institute Present” is the title chosen for a presentation of new Danish documentaries in St.Petersburg at the Message to Man festival (September 20-27). In collaboration with the DFI and with me as a helper for the programmer Mikhail Zheleznikov the following films were chosen: 1. Ai Weiwei The Fake Case by Andreas Johnsen (2013) 2. Sepideh – Reaching for the Stars by Berit Madsen (2013) 3. Ambassador by Mads Brügger (2011) 4. The Will by Christian Sønderby Jepsen (2011) 5. Armadillo by Janus Metz Pedersen (2010) 6. Burma vj by Anders Østergaard (2008) 7. The Good Life by Eva Mulvad (2010) 8. The Ghost of Piramida (photo) by Andreas Koefoed (2013). Andreas Johnsen, Andreas Koefoed and Anders Østergaard will meet the audience and the Danish Cultural Institute will host an afternoon seminar on Danish documentaries. I will be there to introduce and moderate. For the festival catalogue I wrote the following promotion text:
GlobalDoK... well, the selection for this series of new Danish documentaries includes films that are shot in China, Iran, Central African Republic, Afghanistan, Burma, Portugal, Norway/Russia – and Denmark/Germany. So to call it GlobalDK with a small o between D and K seems to be a good choice by the organizers.
Global, but is nothing interesting happening in Denmark? Boring country? No stories to find? Or do the Danish documentarians just love to travel? Or are the Danish film people engaged and committed in a way so they have to deal with the troubles of the Chinese world famous artist Ai WeiWei, the dream of the Iranian girl Sepideh, the international diamant mafia and its
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Written 09-09-2014 15:28:10 by Tue Steen Müller
The photo in the post below is a bit small but shows the wonderful screening situation in the house of Uldis Brauns. Here you have him in the garden.
Written 09-09-2014 15:24:10 by Tue Steen Müller
During the many years that I have followed Latvian documentary cinema, the name Uldis Brauns has always been like a magic enigma. Who is he, where is he, what is he doing? The master, that is how he is characterised by many, including his late close colleague Herz Frank. The man who directed ”235.000.000” (1967), a work that far too few know about, that story comes later. I did not see him at the Riga symposia organised by another big name Ivars Seleckis et co. and when I asked around, I was told that he lives in the countryside and is not involved any longer. A loner, he was said to be.
Finally I had my curiosity saturated. Sunday after the Baltic Sea Docs Uldis Cekulis, Arvids Celmalis, Kristine Briede and I drove to his place ”Upeskalni” near the nice town Kuldiga (often pronounced Cool Diga!) in the Kurzeme district of Latvia. 90 minutes from Riga you turn down a dirt road and drive twenty minutes to reach a house standing alone (2,5 kilometer to nearest neighbour) in what you can only describe as a paradisiacal garden
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Written 08-09-2014 22:23:30 by Tue Steen Müller
Hotel Metropole, Kuldiga, Latvia. Early monday morning, still wonderful ”indian summer”. I am waiting for my colleagues, to take breakfast before we go back to visit Uldis Brauns, Latvian documentary master, 81 years old, a gentle man. We were there yesterday, afternoon and evening, we have a follow-up today, the research team behind a film on the Baltic poetic cinema masters: Uldis Cekulis (producer and cameraman), Arvids Celmanis (sound engineer), Kristine Briede, whose idea it is, and me. More about that tomorrow.
I am thinking back on yesterday morning on the last day of the Baltic Sea Docs 2014, pitching in the morning and individual meetings in the afternoon. Did it go well, yes I think so, will some of the pitchers leave with good results. Well, in terms of financing there will not be a lot of immediate results but contacts have been made that can be developed later on, and Baltic Sea Docs is today also a place where young filmmakers can develop their skills and meet with experienced directors and producers. It is the policy of several producers to use the event – with workshop and pitching – to launch new projects attached to new producers and directors.
One of them was Guntis Trekteris, who presented ”Tal”, about the chess master, with young Stanislavs Tokalovs, who had done his research on the
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Written 06-09-2014 18:52:24 by Tue Steen Müller
Are you on drugs was the question, jokingly asked by panelist Esther van Messel from First Hand Film, when Russian producer Vlad Ketkovich was pitching the project ”My Beliefs” to be directed by Tatiana Chistova. Could be… Ketkovich, wearing a t-shirt with ”army” on the front, talked loud, laughed and performed, he did not need a microphone to talk about the young Russian people, who do not want to go to the army and therefore meet with a commission to express why not. The trailer presented was a hilarious – and sad at the same time – observation of what goes on in the room, where they ask a panel of officials to be transferred to civil service duty. And the two of them, director and producer, did a fine humorous dialogue to convey a project of great potential.
… All in all there was a good atmosphere in the room with a panel of broadcasters and distributors and sales agents – and all chairs for observers were full. And pitchers who were able to being out their personality.
This was the first day of the Baltic Sea Forum with 12 projects and it was
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Written 06-09-2014 07:34:44 by Tue Steen Müller
It was presented last year at Baltic Sea Docs and there it was on the big screen at Splendid Palace, the film that was made on the occasion of Riga being the Cultural City of Europe. A so-called omnibus film consisting of seven films by European directors, who have been asked to take a look at the beautiful city at the Daugava river.
Short films (from 12 to 20 minutes) in other words, a film genre that was once the one that opened a cinema screening before a feauture film. A time slot, to use a television term that now has been conquered by commercials.
But not last night at the Splendid Palace, previously called ”Riga”, a cinema dating back to 1923, and it felt natural that the first film was by Lithuanian film poet Audrius Stonys, whose love for archive material comes out in his fine, well-balanced tour on board some small fishing boats, shifting between today and before, celebrating men and tradition. German Rainer Komers went further out to the delta of Riga and gives the audience an impressionistic picture of what he saw and heard from man and surroundings, whereas Austrian artist Bettina Henkel stays in the old town of Riga, in ”“Theater
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Written 05-09-2014 18:18:38 by Tue Steen Müller
Press release (edited) of today from The Flaherty, great initiative:
Cinema Guild and The Flaherty announced today an exclusive digital partnership to create a curated series spotlighting the work of groundbreaking artists and filmmakers. Volumes in the series, titled "The Flaherty Presents," will be released annually on all major digital platforms across North America.
This new partnership aims to bring together The Flaherty's unique curatorial approach with Cinema Guild's noted distribution networks and to make many of the films and ideas gathered annually at the Robert Flaherty Film Seminar available in homes and classrooms across the country.
The series will launch with a spotlight on acclaimed filmmaker Eric Baudelaire, guest artist at the 2014 Robert Flaherty Film Seminar, available on November 25, featuring the following two films: "The Anabasis Of May And Fusako Shigenobu, Masao Adachi And 27 Years Without Images" (2011, 66 minutes) and "The Makes" (2010, 26 minutes). Baudelaire's new film, "Letters to Max" receives its world premiere on September 12 at the Toronto Film Festival.
"We are thrilled to collaborate with Cinema Guild in making filmmakers of exceptional talent available to wider audiences," commented Anita Reher (photo). "This new partnership is part of The Flaherty's 60th year of celebrating the art of cinema."
"We have immense respect for The Flaherty; for what they accomplish at their now-legendary annual seminar, and for what they do every day to empower filmmakers and support documentary and independent cinema. We're honored to be entering into this partnership with them," added Ryan Krivoshey.
The deal was negotiated by Ryan Krivoshey, Director of Distribution for the Cinema Guild with Anita Reher, Executive Director, and Chi-hui Yang, Board Trustee, of The Flaherty.
Written 05-09-2014 18:09:51 by Tue Steen Müller
Press release of today from DOKLeipzig: Leipzig Mayor Burkhard Jung is proposing the Finnish documentary expert Leena Pasanen (49) to become the next director of DOK Leipzig. The City Council will decide on the appointment on 15 October. A selection committee composed of industry professionals chose Pasanen from 33 candidates. Her years of experience and excellent international network were among the deciding factors.
Leena Pasanen currently directs the Finnagora cultural institute at the Finnish Embassy in Budapest. Previously, she held various management positions at the Finnish television broadcaster YLE. Pasanen was responsible for documentaries on YLE 1, then led the cultural and documentary programming division of the digital special-interest channel YLE Teema and later worked as a programme coordinator. She also spent three years as director of the European Documentary Network in Copenhagen.
“I am delighted that Leena Pasanen has been nominated as my successor. She is widely respected internationally, a profound connoisseur of documentary film and a very experienced cultural manager”, says outgoing festival director Claas Danielsen.
If the City Council signs off, Leena Pasanen will succeed Claas Danielsen on 1 January 2015. She will begin a five-year contract as festival director of DOK Leipzig also serving as managing director of the municipal Leipziger Dok-Filmwochen GmbH.
Claas Danielsen has led the International Leipzig Festival for Documentary and Animated Film since 2004. During his tenure, he modernised DOK Leipzig and made it one of the leading international documentary festivals and major industry gatherings.
… If I dare take the October 15 confirmation as a formality, a big hug and congratulations to Leena, colleague in documentary and former director of EDN – as the one who writes these lines.
Written 05-09-2014 08:02:15 by Tue Steen Müller
I am sitting on the 11th floor of Hotel Albert in Riga. We are into the third day of the workshop that preceeds the pitching of the weekend. 22 projects will be presented after two days of intense discussions of the projects. Today is the day where the filmmakers take their time to make the final adjustments of the verbal/visual presentation including the re-editing of trailers where they have had the chance to get assistance from Swedish/Canadian editor Phil Jandaly.
Everything has been – as always – perfectly organised by Lelda Ozola and Zanda Dudina from the Film Centre, and the weather has been superb. I am looking at the churches of Riga and at the new National Library that we had the possibility to see from inside the other day. It is magnificent, wow to be a student sitting in one of the many reading rooms with a view to Daugava river and the skyline of the Latvian capital.
Riga is the Cultural Capital of Europe and the film activity is influenced by this. Tonight I am to watch ”Across the Roads, Across the River”, the omnibus film about Riga with short films by the directors Sergei Loznitsa (Ukraine), Audrius Stonys (Lithuania), Rainer Komers (Germany), Bettina Henkel (Austria), Jaak Kilmi (Estonia), Jon Bang Carlsen (Denmark) and Ivars Seleckis (Latvia). Before the screening I will have the pleasure to meet with Seleckis, the grand old man of Latvian documentary cinema, soon to be 80 years old. The reason is that he is the obvious Latvian choice to be part of the film about the masters of the poetic cinema in the Baltic countries. Seleckis is the man behind the trilogy from the Crossroad Street among many many films he has made about Latvian history and culture. On a personal level I owe to Seleckis that he was the first to take me and my wife on a tour round Latvia to see the beauty of the country.
The producer behind the film on the Baltic poetic documentary cinema is Uldis Cekulis. On the photo you see him relax outside the rooms in the farmhouse where we stayed on the island of Manija in Estonia, when visiting Mark Soosaar. Cekulis was the cameraman on the research trip.
Written 03-09-2014 12:05:25 by Tue Steen Müller
For everyone who has followed the tragic events in Gaza it is a must to watch the Palestinian artist and filmmaker Khaled Jarrar’s Infiltrators. I have written about Jarrar several times on filmkommentaren (one link below) and am happy that he will come to Copenhagen to show his films to the Danes. It happens in the framework of the Salaam Filmfestival on 07.09.2014 kl. 16:30. At the Cinematheque.
Written 03-09-2014 08:06:10 by Tue Steen Müller
… is a phenomenon. I have known him since the Balticum Film & TV Festival on the island of Bornholm in the middle of the Baltic Sea, going on from 1990-2000. He came there several times and 6 of his films were shown. He always came with his car on his way to Copenhagen or to Paris where he had things to do related to research for a new film or to his museum in Pärnu. It used to be called Chaplin Centre, now the name is simply Museum of New Art.
Sooo, filmmaker, art museum director and festival director of a festival that had its 28th edition this year in July. And on top of that, together with his wife Svea, Soosaar on the small Kihnu island Manija (35 inhabitants) has goats and sheep to take care of.
This is where we went for a visit. We (producer and cameraman Uldis Cekulis, filmmaker Kristine Briede, sound engineer Arvids Celmanis and me) came monday evening and left tuesday morning. Soosaar showed us around, milked a goat, great taste and talked about his current filming on the bigger Kihnu island. 3 half hour
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Written 29-08-2014 13:35:15 by Tue Steen Müller
Press release from the festival in Leipzig, says a lot about volume of documentaries world wide, plus animation films on top of that!: 2,350 film productions from 119 countries have tossed their hat in the ring for this year's International Leipzig Festival for Documentary and Animated Film. The submissions came from all five continents. In addition to major film-producing countries like France, the US and Poland, the selection committee also received productions from Trinidad and Tobago, Benin and the Central African Republic. For the first time a film was submitted from the tiny Caribbean island nation of Dominica.
The submissions consist of 1,931 documentaries, 339 animations and 80 animated documentaries. The selection committee has also screened nearly 500 other films at festivals around the world.
Some 80 films will be selected from all these productions to compete for Golden Doves in five competition sections. For the first time, the winner of the Golden Dove in the International Short Documentary Competition will qualify
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Written 27-08-2014 13:05:41 by Tue Steen Müller
Well, you might not see it but it was pouring down in Copenhagen sunday, when Magnificent7 festival director Zoran Popovic, caught by his co-director Svetlana behind the camera, was expressing his joy to be close to Hans Christian Andersen in the Royal Garden with the three of us “singing in the rain”. After 10 years of festival visits to Belgrade, my wife and I finally had the pleasure of a week with the Popovic’s in Copenhagen… they adore Hans Christian Andersen about whom his cinematic biographer, legendary Jørgen Roos said that had he lived today, he would have made documentaries.
Written 26-08-2014 11:33:09 by Mikkel Stolt
During the closing panel talk Sunday at European Film College, English director Nick Broomfield suggested that all of us in the audience were in fact blessed because we are working in the documentary business of Denmark - the happiest place in the world with probably the best possibilities of getting a film financed. Well, we are also a bunch of cantankerous bitches and blighters who are never just satisfied.
But this weekend we were blessed with the presence of among other said Bloomfield, Russian director Victor Kossakovsky and emerging Ukrainian filmmaker Jurij Rechinsky, whose very moving and empathic “Sickfuckpeople” (2013) was shown on Friday night followed by a Q&A with the sneakingly charming director. About eight hours (and a couple of glasses of red wine and discussions in small groups) later we watched the brand new “The Tales of the Grim Sleeper” by Nick Broomfield. Quite a way to start at 8 in the morning, but it seemed that there was a bit more discrepancy between us all regarding our opinions on that film. Personally, I found it a bit disappointing and obvious considering some of his earlier work, but the talk and discussions afterwards was very enlightening and entertaining.
Entertaining is maybe not quite a satisfying word for the performance of Victor Kossakovsky which followed a screening of his remarkable and extremely cinematic “¡Vivan las Antipodas!”(earlier reviewed on this site). His passion is surpassed which we saw in a clip from behind the scenes on that film and I almost felt guilty with my tame Nordic temper, wanting to make films. He was a powerhouse of good remarks (“I want to make your soul soft”, “We are all guilty in giving TV so much power” and “Don’t tell me you wanted to be a filmmaker because you watched TV; no, you saw Fellini, Tarkovski, von Trier, whatever…”), expressed with his hefty accent which had us all on the edge of our seats – if not for the excitement, then for being able to understand what he said.
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Written 25-08-2014 19:02:47 by Tue Steen Müller
I have copy-pasted from Guardian of today, where Simon McBurney interviews Gaza documentarian Ashraf Mashharawi (photo), “joint winner of the Katrin Cartlidge award” that was given out at the Sarajevo Film Festival, that the director travelled to in spite of all the complications involved in, going in and out of Gaza. Read the touching interview and about Ken Loach:
“Ken Loach has called for a boycott of all cultural and sporting events supported by the Israeli state, and condemned the support offered to Israel by the US and UK. Speaking at the Sarajevo film festival, Loach was presenting the Katrin Cartlidge Foundation award to two documentary-makers from Gaza, Abdel Salam Shehadeh and Ashraf Mashharawi. The former was unable to attend due to the airstrikes, while the latter, who was at the festival, told Reuters he would be unable to return.”
