Filmkommentaren

Chris Marker: Level 5

Written 10-10-2017 16:11:56 by Allan Berg Nielsen

Chris Marker: Level 5

French computer programmer Laura tackles a challenging video game. She researches World War lI's bloody Battle of Okinawa, the last pre-nuclear face-off between the US and Japan, interviews with Japanese experts and witnesses, including filmmaker Nagisha Oshima, cause Laura to reflect deeply on her own life and human kind. Will she be able to go beyond Level 5? A fascinating humanistic reflection on war, memory and history. (DOCAlliance synopsis)

This documentary uses fiction to address shared memory of the Battle of Okinawa. Laura tries to get to the most difficult stage, level 5, of the computer program left behind by her late husband. In this are revealed statements by Rev. Kinjo Shigeaki, who witnessed the mass suicide at Tokashiki Island; documentary footage of people jumping to their deaths from cliffs on Saipan Island; and the image of a soldier who lost his memory due to the Battle of Okinawa, portrayed in John Houston’s film Let There Be Light, which was banned from public viewing for thirty years. (Chris Markers synopsis)

Chris Markers film, både denne og de andre i den retrospektive serie, bliver tilsyneladende stående tilgængelige på DOCAlliances streaming. Det giver mig mod til at fortsætte mit forsøg på at se og skrive om så mange af hans film som muligt. Jeg vil gøre det på den måde, at jeg lader uregelmæssigheden i dette letsindige foretagende skinne igennem i mine blogindlæg, som jeg pludseligt afslutter på steder, jeg i skrivende øjeblik bliver nødt til, fordi kræfter og tanker svinder...



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Categories: Artikler/anmeldelser DANSK, Web

DOCAlliance /4 LETTRE DE SIBRIE

Written 17-07-2017 16:01:31 by Allan Berg Nielsen

DOCAlliance /4 LETTRE DE SIBRIE

Hov, jeg ser at DOCAlliances retrospektive Chris Marker serie stadigvæk kører på deres streamingtjeneste. Jeg havde ellers belavet mig på at skrive om den post festum nu længe efter den begyndte og vi skrev om den her på Filmkommentaren, Tue Steen Müller en introduktion og jeg om en enkelt af filmene, hvorefter jeg gik i stå. Til nu midt i sommerferien.

For det var med forsigtig tøven jeg nærmede mig Chris Marker og hans film. Han er for mig en myte, den mand som skaffede råfilm til optagelserne i Chile og bagefter fik dem smuglet ud og Sara Thelle fortalte mig engang jeg besøgte hende i Paris, at den nu gamle sky mand handlede på hendes marked og boede der i nærheden med sin kat, som han sendte et portræt af, når en redaktør skulle bruge et af ham, en kat hvis katteliv i lejligheden han lavede film om, film han lagde ud på YouTube, film som jeg så og fascineredes af på grund af myten og auraen og så dette særlige autoritative greb, som jeg mærker hos visse instruktører, og det ikke på grund af myten. Det er jeg sikker på; og Sara Thelle forærede mig nyrestaurerede dvd udgaver af andre, længere og mere ambitiøse film som jeg så, men ikke forstod ret meget af, men blev optaget af nu osgså på grund af myten om disse berømte værker selvfølgelig, men alligevel især på grund af deres konsekvent sikre og gennemarbejdede storhed. Jeg var klar over, der var mesterværker iblandt.

Og så blev Tue Steen Müller og jeg som nævnt for nogen tid siden opmærksomme på DOCAlliances retrospektive Chris Marker serie og jeg tog mig på at at se de film.

Denne og de forhåbentlig følgende blogindlæg er små og spredte notater fra disse gennemsyn, blot en slags kvittering jeg bestemt er forpligtet på. For det var mere omvæltende i mig end det vil lykkes mig endog bare at antyde i det følgende som nu kommer, altså alligevel ikke post festum. Og det er godt, ferietid kan være frigjort tid, tid til at se og læse om det som ikke nåedes aktuelt. Ferietid er fordybelsesforsøgets langsomme tid, reprisens tid, gentagelsens tid. Det kan nås endnu, og det kan kun anbefales, her er linket til streamingen:

https://dafilms.com/program/628-chris-marker 



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Categories: Artikler/anmeldelser DANSK, Web

DOCAlliance /3 DIMANCHE PKIN

Written 11-06-2017 12:03:15 by Allan Berg Nielsen

DOCAlliance /3  DIMANCHE  PKIN

CHRIS MARKER: DIMANCHE À PÉKIN

Chris Marker er på optagelse, det er 1955, det er i Kina… Det var jo tidligt efter krigen, så det var tidlige scener fyldt med ærbødighed og håb for den unge revolution han optog. Jeg ved ikke om han var alene, det må jeg have fundet ud af, men jeg ser at Agnes Varda er krediteret for Kinakyndig medvirken. Og det har sat sig smukke spor så det nye Kina det smukke lille essay igennem spejler sig i og på mange mange måder ses fortsætte og udvikle de bevarede elementer af den gamle kultur som Marker lærte at længes mod i sin barndoms billedbøger og fortællinger om drager og kejsere og sværdsvingende atleter og dybt disciplinerede boksekæmpere.

I den velskabte korte film, som kom ud af det som et stykke fejlfri cinematografi, mønstergyldig i samtiden, virker alle elementer kongenialt med Markers mesterligt klassisk akademiske optagelser uden lyd, den gennemtænkte nykomponerede musik af Pierre Barbaud, de muntert præcise lydeffekter ved Arkady (groupe des XXX) lagt på den kunstfærdige lydside af Antonio Harispe i sin tids design, Fracine Gruberts yderst elegante klipning , produceren Madeleine Casanovo-Rodriquez også fra (groupe des XXX), hendes sikre hånd og først og sidst den kloge gennemløbende stemme henover, som Marker har skrevet i sin tænksomt formulerede patos med sommerfuglens lethed.

Chris Marker: Dimanche à Pékin, Frankrig 1956 (restaureret i 2013), 19 min. Kan ses disse dage på:

https://dafilms.com/film/10152-sunday-in-peking



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Categories: Film History, Artikler/anmeldelser DANSK, Web

DOCAlliance /2 LA JETE

Written 10-06-2017 15:11:59 by Allan Berg Nielsen

DOCAlliance /2  LA JETE

CHRIS MARKER: LA JETÉE

Det var i 2008. Jeg havde været til festival Cinéma du réel, og jeg skulle jo have noget med hjem til min filmklub. Noget fra Paris. Noget rigtigt. Jeg fandt det i Pompidoucentrets butik. En nyrestaureret dvd udgave af den udødelige film om byen, om kærligheden og om døden. Om tiden og om krigen og om det umulige i at undslippe. Dette billede er fra afsnittet om mødet og forelskelsen og foråret i Paris. Det er et still fra location. Jeg havde et andet Paris billede med også. Det er et still fra samme film. Byen lige før udslettelsen.