"He was holding his twins," says Ashraf Mashharawi, leaning forward. "All his family around him. They had been able to shelter in their basement. But it was a direct hit and their house collapsed. It took two days to reach them. When we did, I helped to move the rubble from above them. He was sitting in the corner, holding his girls, one under each arm. They were all only slightly injured, so they must have died slowly."
Written 21-08-2014 09:29:21 by Tue Steen Müller
The photo refers to the film ”Red Army” by Gabe Polsky that at indiewire.com (link below) is described like this:
Soviet hockey players? As in the ones that were defeated by a young, inexperienced American team at the 1980 Olympics? In fact, the “Miracle on Ice” is just a blip in the story of Soviet hockey, as demonstrated by Gabe Polsky’s exhilarating documentary, in which the Cold War is fought on the ice. The Soviet Union’s Red Army team was the most successful dynasty in sports history. Players, trained from a young age, were stronger and more skillful than any others in the world and were meant to show up the West at every opportunity. Polsky, a child of Soviet immigrants who grew up playing hockey in the United States, finds a prime example of artistry on ice in Red Army team captain (and one-time NHL star) Slava Fetisov, who went from national hero to political enemy to American star to post-Communist Russian Minister of Sport. Polsky’s wildly entertaining film examines the many ways that sport both embodies and reflects social, political, and cultural realities…
Indiewire.com “lines up” the “auteur-packed Doc Lineup” at the coming New York Film Festival, the 52nd version that takes place September 26 – October 12. And it is indeed a great selection including at least four films that I so much look forward to watch:
Joshua Oppenheimer’s “The Look of Silence”, Martin Scorcese’s “The 50-Year Argument” about the New York Review of Books, interview based (James Baldwin is there, Gore Vidal, Norman Mailer…), Albert Maysles (83 years old) with “Iris”, last name Apfel, “about fashion- and interior-design maven Iris Apfel, who is herself just south of 92…”, Wiseman’s “National Gallery” (in London) and what I think is probably the most important: “Silvered Water, Syria Self-Portrait” by Ossama Mohammed and Wiam Simav Bedirxan.
A quote from Real Screen: “This section of the festival has become increasingly important to us, and to me personally,” said Kent Jones, the NYFF’s director of programming and selection committee chair, in a statement. “It’s kind of a commonplace to think of documentary as an add-on to fiction, something extra, and of course nothing could be further from the truth: cinema started with documentary, and it will always be at the core of the art form.”
Written 19-08-2014 09:19:09 by Tue Steen Müller
St. Petersburg, end of September (20-27), programme has been announced for the 24th edition of Message to Man. On top of the list, very much appropriate, is local master Alina Rudnitskaya with her latest fine b/w work ”Blood” (photo), one of 9 feature documentaries in competition, where you also find Ventura Durall’s ”Bugarach” and ”My Name is Salt” by Farida Pacha.
Message to Man has a competition for short-length documentaries, for short fiction and for animation. AND, what is special for the festival, there is a ”in silico” category with experimental works. For the fourth time and here is a repeat of what Mikhail Zheleznikov told me about this section last year:
“In this contest we present some purely experimental works, as well as more or less narrative documentary, animation or fiction shorts, which were too "avant-garde" for a more conventional international competition.
Experimental short film competition In Silico works well in the context of the whole festival program, and draws the audience. Besides, it really expands our options - now we can show almost all the crazy shorts that we like and easily get away with it.”
More than 20 crazy works are listed.
Later on I will write about the special retrospective of new Danish documentaries to be shown in St. Petersburg this year. Message to Man is a festival rich in programme.
Written 17-08-2014 16:27:33 by Tue Steen Müller
The Baltic Sea Docs has announced its mini film festival programme that runs parallel to the pitching of 24 new documentary projects primarily from the Baltic countries but also producers from Western European countries turn up with proposals that have a link to the Eastern part of Europe. Two Russian projects will be presented this year where no Ukranians are on the list. But, as the organisers informed me: … a Polish project deals with the experience of four young people at Maidan Square and one of the Russian projects, by Vitaly Mansky, is a reflection on his Ukrainian roots on the background of Ukraine today.
Back to the film programme: 9 films are screened, all carefully selected with a wide spread in geography… “Dance for Me” by Danish Katrine Philp, “My Name is Salt” by Indian Farida Pacha, “Two Raging Grannies” by Norwegan Håvard Nustnes, ”The Square” by Egyptian/American Jehane Noujaim and Bulgarian “Uncle Tony, Three Fools and the Secret Service” (photo) by Vesela Kazakova, Mina Mileva.
The title of the mini festival is “The Power of Silence”. Quite a subtile, sophisticated headline - I asked why and got this fine answer from Lelda Ozola and Zanda Dudina:
…There are a lot of under-water currents in each film that you keep thinking about after having watched. In other words you watch as if lightly, but then think a lot about issues raised - children travelling to other countries to reach their aims, adoption, economic growth, the quite silent people at the square of Cairo or in the salt field in India, etc, AND the wonderful lady Freda who worked with BEATLES during the whole existence of the group without walking around bragging about it. Keeping SILENT working in Liverpool as a book-keeper (title “Good Ol’ Freda”) ... She is so simple, so positive and so natural in her modesty, it's wonderful and powerful silence! … Hope that people who watch the films will understand. And hope that our good old friend from Danish screaming democracy will also understand us…
Of course, he will, I am looking forward to come back to wonderful Baltic Sea Docs in Riga for the 18th edition.
Written 11-08-2014 14:10:52 by Tue Steen Müller
Yes, the international film festival in the beautiful Basque city, taking place for 62nd time this year (September 19-27) launches an impressive retrospective called ”Eastern Promises. Autobiography of Eastern Europe... a look at movies produced since 2000 in the countries that lived under Soviet influence post-World War II. A cycle to discover the creative wealth of these film industries and the new talents to have emerged in the last decade.”
”The retrospective will bring together a total of 50 titles from Bosnia, Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Kosovo, Latvia, Lithuania, Macedonia, Moldavia, Poland, Romania, Slovakia, Slovenia and Serbia, many of which have never been seen in our country...”
Among the 50 titles you will find three great documentaries: Vit Klusak and Filip Remunda's ”Czech Dream” (2004), Andrey Paounov's ”Georgi and the Butterflies” (2004)(photo) and Peter Kerekes ”Cooking History” (2009).
The occasion is of course ”25 years after the Fall of the Berlin Wall”. Which festival dares to make a retrospective of 50 documentaries, or 25... I would be happy to assist in the selection...
Written 10-08-2014 19:54:47 by Tue Steen Müller
The Jameson Cinefest International Film Festival in Miskolc, Hungary will not include the DunaDOCK masterclass as planned. On facebook, in the ScreenDaily, on Spiegel Online and of course in the Hungarian media, that I can not read, the matter has been dealt with: The festival (to take place in September) does not want a couple of Roma documentaries shown, critical to the society's treatment of the minority, one of them being a film classic of Pál Schiffer from 1978. As a consequence the DunaDOCK has withdrawn from the festival.
On a personal note: In the early days of establishing the EDN (European Documentary Network) I had the pleasure of meeting the fine man Schiffer in the middle of the 1990'es, introduced to me by Diana Groó, who is one of the four filmmakers behind DunaDOCK, and who made me watch several of the master's works.
Schiffer died in 2001, another master Bela Tarr backs the decision of DunaDock as does the Hungarian Filmmakers Association. Here follows the announcement of the DunaDOCK:
We regretfully announce that DunaDOCK will not present its MasterClass program at the Jameson CineFest International Film Festival in Miskolc this September.
To our greatest surprise we found out that CineFest can only host our professional program if it does not contain – contrary to our plans – any film dealing with the topic of Roma in Hungary, or if it does, the title, the description and the names of the creators of such films cannot be listed in the official program or in any other public forum.
This year – as previously – we selected internationally recognized Hungarian and foreign documentaries for our MasterClass, based on professional
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Written 06-08-2014 10:11:39 by Tue Steen Müller
... by offering a selection of short Balkan documentaries for free until August 17. On the occasion of the 20th edition, Rada Sesic, the festival’s programmer of documentaries, has picked what she herself calls ”... pearls of the documentary expression, powerful, lucid, intelligently structured, likeable, often even humorous. I believe, that showing the best of the regional short docs is really a treat, not only for the audience in the region itself, where the stories found its source, but for the whole world and its film lovers, because short forms are powerful, beautiful and memorable…”
The quote is from an interview with Sesic, first link below, the second one brings you to the films available.
11 films are recommended, let me point at “Real Man’s Film” by Nebosja Slijepcevic, here is the annotation:
“In Balkan every generation has its war. Sons are continuing fights started by their fathers. There are rifles and pistols in every hand. Concentration of arms has reached a critical point. Even the smallest incident would be disastrous to this fragile peace. Watching children playing with toy guns makes you wonder: what are we leaving to the next generation?”
Written 05-08-2014 16:08:41 by Tue Steen Müller
An old man stands at his kitchen sink. He is being addressed by his daughter. Cut. He sits down at a table, cleans his glasses, puts them on, takes a piece of paper, looks into the camera, looks at us and starts reading from the paper(s). I wrote a poem, he says, about ”cante”, about how it came into existence. He reads the lines about the Alentejo people being mute, but listening to the voices of birds and cicades, they got inspired to express Life through singing. Words were scarce, carefully treated. ”Cante” was born. The old man smiles, he has given his interpretation with humour and pride of being part of the Alentejo community, a region that although abandoned and far away from Lisbon, a region with unemployment and poverty, has its own rich culture and history that is being nurtured not only by the old generation but also by the youngsters and the kids in schools.
In this –to warn you: I will not be short of praising adjectives in this review – wonderful emotional journey into the history of ”cante”, its roots, its connection to the farming and cooking culture (you see how a bread soup is made, and how bread is baked and red wine is enjoyed) you are invited to enjoy the ”cante” singing by primarily male choirs constituted by Men with furrowed faces and well-fed stomachs, who make the most beautiful performances. You may close your eyes and enjoy, but it would be wrong as the camera catches superbly the faces and the English subtitles, as good as subtitles can be, give you the content of the songs.
What you discover is that the texts are story - telling themselves. Love songs from the countryside, in the beginning a tribute song to
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Written 04-08-2014 14:24:05 by Tue Steen Müller
Lucky film enthusiasts in Copenhagen: The award-winning documentary by Alan Berliner has been chosen to be "Documentary of the Month" at the Cinematheque in the Film House of the Danish capital. It will have five screenings. A fine Danish language intro is to be found via the link below. Here is a repeat of my review from 2012:
Famous for his film about his father, ”Nobody’s Business”, clever and funny with an excellent, playful montage, it was simply great to watch the newest documentary by Alan Berliner, also with a family member as main protagonist, also with a playful montage and also a tribute to Life even if it deals with Edward Honig, who has Alzheimer’s disease, sits in his chair through the whole film, with family archive material flasbacks here and there and everywhere, shot over five years, a wonderful experience, because Edward Honig was wonderful to meet, a poet and a translator of poetry, among others Portuguese Pessao, a man on his way away from the Life he had been praising again and again, sitting in this room full of books and papers not knowing why and where and what and who.
Berliner asks and asks and gets moments out of Honig, at the same time as he tells the story about him, twice married, haunted his whole life by feeling guilty for the death of his brother when a child, and treating his sons of second marriage really bad. He gets the second wife and the two children into the film as well as other key witnesses to the life of Honig. As well as the director’s own son in musical sequences with the old man. When Honig answers Berliner, he does it normally with a humourous reaction to his own situation, that makes Berliner make excellent associative sequences (often with trains through tunnels) that loosens up tension and gives us viewers a bit of free time to reflect... well it could be on ”la condition humaine” to use a kliché. There are many films about Alzheimer’s disease, and it is indeed hard to watch what used to be a strong, well formulated man get to the point where he expresses himself with sounds, that Berliner refers to as an inspiration coming from outside the window of the room where he sits. From the birds. ”Remember How to Forget”, Honig says, ”little boy, I like you, take me for a ride in your story”, which is what Berliner has done with respect and a storytelling that is non-chronological with an elegance, that makes you think what a wonderful thing FILM is.
USA, 2012, 78 mins.
Written 03-08-2014 12:04:02 by Tue Steen Müller
I got a letter from a friend from the Russian Documentary Guild with a link (see below) to an article that starts like this: ” Two amendments about distribution certificates and prohibition of offensive language in movies entered into force in Russian legislation on cinematography on the 1st of July, 2014. These amendments have fundamentally changed the system of production, film screening and distribution of Russian documentary film industry…”
And it continues like this, “So, from the 1st of July every right holder have to get the certificate even for a single screening of his film in public space wheter it's a movie club, festival or any other form of sreening or rental. Getting distribution certificate becomes complicated because of the second amendment – prohibition of offensive language in movies. This law contains not only prohibition of some offensive words, but also scenes of smoking, appeals to overthrow the government, extremism, etc. The list of prohibited words doesn't exist, an independent commission of experts will regard every project and make its own decision. What do the drafters of the law mean by extremism and appeals to overthrow the government isn’t clear either. Mechanism of the expertise is incomprehensible too: who will participate in this evaluation expertise and how this process will be held is explained nowhere…”
And it costs… “Getting a distribution certificate costs about 18-20 thousand rubles (from about $510-$570) for one film (this sum doesn’t include cost of the trip from other cities, and only right holders can get the certificate by themselves in Moscow). Directors who make films without support of the
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Written 02-08-2014 10:12:56 by Tue Steen Müller
So this is my choice for the Sight & Sound “The Greatest Docs Ever”. I have chosen films that I have used in my work as a teacher and consultant, films that I have come back to because they have meant something to me. I have been influenced by meetings with the directors - Herz Frank, Lozinski, Kossakovsky, Apted, Glawogger, Matelis - and by reading about and listening to clever words by Leacock and Pelichian, not to forget Lanzmann. What the films all have in common, I think, are a belief in the values of Life how hard and unfair it may be to you. A humanistic fundament, can you say so? 6 of the films are from the Eastern part of Europe where I have been working quite a lot and from where most of the original, artistic documentaries come.
Those which are multi-layered, philosophical, essayistic in a Chris Marker-way, sketchy and close to the term "camera comme stylo". To be stressed: This is a personal choice, if I had gone through film history decade after decade it would have been different.
1.Ten Minutes Older
Herz Frank (photo)
It's all there. The story of our lives. To be read in the face of a boy. An intellectual, concepedy documentary with Juris Podnieks as cameraman, "the story of good and evil" as the subtitle goes. I have shown it wherever I go to introduce that documentaries must be reflective and philosophical.
No words necessary, an obvious choice and Lanzmann's follow-up "The Last of the Unjust" is an appendix that shows that the director/journalist is still able to add quality to documentary film history.
3. Anything Can Happen
Playful and clever interpretation of what Life and Death, Joy and Sorrow is - the director's charming son runs around in a park, where he meets old people
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Written 01-08-2014 11:28:15 by Tue Steen Müller
The international film magazine Sight & Sound has ”polled 340 critics, programmers and filmmakers in the search for authoritative answers”, which are now published in two parts (click on link below) – ”the top 50 documentaries as nominated by 237 critics, curators and academics” and ”the greatest documentaries ever made, as voted by 103 directors”.
Why... they give the answer themselves: ”The new Sight & Sound documentary poll is the result of a “why didn’t we think of that before” moment. In the light of the amazing recent success and cultural impact of several nonfiction films, a group of curators, myself included, were chewing over what the BFI might do specifically for documentary films and television. It soon became obvious that we were not sure exactly what it was that we were trying to discuss.”
And the result: “What’s remarkable about the Top 50 documentaries list is that it feels so fresh. One in five of the films chosen were made since the millennium, and to have a silent film from 1929 at the top of the list is an absolute joy. That allusive essay films feature so strongly throughout demonstrates that nonfiction cinema is not a narrow discipline but a wide open country full of explorers. The current print edition of S&S contains only the highlights of our results; the real explorers among you will want to browse the full results and commentaries which goes live online on the 14th August.”
Let me reveal the top three of the critics etc.: 1. Man with a Movie Camera, Dziga Vertov, USSR 1929. 2. Shoah, Claude Lanzmann, France, 1985. 3. Sans Soleil, Chris Marker, France, 1982 – and the top three of the filmmakers: 1. Man with a Movie Camera, Dziga Vertov, USSR, 1929. 2. Sans Soleil, Chris Marker, France, 1982. 3. The Thin Blue Line, Errol Morris, USA, 1989.
Not that surprising – the freshness that is mentioned above comes in when you examine the list more detailed and find films like “The Act of Killing” and “Leviathan”.
I was asked to participate in the voting as critic/programmer. Tomorrow I will bother you with my list.
Written 31-07-2014 15:43:33 by Tue Steen Müller
Richard Leacock died 2011 and yesterday one more from the Direct Cinema movement of the 1960’es that changed the documentary history, passed away: Robert Drew. As USA Today puts it in their factual obituary:
Drew formed Drew Associates in 1960 with the goal of applying his magazine experience to films. Among those joining him were such future directors as Pennebaker (Don't Look Back, The War Room), Maysles (who with brother David made Gimme Shelter and Grey Gardens) and Richard Leacock (Happy Mother's Day).
"I wondered why documentaries on television were dull," he told The New York Times in 2013. "I had no doubt we could make a lighter camera, and I started with that premise and started finding people who could do that." Referring to the creative trio above, where – seen retrospectively – Drew was maybe the perfect executive producer.
The trade magazine Realscreen (link below) calls Drew a “documentary pioneer” and highlights the masterpiece “Primary” (1960), where Drew ”convinced” JFK to take part in a film about his campaign. JFK became in many ways the character of Drew’s films – in 2008 ”he released A President to Remember, which used footage from several of his Kennedy films, and at the time of his passing today (July 30), his entire collection of films is in the process of being preserved by the archives of the Academy of Motion Pictures Arts and Sciences, of which he was a member.”
Sooo much of today´s observational documentary filming (create “the feeling of being there” as Leacock said) owes to the pioneers of Direct Cinema, whose films are available on dvd’s today. You just do a little googling to see where. And check the vod's and YouTube.
Written 30-07-2014 19:36:29 by Tue Steen Müller
Every thursday I receive the French firstname.lastname@example.org called e-MEDIA, last week number 387. It gives for the professional sector useful and precise information about upcoming deadlines for applications to get support from the (now) Creative Europe – Media, as well as paragraphs on festivals and results of supported projects. The angle is of course French but there are always links that give the whole picture – below you have one that will take you to the list of the companies that have received 25.000€ to develop their documentary.
87 projects in development were supported, 36 of them documentaries in the so-called single-project scheme. (There is also a scheme for slate-funding).
Being the first round under the new Creative Europe-Media and having heard the usual rumours about (one more) centralisation to be performed from the offices in Brussels, I studied the list and was happy to see the diversity of countries, and that the smaller and weaker countries were there. Let me mention three projects that I was happy to eye:
”River Tales” by Activist38 in Bulgaria ( = Mina Mileva and Vesela Kazakova), ”Next Stop: Utopia” from Greece (= Marco Gastine as producer and Apostolos Karakasis as director) (photo from previous film of Karakasis, "National Garden") and ”Dangerous Liaisons, Russia’s Soft Power” from strong Latvian company Mistrus Media (= Gints Grube). And there are Czech projects, Italian, Belgian – whereas the big countries France and Germany are not at all ”eating it all”.
A new ”appel à projects” will be published this autumn.
If you click the link of the newsletter – above – you can get in contact with the Media France and get on the list to receive the information.
Written 27-07-2014 10:40:18 by Tue Steen Müller
August 27 until September 6 it's time for the 71st edition of the festival in Venice, a festival that in its selection increases its interest in showing documentaries – remember that the winner last year was ”Sacro Gra” by Gianfranco Rosi.
The Line-Up, as it is called on the website of the festival, has an Official Selection and Autonomous Sections. In the main competition you find ”The Look of Silence” by Joshua Oppenheimer, 98 minutes, by the team behind ”The Act of Killing”.
Here is a quote from the newsletter from The Danish Film Institute announcing the film’s Venice participation: "The Look of Silence" revisits the Indonesian genocide, this time telling the story from the victims' perspective. "The Look of Silence" follows a family whose son was killed in the Indonesian genocide, accused of being a communist. The youngest son in the family, now grown up, vows to confront the people who killed his brother. It is these encounters that make up the core of the film…” (Photo: Lars Skree)
In the “Out of Competition” you find Gabriele Salvatores “Italy in a Day” and Ulrich Seidl’a “Im Keller”, in the International Critics Week I am happy to find Ivan Gergolet’s “Dancing with Maria” that has been pitched at several sessions, I have attended, now an Italian, Argentinian, Slovenian coproduction.
… and then the long awaited film “Messi” by Alex de la Iglesia.
… and a well deserved life achievement to Frederick Wiseman.
Written 26-07-2014 21:26:38 by Sara Thelle
The First World WARM Festival took place in Sarajevo June 28 to July 4, concurrent with 100th anniversary of the beginning of the First World War. This new festival focuses on contemporary conflicts through exhibitions, film screenings and conferences. Behind the festival lies the Warm Foundation, a project that grew out of the reunion of reporters and photographers in Sarajevo in 2012, regathering twenty years after the beginning of the siege of the city during the Bosnian war (1992-95). WARM is dedicated to war reporting and war art, as well as history and memories of war, and dedicated to the promotion of emerging talents and to education as well as bringing together people with a common passion for "telling the story with excellence and integrity". This interesting initiative is headed by Rémy Ourdan, long-time war correspondent at Le Monde, and works out of Sarajevo, Paris, London and New York. The plan is to open a center in Sarajevo hosting research, archives, co-production and -publishing, a residence and the development of an educational program.
The festival offered a vast program this year. Five intense days with brutal, overwhelming and important insights into contemporary conflicts and into how stories about war can be told through different medias. It all being set in the city of Sarajevo only adds to the impressive atmosphere. Here’s a short account of what I saw.
The festival opened with an outdoor exhibition Every State of War, an excellent selection of cartoons from around the world, notably Syria and Iran, curated by Plantu, cartoonist for Le Monde and founder of Cartooning for Peace (an association created to promote tolerance and mutual understanding between cultures as a reaction to the Mohammed cartoons). Another exhibition, Chris Hondros Testament, showed the work, photographs and writing, of the American photojournalist Chris Hondros who died in Libya in 2011. And now to the film program...
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Written 25-07-2014 14:28:39 by Tue Steen Müller
At the same time as Sarajevo has its festival with a documentary competition programme, the Prizren, Kosovo based DokuFest takes place, August 16-24 with quite an extensive selection – quote from press release, ” Culled from a record number of nearly 2.400 submissions, the festival will showcase a fine selection of 237 films from 56 countries across 6 competitive sections and more than a dozen specially curated programs.”
That the festival aims at a wider audience is obvious, it opens with ”Everyday Rebellion” by the Arash brothers from Austria and closes with the Oscar winner ”Twenty Feet from Stardom”. There is a focus in USA with classics shown as ”Hoop Dreams” by Steve James and ”Hearts and Minds” by Peter Davis. There is tribute to Michael Glawogger and ” films about music, technology, and recent conflicts in Middle East, environmental issues and human rights are all part of the program..”.
The festival is super-professionally presented, documentaries all over, long and short, there are new films like James work on the critic Roger Ebert, “Life itself” and “Silvered Water, Syria Self-Portrait” by Ossama Mohammed and Wiam Simav Bedirxan.
Let me give the floor to the charismaric festival director: “This year DokuFest is full with films that show us that there is no other art form capable of moving us to tears, bringing us joy, taking us to places of horror and making us stand and want to change the world we’re living in, all at the same time.” said Veton Nurkollari, Artistic Director of DokuFest. “From the work of emerging filmmakers to the masters of the craft, and from filmmakers who are first timers to the ones who are returning, we are delighted to present an outstanding selection of films for this year’s edition.”
Written 25-07-2014 10:27:38 by Tue Steen Müller
The competition programme at the upcoming film festival in Sarajevo (August 15-23) has been announced. Nicely put in categories there are 5 world premieres, 5 international premieres, 5 regional premieres and 4 B&H (Bosnia Herzegovina) premieres. All together 19 films – and as a viewer I don’t care about this categorisation, which is pure promotion – from what I can see the selection is competently selected by Rada Sesic, who writes the following words (a quote) on the site of the festival:
“A decade of transition in which many countries faced with several difficulties has passed. After the new political systems, and somewhere even completely new states in the region were established, the film has become more than a mere cultural matter. It has become a sophisticated way of expressing identity of a nation and creating a recognizable voice that echoes as far as abroad. On film one often reflects and examines political reality and attempts of establishing dialogue and solving mutual conflicts. In that, documentaries are particularly important…”
I am happy to see the great “Mitch” by Damir Cucic and Misel Skoric as well as “Uncle Tony, three fools and the Secret Service” (photo) by Mina Mileva and Vesela Kazakova in the programme. Both of them raised problems in their respective countries, the latter with rude verbal attacks on the makers of a fine, warm film. Another controversial film is “Judgement in Hungary” by Eszter Hajdu, a film that I have on my “must see” list. “Everyday Rebellion” by the Arash Brothers is there and so is Croatian Tatjana Bozic “selfie-documentary” “Happily Ever After”.
And then there is a gala screening out of competition of “My Craft” by Serbian Mladen Maticevic. I know the direcvtor’s previous work and is more than curious…
Written 23-07-2014 08:30:40 by Tue Steen Müller
There are no users of the library in the provincial town in Georgia. But there is quite a number, around 20, of employed librarians and administrative people. Who do a little or nothing at all. They sit, they move along the bookshelves, they browse the newspapers and magazines, they talk to each other about food, they knit, small things surrounded by literature, that nobody apparently wants... All women, well there is one man who uses the library, he is reading a newspaper, and in the group photo that the director lines up in the beginning of the film, there is man in the back. Some of the women have a desk, one has been moved away from her desk, she sits in the corridor, looks at some magazines and dreams of going to another country to meet a man. Or she argues with the others and tells them that they should all go on strike as their salaries are too low! As a viewer (and as a librarian educated 1972 when people read books...) you think that it might be more obvious to cut down in the staff... The women are single, this is their world, their lives are there, you imagine, this is where they go to have a good time. To pass the time.
Ana Tsimintia has made a fine film. She has an eye for people and situations and she knows the place. She knows how to wait for moments to come, her camera reads faces. And she knows the place: Her mother works there and she - Ana - has come there since she was a child. Private photos in the beginning of the film give this information.
It is the first feature duration documentary of the director. She demonstrates an impressive sense for rythm and montage, music comes in a natural way, dancing feet to national music take the viewer to what must be another floor of the building, there are great wordless sequences... it's all very promising and this film must have a long festival life waiting for it. The Georgian National film Centre and Finnish YLE (bravo!) have supported the obvious talent, who is now working on a project called Pioneers, presented at Caucadoc (see below) about children, who are attending activities at the Pioneers Palace. The director did that when a child... ”I will never forgive my mother that she sent me”, she writes in the exposé!
Georgia, 54 mins., 2014
Written 22-07-2014 07:26:41 by Tue Steen Müller
For those of you who want to know more about Caucasian documentaries, go to the website below, the one of Caucadoc, where you can find around 40 films described with all necessary information and trailers to watch.
People from Russia and from former Soviet republics do often use the word “hero”, when they describe characters in their films and film projects. I tend to correct them to say characters or protagonists, whereas the word hero should be used when it is appropiate. For me Anna Dziapshipa is a hero or maybe better a star, not only because she has invited me to Georgia several times... but because she has been the organising force behind workshops, training programmes, the above mentioned online catalogue of Caucasian documentaries and close colleague of Salomé Jashi on “Bakhmaro”.
Now she is preparing her first film as a director. The working title is “Stories from the Family Albums” and here is the description of the film that she sent to me:
“Several months ago my friend showed me footage from his family archive. We were watching the material and he was telling me his childhood story. Gradually, I had a feeling his story became mine; it felt like collective Déjà vu. At some point, I realised we share the same past living in Soviet state that suddenly collapsed and growing up in an Independent country which had several wars in last 20 years. Actually it was a visual of last Generation born in USSR. I was watching his family archive chronologically and vividly felt influences, but could not understand did country history influenced family lives or was it vice versa? For the first time I was thinking of a family as a microcosm of the country and home video as a most powerful memory engine. Unlike official archive family camera chooses details with unconditional love and attention, during a demonstration it depicted a child with a flag – son of cameraman and his wife, she seems nervous, very close shot - her eyes, you know exactly which year is that, what she expects, what is the future. We all know, we share the same feelings and memories while watching others.”
Anna Dziapshipa is a brilliant photographer as those who are FB friend with her have evidenced and if you want more, go to her website, link below.
Written 21-07-2014 14:11:41 by Tue Steen Müller
Morning atmosphere. Sitting on the balcony outside the restaurant room of Hotel Pirosmani (for those who don’t recognise the name of the painter, link below), fresh air, 8am. It’s already hot so a bottle of mineral water is within reach. The square outside is like a stage that will slowly be occupied by the inhabitants of this small town in Eastern Georgia, Sighnaghi, which has been an object for modernization towards attracting tourism. And tourists come during the day.
Old people are the first to enter the stage walking with a stick and/or placing themselves on a chair in the shade chatting and waving good morning to newcomers. Stray dogs find a place outside the sun as well, taking some steps once in a while. A green old car comes to the hotel with bread from the baker, a woman carries newspapers and magazines to be sold at the other corner of the square. I ask one of the filmmakers, who are up for breakfast if the cigarette shop is open. No, he laughs, you are in Georgia, that is too early. A nanny strolls with a baby trolley, local buses come with people who go to work in the buildings around the square, including the monster of a new building for the municipality. It’s all calm and nice.
We enter the conference room and Salomé Jashi introduces the ”I am a character” exercise. 40 minutes are given to the filmmakers to write their speech which is delivered in a plenary session. It works quite well, you see who can ”talk visually” and who can interpret how they see one of their characters. It’s fun and the young filmmakers are trained in standing in front of their colleagues, which is not that easy for several of them.
Nino Orjonikidze and I take over to present what to put in a project one-pager – the next exercise for the participants, who have some hours to bring down their many pages to one. The one-pager of ”Bakhmaro” is shown as a good example, as well as the one of ”The English Teacher”. From there to watching the trailer of ”Bakhmaro” (photo) and ”The English Teacher”, both of them from my point of view very professional and inviting. Finally director Shorena Tevzadze and producer Nikoloz Gogochuri generously show their trailers (one of them more a research scene) to discuss with the colleagues what works and how to proceed.
The rooms are full of working people and very often, you hear ”Pirosmani is Online” = the internet connection of the hotel that falls out, and comes back again.
Written 20-07-2014 16:54:42 by Tue Steen Müller
Below there is a post explaining what is Caucadoc. And here are some words about the workshop which is at its second day out of four. On the photo you can see that the atmosphere has the playfulness that is required when you talk with filmmakers about their work. 9 projects have been selected to take part – 3 Armenian, 4 from Azerbjadan and 2 from Georgia – and the tutors are
Armenian Vardan Hovhannisyan, a well known character in the international documentary environment, where he as director had his breakthrough with ”A Story of People in War and Peace” referring to the Nagorno-Karabagh war. He is the founder of Bars Media, set up in 1993.
And Marina Razbezhkina, director and founder of the School of Documentary Film and Documentary Theatre, the very welcomed alternative to the state film school VGIK. Razbezhkina’s ”Optical Axis” was nominated as one of the 10 best films in 2013 by filmkommentaren.