BIOGRAF

Filmen består af sådanne stills. Den er optaget med Pentax 24x36, bortset fra en enkelt, naturligvis berømt filmscene med øjne som bevæger sig, optaget med et Arriflex 35 mm lånt en enkelt time. Marker kalder det en filmroman. Han hylder i en lille tekst i programhæftet sin barndoms lommebiograf Pathéorama med serier af lysbilleder, ”… mais ces scènes étaint des plans, magnifiquement reproduits, de films célèbres, Chaplin, Ben Hur, le Napoléon d’Abel Gance.” En onsdag aften dengang så vi filmen i FOF filmklubben her i byen. Jeg var en begejstret og forvirret oplægholder, det her var filmhistorie og levende nutid på samme tid, det var noget rigtigt, noget dybt betydningsfuldt og noget mærkværdigt fra min ungdom, og jeg skrev et par notater til min præsentation af La jetée og to Marker film yderligere, som jeg selvfølgelig heller ikke havde forstået ret meget af, det mærkede man tydeligt, mærkede jeg tydeligt.



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Categories: Film History, Artikler/anmeldelser DANSK, Web

Adam Papliński: Pitch the Doc

Written 09-06-2017 16:41:14 by Tue Steen Mller

Adam Papliński: Pitch the Doc

While at the Krakow Film Festival I ran into an old documentary friend, Polish producer Adam Papliński, who invited me to hear more about a new online project that he is launching right now at different festivals around the world: Pitch the Doc. He has received financial support from the EU Media Program and from the Polish Film Institute and the projects is endorsed by EDN, European Documentary Network. On the website of the latter, in an interview with Papliński as ”EDN Member of the Month”, he explains how he got the motivation for this project:

“The official launch of the platform in beta version was publicly announced during the 2017 Berlinale. The idea to launch such an internet service came to my mind 2-3 years earlier… I had received a phone call from a Russian filmmaker that we had selected to pitch a project at one of our events (Dragon Forum, ed.). He explained to me that right now he was on the Barents Sea shore shooting the film and, even though he was honoured by our decision, he could not afford to come. He had no money to pay for accommodation, he had no passport and so on… I found it a real pity that such a good project could not show up on the European market and that around the world there are probably a lot of other outstanding ideas and film projects struggling with similar problems. On the other hand I heard feedback from decision makers that the market lacks fresh new ideas. The obvious place for matchmaking the projects and investors seemed to me to be online, but I was surprised when after several days of surfing I didn't find a site providing an effective solution…”

That well known gap Papliński intends to close with Pitch the Doc, a place where the authors can place their proposal with the key information, we all know: logline, synopsis, treatment, link to trailer etc., all that which is asked for when you go to “live” pitching sessions – and where decision makers can place their demands.

I asked Papliński whether he thought that decision makers would sign up. He answered that several c.editors he had met liked the project very much, as “I am tired of travelling”.

A fine initiative in development, go the website and learn more and read the EDN interview where the Polish matchmaker explains more about Pitch the Doc that has a team of evaluators that is strong: Steven Seidenberg, Pawel Lozinski and Marijke Rawie.

www.pitchthedoc.com

http://edn.network/en/members/edn-members-of-the-month/


Categories: Articles/Reviews ENGLISH, Web

DOCAlliance /1 CHRIS MARKER

Written 07-06-2017 12:21:16 by Tue Steen Mller

DOCAlliance /1 CHRIS MARKER

I had a talk with colleague Allan Berg yesterday. He remembered the time of repertory cinemas, where classics could be seen. Nowadays this is mostly the film historical job for the cinematheques. BUT, we agreed, some vod’s have classics on their repertory and when it comes to high quality, nothing compares to DOCAlliance.

That now launches a scoop: 7 films by legendary master of the essay film, French Chris Marker (1921-2012). Quote from the presentation:

DAFilms presents a cross section of the work of the writer, photographer and explorer, ranging from Sunday in Peking from 1956 through his most renowned documentary essay Sunless and The Pier which inspired Terry Gilliam to make his cult film 12 Monkeys to one of the most famous cyberpunk films Level Five from 1997. Read an interview with Bamchade Pourvali, French film critic and author of Marker’s biography. Le temps de la rétrospective est arrivé!

The films are (English titles): Sunday in Peking (1956), Letter from Siberia (1957), Level Five (1997), Sunless (1983), Junkopia (1981), Description of a Struggle (1960), The Pier (1962). Sunless = Sans Soleil and The Pier = La Jetée being the most famous.

Dear readers, the cost for a monthly subscription to DOCAlliance is 5€!!!

https://dafilms.com/program/628-chris-marker


Categories: Film History, Articles/Reviews ENGLISH, Web

Nick Fraser to Receive BAFTA Award

Written 11-05-2017 08:41:45 by Tue Steen Mller

Nick Fraser to Receive BAFTA Award

My first reaction was ”oh, did he not get that already”, but no. But this year the former BBC Storyville editor is to get it, the Special Award at the British Academy Television Awards 2017. No objections!

Nick Fraser has been a name mentioned on filmkommentaren since we started almost 10 years ago. He has been a clever, often tough commentator at pitching sessions, he has commissioned classics as “Searching for Sugarman” and “Man on Wire”, he has written books and articles on the importance of documentaries in today’s society.

And he has – with Danish Mette Hoffman Meyer, producer Don Edkins and previously Finnish Iikka Vehkalahti – been behind the “Why”-series, like “Why Democracy” and “Why Poverty”, tv documentary series that went all over the world.

A press release came in yesterday from Yaddo, “the global online documentary platform” with Fraser as founder and editor. It was set up in 2016, interesting to see what he can get out of that.

I remember Nick Fraser from the 90’es, when he came to Bornholm to the Baltic Sea Forum. He was enormously positive to the Eastern European documentaries and their makers, and his commitment to Viktor Kossakovsky and his “Wednesday” was very important for this “documentary star”.

Congratulations!  

www.yaddo.com


Categories: Articles/Reviews ENGLISH, Web

Dokumania /THE FEAR OF 13 /2

Written 01-04-2017 17:34:23 by Allan Berg Nielsen

Dokumania /THE FEAR OF 13 /2

DAVID SINGTON: THE FEAR OF 13

Peter Bradshaws og Geoffrey Macnabs anmeldelser fik mig til at at love mig selv at se filmen. Og jeg nåede det netop lige før den var bebudet sidste dag på DR TV. Det er en bemærkelsesværdig film, dygtigt lavet helt færdig i hver detalje, næsten helt glat, men anstrengelserne har også gjort, at visse løsninger er blevet overgjort gentaget, så sådanne steder træder ud af den rytmiske, den musikalske selvfølge og jeg mærker detaljen som genbrug, mister den nervøse forbindelse.

VINKLING

Bradshaw og Macnab har for mig begge ret, som de hver for sig ser filmen, kan jeg også se den. Bradshaw: “…For me, he (hovedpersonen red.) feels like a ham actor auditioning for the role of himself in a movie version, he delivers what sounds like an overwritten, over-rehearsed monologue in a breathy-mellifluous voice” og Macnab: ” What is fascinating about Sington's invigorating documentary is that the inmate Nick Yarris recounts his story in his own words. He is formidably articulate, an autodidact who knows how to emphasise all the urgency, suspense, drama and macabre humour in the events.”