And Gideon Koppel, whose masterpiece ” Sleep Furiously” (nominated as one of the best films in 2009 by filmkommentaren) was shown last night, followed by a masterclass session this morning.
And Nino Orjonikidze whose ”The English Teacher”, directed together with Vano Arsenishvili, won the ”Focus on Caucasus” award at the Cinedoc Tbilisi in 2013. And Salomé Jashi with the unique ”Bakhmaro”. And me.
Photo: Yes, there are many ”selfie” documentaries made these years, Marina Razbezhkina and I agreed upon and took a photo, an action documented by Vardan Hovhannisyan and by Nikoloz Gogochuri, producer of one the talented projects at the workshop.
Written 20-07-2014 16:06:03 by Tue Steen Müller
It is the fourth time that I am in Georgia and I love it. This time I am not in the capital Tbilisi but in Sighnaghi in the Kakheti region in Eastern Georgia. A four day Project Development Course is taking place in the Pirosmani Hotel, I am one of the tutors invited by Anna Dziapshipa and Salomé Jashi, producer and director of the wonderful documentary “Bakhmaro”, and the organizers on behalf of Caucadoc and their company Sakdoc.
Caucadoc is a very active initiative as you can read from the following quote from its website:
CAUCADOC is a project run by Czech NGO People in Need (PIN) and partner organizations from the South Caucasus: Sakdoc Film and Media Initiatives Center (former Internews Media Support NGO). CAUCADOC supports documentary filmmaking in the South Caucasus, making use of PIN´s experience organizing the world´s largest human rights documentary film festival One World.
CAUCADOC includes residential workshops dedicated to the development of creative documentary films from the South Caucasus, a series of master classes and lectures at partnering festivals Golden Apricot IFF, Batumi Art House FF and Tbilisi IFF, and a series of debates focusing on key issues related to audiovisual industry in the region. CAUCADOC also supports local initiatives in organizing screenings and follow up debates throughout the region, as well as the use of documentary films at schools.
CAUCADOC is funded by the European Union through the Eastern Partnership Culture Programme, and by Czech Development Agency. CAUCADOC runs in Armenia, Azerbaijan and Georgia
Written 17-07-2014 18:57:08 by Tue Steen Müller
... of the Pärnu International Documentary and Anthropology Film Festival, running now and until July 27, initiated and run by film director, visual artist, politician and showman, Mark Soosaar, whose mark is still very strong on a festival with a huge number of films, competitions, out-of-competition screenings, from all over the world.
... including, I have mentioned this before as an example for other festivals to follow, ”a competition on air of Estonian Television... based on nation-wide televoting of the TV-audience”. There are five titles in this category and there are nominations (awards to be decided by the international jury) for three films ”for the important social message and the best artistic achievement” being Alina Rudnitskay’s ”Blood”, Niewiera and Rosolowski’s ”Domino Effect” and ”Ramin” by Audrius Stonys.
In another category, called ”Portraits of Neigbours” you find Ivars Zviedris and Inese Klava’s ”Documentarian”, in ”Survival of Indigenous Peoples” ”Abu Haraz” by Polish Maciej Drygas, and in ”Docs for kids” there are fine works like ”Joanna” by Aneta Kopacz, ”The Wild Years” by Ventura Durall and ”Happiness” by Thomas Balmés.
Take a look at the website, impressive it is with its list of films. There is a true international perspective.
I was in Pärnu twice for the festival and I can assure you that the atmosphere, the discussions and the hospitality is different from the main stream documentary festivals I know.
Written 15-07-2014 15:39:11 by Tue Steen Müller
From tomorrow and until end of September the New Museum in New York will have ”a major exhibition of contemporary art from and about the Arab world, entitled ”Here and Elsewhere”.
Palestinian multi-artist Khaled Jarrar based in Ramallah – we have written about his excellent documentary ”Infiltrators” on this site several times – was supposed to go but was denied to travel. This is a quote from +972 (link below to whole article):
“Khaled Jarrar… was supposed to be in New York by now… but Israel isn’t letting him go. Jarrar arrived at the Allenby border crossing at 3:00 p.m. yesterday. Rather than cross into Jordan, as he has done many times over the last few years, he was told he could not exit due to “an intelligence order.” After 10 hours spent waiting, he returned home at around 1 a.m. today…”
And quotes from Khaled Jarrar himself: “After a very long wait and without understanding what was happening, I was informed that there are “security reasons” that will prevent me from traveling until the 1st of August. For now, that means that I missed my morning flight from Amman to New York, that I will miss the opening of the show at the New Museum, and that I will miss my ‘artist talk’ with Lamia Joreige and Charif Kiwan, with Natalie Bell, that was supposed to happen on the 16th of July. Yesterday was the longest day of my life and a day of humiliation. I felt real racism on the part of the security at Allenby Bridge. When this one soldier was talking to his superior officer, I understood he called me “zevel” ["garbage," in Hebrew -NY]. I shouted at him that I was no “zevel” and he was impolite to call me that. No one listened to me, like I did not even exist.”
To call it a humiliation is a total understatement!
Written 10-07-2014 14:39:37 by Tue Steen Müller
Not a lot of energy, so It’s copy-paste time right now here in Copenhagen’s tropical heat... and it is easy when good news arrive online like the one about the upcoming ”remarkable creative documentary projects from Central and Eastern Europe”, which were presented in Karlovy Vary two days ago. Organized by the festival and the super-active Jihlava International Documentary Film Festival (to take place October 23-28).
The film projects presented by the makers are all to premiere this year or in 2015 and I happen to have met several of them on other occasions, and yes they are remarkable.
Like ”Anthill” from Estonia by Vladimir Loginov and Elina Litvinova, ” a portrait of a giant garage complex located in the largest housing estate in Tallinn. 700 garage box owners form an extraordinary men’s club, and vary from those who use the garages to maintain their cars and those who adapt their boxes for living. The complex is even more unique owing to the existence of private saunas, a restaurant, an animal clinic and other artefacts of life stuck in time 20 years ago.” It has some wonderful scenes, great characters, humour and a poetic camera style.
I also have great expectations to Magdalena Szymkow and her “found-footage portrait of a writer and reporter” = Polish master Ryszard Kapuściński. Szymkow, who made the fine film “My House Without Me”, was a collaborator of the journalist/essayist and a co-author and translator of his books.
One more, but read about all of them, link below, I met in Jerevan last summer: “Our Atlantis” by Georgian Arthur Sukiasyan. From the synopsis: “a documentary about an Armenian camp in Istanbul (Turkey), which was built by orphans in 1960s and later on taken away by Turkish authorities. This is a journey between the past and present of the camp showing how 30 years later children of this camp try not to lose their camp memories. And through this reconstruction, Our Atlantis tells the dramatic story of Karo and Flor who were together in this camp, not knowing that they were siblings, which they discovered by chance only 15 years later.” I saw astonishing footage one year ago.
Written 09-07-2014 13:41:44 by Tue Steen Müller
Another press release from idfa (see below) refers to the now finished Summer School, where projects at different levels are being tutored. Some are still on paper, some are bringing rough cuts to experienced editors. One of them was ”Ollie Huddleston, editor for such documentary luminaries as Kim Longinotto and Sean McAllister, tutoring two of the editing projects, starting out with a rough cut and refining things along the six-day workshop.
"Maybe it's comparable to what a grandfather feels", he laughs. "Rather than getting my hands dirty and raising the child, I can give it back to them and say: 'Fix it!' It's a kind of balancing act: you give them some ideas and then they run with it. Sometimes they've already spent two or three years working on the film, so I can't just jump in with hobnail boots and say: 'Do this, do that'. I say what I think, but of course it's up to them, it's their film.”, and he adds “If you think too much about what other people think, you can get really lost”.
Wise words and I have no problems in identifying with the grandfather comparison and the privilege it is to be invited to look at rough cuts. Sometimes you are able to help, sometimes the chemistry between you and the filmmaker is not good enough or you don’t speak the same language, communication is not easy.
Photo: Group photo of IDFA Summer School 2014 participants.
Written 09-07-2014 13:19:38 by Tue Steen Müller
Copy-Paste quotes of a press release of today from idfa and its IDFA Bertha Fund, whose action one can only applaud:
The IDFA Bertha Fund has concluded the May selection round of 2014. Nineteen documentary projects from countries like Nicaragua, Democratic Republic of the Congo, Afghanistan and South-Sudan will be supported by the fund.
The selection includes stories from unseen parts of the world, such as Dust (photo), which visually foregrounds the dust created by mining equipment exploiting the once-verdant grasslands of Inner Mongolia, and The Boxing Women of Kivu, a profound portrait of a female police officer in the DRC giving self defense lessons to rape victims…
Read more on:
Written 08-07-2014 11:04:26 by Tue Steen Müller
So many documentary films have been shot in Africa, but very few have been seen by African audiences. This heralds a new era of distribution for the continent… words by Don Edkins, who is the Executive producer of AfriDocs and the man behind Steps for the Future, Why Democracy, Why Poverty, and now also AfriDocs, helped as before by Finnish Iikka Vehkalahti from YLE.
AfriDocs is the name of a broadcast initiative that has a focus on “The best documentaries made in Africa and the first documentary strand across Sub-Saharan Africa... real stories weekly. Primetime.” Through the channels DStv ED (channel190) and GOtv (channel 65). In this way AfriDocs covers 49 African countries by satellite and 100 cities terrestrially across 8 countries across Africa.
This month includes a full week of African documentary films to be broadcast across Sub-Sahara to coincide with the Durban International Film Festival, the largest film festival in South Africa that takes place from July 17th – 27th.
There will be documentary films from thirteen countries in Africa – D.R.C., Kenya, Liberia, Mali, Mozambique, Niger, Rwanda, Senegal, South Africa, South Sudan, Tanzania, Uganda, Zambia. Films by African filmmakers Idrissa Guiro, Sani Elhadj, Licinio Azevedo, Rehad Desai, Judy Kibinge, Andrey Samoute Diarra, Osvalde Lewat, together with filmmakers Mika Karismäki, Thierry Michel, Roger Ross Williams, Abby Ginsberg and Göran Olsson amongst others, will be seen for the first time by a wide audience through this collaboration…
AfriDocs is an initiative of the multi-awarded South African documentary production and distribution company, Steps, in partnership with the Bertha Foundation. Impressive it is!
Written 07-07-2014 22:56:05 by Tue Steen Müller
In the post about the Moving Docs project that will take off next year, supported by Creative Europe, I wrote “”Brave New Culture” from Cyprus is also on board. Regret to say that I have never heard about it before...”
Rea Apostolides, who is the person behind ”Moving Docs”, wrote to me today to help me out of my ignorance:
“Brave New Culture is the company run by Yiangos Hadjiyiannis,who is the director of the http://www.filmfestival.com.cy/ lemessos international Documentary Festival. He is really lovely and his festival is fabulous (and takes place by the sea)”
Aha, I thought, the festival in Cyprus that I have heard so much good about both in terms of selection and atmosphere and quality. Last year it had producer Signe Byrge talk about “The Act of Killing”, Ove Rishøj from EDN had a focus on opening sequences and Tinatin Gurchiani talked about succesful Georgian documentary “The Machine Which makes Everything Disappear”. More about the festival from the website:
The ‘Lemesos International Documentary Film Festival’ is organized every August by the non-profit organization Brave New Culture & the Cyprus Bradcasting Corporation and it is a festival dedicated in presenting contemporary creative documentaries in Cyprus. In addition, through the organization of workshops and lectures, it offers the possibility to local professional directors and producers to get acquainted with the latest trends and tendencies in the documentary genre and to get informed about the prospects of fund raising and promoting their own projects in the broader European spectrum. Our intention is to search and invite films that are interesting in cinematographic terms but are also innovative and eye-opening in their sociopolitical approach. The main objective of our organization is to establish “Lemesos International Documentary Festival’ as a quality documentary festival which encourages the public to experience during eight summer nights a creative, timely and rich experience, full of stories and images characteristic of our times and which derive from our surrounding civilizations and cultures.
This year the festival runs from August 1-8.
Written 07-07-2014 09:56:43 by Tue Steen Müller
... is the name of a new support scheme from EU’s Creative Europe – Media Programme. Its task is
”To stimulate interest in, and improve access to European audio-visual works, in particular through promotion, events, film literacy and festivals.
Film literacy projects: to provide mechanisms for better cooperation between film literacy initiatives in Europe to improve the efficiency and European dimension of these initiatives.
Audience development projects: events focusing on the programming of important and successful non-national European films on various distribution platforms and promotional activities building on the marketing on promotion results of important festivals and awards.”
The first results – money-wise a bit more than 6 mio. € - of a call that was announced at the end of March – have been published and great to see a wide spread of countries being succesful with their applications, and not a centralising tendency one could fear after the launch of Creative Europe. OK, France and UK are there as benificiaries but Germany not, Italy is there, Romania, Estonia and Czech Republic as well, the latter with support to Doc Alliance Academy and to Institute of Documentary Film with a programme called KineDok.
I am – at the moment - not able to go closer to all 16 to see how many are documentary projects, but I have been given access to EDN’s ”Moving Docs”, see below post.
Photo of a film mentioned in the ”Moving Docs” application, see below: ”Velvet Terrorists”.
Written 07-07-2014 09:45:56 by Tue Steen Müller
With EDN (European Documentary Network) as the natural umbrella organisation for a project concepted and developed by Rea Apostolides, strong and visionary Greek producer and member of EDN’s Executive Committee, the ”Moving Docs” project was, by Creative Europe, granted 150.000€, 81% of the budget applied for - for a true international initiative with a vision to reach an audience outside the traditional festival circles, if I get it right.
I have been granted access to look a bit more into the application that was succesful.
What was impressive from a first glance is the group of players in ”Moving Docs”, they are called partner organisations: Planeta in Spain, that stands behind the unique ”Documentary of the Month”, Apordoc in Portugal, Doc/IT from Italy, SDI (Scottish Documentary Institute), Against Gravity Warsaw Poland, Doc Lounge Sweden, all known as strong and experienced promoters of European documentary life, whereas Rea Apostolides as manager of the project contributes with her company Anemon as does EDN headed by Paul Pauwels. ”Brave New Culture” from Cyprus is also on board. Regret to say thatI have never heard about it before.
The action starts February 2015, runs the rest of the year and includes cinema screenings, community screenings, festival screenings, vod screenings and educational activities.... you name it, they got it!
Creative Europe asks in the application for titles of films and a long list of potential highlights is mentioned. Among them ”Master of the Universe” (photo).
Some quotes from the 72 page big application: The objective of Moving Docs is to engage urban and rural audiences across Europe through regular and simultaneous screenings of the best European and international documentary films...structured around ”European Screening Days”, five unique media moments that connect European audiences... target groups are 20-40 years... (focus on) issue-based films... the action will use different strategies to target four different audience catagories: rural, urban, frequent and first-time doc viewers...
Much more will come about ”Moving Docs” from the organisers – here is only to be said: Well done, good luck - filmkommentaren.dk will follow your work.
Written 30-06-2014 13:15:35 by Tue Steen Müller
I like this tradition so much – the plaques that are put on the walls of the houses, where great artists have been living and working. To honour them and remember. They do so a lot in the Baltic countries and it is only just that a plaque of Herz Frank was unveiled some days ago in Riga at Lacplesa Street 29. In the presence of his two daughters and friends.
Guntis Trekteris, who produced ”Flashback” and is now finishing ”Edge of Fear” together with Frank’s co-director, sent me the photo. If you can not read the text, which is in Latvian and English, it goes like this:
”Prominent Latvian documentary film maker HERZ FRANK 1926-2013 lived and worked here from 1960 to 1993”.
Written 29-06-2014 15:41:29 by Tue Steen Müller
A triumph for the young Polish director Jan Matuszynski in Moscow yesterday where the Best Documentary Award was announced, given to him for his ”Deep Love”. I have seen this film twice before, read what I wrote from the American Documentary Film festival:
”I was asked to introduce the Polish film ”Deep Love” by young Jan Matuszynski, who was present and received quite an applause for his cinematically brilliant interpretation of the love relationship between Janusz, who got paralyzed when diving and Joanna, his girl friend, who worries as he insists to continue diving and break the record by going down to 100 meters, even if his medical status, as the doctors tell him, does not allow him to do so.
This is what I wrote back in November when I saw the film at DOKLeipzig: ”Deep Love” is a multi-layered story. It is about a man, whose life first of all consists of a passion for diving, a passion that had severe consequences for him when his head hit a rock, making him a handicapped man, who understands what the people near him says to him but can not talk himself and has a paralysed arm and leg. Nevertheless, he wants to get into the sea again and go deeper, encouraged by his close friend and co-diver, yet discouraged by his girl friend, who is afraid of what could happen to him if he realises his wish to go 100 meter down. Here lies the core of the film, the relationship between them, the love story with her in the centre, with her constant care and anxiety. A very strong story but for my taste a bit too dramatic and disturbingly set up with music and sound... on the big screen in Palm Springs, my objections were no longer there, I have to say. Reminding me of how important the watching situation is for your evaluation of a film.”
Written 28-06-2014 12:36:36 by Tue Steen Müller
Short enough for an overview - detailed enough for your co-production strategy… this is the one-liner from EDN about the new baby of the organisation: A Co-Production Guide which is available online for the members of an “… organisation for professionals working with documentary film and television… with about 1000 members from more than 60 countries…” I am sure that this excellent help for documentarians, who work internationally, will give EDN even more members.
As a member, I have checked the information given from several countries and it looks perfect even if everyone knows that “perfect” does not exist, when you are dealing with such a huge collection of facts to be conveyed. I notice that there has been two readers/collectors from every country, good idea, as it is to have the possibility for readers/users to come up with their co-production experiences online. Interactivity, as it should be with a member’s organisazation like EDN. In other words, here is a tool you can’t afford to miss. Become a member of EDN … I stop my promotion, short quote from the press release sent out in connection with the Sunny Side of the Doc:
“EDN is launching The EDN Co-Production Guide, a new tool for international financing of documentaries. The online guide provides details on coproduction opportunities across Europe. All information is edited by EDN, provided by established producers and based on concrete co-production experiences. EDN has commissioned experienced producers in 30 European countries to provide information about the co-production possibilities in their country. The information is now brought together in an easy-to-use format making it possible to use the information in the everyday reality of a production company.
The guide includes:
• Profiles of co-production funds in 30 countries
• Guidelines for funding of co-productions in each country
• Titles of co-produced projects and production companies
• Contact info, relevant links and organizations
• A forum for EDN members to share co-production experiences
Written 24-06-2014 21:10:14 by Tue Steen Müller
This is a sentence I have used again and again when talking to film students, who are still in their film school protected environment… and then suddenly they have finished their studies, want to work, want to learn more, want to be part of a network… It’s not easy and where do you get help in the search for information?
At the – let’s take the whole name – HFF Hochschule für Film und Fernsehen Konrad Wolf Postdam Babelsberg – I met briefly student Annegret Sachse, we got FB friends and I joined the Projector group on FB and found out how valuable it is, organised and run by Annegret.
“I started it almost 3 years ago, when I was searching for workshops and finding all this information. and I got tired of sending the links out in seperate messages to all my filmmaker friends :))”, she wrote to me, when I asked her ok to promote Projector on filmkommentaren.
“Sure you may write about it if you like. I kept it a "secret group" from the beginning, it means it works only by invite, members invite people who they think should be in it, and I basically invite every filmmaker I become friends with on fb. Somehow this kept it pretty free of spam, and it seems fb doesn't even give me the option anymore to open it, it says "Group privacy can only be adjusted to a more restrictive setting for large groups".
I'm happy to add anybody who wants to join, but if I am not friends with them on fb I can only send them an invite via their email address. Either they send me a fb message with their email, or a mail to my email (email@example.com).
Complicated. But possible.”
A young colleague sharing generously what she finds of workshops, schools, courses, grants – and that is a lot and far beyond the limited circle of Creative Europe and MEDIA.
Written 23-06-2014 12:37:18 by Tue Steen Müller
The Austrian Film Museum (celebration of its 50th year) has a present to all who are interested in film history and Dziga Vertov and history of course, read here, click and watch, it is so well presented:
The Kinonedelja (Kino-Week) newsreels represent Dziga Vertov's first contribution to cinema. A total of 43 issues, each containing an average of 5 to 7 different items, were produced between May 1918 and June 1919. Vertov joined the newsreel’s ranks as a secretary initially but by the fall of 1918 had taken on full responsibility for the series. The Austrian Film Museum holds prints of 14 clearly identifiable issues of the Kinonedelja series. The films provide an invaluable record of life in the young Soviet Russia, then in the throes of civil war. Within the framework of the EFG1914 project, and continuing its recent tradition of publishing important works by Dziga Vertov in digital form, the Film Museum has made its complete Kinonedelja holdings freely available online. The publication of the Kinonedelja - Online Edition marks the first presentation of moving images on the Film Museum’s website. For the online presentation, the Viennese collection is complemented by additional digitized Kinonedelja issues and fragments held by the Danish Film Institute in Copenhagen and the Swedish Film Institute in Stockholm.
Read more about the Kinonedelja series: filmmuseum.at
Written 21-06-2014 20:46:30 by Tue Steen Müller
I am sure that many readers of this review do not really know anything about Abkhazia... I was in the same situation until I came to Georgia, saw terrible archive images from the war in 1992-93, where Abkhazia broke away from Georgia, declared its independence and was only recognized by Russia and a couple of South American states.
Co-director Rosolowski is also the cameraman, who brilliantly has captured the devastated Abkhazian capital Sukhumi, the empty houses, the ruins, it looks hopeless – and it is on this background that Rafael Ampar, minister of sports, a proud patriotic man, tries to build his life with Natasha, Russian opera singer and mother of a child, who comes to visit. She has – to say the least – huge problems to adapt to a culture and the Abkhazian language, she does not understand, she argues with Rafael, wants to leave, there is no job for her, whereas her daughter seems to have good time with Rafael.
The scenes between the two, their feelings for each other and their endless discussions are conveyed with great authenticity, and a lot of humour, the dialogues seem natural and un-directed, he is the cool chain-smoking reflecting man - “Abkhazia is my homeland” - she is the Russian drama queen with constant ups and downs in expressions.
She leaves and comes back... Happy ending? Well, she arrives to the station with the baby, he has carefully prepared her return, but will it work? Will Love survive for victims of history and geography?
The title refers to the fact that Rafael stands behind the organization of the world championship in domino plays in Sukhumi (!) but it has of course also a broader meaning... USSR fell, Georgia got its independence and turned to the West, Abkhazia broke away (is that the right way to put it?) and is embraced (but not very much helped it seems) by Russia. The domino effect? Anyway, a very well made, a lovely film, that achieved three awards at the recent Krakow Film festival. Well deserved!
Poland, 76 mins.
Written 20-06-2014 16:48:36 by Tue Steen Müller
Many years ago, at my time in EDN, I asked Hans Robert Eisenhauer to come to Italian Bardonecchia to the yearly Documentary in Europe session as a keynote speaker on the theme ”public service television”. I had known him from many years and admired him for being one of few commissioning editors, who actually edited a programme strand according to the very obvious point of view: this theme we have to offer to our audience. He worked for ZDF/arte’s theme evening and had a big influence on the documentary policy of arte. And he saw clearly that the reportage was not enough to cover a theme, there had to be a documentary interpretation, a personal touch, in other words a creative documentary as we call it today. The talk in Bardonecchia was brilliant including a criticism of the development among many broadcasters to go mainstream = tabloid in the stupid fight for higher ratings.
Eisenhauer is now retired from arte to be a very active producer, who helped producer Orwa Nyrabia and director Talal Derki realise ”Return to Homs”. About this and his time at arte, EDN brings a long interview, also accesible for non-member, link below.
Here is a quote: The public service TV landscape has changed profoundly between the time of my start at ARTE and until today. There is much more competition even between public broadcasters.
We as documentary producers and filmmakers, but also the broadcasters are confronted with two tendencies, which are challenging our professional life. On one hand we see a more and more globalized “market” of documentaries, of ideas, of communication. Thousands of new projects are flooding the documentary landscape every year. On the other hand we are observing, that the broadcasters are constantly cutting budgets, reducing slots and are asking more and more for national or even regional content. This is a real challenge for all of us, but not only for the filmmakers and producers, but also for our TV-colleagues. It is also a huge cultural and an economic/financial problem too. The funding became more and more difficult within the last decade. The support of regional, national and local film- financing funds cannot compensate for the loss. But the most important loss is the fact that innumerable interesting and promising projects will never appear on the small and the big screens…
Written 20-06-2014 15:43:06 by Tue Steen Müller
Below, Yves Jeanneau, CEO of the Sunny Side of the Doc welcomes the delegates to the 25th edition of an event this blogger has visited numerous times, when it was in Marseilles. Now the location is in la Rochelle and still going strong is the Sunny Side of the Doc. Dates June 23-26. Congratulations!:
In a few days, most of you will be in La Rochelle for the 25th Sunny Side of the Doc. Since 1989 the event has grown a lot – thanks to your creativity and your ideas over those years. I wanted to let you know the thinking that lies behind our events and which goes into all the work that the team does for you.
The different Sunny Side events in Europe, Asia and Latin America have been for the past 25 years a way of looking forwards and outwards. Our way is not to be defeatist, inward looking or nationalist.
Documentary is all about bringing something back of the outside world to the audience, making it richer along the way by giving it a voice. This mutual respect between the maker and the subject needs to continue (if that’s not being too idealistic). But for films like docs, which are made neither for art galleries nor supermarkets, I think that’s possible. Docs are for people who are curious, interested in the world, who like to share experiences and be surprised – avoiding the predictable at all costs.
Tom Perlmutter, who’s been at the heart of the Canadian documentary industry for so long, once wrote that documentary was like the canary in the mine warning about gas leaks – either it survived, or it didn’t and sent out a warning…
For me documentary is like a wind propelling us towards new places. Or a starry sky which illuminates while asking plenty of questions. In times of darkness, it can be like a beacon, and put its public and private usefulness on show. It investigates and has a point of view, both of which give it a voice and something to communicate.
Reality can be stubborn, complex and perplexing. Quite a hard thing to sell to the public, and yet we’re part of it, this reality which can raise our spirits and our concerns, our hopes and dreams…
Written 16-06-2014 08:42:50 by Tue Steen Müller
15 films from 12 countries, 15 world and international premieres... that is what the FID (Festival International de Cinema) in Marseilles presents in the international competition programme, when it takes off July 1 and runs until July 7. The festival also has a section for French films and one for First Films as well as a FidLab - ” FIDlab offers a meeting place for discussing film projects selected from all over the world, in order to offer film-makers an opportunity to make useful contacts and network with producers, distributors, international sales agents, sponsors, and broadcasters. ”
And films by Marguerite Duras will be screened – it’s all very well put together as the website link proves.
Back to the international competition – what a joy to see that Croatian “Mitch – the Diary of the Schizophrenic Patient” has been chosen. This is the beginning of my review of the film:
… It is rough. It is provoking. It is touching, poetic and shocking because you experience the difficulties of a man’s aim to come to terms with himself and life as it goes on in his head and around him in the psychiatric hospital, where he is, has been for 12 years and where he in a film, he is making himself, expresses his despair. Outstanding it is, nothing less!...
Written 15-06-2014 12:33:48 by Tue Steen Müller
Big words from the two curators of the documentary programme at MIFF, Moscow International Film Festival, whose 26th edition includes a competition of 8 films and a panorama of 15 films under the label ”Free Thought”. Sergey Miroshnichenko and Grigory Libergal writes:
“Our competition brings together strong and prominent directors like Alex Gibney with “The Armstrong’s Lie”, Jean-Stéphane Bron with “The Blocher’s Experience”, Thomas Balmès, with “Happiness” and other famed directors whose films are be shown out-of-competition - Errol Morris, Michael Glawogger, Godfrey Reggio. All of them are analyzing lies, the shaky swamp of falsehood. And we believe that after seeing this program our audience will think again about what kind of society we should build together on this planet. It is important to defend truth and freedom and truth and to fight lies and the lack of freedom”.
The other films in competition are Lebanese Zeina Daccache’s “Sheherazade’s Diary”, “Deep Love” by Polish Jan P. Matuszynski, “Web Junkie” by Israeli Shosh Shlam and Hilla Medalia, “The Green Prince” by Nadav Schirman and “Cardiopolitika” by Svetlana Streinikova.
The “Free Thought” out-of-competition programme “includes winners of the most prominent film festivals and contests, as well as the box-office leaders” – “Joanna” (PHOTO) by Aneta Kopacz is there, “Cathedrals of Culture” directed by – among others – late Michael Glawogger, whose “Workingman’s Death” will also be screened as will Michael Obert’s “Songs from the Forest” and Errol Morris “The Unknown Known” about Donald Rumsfeld.
The festival runs from June 19 until June 28.
Written 14-06-2014 16:54:59 by Tue Steen Müller
It starts today, the yearly Flaherty seminar at Colgate University, Hamilton, New York and runs until June 20. Programmers are Gabriela Monroy & Caspar Stracke – you can read more about them on the website of Flaherty, link below. Here is the interesting introduction to the seminar:
”The Flaherty’s 60th Anniversary Seminar probes the essence and frontiers of the form that inspired its beginnings: the documentary. Turning the Inside Out examines the state of documentary as it travels between the art gallery, the cinema, and the interactive screen. In an era of colliding genres and mediums, what holds documentary together from the inside out? What can a radical, Godardian, focus on the form of documentary reveal about the politics, poetics, and ethics of making media today?
To answer these questions, we turn to a unique group of documentary artists—some of whom produce new aesthetic idioms for documentary beyond the black box, and others who move seamlessly between media without changing their vocabulary. Together they ask: which genre (essay film, autobiography, docufiction) and exhibition form (gallery installation, web-based platform) best supports the expression of an idea? That is, how can form optimize documentary’s potential to connect us to unfamiliar places, objects, or situations? In confronting the effectiveness of form, these works amplify new and unexpected tensions: between the need to participate and the desire to withdraw, between aesthetic expression and direct action, between staying inside or going out...”
Also The Flaherty announces a celebration programme organised together with Moma to take place end of June. The opening screening includes two films by D.A. Pennebaker and Chris Hegedus, ”Daybreak Express” (1953) and ”Town Bloody Hall” (1971).
What an active organisation. Congratulations!
Written 11-06-2014 14:04:14 by Tue Steen Müller
”You’re nobody till somebody loves you” is the well known song that, among others, accompanies the visit to one of Japan’s 37.000 love hotels, the one in Osaka, Angelo Hotel. This song underlines the tone of a film that works with many characters, chosen from a representative point of view. There is the couple, Mr. And Mrs. Sakamoto, who – in their 40’es - come to give their sex life a revival. There is the pensioner couple, who come to dance in one of the many play rooms offered by the hotel. The single young woman who meets the married man for his secret affair. The gay couple. The old man who does not have sex any longer but comes to have a calm moment, some pornography and to write a letter to his smiling neighbour. And the fashion designer to be, who brings her suitcase for the s & m sessions she performs...
It’s all very respectfully conveyed, no tabloid, it is nice to look at, it’s a light film that has been given a dreamerish touch in colours and editing, in and out of the corridors to the rooms. Of course you go to the bed of some of the customers but you never feel like a naughty peeper. The casted characters are natural in front of the
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Written 11-06-2014 10:35:26 by Tue Steen Müller
… is the title of a film made by Mina Mileva and Vesela Kazakova. It was on its way for several years and is now out and has raised strong controversy in the country of origin, Bulgaria. But I have seen nobody write about the film! I saw a rough close to final cut last year and wrote to Mina and Vesela, whom I have known for many years:
“Thanks for inviting me to watch. And, ahhh, got tears in my eyes, when I saw your text - that Uncle Toni died this year. What a wonderful man and fine artist, you have made him to be in a film that is very creative, I liked it a lot.