For mig var det derfor sådan, at filmens første del stod stærkest, i begyndelsen var hver enkeltdel ny. Men i gentagelserne trættedes jeg. Mere end spænding var det herefter nysgerrighed efter handlingslagets løsning, som holdt mig fast, det i synopsis lovede twist til sidst.



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Categories: TV, Artikler/anmeldelser DANSK, Web

Finn Larsen: The Dump

Written 17-12-2016 15:10:41 by Allan Berg Nielsen

Finn Larsen: The Dump

The Dump – growing mountains of waste in Greenland, is part of the exhibition ”MANS LAND” 2012, Dunkers Kulturhus, Helsingborg, Galleri Pi, Copenhagen and museums in Greenland, now on Youtube:

https://www.youtube.com/watch?v=cta1-rrX6Xs&feature=youtu.be (The Dump, streaming, ENGLISH version)

https://www.youtube.com/watch?v=8qs7xcuC9lE (The Dump, streaming, GRØNLANDSK version)

https://www.youtube.com/watch?v=mbHfLqkyRl0&t=197s (The Dump, streaming, DANSK version)

 

http://www.filmkommentaren.dk/blog/blogpost/3605/ (Om Finn Larsen fotografi og udstillinger)

WASTE

There are 56,700 inhabitants in Greenland, in 18 cities and 50-60 settlements. There is practically no waste management. In the larger cities there are waste combustion systems, but they are undersized and malfunctioning.

Waste disposal management in Greenland is in worse state than it is in Denmark, even though Denmark is no role model. Numerous campaigns want to reduce Greenland to a victim of climate changes. But the majority of Greenlanders does not share this conviction.

The government of Greenland desires room for economic growth and as a result, they agitate the right to increase pollution. Oil drilling and extraction of gold and rare metals are under planning. The economic potential is immense. So are the possibilities of environmental disasters and the risk of expanding al-ready existing social gaps.

The problems Greenland is facing with waste disposal and societal dilemmas are the same, as those of other Nordic and European countries.The distinction is that the problems in Greenland are worse and more evident.

Greenland is no different from any other country. That’s the problem. (Finn Larsen, 2016)

Finn Larsen: The Dump, a journey from north to south of Greenland. Sweden, 2012 (web 2016) 26 min., YouTube.


Categories: Articles/Reviews ENGLISH, Web

VOD for Arabic Creative Documentaries

Written 30-11-2016 21:50:14 by Tue Steen Mller

VOD for Arabic Creative Documentaries

I had the pleasure to meet Palestinian Reem Bader at the Antalya Film Forum earlier this autumn. She told me about the vod platform she was involved in building up. It looks great. Let me quote from the site:

”Welcome to Minaa video on demand VOD, the first in the world to specialize in harboring, streaming and celebrating Arabic creative documentaries. Each month, you will be introduced to creative docs that are new to Minaa collection and invited to join interactive events with directors. As not to miss an event, we encourage you to join Minaa mailing list and its social media channels.

This fall, Minaa is happy to present it’s newest feature: Collections



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Categories: Articles/Reviews ENGLISH, Web

Nick Fraser to Documentary Streaming Platform

Written 28-09-2016 20:24:36 by Tue Steen Mller

Nick Fraser to Documentary Streaming Platform

“How Docs Reach the Audience” was the headline of the conference I was involved in here in Saint Petersburg with presentations of several interesting streaming services for documentaries in the Nordic and Russian environment and with only one broadcaster involved, the 24DOC that also includes a vod offer to its viewers.

A clear statement of the fact that classical broadcasting is far from being the only way for documentaries to the audience.

And in comes today the news from realscreen (written by Kevin Ritchie) that legendary commissioning editor Nick Fraser from BBC’s Storyville leaves his job to “commission documentaries for subscription-based streaming service Yaddo, which he has co-founded with producer Lawrence Elman, who serves as CEO…”

“Yaddo is rolling out in Europe at the end of this month and will enter 160 territories, including the United States, in November.

It will initially be available in Austria, Belgium, Denmark, Finland, France, Germany, Ireland, Italy, Netherlands, Norway, Portugal, Spain, Sweden, Switzerland and the United Kingdom. Subscriptions cost US$4.99 per month or €3.99 per month…”

“Being involved in Yaddo is an exciting opportunity to be at the heart of the future of documentaries and how they are created,” says Fraser.

Read the whole article, link below, exciting news, indeed, Fraser can count on a subscriber in Denmark.

http://realscreen.com


Categories: Articles/Reviews ENGLISH, Web

Natalie Bookchin: Long Story Short

Written 20-07-2016 17:32:04 by Tue Steen Mller

Natalie Bookchin: Long Story Short

I read about it in connection with Parisian Cinema du Réel 2016, where it received the main award – and now tireless fighter for artistic qualistic, DocAlliance, offers it for free until July 24, an offer you should not refuse. As I understand the press release from the vod streamer number one in Europe, Bookchin is a very well estimated, often it is called renowned video artist, who started this project in 2011. Here is the film description:

… In Long Story Short, over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in Los Angeles and the Bay Area in Northern California discuss their experiences of poverty – why they are poor, how it feels, and what they think should be done. Numerous interviews are stitched together to form a polyphonic account of poverty from the inside.

Long Story Short uses the tools and aesthetic forms of the sharing economy to amplify the voices of those most displaced and dispossessed by it. While individuals filmed in separate spaces appear in isolation, mirroring the isolating aspects of the media forms it appropriates, words flow across the screen like musical ensemble, a imaginary collective yet to materialize…

United Stetes,2016, 45 mins.

http://dafilms.com/film/9911-long-story-short/

http://dafilms.com/event/254-long_story_short/


Categories: Festival, Articles/Reviews ENGLISH, Web

DocAlliance

Written 10-06-2016 06:33:42 by Tue Steen Mller

DocAlliance

We have on this site for years announced the free offers from ”your online documentary cinema”, DocAlliance, the best vod you can find in Europe with a focus on Central and Eastern European documentaries but not only, there is also Jørgen Leth and Nicolas Philibert and many, many others for those of us who want to follow trends in modern documentary.

But… why wait for the free offers when you can have a subscription for a ridiculous low price, read this from the last newsletter from DocAlliance:

“Did you know that our catalogue includes more than 1,400 films, 20 retrospectives of famous directors, and 10 masterclasses by the world’s most noted documentary filmmakers? Enjoy your online documentary cinema at any time. Get an unlimited monthly subscription for 3.99 Euro, or subscribe for only 35 Euro for the entire year!”