The scene where he is drawing on the blackboard and making movements manipulated in pace by you, the clips from his films of course, you and him when he is taking down the boxes, (some of) the conversations with colleagues, your dispute with the school principal is hilarious, and veeery good that you kept the two children for the ending and make them perform in each their way…”
Back to the trouble, this is a quote from Film New Europe yesterday:
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Written 09-06-2014 10:13:32 by Tue Steen Müller
For the seventh time the Documentarist festival is running in Istanbul – until June 12 – under the leadership of, among others, director Emel Çelebi. There is a Turkish Panorama, a focus on Syria, a tribute to Johan van der Keuken, an international Panorama, a section called Memoriam, where Alain Resnais classic ”Nuit et Brouillard”, Malik Bendjelloul’s “Searching for Sugar Man”, Peter Liechti’s “The Sound of Insects” and Michael Glawogger’s “Working Man’s Death” will be on screen.
Tomorrow, if you happen to be in Istanbul, Pawel Lozinski will be visiting the festival to show and discuss the idea behind “Father and Son”. The festival presents the case study like this:
The documentary filmmakers Marcel and Pawel Lozinski are father and son. They went on a trip together in order to make a film and they ended up making two differently edited documentaries of the same journey. What has happened on roads and in the editing room? Why have they decided to make their own versions but not one common film? In the ‘case study’ about this unique experience, we’ll hear the son’s side of the story.
Written 07-06-2014 16:21:09 by Tue Steen Müller
I have posted several texts on Ukraine and the brave filmmakers there. Here is one more after contact with Dar’ya Averchenko and Roman Bondarchuk. The two of them have taken part in the admirable work “Euromaidan. Rough Cut”, which is a final film and NOT a rough cut.
This is what Roman Bondarchuk wrote to me: The name of the project is Euromaidan. Rough Cut. But actually it is not a rough cut but a completed project. In this case 'rough cut' is a concept, a metaphor. At the moment the Maidan and all movements it has launched still are not over and you can say the whole country is on the stage of rough cut now…
A clever thought and a clever film, that has the presence and the passion of the moment. Ready to be shown at festivals all over…
However, renowned Sergei Loznitsa premiered his “Maidan” in Cannes, 134 minutes, great reviews in Variety and Hollywood Reporter, and that will unfortunately influence the distribution of the omnibus film made by the young Ukranian filmmakers, who lived at Euromaidan. Festivals tend to go for names, don't they?
Or will you? Why not both films, dear festival programmers. I have not seen Loznitsa’s
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Written 04-06-2014 11:46:55 by Tue Steen Müller
It was quite moving to be an observer outside the Aribau Club on the closing night of the DocsBarcelona festival. Syrian refugees lined up to hug the director Talal Derki, who got the main award for his ”Return to Homs”. Many of them were from Homs, you could see their emotions and gratitude towards the director, who had documented and interpreted. They wanted to have photos taken together with him holding the sculpture of the DocsBarcelona winner. A souvenir, a memory coming from the heart.
The night before in a restaurant after the screening of ”Return to Homs” this photo was taken. Talal Derki to the left, your reporter to the right and in the middle Adam, son of Talal, 18 months, away from home as his father and mother, impossible to really understand what it means to be an exiled filmmaker.
Written 02-06-2014 09:18:37 by Tue Steen Müller
Festive closure of DocsBarcelona 2014. The film ”Five Days to Dance” by Rafa Molés and Pepe Andreu were shown to a full house. The film that was pitched at the festival 2013 describes how two dancers are able to get a group of teenagers to the stage to dance. Emotional work with a happy ending.
After the screening the awards were handed out. From the website of the festival:
DocsBarcelona Award - Best Film TV3 Award - RETURN TO HOMS (photo) , by Talal Derki
Special Jury Award for Best Film JOANNA by Aneta Kopacz
New Vision - Best Film Award BELLEVILLE BABY by Mia Engberg
Audience Award for best film of the Official Selection and New Vision - LA MUERTE DE JAIME ROLDÓS, by Lisandra I. Rivera, Manolo Sarmiento
Docs & Teens Award - ENTRE EL CEL I LA TERRA , by Tono Folguera , David Fernandez de Castro , Román Parrado
DOC -U Award - HUELLAS DE AUSENCIA , by Ana Monrás ( ESCAC, (University) )
PRO -DOCS Award for Best Catalan Television Documentary 2013 - DEMÀ MORIRÉ, by Justin Webster
Best InterDocsBarcelona Popathon Prototype , consisting of an annual Klynt Pro License for each member of the winning team. Sponsored by Klynt " StereotypeCelona " by Juan Lesta , Laia Ros, Maria Llobet and Hermes Carter
Written 01-06-2014 11:00:53 by Tue Steen Müller
Sunday morning in Barcelona, last day of the festival, awards to be given tonight. Walked home to hotel from the Aribau Club Cinema around 1am after quite a long festival evening. Accompanied by Irina Shatilova, whose film ”Linar” had been shown, as were ”Return to Homs” and ”Everyday Rebellion”.
We talked about the ”Femen” activists, who appear in ”Everyday Rebellion”, about Ukraine and Russia, and about Pussy Riots. As a true documentarian Irina Shatilova had been into the streets of Barcelona during the evening filming the demonstrations going on... while films on demonstrations were shown in the cinema halls! Leaving the cinema you could see black police cars lined up in the Gran Via de les Corts Catalanes plus a couple of ambulances. The sound of police sirenes was loud as was the noise from above, the ever circling surveillance helicopters.
A quote from Guardian Thursday: Thirty people have been arrested after a third night of rioting in the Sants district of Barcelona. The trouble started on Monday when police forcibly evicted people from Can Vies, a building that has served as an unofficial civic centre for 17 years. After Wednesday night's arrests more protests have been called for, with further violence expected…
Inside Aribau Club Cinema one of the Riahi brothers behind “Everyday Rebellion”, Arman, answered questions from the audience and invited it to go to the website of the popular film that deals with non-violence activism. We were afraid that it would be too late for a Question and Answer session after midnight, we were wrong, at least one hundred people stayed to take part.
Written 31-05-2014 13:13:32 by Tue Steen Müller
Looong, well deserved applause to Talal Derki last night when ”Return to Homs” was shown at CCCB. The director, who is now living in Turkey and Berlin – all his family is out of Syria – talked with the audience on this occasion as he did earlier the same evening at la Pedrera, where a masterclass was held entitled ”Documentaries – a Tool for Change?” including Andreas Johnsen (Ai WeiWei – The Fake Case), Arman Riahi (Everyday Rebellion) and Xavier Artigas, Xapo Ortega (Ciutat Morta = Dead City).
I have to say that the latter has changed my view on Barcelona as this nice and friendly city full of beauty and football... The film is a shocking cinematic documentation on police brutality and corruption, young people being tortured and put in jail for no reason – and a moving interpretation of the tragedy of a young poet. Here is the synopsis from the catalogue:
June 2013, 800 people illegally occupy an old movie theater in Barcelona in order to screen a documentary. They rename the old building after a girl who committed suicide in 2011: Cinema Patricia Heras. Who was that girl? Why did she kill herself and what does the city have to do with it? That's exactly what the squatting action is about: letting everyone know the truth about one of the worse corruption cases in Barcelona, the dead city.
Written 30-05-2014 12:32:34 by Tue Steen Müller
Wednesday night, full house in the Aribau Club cinema, where Israeli Shirly Berkovitz (photo) showed her amazing ”The Good Son” and told the audience how the film took off: A young man contacts her with some video tapes that he had made, kind of video diaries, very personal, telling her what he intends to do to realise his dream. Catalogue text: What goes through the mind of a young man who decides to fulfill his dream whatever the cost may be? Where lies the border between self-fulfillment and staying loyal to your family?
In respect for those who have not seen the film, no more words about the journey the two take together in a film that touches on ethical questions, on the relationship between filmmaker and character to be filmed, on dramaturgy – it’s all there and the film received strong applause at the opening of the seventh edition of DocsBarcelona.
The morning after the pitching forum of DocsBarcelona came up. I attended half of presentations and noticed that Greek Marco Gastine as producer and Apostolos Karakasis are working on a fine project called “Next Stop: Utopia” about a group of workers who take over their factory – logline: When a Greek factory goes bankrupt, the workers occupy it and attempt to run it on their own. Self-management proves no easy task; soon they discover that they first need to change themselves…
Karakasis made in 2009 “National Garden” that by filmkommentaren was nominated as one of the ten best films of that year. A quote from the review of a film from the garden in Athens: …a mosaic structure as a warm hug to people, to us all, with our joys and worries, dreams and sorrows…fine seasonal observations from the garden, a mini-society, a mirror of what is outside. Karakasis has done all himself, directing, camera and editing. It is an impressive and very mature work that will travel the world and stay as an important film for Greece of today…
Written 27-05-2014 20:34:12 by Tue Steen Müller
Colombian director Juan Pablo Rios was the first of three filmmakers coming for the rough cut sessions of DocsBarcelona 2014. The concept of the sessions is very simple: the filmmaker turns up with his work at a rough cut stage, a lot is still to be done but the rough cut stage allows him/her to receive comments and constructive criticism from a small, hand-picked panel of people, who are used to watch rough cut and give competent feedback.
The title of the director’s rough cut was ”The Return”, 90 minutes long, pitched at DocsBarcelona 2013, where I wrote the following words:
”Colombian Juan Pablo Rios showed his cinematic talent with a teaser that accompanied his ambition to tell a story called ”The Return” about a family of 9 sisters, their suffering and need to leave the town, they lived in, when the father took his own life. 45 years have passed, they return...”
So, one year later, and after several cuts, Rios confirmed fully his talent with material that can turn into a great film, feature length, beautifully shot with wonderful characters, the sisters, including his mother, one of several charismatic characters, who – a quote from the film – ”are united in sadness”. Yes, there is a lot of pain in this film that takes us to a small community where a suicide had severe consequences for a family’s life. But there is also a beautiful warm solidarity between the sisters, and anecdotes and life situations to be identified with.
A couple of more months editing work and a fine Colombian film will travel the world.
Written 27-05-2014 10:48:40 by Tue Steen Müller
I am in Barcelona. The DocsBarcelona festival and its associated activities for professionals start today. I am in the Pulitzer Hotel next to Plaza de Catalunya, nice room with a look to a street wall covered by a photo of Andrés Iniesta. Yes, the midfielder of FC Barcelona and the Spanish national team, a great player but, alas, also one from a team that did not win anything this year.
Talking about photos the symbolic logo of the 2014 festival – take a look at it – has provoked many and many different interpretations. Last night in the hotel restaurant two waitresses came up with two reactions that are pretty much linked. What comes into your mind when you look at this cover of the catalogue, I asked them.
Freedom, one said, slavery the other said, survival a third one at the table added.
Well, true it is that several of the films in the festival deal with the problems of the world today and the search for freedom: ”Return to Homs” by Talal Derki, ”Everyday Rebellion” by the Iranian/Austrian brothers Riahi, “Ai WeiWei – the Fake Case” by Andreas Johnsen and “Ciutat Morta” by Xavier Artigas, Xapo Ortega. I mention these four films which in very different ways deal with resistance against suppression from people in power and totalitarian authorities. The directors behind the four films will take part in a masterclass this coming Friday at the famous Gaudi building La Pedrera, 6pm, free entrance, entitled: “Documentary, a tool to change the world?”.
I am responsible for three rough cut sessions – as written on the website: Three documentaries will be presented privately to a selection of producers, directors, consultants, sales agents and distributors. The goal is to generate creative and constructive discussions that will favour the projects' entry into the international market.
First one will be presented today: “Return” by Colombian director Juan Pablo Rios.
Written 22-05-2014 11:35:25 by Tue Steen Müller
The Czech production company Film&Sociology was so kind to send me a vimeo link so I could watch Janek’s film on Olga Havlova, which I had read about passionately because of ”Citizen Havel”, where she is very much present with her husband Vaclav, a film shot by Pavel Koutecky and put together by Miroslav Janek. 160.000 saw the film in Czech cinemas.
The film about Olga lives totally up to what I had expected. It is lively, entertaining, has wonderful archive material (Olga died in 1996) and gives the atmosphere of a period, where she like her husband, who was in prison several times, was under constant surveillance by the secret police. And later on was ”equipped” with bodyguards to accompany her as ”the first Lady” of the country. The bodyguards talk in the film as do several members of the group of dissidents – about the jolly underground meetings and parties they had, often initiated by Olga, who is praised – just one out of many words and sentences - for her subtle humour. And about Charter 77, the samizdat activity, the Movement for Civic Freedom. The way the surveillance reports are conveyed gives the film this typical absurdity you often find in Czech cinema
It’s history and it’s a film about a woman with an extraordinary charisma. She did not like (her husband says so) the pomposity of being ”the first lady”, she loved the theatre, she was an usher, she was Havel’s first dramaturg and the one, who often had to ”bring him down to earth”.
Many words are taken from her memoirs and Janek found a woman, who knew Olga, and had the kind of voice she had to read pages about her upbringing in communist Czechoslovakia. Editor Tonicka Jankova and director Miroslav Janek have done a great work to make this archive film fresh to watch. The montage is brilliant. Janek has said that he – in ”Citizen Havel” – could feel ”her persona”. Director and editor has succeeded to offer the audience the same. You never get really close to Olga, she wanted to keep her integrity and dignity, the filmmakers respect that dignity, her unsentimentality and humour – it is a film full of admiration for the protagonist, playful, informative, what more could you ask for?
Czech Republic, 2014, 87 mins.
Written 20-05-2014 13:09:33 by Tue Steen Müller
The website synopsis is precise so I quote that: “Every day in Finland alone, two people commit suicide. Thousands of people are affected by suicide yearly. Once I Dreamt of Life is a feature length documentary film about suicide — subject that people rarely want to talk about. It’s an account about one’s personal relation to suicide, but also studies suicide as social phenomena: What are the motives, warning signs and consequences?
The film follows the journey of a young man, an animated character based on a real person, on his path towards suicide. The journey is described by people who’ve had encounters with suicide – parents who lost their child, young adults who considered or even tried committing suicide.
When linked together, these experiences offer a collage of our perception of suicide. They are full of pain, sorrow, and guilt, but they also tell about how people cope with the past and find a reason to go on with their lives. The intention is not to romanticize suicide or judge. It encourages people to talk about painful and difficult experiences and reminds us how important it is to be heard.”
Jukka Kärkkäinen and his cameraman J P Passi are again together in this film as they were with the two significant films The Living Room of a Nation and The Punk Syndrome. Kärkkäinen has this time co-directed a new film with Sini Liimatainen, which raises the fundamental dilemma: How do you visualise/how do you make a film about suicide? The choice has been to focus on a precisely arranged framing – as in The Living Room… - with the mentioned beautiful b/w animated sequences in between the monologues of the characters, who have stories to tell. The sequences are meant to provide space for a pause from the many words, time for reflection, time to digest the
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Written 19-05-2014 14:38:45 by Mikkel Stolt
The press kit for this film makes a point out of that this is no conventional sports documentary. It is true that the actual boxing scenes are quite limited and maybe the film makers find this fact as radical as its protagonist, but it is after all a quite conventional documentary consisting of archive material and recent interviews. That doesn’t mean that it isn’t interesting (frankly, I’ve always found boxing a bit too destructive to be really beautiful, but maybe that’s just me), and the film’s biggest credo is to give us a new insight towards the life and times of the man who was baptized Cassius Clay and renamed Muhammad Ali after converting to Islam. I don’t recall having seen much of the archive material or any of the interviewees in another film before, and the structural editing brings it neatly and chronologically together without any need for a narrator.
The main focus of the film is to shine a light on the clash between a very segregated society and a talented, Afro-American boxer with an extreme self-confidence. At first, we are presented with a young, black fighter, belittled by a bunch of unpleasant middle-aged “personalities” on TV and from then on, the film is steering us towards thinking that Ali is just that: a victim that stood up against a racist society. It may very well be part of the truth of Ali’s life and even though we do get a few sound bites with black Americans opposing Ali’s statements about the white man being the devil, the dialectics of the film are somewhat limited.
It raises questions: Why Ali turned to Nations of Islam and their leader Elijah Muhammad rather than the civil rights movements and Martin Luther King? And what did the differences between Malcolm X and the Nation of Islam consist of? And did the Supreme Court have a point by questioning Ali’s conscientious objection to go to Vietnam as a drafted soldier? But those are not questions I long for to remain (at least in part) unanswered and I’d rather have the film forcing me to rethink my own prejudice against the US in the 1960’es and 70’es or to make parallels to society of today or to the clash between different religious and/or ideological ideas. Let me be fair: it does that too, for instance by reminding us that Louisville Sponsoring Group, a group of white capitalists, backed Clay up in the first years - supposedly to his satisfaction – and by quoting him of the now rather obsolete statement that Nation of Islam didn’t kill Malcolm X, because “muslims wouldn’t kill anybody nor carry a weapon” (ca. 1967).
All in all, it’s a somewhat conservative film about a radical protagonist but well worth your while if you are interested in modern American history… and in this neck of the woods (planet Earth) you kind of have to.
USA, 2013, 92 mins.
Written 15-05-2014 08:32:24 by Tue Steen Müller
At DocsBarcelona 2013 Michael Glawogger asked me if I could write a piece on ”Megacities” and the remix of it done by Timo Novotny, ”Life in Loops”. Compare the two, he said, and he gave me the dvd's of the films, that I knew very well and admired. I sent the article to Michael, he thanked me, wanted to use it in a book on ”Megacities”. I did not hear from him and now it's too late to ask him what happened with the book project... Therefore, as a tribute to a great filmmaker's work and generosity towards a young colleague, here is the article:
It was at the Ex Oriente workshop in 2004/05 that I met Timo Novotny and ”Life in Loops”. He presented this original idea to dive into the film ”Megacities” by Michael Glawogger, tear it to pieces to make his version of a work, that already at that time was considered to be a neo-classic in modern documentary.
He talked for hours about how and why. And to all of us, whose first question was ”do you have the permission”, he stressed, that Glawogger had given him access to use the 40 hours of material that he had shot in Bombay, Mexico City, Moscow and New York. And that Glawogger had no intention to interfer in the remix, the word Timo used, of the material. It was the first time I had heard about such a generous attitude from a director with an international reputation.
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Written 14-05-2014 10:06:41 by Tue Steen Müller
Have to confess that I did not know about the online documentary film magazine DOK Revue. Now I do, and it is no surprise that this fine initiative comes out of the Czech Republic, this time from the Jihlava International Documentary Film festival, whose energetic director Marek Hovorka together with Petr Kubica has made an interview with Miroslav Janek (photo) on the occasion of the release of his film “Olga”. I take a couple of quotes from the interview, link below to he magazine and the whole text:
Was the latest film Olga meant to be an amendment to Citizen Havel? To what extent were you affected by the work on Citizen Havel?
Apart from the fact that Olga Havlová was Václav Havel’s wife, those two films have nothing in common. They are formally completely different. Citizen Havel was made by Pavel Koutecký, the material had been ready and I was only an editor who had to work with what was available, although Tonička was my co-editor, too (Janková, editor’s note). Whereas in the case of Olga, I started from the scratch. It is also composed of archival materials, but they come from all sorts of sources. And yet, thanks to Citizen Havel I got to know Olga a bit better. I could feel her persona and found out what impression she makes on the screen.
The film is, to a large extent, concerned with the period of Czech history which you did not personally experience. (Janek was out of the country 1979-1996, ed.). Is this fact one of the reasons why you find this period so attractive?
I did not experience the period of dissent, and perhaps I like to experience it through my films. In the case of Olga, I knew that this period was of utmost interest to me, but not because of dissent. I was interested in the spirit of this movement, their world, their humour. It provided a sort of a counterbalance to the surrounding idiocy, the stupidity of the police. And this may be why so much space in the film is dedicated to this issue, although some might find it inappropriate.
Written 13-05-2014 11:00:38 by Tue Steen Müller
... will be shown on Danish Dokumania (DR2) tonight. It was written about on filmkommentaren last August with a quote from NY Times critic A.C. Scott:
”Apart from some old news clips, most of the images come from Super-8 home movies shot, starting just after the 1968 election, by Dwight Chapin, H. R. Haldeman and John Ehrlichman, loyal Nixon aides and eventual Watergate felons. Their amateur footage is accompanied by snippets of the now famous White House tapes and intercut with rueful post-prison interviews. The experience is a bit like a demo version of a greatest-hits album. Well-known episodes — the trip to China, the Pentagon Papers, Vietnam, the wedding of Nixon’s daughter Tricia, and of course the fallout from a certain third-rate Washington burglary — take on a strange new coloring, revealing a curiously touching human dimension.” (A.C. Scott)
Written 11-05-2014 10:28:32 by Tue Steen Müller
This is a film, that I can't wait to see. The main character is Olga Havlová, the director is Miroslav Janek. It guarantees the quality. Janek made “Citizen Havel” into an unforgettable film, when he took over the material that Pavel Koutecky had filmed during more than a decade. In the film you see Olga next to Havel, what a charisma, what a personality full of dignity, I thought. And now there is a film on its way with her as the main focus. Here is what I have taken from the IDF (Institute of Documentary Film) website:
May 15, 2014 is the date of the distributional premiere of Olga - the newest documentary by the renowned director Miroslav Janek. Olga is a portrait of the late Czech president Václav Havel's wife, assembled in an interesting way. It enables the audience to look into the previously unpublished archives and shows primarily the civil side of the main character.
Olga Havlová is remembered by her friends as the closest partner of Václav Havel, as a friend who never spoils a good laugh, a generous host, passionate player and nature lover. In their eyes, she was s a brusque commentator, a brave and dilligent dissident, and a wise and practical woman. Those who never met her in person remember her as a respectable first lady and the founder of the very first charitable organization in our country. On July 11th, 2013 Olga would have lived to celebrate her 80th birthday. This film is not to be made to celebrate the anniversary, but to reflect upon the way we remember her.
The police couldn't break her, the Castle didn't change her: The remarkable story of Václav Havel's reluctant first lady. Olga Havlová was the closest and most trustworthy companion of Václav Havel, a friend who was never a spoilsport - on the contrary, she initiated the fun herself - a generous host, passionate games-player and mushroom-gatherer, a nature-lover, sharp commentator, courageous and diligent dissident; a wise and practical woman, always with her feet on the ground and true to herself. In 1990 she founded the Výbor dobré vůle (Committee of Good Will), still doing its good work today.
Written 09-05-2014 11:28:49 by Tue Steen Müller
It’s on the political agenda in most countries, it is being discussed in the EU – undeclared work – and of course it is also the case in Turkey. When it comes to the profession of domestic workers, which does not count for anything, the situation is even worse.
Some brave women do something to change the working conditions for this profession in Turkey. They are launching a campaign demanding human working conditions for domestic workers. The whole process, the solidarity between the women in action, and what comes out of it, has been followed closely by Emel Celebi, an engaged female director, who also stands behind the documentary festival Documentarist.
She is with them in their homes, in one case also at the home of one of the customers, when they talk about compensation for injuries that come from the work, when they set up the ”Broom Academy” to educate colleagues and when they go to lobby the politicians or when they are in the streets to recruit members (photo) and get people to sign petitions for a better, safe and decently paid work. One of the strongest moments, however, is when one of them reads the note from the client of what is expected of her job on that specific day – there is enough for a whole week, as a colleague states.
Strong women characters in a well-made film that you can only give your full sympathy.
The film had its premiere at Istanbul Film Festival. For festival people who are a member of the festival scope, the film is available on this vod. It deserves to travel.
Turkey, 2014, 55 mins.
Written 08-05-2014 13:37:12 by Tue Steen Müller
with the subtitle ”The Sumo Wrestler’s Son” – is a fine documentary for children. The production company Final Cut for Real estimates the primary target audience to be between 6 and 12, but it is also one of those films that easily can be watched by the whole family or in a school class with a follow-up talk on many issues.
Actually is places itself very well in the Danish tradition for making quality Films for children avoiding a heavy, well-meaning educational aim. Which does not exclude that you, from a well-made and well-told film, can have good conversations about competition, about sport, about training hard to be better, about the relationship between father and son, where the father – that’s what the son thinks – pushes him to be like himself, but where the ending of the film, where Chikara manages to get into the Top 16, but had hoped for more, shows the father and mother happy with his performance.
The building of the film is simple – Chikara trains for the big competition, he meets obstacles, he says at a point that he likes to watch sumo but not to perform, but he does so for the sake of the father in a competitive environment that you on the other hand don’t feel as cruel as you have seen in other films from Japan, where this sport for BIG kids and adults is BIG.
The effort to make documentaries for children is commendable and I was happy to learn from the producer Monica Hellström that this film is part of a series of 6 films, produced by Nordic companies. The Norwegians have asked Viktor Kossakovsky to take part. Danish Simon Lereng Wilmont is making a film about a Danish boy, who practises the fencing sport. More documentaries for kids? Yes, Please!
Denmark, 2013, 32 mins.
Written 07-05-2014 11:09:24 by Tue Steen Müller
The timing is fine, it's a warm-up for the World Cup in Brazil. 4 days of football films in wonderful Grand Teatret in Copenhagen after an American concept, if I get it right – over there they call it soccer. The programme (June 1 -4 ) is not yet finished, the poster is as you can see, but ”Les Rebelles do Foot” is advertised, French documentary, presented by Eric Cantona, including stars like Drogba, Socrates and Caszely.
Check the facebook side of Grand Teatret and you will be updated on the films to be screened.
Written 06-05-2014 21:22:27 by Tue Steen Müller
Again a generous offer from DocAlliance, concerning Gianfranco Rosi, Italian documentarian, who won the Golden Lion in Venice last year with Bernardo Bertolucci as chair of the jury. This is the text from the vod and view the three great works from the director, for free until May 11:
Untraditional protagonists, perhaps eccentrics, yet always with a clear world view. Such are the people depicted in the documentaries by Gianfranco Rosi. The director uses the camera rather as a microscope, observing the events around him with endless patience and care. In his eyes, seemingly simple and banal stories become urgent and complex accounts of the state of contemporary society. It is the very combination of inner determination and meditative observation, with which Rosi has filmed the everyday lives of Romans living in the vicinity of the major traffic artery Grande Raccordo Anulare for two years, that has charmed the Venice jury.
The surprising and very first documentary winner of Venice is available to viewers from the Czech Republic and Slovakia in an online premiere on Monday, May 5 at DAFilms.cz. For the first time in the portal’s history, the viewers have a unique chance to decide whether and how much they want to pay for the premiere viewing of SACRO GRA. Will they appreciate the Golden Lion by a full fee, a symbolic support or will they use the opportunity of watching the winning film for free? Let’s wait and see!
All the other viewers from across the globe can watch the director’s previous films in a unique online retrospective in the week from May 5 to 11 at DAFilms.com completely for free! Meet a Mexican mass murderer in EL SICARIO, ROOM 164 (2010) while safely seated in your couch at home. Pop out to the North American desert where a group of social outcasts lives in self-imposed solitude in BELOW SEA LEVEL (2008). Last but not least, do not forget to sail the Ganges River with an untraditional guide. BOATMAN (1993) is waiting for you!
Written 05-05-2014 22:30:34 by Tue Steen Müller
DocsBarcelona includes for the second time webdocs and interactive productions in its programme. This is how it was announced in a press release of today:
Find out about the latest developments in research and production of webdocs. Do not miss the opportunity to listen to
Mandy Rose from i-docs, DCRC – University of the West of England
Mike Robbins from Helios Design Labs
Mads Damsbo from Makropol
Alvaro Liuzzi from Universidad Nacional de La Plata
Simon Duflo from Honkytyonk Films
Ricardo Villa from Lab RTVE
Elisabet Pons from MediaPro exhibitons
Maria Ripoli from Cromosoma 5
Coordinator: Arnau Gifreu - Open Documentary Lab (MIT) / i-Docs
WHERE: CCCB - Theater (Montalegre, 5)
WHEN: Friday 30th of May 9:00 am to 5:30 pm
Conference in English with simultaneous translation into Spanish
OBS. For the festival programme you can from today find short texts on films from the Officlal Section and the section called New Vision on the FB page of the festival:
The first one being the masterpiece ”Return to Homs” by Talal Derki.
Written 05-05-2014 19:00:03 by Tue Steen Müller
National Film Board of Canada/Office National du film du Canada is the oldest national film institution in the world, as far as I know. It started in 1939, and is being celebrated in and outside its own country because of its 75 years. For someone like me who worked for 20 years in the sister organisation National Film Board of Denmark (Statens Filmcentral) (that also started in 1939 with its activities now integrated in the Danish Film Institute) the NFB was a magnet of interest with its integration of production, promotion and distribution. The catalogue we built up included dozens of films from the NFB, many of them being animation films. Yes, this is where the genius Norman McLaren (PHOTO) made his films.
In world documentary history there are strong names placed from Canada, let me just mention Pierre Perrault, Colin Low, Roman Kroitor, Wolf Koenig and Peter Wintonick, who with NFB made “Cinéma Vérité: Defining the Moment” (1999), for me definitely the introduction to that lovely documentary sub-genre.
From the press release from NFB, sent out some days ago: Starting May 2, the NFB's online Screening Room, NFB.ca, will feature a web page dedicated
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Written 02-05-2014 13:15:09 by Tue Steen Müller
Young directors, fresh views and interpretations of the world today, resistance movements, new ways of storytelling – it is a golden age of the documentary and that is strongly reflected in the programme that the DocsBarcelona festival has just published!
I write this totally biased as I have had the privilege to be one of the programmers for the upcoming festival that takes off May 26 and runs until June 1. Let me give you words about some of the more than 40 films that will be on the screen.
The festival opens with a film that is unique in many ways: ”The Good Son” by Shirly Berkovitz. I met Shirly in Israel a couple of years ago and she told me that at a meeting for documentary people, a young man turned up to ask if anyone wanted to make a film about him, who deeply wanted to become a she. The young director Shirly went on the journey with him, an intensely painful journey through falsifications and lies towards the family, the director became a friend and ”partner in crime”, they took off to Thailand for the operations, and more I will not reveal here except for my joy that a warm and sensational film made without any tabloid touch opens the festival.
Another highlight is Talal Derki’s “Return to Homs” from Syria. I have previously written this about a film that I consider to be among the most important that has come out the last couple of years: … this is a personal drama experienced by Basset and Ossama, commented and equally experienced by Talal, conveyed in panoramic scenes that look like Berlin
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Written 29-04-2014 12:37:34 by Tue Steen Müller
Citat fra pressematerialet: Essensen i Bayaka kultur er deres ældgamle polyfoniske sang. Louis Sarno har gennem sine indspilninger af Bayaka folkets musik sikret en af verdens vigtige kulturarve; i 2003 fik Bayaka folkets musik UNESCO World Heritage Status. Louis Sarno har indspillet over 1000 timer af Bayaka folkets sang og musik. Bayaka folket kæmper i dag for deres overlevelse, da træfældere og guldspekulanter indtager deres leveareal. Over de sidste to årtier er 75 procent af Congo Basin regnskoven blevet ryddet...
Dette er baggrunden for Michael Oberts film, der fra i morgen, via Doxbio, har premiere I mere end 40 danske biografer. Den fortjener et stort publikum for sin smukke skildring af en mand, der I 25 år har levet I regnskoven hos Bayka-folket, hvor han har optaget deres enestående musik. Louis Sarno hviler I sig selv, når han sidder I sin lille hytte og udtrykker sin kærlighed til det samfund, som har taget ham til sig. Han har lovet sin søn, som han har med en Bayaka kvinde, Gomá, at vise ham hvor han selv er født og vokset op og turen til New York udgør anden halvdel af historien, hvor drengen Samedi oplever en helt anden verden, som selvfølgelig synes at fascinere ham.