Photo: Miroslav Janek, many of his films are to be found on DocAlliance.

www.dafilms.com


Categories: Articles/Reviews ENGLISH, Web

Jrgen Leth: Lyrikporten 28 danske digtere /5

Written 18-05-2016 21:00:23 by Allan Berg Nielsen

Jrgen Leth: Lyrikporten  28 danske digtere /5

Det må med dette filmværk være tror jeg, som Dan Turell skrev i en foranstillet note i Jørgen Leths Filmmaskinen (1979) om den bog: ”Når disse filmscener udsendes sammenfattet uden fortællestemme er det fordi klipperen ansér dem for en film og én film, en film om tekst, en næsten besværgende fortsat rullende film om tekstens muligheder. Denne film er nært knyttet til en omfattende tekstlig praksis, men er dog lige fuldt en film der lader sig se – og faktisk opleve tekstlig – på sine egne præmisser, så sandt som Jørgen Leth er så tekstlig en filminstruktør som så filmisk en digter.” (Altså frit afskrevet spejlvendt efter Dan Turèll)

Og FILMKOMMENTAREN lader således Jørgen Leth igen på en hvid baggrund og tilsyneladende intet andet præsentere denne dags digter Marianne Larsen, som i den faste lille q&a taler om ”at være opmærksom med det sprog man har i sig” og i oplæsningen som en bonus forærer os nye ord som særmandage, menskagtigheder og tiltågede skibe:

http://28danskedigtere.gyldendal.dk/#show/c0e07b88-efd1-485b-acff-1f7848b24c9c

Jørgen Leth: Lyrikporten - 28 danske digtere, Danmark, 2015. 28 kortfilm, i alt cirka 280 min., Gyldendal http://28danskedigtere.gyldendal.dk/#

http://www.dfi.dk/faktaomfilm/film/da/96521.aspx?id=96521


Categories: Cinema, Web

Jrgen Leth: Lyrikporten 28 danske digtere /4

Written 15-05-2016 17:58:27 by Allan Berg Nielsen

Jrgen Leth: Lyrikporten  28 danske digtere /4

Det er på en måde Henning Camre, som har bestemt scenografien. Det er så beslutsomt med dette tilsyneladende absolut minimale setdesign. Det skal findes på, men én gang etableret kan det ses som en selvfølgelighed, når det der filmes er digte. Se nu her, Thomas Bobergs ord, linjer og tekster fylder det hvide tomme lærred omkring sig med mangefarvede ting, scener og landskaber. Der males helt ud i hjørnerne.

FILMKOMMENTAREN lader således Jørgen Leth igen på en hvid baggrund og intet andet præsentere denne dags digter Thomas Boberg:

http://28danskedigtere.gyldendal.dk/#show/388a5362-a170-4203-bc76-33abe4ef1785

Jørgen Leth: Lyrikporten - 28 danske digtere, Danmark, 2015. 28 kortfilm, i alt cirka 280 min., Gyldendal http://28danskedigtere.gyldendal.dk/#

http://www.dfi.dk/faktaomfilm/film/da/96521.aspx?id=96521

 


Categories: Cinema, Artikler/anmeldelser DANSK, Web

Jrgen Leth: Lyrikporten 28 danske digtere /3

Written 14-05-2016 20:36:23 by Allan Berg Nielsen

Jrgen Leth: Lyrikporten  28 danske digtere /3

Der er altid regler, så efter oplæsningen skal digteren besvare spørgsmål, jeg ved endnu ikke om det er to hver gang, men Pia Juul svarer Jørgen Leth på disse, hvorfor skriver du digte og hvad kan få dig til at skrive digte. Til det sidste siger hun: ”… det er det knæk der er i Kaalundsgade og det er der hvor Art Taylor banker på i Giant Steps, det er vinden og vejret.”

Men først oplæsningen, FILMKOMMENTAREN lader Jørgen Leth præsentere denne dags digter Pia Juul:

http://28danskedigtere.gyldendal.dk/#show/c7290e00-a132-4804-8ad6-751e5e5fa957

Jørgen Leth: Lyrikporten - 28 danske digtere, Danmark, 2015, ca. 280 min., Gyldendal http://28danskedigtere.gyldendal.dk/#

http://www.dfi.dk/faktaomfilm/film/da/96521.aspx?id=96521


Categories: Cinema, Artikler/anmeldelser DANSK, Web

Jrgen Leth: Lyrikporten 28 danske digtere /2

Written 13-05-2016 09:58:30 by Allan Berg Nielsen

Jrgen Leth: Lyrikporten  28 danske digtere /2

Filmvisningerne i CINEMATEKET i København med digtoplæsningerne næsten nonstop har ENDNU NOGLE DAGE FREM TIL 17. MAJ. Digtere fra tre generationer læser deres digte, fortæller, hvorfor de digter, og hvad der sætter et digt i gang hos dem.

Det foregår i Bio Benjamin, den lille biografsal bag Restaurant Sult, hvor der også efter 17. maj vises danske film nonstop tirsdag til søndag i tidsrummet kl. 16:15-22 (fredage 17:15-22). Der er ingen pladsreservation; man kan frit komme og gå og forestillingerne er gratis. Til gengæld er visningerne ikke programlagt til bestemte klokkeslæt. Bemærk at biografen lukker kl. 22, også selvom den sidst viste film endnu ikke er slut.

Men Jørgen Leths Lyrikporten - 28 danske digtere ruller i sløjfe i Walk-in-Bio fra 27. april til 17. maj.

Imidlertid er det er jo i København, så her på FILMKOMMENTAREN lader vi Jørgen Leth præsentere denne dags digter Peter Laugesen:

http://28danskedigtere.gyldendal.dk/#show/271d0aec-56f4-47e9-94a7-d726b6a01ab9 (streaming af filmen med Peter Laugesen)

http://www.dfi.dk/Filmhuset/Cinemateket/Walk-in-Bio.aspx (om visningerne i Cinemateket)

 


Categories: Cinema, Artikler/anmeldelser DANSK, Web

Michael Madsen Retrospective For Free

Written 04-05-2016 09:04:37 by Tue Steen Mller

Michael Madsen Retrospective For Free

- with this headline on the DocAlliance website: Visual Philosophy of the Unknown. The (unsigned) article on the website is a very fine introduction to an original auteur, who with few films have reached international fame. Here is a full copy-paste:

From mediocrity to alien civilizations, from a theatre theme to 3D technology, from conceptual art to documentary film. Explore the unexpected and original ways of the art world of Danish director Michael Madsen, one of the leading filmmakers of the Nordic cinematic superpower. Watch the director’s film retrospective for free and do not miss your first encounter of the “third kind” via the Czech online premiere of the documentary sci-fi THE VISIT in the week from May 2 to 8!



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Categories: Film History, Articles/Reviews ENGLISH, Web

Jrgen Leth: Lyrikporten 28 danske digtere /1

Written 27-04-2016 18:12:01 by Allan Berg Nielsen

Jrgen Leth: Lyrikporten  28 danske digtere /1

Jeg kunne da umuligt dengang tro at Jørgen Leth kunne gentage mesterværket ”Dansk litteratur”. Det kunne han så bare. Her er nogle få scener, tilsammen en færdig film inde i et filmværk som jeg langsomt vil åbne op. Rationerer jeg med én om dagen, er der til en måned, næsten. I dag, premieredagen er mit klare valg:

Jørgen Leth præsenterer Lea Marie Løppenthin:

http://28danskedigtere.gyldendal.dk/#show/346be144-04d4-459b-abc0-f9d6aa647b45

Der er non-stop visninger i Cinemateket:

http://www.dfi.dk/Filmhuset/Cinemateket/Walk-in-Bio.aspx

http://www.dfi.dk/Filmhuset/Cinemateket/Billetter-og-program/Serie.aspx?serieID=12360


Categories: Artikler/anmeldelser DANSK, Web

Moskeerne bag slret /1

Written 06-04-2016 16:04:50 by Allan Berg Nielsen

Moskeerne bag slret  /1

Martin Jensen og Irene Sørensen: Moskeerne bag sløret, 2016, TV2 / Dokumentar

Dette still taget ud af en optagelse med skjult kamera vokser sig i disse dage ind i landets politiske historie i en stor diskussion om sindelagskontrol. Manden bag kateteret hedder Abu Bilal Ismail og er imam ved Grimhøj Moskeen, og i en af sine lukkede studiekredse i muslimsk hermeneutik underviser han indbudte troende muslimske kvinder fra denne Århusbydel i Koranens tekster, om dens love og dens fastsættelse af staffe for overtrædelser. Bør en lærer i teologi på grund af diskutable tekstlige udlægninger (meget folkelige, i høj grad diskutable udlægninger på lavt videnskabeligt niveau vil jeg tro), bør en sådan lærer i fremtiden kunne anklages og dømmes for disse fortolkninger? Jeg tror filmens budskab er et ja, og dens journalistiske vinkling peger fra begyndelsen i den retning.