This is what I wrote after the idfa festival, where the film got the main prize: The winner, ”Song from the Forest”, has an absolutely wonderful main character Louis Sarno, charismatic, sympathetic and his contribution to the collect of music from the pygmies is admirable and extraordinary. To see and listen to him is great, and there is a lot to get from his travel with the son, whereas it irritates when the filmmaker in the beginning of the story, as a kind of selling tool, brings in Jim Jarmusch to tell us how magnificent Louis and how apartheid is still to be found everywhere, there are other show-stoppers like that along the way...
I saw the film again this morning and focused on what I liked (still having problems with the editing structure of a film): Cinematographer Siri Klug) has amazingly beautiful images from the forest, this is where the film (accompanied by Bayaka music and renaissance music by William Byrd) lives aesthetically, whereas it falls a bit down when we go to the US with the interviews and family situations – maybe it was the intention to have it more prosaic to stay in harmony with what Sarno feels like when he is back to New York: I'm not a real person in this place. The story with him and the son is nice, father and son but not much more than that. In the forest he talks about the ”spiritual serenity” that he experiences, he talks in such a mild and calm and clever way when he sits in his humble house, but he (in the US part) is also more than concerned about the future of the Bayaka culture, and is he seriously ill, you think when you see him in New York?
Germany, 2013, 96 mins.
Written 27-04-2014 09:49:20 by Tue Steen Müller
This new film by Latvian film and opera director Kairiss will have its international premiere tomorrow at Visions du Réel in Nyon. Here is an article I wrote for the promotion of the film:
The first film work I met from the hands of Viesturs Kairiss was ”Romeo and Juliet” (2004). A wonderful original short documentary, or as it has been named ”a documentary musical”, where two deaf youngsters perform the staging of Bernstein’s ”West Side Story”. It has since then been one of my first choices, when I have had the privilege to make retrospectives of Baltic documentary cinema for international festivals.
I learned that Kairiss already from the late 1990’es worked as a theatre and opera director and in that field now has developed into an often used director internationally with a special fame for his Wagner opera settings. His way of working in opera was interpreted freely and with a lot of inspiration by his colleague Davis Simanis, a soul brother in Latvian documentary. The film was ”Valkyrie Limited” (2009), a masterpiece overseen by international festivals. Simanis has worked with Kairiss as editor in several of his films, including the features.
Kariss is an opera director who also makes films, and tries to
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Written 26-04-2014 14:09:03 by Tue Steen Müller
The EDN website is a rich source of general information for documentarians around the world. Available, even if you are not a member – which you definitely should be to get all the service provided by the organisation.
For instance the newly published call for projects to be pitched online, this time projects ”From the Opposition”, deadline for submission May 2nd, check the website, from where this (edited) text is taken:
EDN Online Pitching is a pitching format based on an online video conference, where a limited number of documentary projects are pitched. For this pitching session EDN is calling for documentary projects from the opposition. The submission deadline is May 2, 2014 at noon.
EDN Online Pitching is an initiative where four documentary projects are pitched to a group of leading international financiers and decision makers... each session lasts one hour. This session, which will focus on documentary projects on 'the opposition', will take place on May 23, 2014 at 14:00-15:00 (Central European Time).
With projects from the opposition, we mean documentary projects done by or portraying people, groups or movements forming a social or political opposition. This can for instance be:
- Political oppositions fighting for democratic rights
- Armed groups battling suppressing political leaderships
- Social movements trying to change current dominant structures.
For this session we plan to have the presence of 4 - 6 financiers and experts with a special interest and experience in human rights, political and current affairs documentaries. So far the following have confirmed their participation:
Iikka Vehkalahti, YLE, Finland
Ryan Harrington, Tribeca Film Institute, USA
This is EDN of today, if you want to hear a bit from the past, EDN has published an interview with its Member of the Month, Tue Steen Müller, who remembers the days of the fax machine in the office in the mid 1990'es.
Written 25-04-2014 09:27:37 by Tue Steen Müller
”A World of Troubled Beauty…”
NY Times brought the most precise headline to an article about the films of Austrian filmmaker Michael Glawogger’s impressive work: A World of Troubled Beauty – referring to his trilogy ”Megacities”, ”Workingman’s Death” and ”Whore’s Glory”. (Post 08-08-2012)
AN ART OF CROSSING BOUNDARIES
The IDF (Institute of Documentary Film) website informs that the first retrospective of the Austrian documentarian is taking place in New York at the Museum of Moving Images until April 29. The website of the Museum includes interesting text excerpts from a soon to be published book on Glawogger. Here comes the series intro by the museum:
”One of the most versatile and original talents in contemporary world cinema, the Austrian filmmaker Michael Glawogger has made an art of crossing boundaries, both geographic and formal. He spans diverse, far-flung locations within a single film, often dealing with ambiguous notions of home and foreignness, and moves back and forth between fiction and documentary, sometimes combining and subverting both modes. Glawogger’s career resists classification at every turn, but whether set on the margins of the developing world or in precincts of privilege, his surprising, beautifully photographed films are testaments to his own boundless curiosity and to the endless complexity of the human condition. This retrospective, his first in the United States, includes his widely acclaimed and much debated documentary trilogy on harsh working environments, as well as a selection of fiction features and experimental short films.” (Post 22-04-2012)
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Written 23-04-2014 18:01:01 by Tue Steen Müller
Shocking news – Michael Glawogger has died from malaria during the shooting of a film in Africa. So young! My deepest condolences to family and the many, who were close to him.
In June last year I had the privilege to moderate a masterclass with Michael Glawogger (photo). It happened in Barcelona at DocsBarcelona, where his ”Whores Glory” was shown. I had recommended the masterclass to happen after meeting the director at the Magnificent7 festival in Belgrade 2011, where he stayed the whole week of the festival, took everyone by heart with his warm generosity and ability to inspire, sharing his experience as a filmmaker, who never compromised and gave us, as he expressed it himself, a description of ”la condition humaine”.
In connection with a retrospective in New York, NY Times characterised his impressive work as ”A World of Troubled Beauty” – referring to his trilogy ”Megacities”, ”Workingman’s Death” and ”Whore’s Glory”. Films that will stay in film history.
A couple of quotes from his hand, taken from the many texts about Glawogger: ”I start filming when I sense that nothing is exotic any longer. But common. Not before.”“For me documentary filmmaking is a very special kind of life and I come to see places in a way that I could not see by just travelling, and I would also feel lost travelling without the purpose of watching things in order to work with them, since that makes sense to me. If I weren't a filmmaker, I wouldn't take that time for travelling and watching, so that makes me very happy. The people I meet for these films, that make them very happy...”
Take a look at the photo, see his smile, see his calm and open invitation to ask whatever question relevant to the art of filmmaking that he mastered so wonderfully – most recent with the film from the National Library in St.Petersburg.
Written 22-04-2014 23:23:23 by Tue Steen Müller
Is this a wise decision, I wondered, when i read a text on "Film New Europe" a couple of weeks ago:
Governmental bodies in both Latvia and Lithuania have banned broadcasts of Russian state TV channels. A three month ban began on 8 April 2014. Lithuania first issued a three month ban of the Russian channel NTV Mir two weeks earlier over broadcast of the documentary The Convicted. It later suspended broadcasts of RTR-Planeta (Russia) also for a period of three months. Latvia issued a three-month suspension of rebroadcasts of the channel Rossiya RTR over reports of biased coverage reflecting military propaganda. One-third of Latvia’s population is native Russian-speaking, and 8 percent of Lithuania’s population is comprised of native Russian language speakers...
I decided to ask three very good friends to give me their reactions, Latvian Lelda Ozola who works as Media Desk at the National Film centre, film directors Giedre Beinoriūtė and Audrius Stonys from Lithuania. The answers, the strongest one first, were:
STONYS: Let me answer you what I think about the banning of Russian TV channels in few questions. Would it be possible that ‘Der Stűrmer’ or ‘Vőlkischer Beobachter’ would be published and distributed in London in
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Written 21-04-2014 17:39:37 by Tue Steen Müller
Danish DR/Dokumania shows tomorrow the American tv (NBC) documentary “Erasing Hate”. I got a link to watch it for a review, I could go through the first third of the film then the link went on strike. So no points are being given but impressions from what I saw and clips found on the internet:
The story is simple: Bryon Widner used to be “ready to kill for the white race.” For 15 years he was a skinhead, he was a neo-nazi. One of the worst, an expert in the field says. Bryon, that is what he says, “became a role model for many”. But he changed his mind when he found Julie, who was also part of the movement, they got a baby and decided to leave their violent past behind. BUT Bryon was tattooed all over, he wanted to get rid of the “signification of a killer”. So, that’s the story… people from an organisation that investigates the far right movements in the US meet with Bryon and Julie, wants to help and an anonymous donor pays for the plastic surgery that is extremely painful.
It is indeed an American documentary: Narration, interviews where you hear the interviewer, close-up of the tattoos, music from “wall to wall”, reenactments, sweet sequences from the family life etc. No surprises, but pretty hard to watch the plastic surgery going on! A quote from the doctor: Your heart has changed, now we need to change the surface…
(This article give the whole story in details).
To be shown on DR, Dokumania Tuesday April 22
USA, 91 mins., 2011
Written 19-04-2014 13:43:05 by Tue Steen Müller
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.
The drama evolves as the days pass. Andriessen has composed music for the 125 year's anniversary of the Concertgebouw, and enters the building to follow the rehearsals during the last five days before the performance. The camera stays very much on the face of the composer, who appears a bit nervous and confused in the beginning. His relationship to the musicians is warm and generous, while the relationship to the conductor is on the contrary a bit complicated. At some moments, to say the least... ”school teacher”, says Andriessen having discussed details with Jansons, ”he is a pain in the...”. Some of the musicians seem to agree with Jansons and his need for pedantry – it is clear that he in his questions to the composer that this is not the kind of music he favours – others like the more open attitude to interpretation that Andriessen stands for.
It is a very generous film. You get very close to the artistic creation of a fine piece of music, you get a fine impression of how two characters of different temperament get closer to each other, two old proud professionals who have to meet each other, whether they like it ot not. You see how an orchestra works preparing down to the smallest details, asking questions to the composer. Andriessen has very interesting comments to his work, to music and to from where his inspiration comes... Happy Ending, Andriessen walks out of the building, out into windy Amsterdam mission completed.
The film is shown in Tuschinski, Amsterdam May 6 in the context of the 75 birthday of the composer. It deserves an international life.
The Netherlands, 2014, 75 mins.
Written 18-04-2014 14:35:01 by Tue Steen Müller
It is rough. It is provoking. It is touching, poetic and shocking because you experience the difficulties of a man’s aim to come to terms with himself and life as it goes on in his head and around him in the psychiatric hospital, where he is, has been for 12 years and where he in a film, he is making himself, expresses his despair. Outstanding it is, nothing less!
He does not understand, why he is put up here, ”I am a bohemian, I write poems and songs, I take photographs, why am I here with retarded people”. And Mitch makes this film, together with Damir Cucic, filming himself and patients behind the bars, he is an intelligent well-formulated man, who talks about himself and asks questions in different languages to other patients. They sing songs, they rap and perform. Or sit on a bench, have given up, have been here for 22 years. These patients are not visually recognisable, they have been given silhouettes to cover their identity.
Mitch is a man who has been using many drugs, and you understand quickly that he is locked in because he has committed crimes. He turns the camera (a cellphone?) towards himself, he is filming himself at night time as well, and the director of the film, Damir Cucic, interprets his situation in these and many other
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Written 17-04-2014 22:26:09 by Tue Steen Müller
A mail came in today with the headline: Good News in Bad Times! It came from Orwa Nyrabia from Syrian Proaction Film, together with French Films d’Ici the producer of ”Silvered Water. Syria, An Auto-Portrait”.
Orwa Nyrabia: It is with much pleasure that we share with you, wonderful friends and partners, the news we received while Homs is under merciless shelling. Our new release is premiering in May, and taking the story another step further...
The film in question has been selected for the Festival de Cannes, Official Selection, Special Screenings.
Directed by Ossama Mohammed (photo) and Wiam Berdirxan, the description of the film goes like this, according to the mail received:
“In Syria, everyday, YouTubers film then die; others kill then film. In Paris, driven by my inexhaustible love for Syria, I find that I can only film the sky and edit the footage posted on YouTube. From within the tension between my estrangement in France and the revolution, an encounter happened. A young Kurdish woman from Homs began to chat with me, asking: ‘If your camera were here, in Homs, what would you be filming?”. Silvered Water is the story of that encounter.”
Indeed a Special Screening at the upcoming Cannes Festival!
Music by Noma Omran
Editing by Maisoun Asaad
In association with Arte France - La Lucarne
With the Support of CNC, AFAC and Sundance Documentary Fund, Procirep.
Written 12-04-2014 16:59:54 by Tue Steen Müller
... with the subtitle ”Caught in Between”. ”An Animated Documentary” it is said in the press material, and indeed it is, including all kind of animation techniques that I don’t have knowledge enough to characterise correctly. But what I can say is that I don’t remember to be so wonderfully surprised as I did with this film by a director, who does not hesitate to use the film language in all its beautiful range of possibilities within the animadoc genre: archive material, photos, interviews, ”normal” documentary footage in ”normal” speed and in fast motion, a personal commentary...
”A director’s quote from the press material: …the film was inspired by my family history. I was intrigued to hear a casual comment which my grandmother made one day: My great-grandmother - her mother - never got used to living in Slovakia. When I learnt that my grandmother’s family only moved to Slovakia after they had left Hungary – their homeland – I was stunned. My grandmother was only four years old and, naturally, she doesn’t recall much about the events of those days. Yet she remembers that the turbulent times after World War II dramatically affected the lives of numerous Slovaks and Hungarians. Today Felvidek is a Slovak territory largely populated by ethnic Hungarians. But back in the 1940s, thousands of people were forced to leave their homes and resettle. I never knew that! The postwar resettlement was never mentioned at school… Hungarians had to relocate from Slovakia to Hungary. 89 660 Hungarians left their homes in Slovakia at that time and 71 787 Slovaks from Hungary returned to Slovakia. My film has an ambition to show how postwar events affected the fates of people in both counties.”
It is a complicated story that the director wants to tell and sometimes along the watching of the film I found the explanatory text too dominating but that is a detail compared to the many superb poetic sequences, where images tell
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Written 10-04-2014 20:33:44 by Tue Steen Müller
It’s gonna be a bit personal/sentimental as I worked with Danish short films and documentaries for 20 years. At the Danish Statens Filmcentral, where the distribution on 16mm was huge to the whole non-theatrical sector – schools, community groups and assocaitions, high schools, universities and for children of course the kindergartens, but also art and culture houses, and libraries... Of course many of the films were shown on television, but – even if we around 1990 had 300.000 screenings organised at these places, the question was always from the individual viewer: Yes, but where can we see these fantastic documentaries that you talk about? We don't have a 16mm projector at home...!
As of today, after we went from 16mm prints to VHS to dvd to internet streaming, the answer is easier, go to your computer – it is organised, NOW, by The Danish Film Institute, through (yes, they use the name of the film institution that existed from 1939 to the mid 1990’es where it was merged with The Danish Film Institute) Filmcentralen, that offers Danes to go online and find films they want to watch for free, or film links where they have to pay a bit on other platforms. On top of that the viewer gets information about the film and its director. The photo to the text is from the poster of the masterpiece by one of ”our” masters, Jon Bang Carlsen, ”Hotel of the Stars” from 1981, available for free, as are 12 of the films by this director, for three others from his hand there is a link to other streaming possibilities. That's a treat!
300 films are available for free, links to many others, through this Filmcentralen, sorry it is not for non-Danish but why not pick up this idea? It’s cultural policy at its best!
There are of course many films that are not there yet, but it is an excellent start. Bravo!
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