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Categories: TV, Web

Nagieb Khaja: Syrien: Den Brndte Jord 1-3

Written 11-03-2016 13:27:00 by Allan Berg Nielsen

Nagieb Khaja: Syrien: Den Brndte Jord 1-3

Det drejer sig om borgerkrigen i Syrien. Politiken meddeler, at gennem mere end seks måneder har russiske fly bombet syriske byer. Den russiske regering har allieret Rusland med den syriske regering, som er i krig med en række oprørsgrupper og den russiske regering fastholder, at bombningerne kun er rettet mod grupperne Islamisk Stat og Jabat al-Nusra, men for Nagieb Khaja ser virkeligheden helt anderledes ud. I tre korte reportagemontager giver Nagieb Khaja et ellers uset billede af krigens rædsler, der hvor bomberne rammer i Aleppo. Nagieb Khajas modige og fortvivlede værk, hans videooptagelser uden omsvøb og hans dæmpede stemme gør det klart for mig, hvad det her drejer sig om, Nagieb Khaja er mit vidne nu, som Pablo Picasso med sin Guernica værkserie har været min fortolker, når jeg gennem mit liv prøvede at begribe borgerkrigen i Spanien.



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Categories: Artikler/anmeldelser DANSK, Web

DAFilms Portal Celebrates 10 Years

Written 26-01-2016 20:26:35 by Tue Steen Mller

DAFilms Portal Celebrates 10 Years

… and you will, as one of the presents from this excellent ”online documentary cinema” vod, be able to watch 5 films for free, three of them by directors Peter Liechti, Viktor Kossakovsky and Sergei Loznitsa… until January 31. More generous offers like this will follow, it is announced on the site.

Also it is interesting to read a short interview with the manager of the vod, Nina Numankadić, here is a quote:

“Today, online distribution is a common thing, but in the beginnings, we were trying to set the rules and see how festival echoes would work, for instance. We were wondering whether presenting films online could endanger the festival or not, whether festival visitors would come anyway or stay athome with their computers, or how the viewers would react if the film was released online before it was released in regular theatrical distribution. However, in the course of time, even those filmmakers who first refused to put their films online, such as Russian director Victor Kossakovsky and Czech director Jana Ševčíková, dispelled their fears and their films are available on our portal today. What was important for us from the very beginning was the quality of the selected films; we were never after quantity…”

Clever words – and test it yourself, browse the list of directors whose works are available: Peter Kerekes, Helena Trestikova, Miroslav Janek… to mention some of the Central European auteurs, but also Kossakovsky, Jørgen Leth, Loznitsa…

Congratulations!

http://dafilms.com/event/236-quiz-10-years/


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Categories: Film History, Articles/Reviews ENGLISH, Web

DocAlliance: From All of Us to All of You

Written 21-12-2015 16:36:20 by Tue Steen Mller

DocAlliance: From All of Us to All of You

Yes, this is how one the partners, CPH:DOX, of the very generous DocAlliance, ends the year with a Disney quote. And it IS a veeery good present that you should accept. The online platform – after a brilliant series of films by Miroslav Janek – offers 16 films (including a couple of masterclasses) FOR FREE, to be watched until next year, January 3rd.

If you have not seen them already, it is a must to go to Viktor Kossakovsky´s ”Vivan las Antipodas”, and to Eyal Sivan’s 128 minutes ”The Specialist” from 1999, with a quote from the text of the site:

“The incredible trial of an appallingly ordinary man. Drawn entirely on the 350 hours of rare footage recorded during the trial of Adolf Eichmann (photo), in 1961, in Jerusalem, this film about obedience and responsibility, is the portrait of an expert in problems resolving, a modern criminal. The film is inspired from the controversial book by Hannah Arendt : "Eichmann in Jerusalem, report on the banality of evil"”.

And one more to be mentioned, check the rest through the website, link below, a film from 2012 that I did not see yet, by film essayist Peter Mettler, “The End of Time”:

“Working at the limits of what can easily be expressed, filmmaker Peter Mettler takes on the elusive subject of time, and once again turns his camera to filming the unfilmmable.

From the particle accelerator in Switzerland, where scientists seek to probe regions of time we cannot see, to lava flows in Hawaii which have overwhelmed all but one home on the south side of Big Island; from the disintegration of inner city Detroit, to a Hindu funeral rite near the place of Buddha's enlightenment, Mettler explores our perception of time.”

http://dafilms.com


Categories: Film History, Articles/Reviews ENGLISH, Web

CPH:DOX 2015 Stream fire film gratis

Written 15-11-2015 13:48:53 by Allan Berg Nielsen

CPH:DOX 2015 Stream fire film gratis

Fra i dag søndag midnat og 48 timer frem kan man streame fire af CPH:DOX's film online. Det er helt gratis og kan benyttes af alle.

CPH:DOX. An exclusive selection from Copenhagen at DAFilms.com On November 16 to 18, we will present a special, only two-day(!) streaming event which will introduce films premiered at Copenhagen’s CPH:DOX festival (held on November 5 to 15). The films are selected across the programme and will be streamed at www.DAFilms.com. The complete programme of CPH:DOX is published on the festival’s official website.

TRAILER:

https://www.youtube.com/watch?v=_keIuPberyE&feature=youtu.be



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Categories: Festival, Artikler/anmeldelser DANSK, Web

Masterclasses and DOKLeipzig Films on DocAlliance

Written 17-10-2015 14:47:11 by Tue Steen Mller

Masterclasses and DOKLeipzig Films on DocAlliance

Again and again DocAlliance, “Your Online Documentary Cinema”, brings quality to its users, who are hopefully many. This time a series of filmed masterclasses from the Jihlava 2014 festival. I visited one of them last year, the one with Wojtiech Staron, which was great, take that or always interesting Godfrey Reggio. For free until tomorrow included. Then you can pay the small fees that DocAlliance operates with and/or go to watch films from DOKLeipzig, for free from this coming Monday October 19 until November 1st. The offer includes a slate of animated documentaries, one of many specialities at the Leipzig festival:



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Categories: Film History, Articles/Reviews ENGLISH, Web

Chantal Akerman: La chambre

Written 07-10-2015 15:16:03 by Allan Berg Nielsen

Chantal Akerman: La chambre

I går var der to facebookopdateringer og igen i dag en fra en følsom og klog filmproducent jeg ad den vej kender og følger, opdateringer vedrørende Chantal Akerman som døde i forgårs og om hendes arbejder. To nekrologer og et link til hendes film La chambre fra 1972.

Det er hendes første film efter hun har forladt filmskolen i Belgien og er flyttet til New York. Hun er 22 år. Det er et studium i filmscenens væsen. Én eneste optagelse, en panorering langsomt dvælende cirkelformet i værelset først den ene vej så den anden vej til sidst i kortere ruter frem og tilbage til en medvirkende formodentlig hende selv som ligger i en seng og spiser af et æble.

Filmen La chambre viser mig en scene som ikke er en historie, ikke er en del af en historie, ikke er en anekdote, der er ingen pointe, blot en naturlig afslutning. Den filmscene er en skildring af et værelse, et bestemt værelse, ikke et værelse som sådan, men det her værelse, netop som filmens præcise titel siger.

SYNOPSIS

In a 360° circular panoramic shot the camera slowly pans an entire apartment (or house). When it first passes the bedroom there is nobody there but each time it shows the room again Chantal Akerman is sitting on the bed, motionless first, then busy doing something (peeling an orange, eating an orange, etc.). When she is last seen she yawns and lies down on her bed. The camera continues panning but after 10 minutes and 21 seconds the film comes to an end and she can't be seen asleep. (IMDb / by Guy Bellinger)

USA, 1972. 12 min.

https://www.youtube.com/watch?v=8AGakyb3eBU

http://www.newyorker.com/culture/richard-brody/postscript-chantal-akerman?intcid=mod-latest&mbid=social_facebook


Categories: Cinema, Artikler/anmeldelser DANSK, Web

Bigert/Bergstrm: Engaged Cool Duo from Stockholm

Written 19-09-2015 10:33:29 by Tue Steen Mller

Bigert/Bergstrm: Engaged Cool Duo from Stockholm

DocAlliance and its excellent vod initiative has for years been promoted on this website and here is (a bit late, sorry, but it’s weekend and maybe you have time…) one more copy-paste of a fine offer from “your online documentary cinema” – to watch FOR FREE works by a duo of artists from Sweden until September 20. Go for it:

Mats Bigert (1965) and Lars Bergström (1962) have formed an artistic duo since their studies at the Royal Academy of Fine Arts in Stockholm. Besides documentaries, their work also includes exhibitions, conceptual art and installations in public space. In 1993, they participated in the Venice Biennale with their installation Adrenaline Dream and have exhibited their work across the world ever since. They often deal with current social and climatic issues. Discover the Swedish duo through their films for free!

During their successful career, Bigert & Bergström’s have produced a large



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Categories: Articles/Reviews ENGLISH, Web

CPH:DOX Rykker Igen: Everyday

Written 24-06-2015 16:00:05 by Tue Steen Mller

CPH:DOX Rykker Igen: Everyday

Den danske dokumentarfilmfestival har for længst etableret sig som en vigtig udvikler af den dokumentariske filmgenres vilkår i forhold til et kvalitetsudvalg, visninger og tilknyttede events, mange af dem sociale og politiske, distribution på alle ledder og kanter, produktion. I hjem- og udland. Det er ganske enkelt en enestående filmkulturel præstation! Og festivalen skal have ros for hele tiden at sætte focus på det kreative.

Som jeg nu ser det her til morgen, hvor en pressemeddelelse fra CPH:DOX fortæller om "“Everyday" (som) er et projekt, der er sat i verden for at kvalificere vores digitale videofortællinger men i lige så høj grad for at skabe et nyt offentligt rum, hvor alternative, personlige og brugerskabte fortællinger kan indgå og ikke mindst deles og kommenteres. Et projekt der forener det personlige, poetiske og politiske i et nyt format med fokus på nye stemmer og alternativ mediedækning.”



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Categories: Artikler/anmeldelser DANSK, Web

Anne Wivel: Slottet i Italien

Written 17-06-2015 21:43:51 by Allan Berg Nielsen

Anne Wivel: Slottet i Italien

Jeg glæder mig rigtig meget til Anne Wivels nye film med Per Kirkeby, Mand falder, som får premiere i DoxBio til november. Som forberedelse ser jeg Slottet i Italien fra 2000.

Det er her også Per Kirkeby, som spiller den store rolle som manden midt i livet, manden i krise. Som spiller rollen som sig selv.

Den handler også om Anne Wivel og hendes filmkunst. I et interview engang sagde hun ”… Jeg ønsker at filme disse konflikter. Jeg synes ikke en konflikt er en privat ting, den kan deles med alle og enhver. Når jeg har fået de medvirkendes accept, er de altid meget villige, givende og åbne…” Og så fortalte hun om Giselle (1991), hvor balletmesteren Henning Kronstam kommer i en konflikt, som på mange måder minder om Per Kirkebys. Det er Anne Wivel, som i sin instruktion og med sit greb tilvejebringer disse usædvanlige dybder af forståelse, som måske også kommer bag på de to mænd.

Nu skildringen af maleren i det italienske slot. Lyden begynder før billedet. Det er fuglestemmer. Så ser vi malet murværk, brækkede nuancer i rødt og grønt. Og væggen har tydelige og betydningsfulde revner.



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Categories: Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 6 /Claus Bohm

Written 23-05-2015 11:20:44 by Allan Berg Nielsen

FILMCENTRALEN 6 /Claus Bohm

Jeg tager et nyt dyk tyve år ned i filmsamlingen på Filmcentralen / For alle og rammer en af de kloge og tænksomme film af Claus Bohm, nemlig Filosof, en samtale mellem Villy Sørensen, Per Aage Brandt, Hans-Jørgen Schanz og Ole Fogh Kirkeby, fire talking heads, hvad for nogen nok lyder støvet. Men jeg husker fra dengang i 1996, da filmen var ny, at den gnistrede af klarhed, og det gør den selvfølgelig stadig. Jeg skrev dengang denne anmeldelse og ser med fryd, at min tekst forankret i sin tids teknologi er forældet i visse pointer, men filmen derimod er fri af al aktualitet, den handler om dette samværets eufori, som gør mig tør i munden:

Sjældent har jeg set en film, hvor jeg i den grad ønsker at eje en videokopi at spole tilbage i. (Nu har jeg så altså en mulighed mere, streamingen på Filmcentralen!) Selvfølgelig er det flot at se disse kloge, talende hoveder projiceret på lærredet i biografen. Man drukner sig i samgværet, og glemmer selve formuleringen. Og i Bohms film Filosof er det formuleringen det gælder, det er jeg ikke i tvivl om, men da det er film og netop ikke radio, som man automatisk kunne hævde, så er det samværets fysiske eufori, der står som erindring bagefter. Som efter en god bog jeg har slugt i én køre. Når jeg udmattet lukker den indser jeg til min selvbebrejdelse, at jeg ikke husker formuleringerne. Kun samværets berøring, som gjorde mig tør i munden. Og jeg græmmes som min tegneseriehelt, ved som han, at jeg endnu en gang ikke slog til.

Så er det herligt at få fat i båndet for et gensyn, så jeg ved videomaskinens hjælp får noteret, hvad det er Kirkeby, Sørensen, Schanz og Brandt formulerer. Tag nu bare Kirkeby. At se ham tale, se fremstillingens formulering, er at høre sprogets musik, der hvor det er nærmest bestemmelsen. At begribe verden. Kirkeby taler i ubrudte kadencer. Fortryder ingen sætning, retter ikke en detalje. Og Bohms film fastholder enhver frasering, så hvad jeg i fryd glemmer af indholdet, det genkalder jeg på båndet. Claus Bohms arbejde er en god film, radikal og hensynsløs som forestilling, men frydefuld. Generøs som del af en videosamling.

Danmark 1996, 36 min.

Litt.: Claus Bohm: Filosof, 1996. En fin lille bog om filmen, som man ofte ledsagede filmene med dengang på Statens Filmcentral.

Filmcentralens streaming: http://filmcentralen.dk/alle/film/filosof

Om filmen: http://www.dfi.dk/faktaomfilm/film/da/28588.aspx?id=28588

Om Claus Bohm: http://www.dfi.dk/faktaomfilm/person/da/7554.aspx?id=7554


Categories: Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 5 /Jon Bang Carlsen

Written 20-05-2015 15:20:41 by Allan Berg Nielsen

FILMCENTRALEN 5 /Jon Bang Carlsen

Ved hjælp af Filmcentalen / For alle kan jeg gå langt tilbage for eksempel i den gamle diskussion om iscenesættelse i dokumentarfilm, og se de i den sammenhæng uomgængelige hovedværker, Jon Bang Carlsens It’s Now or Never og How to Invent Reality fra 1996. Jeg skrev om filmene dengang, og sådan så jeg dem altså ved deres fremkomst:

Når Jon Bang Carlsen i It’s Now or Never lader de medvirkende i Vestirland spille løs, ikke deres egne liv, men digtede liv, ikke i deres egne huse, men i huse, han har fundet velegnede til den særlige stemning, han ønsker i sin film, kunne man hævde, det ikke længere er dokumentarfilm, han laver, men fiktion. Men egentlig er det lige meget, blot det er en enestående oplevelse. For så er alle midler tilladte, skrev juryen i sin begrundelse for at give ham grand prix på Dansk Film Festival i Odense (1996). ”Vi behøver ikke at klassificere et sådant værk som det ene eller det andet. Det er bare en glæde at tage imod med åbent sind”. Som Christian Braad Thomsen fortæller om Karen Blixen i sin film om hende: ”Hun digtede frejdigt om på sandheden for skabe sand digtning.”

Og Bang Carlsen har villet lave et sandt filmdigt om en fattig tilværelse omgivet af stor skønhed på den barske Atlanterhavskyst. Hovedpersonen Jimmy køber en ny ko. Den kan tydeligt ikke lide ham (eller filmholdet?) og vil kun nødtvunget ind i hans gård. Og sådan går det formodentlig også, da han omsider gennem en ægteskabsmægler får kontakt med en kvinde at gifte sig med. Filmen slutter netop som kontakten er etableret. Jimmy har stillet samme nøgterne krav til konen som til koen. Hun skal kunne malke, den give mælk.



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Categories: Film History, Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 4 /Uyarra og Christoffersen

Written 17-05-2015 11:35:28 by Allan Berg Nielsen

FILMCENTRALEN 4 /Uyarra og Christoffersen

Filmcentralen / For alle kan jo gå hen og blive en samling som der trygt kan refereres til og hvorfra filmværkerne til enhver tid langt ud i fremtiden kan hentes frem og bruges af mig, af lånerne, af offentligheden ligesom de litterære værker i de store biblioteker, i dem af dem, som ikke har opgivet at være samlinger. Som da jeg forleden dag via et opslag på Facebook fra Sara Thelle om to artikler af diplomatimedarbejderen Julian Borger i The Guardian om de dramatiske og omhyggelige forberedelser til en retssag mod Bashar al-Assad læste om en af mine dokumentarfilmhelte, den canadiske ekspert i international ret Bill Wiley (FOTO) i Esteban Uyarras og Michael Christoffersens Saving Saddam fra 2008, som netop nu er dybt involveret i den sag. Jeg må jo i denne nye sammenhæng se den film igen. Dengang skrev jeg dette om den:

... Det måtte slutte der på forhøjningen med trappen op. Har nogen mon talt trinene? Bødlen med sort hætte lægger et sort tørklæde om Saddams hals, og derefter løkken, som netop ser sådan ud. Man ser det alt sammen på mobiltelefon-optagelsen. Det er ikke noget smukt billede. Det er forfærdende som den grimme videooptagelse fra retssagen mod Elena og Nicolae Ceausescu. Billedet af dem i overtøj. De sidder i den kolde skolestue, hvor standretten finder sted. Summarisk rettergang.

Denne films hovedperson, Bill Wilay vil forhindre, at noget sådant gentages. Han vil en retfærdig rettergang efter internationalt anerkendte regler, han vil, at drabene hører op, vil afskaffe dødsstraffen som første skridt… (Læs videre

In English from FILM Magazine 1 November 2008:

THE CRIME OF CRIMES

by Allan Berg Nielsen

In Saving Saddam, Bill Wiley, a Canadian lawyer, wants to abolish the death penalty. The film is produced by Mette Heide and Michael Christoffersen for Team Productions, the company that produced Milosevic on Trial, about The Hague Tribunal.

There it inevitably ended, on the podium, with the steps leading up to it. Did anyone count the steps? The black-hooded executioner ties a black kerchief around Saddam’s neck, next the noose, which looks just so. The mobile phone video shows all, and it’s not pretty. It’s every bit as horrifying as the ghastly video of the trial against Elena and Nicolae Ceausescu with its unshakable image of the two of them wearing their overcoats in the chilly schoolroom where a military court was hastily convened. The protagonist of Saving Saddam, Bill Wiley, a Canadian lawyer, wants to prevent the same thing from happening again... 



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Categories: Articles/Reviews ENGLISH, Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 3 /Vibe Mogensen

Written 16-05-2015 13:59:27 by Allan Berg Nielsen

FILMCENTRALEN 3  /Vibe Mogensen

Jeg vælger denne gang Min fars sind, den er fra 2005, jeg havde haft lidt med den at gøre. Dette er hvad jeg skrev kort efter premieren til en visning i Randers:

Det er en meget smuk titel Vibe Mogensen har givet sin film. Den dækker fuldstændig filmens overvejelse og indhold. Jeg har fulgt den fra de første skitseagtige optagelser for nogle år siden – den var længe undervejs, men den har ikke ændret retning, den var og blev denne uro: min fars sind. Filmen har to medvirkende, Vibe Mogensen selv og hendes sindssyge far. Og den handler om dette sind og tanken i titlen. Arven. Er det sådan i en familie, at alt arves? Og er det så også sådan, at vi må vedgå denne arv?

Instruktøren besøger med sit kamera faderen, som bor alene i Randers. Og de bruger samværet til at dykke ned i familiehistorien. De har fotografierne og de mange film, som skyldes faderens store produktivitet altid. Som datteren anerkendende noterer – nu kan hun bruge dem i sit arbejde, i sin undersøgelse og fremlæggelse af historien, hvor faderens og moderens forhold er centralt. Moderen er borte nu. Hvorfor er hun det?

Faderen malede også dengang, og de leder i kælderrummet og i loftsrummet efter et bestemt billede. En fremstilling af en mand og en kvinde som et tohovedet væsen, som siamesiske tvillinger. Og siamesiske tvillinger kan ikke skilles uden, den ene dør, har han læst. Hun kunne ikke leve uden dig, konkluderer datteren om sin mor, men hun kunne heller ikke leve med dig. Du har ret siger faderen sagtmodigt.

Og sådan går deres samvær og deres samtaler videre, datterens og faderens. Kameraet er stadigvæk deres medium, selv om han ikke vil filme mere. Han vil gerne medvirke. Også vise sine følelser, sin sorg, da hun fortæller, at hun skal skilles. Åh, nej – siger han, men han havde anet det. Arven går videre, Sådan også med kærligheden til børnene – som Vibe Mogensen er sikker på hun har, ja, du er god mod dine børn, fastslår faderen, og hun nikker: jeg må jo have lært det et sted.

SYNOPSIS

… ”As an editor I’m trying to find the soul/the spirit of the film”, she (Nanna Frank Møller) said and continued to show material from the masterpiece of Vibe Mogensen, Min fars sind (The Mind of my Father): A grown-up man one day starts to cry, he does not know why, it gets worse, turns into a mental illness bringing him on strong medicine to survive. The daughter, the director, visits him, films him, as he has been filming her on holidays way back before he got ill. I have seen the film several times, every time it moves me immensely. (Tue Steen Müller on The Mind of my father)



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Categories: Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 2 /Li, Aalbk Jensen, Zappon

Written 01-05-2015 10:50:57 by Allan Berg Nielsen

FILMCENTRALEN 2 /Li, Aalbk Jensen, Zappon

Jeg har ikke set Rued Langgaard (1986) af Anker Li, Peter Aalbæk Jensen og Erik Zappon siden filmen var helt ny. Jeg kan kun huske, at jeg godt kunne lide den. Det var smukt, husker jeg, der var nogle rekonstruktioner, som forbavsede mig, faktisk betog mig dengang. Et gardin som viftede for et vindue åbnet ud til en sommerdag, en togrejse i et gammelt tog. Jeg syntes, det var smukt. Og siden dengang netop har jeg kunnet lide Rued Langgaards musik. Det står fast, jeg kendte den ikke før filmen. Nu ville jeg så se efter, om det holder, om filmen holder.

Som årene er gået har jeg digtet om på erindringen. Allerede i første billede afmonteres den, det blidt i sommervinden duvende gardin er en rustik bræddedør i et badehus i svenske klipper og udsigt fra verandaen udenfor til havet og bølgerne langt nede. Og så er der lyden. Det er sådan denne komponists musik lyder, en til tider voldsom, til tider blid evigt gentaget brusen. Det er en gennemarbejdet, effektiv åbning til en film, hvor der er tænkt over hver detalje i forhold til filmens kerne, som er skildringen af komponistens kamp for det romantiske mod det modene, for en forsvindende indsigt mod en fremvoksende, det kan jeg se nu, at det er. Men jeg kan også se, at årene er gået, at de filmiske ambitioner var andre dengang, forbillederne andre, den kunstnerske sammenhæng en anden. Og derved har filmen fået en ny kvalitet, den dokumenterer sin tid dengang midt i 80’erne. Den er blevet filmhistorie.

Komponisten Bernhard Lewkovitch og konservatorierektoren Tage Nielsen er de første medvirkende af den række musikere, venner og familiemedlemmer, i alt 9, som husker Rued Langgaard og som et oldtidigt kor højtideligt og præcist indkredser hans liv og minde og dermed filmens kerne, dens essays tema. De er så alvorlige og fine. De står der i filmbilledet fraværende (også Lewkovitch, der dog som den den eneste ind imellem ser på mig), fraværende fordi de tænker og er indadvendte, nærværende i mandens besynderlige liv og i hans fremmedartede musik. Erik Zappons kamera træffer de medvirkende i deres stemmes indre tanke, og de taler med blikket fjernt mod en horisont uden for billedet, de taler som til sig selv, genkaldende. Med mig som lyttende. Fotografen og instruktøren og klipperen har forbilledligt løst den vanskelige opgave med anbringelse af medvirkende og deres vidneudsagn i et filmisk forløb. Sådan kan det gøres ved at skrive en filmscene til hver, ved at planlægge lys og setdesign til mindste detalje og gennemføre en fotografisk holdning og idé konsekvent. Og så overlade dette materiale til en klipper, som kan værdsætte og bygge på filmscenens langsomme egetliv. Det er her i dette snart tre årtier gamle filmværk gjort simpelt hen tilfredsstillende, og det er lykkeligt at kunne gense det.



Read more / Ls mere

Categories: Artikler/anmeldelser DANSK, Web

FILMCENTRALEN 1 /Ole John

Written 19-04-2015 08:44:34 by Allan Berg Nielsen

FILMCENTRALEN 1 /Ole John

Jeg har lyst til at dykke lidt ned i FILMCENTRALEN FOR ALLE, ned i repertoiret, finde ikke de film jeg har pligt til at se, men lige netop de film, jeg har lyst til at se streamet på min computer. Og lige netop med Filmcentralen lykkes det hver gang, uden problemer, uden forstyrrelser. Ligetil og enkelt. Det er smukt. Som den første vælger jeg Ole Johns Niels Bohr fra 1985. Det er fordi, Per Kirkeby engang skrev, at det bedste man kan gøre det er at læse videnskabshistorie. Jeg tror det var engang han skrev om Wegener og kontinenternes bevægelse. Det råd har jeg så fulgt siden, i hvert fald så længe, videnskabshistorie blev skrevet og filmet af poetiske forfattere og filminstruktører, af digtere og videnskabsmænd og -kvinder. Efterhånden som formidlere og journalister tog videnskabshistorien op blev jeg tøvende, det fangede mig mindre. Ole Johns film om Bohr har således holdt sig fast i min erindring i tredive år og den berører mig mærkeligt mere end forståeligt. Dengang den kom og så nu igen. Den holder, som vi siger.

Filmen har fortællerstemme, og som Iikka Vehkalahti så rigtigt gør opmærksom på: ”… I, for example, do not understand a person who, by principle, says: ’And I don’t use voice over’. It is like leaving out the music! What would such films as Citizen Kane, Sans Soleil or Sound Of Insects be without voice over?” Og som Vehkalahti er jeg derfor ikke modstander af voice-over, jeg er faktisk tilhænger af dette intime, fundamentale element, som betror mig, betror netop udvalgte mig historien. Og jeg kan godt lide fortællerstemmen i Niels Bohr, hører den som forfatterens, som Johns. Den rummer sin tids litterære tone. Det er det, jeg mærker, det er en fortrolighed, som at blive set som publikum.

Det næste jeg lægger mærke til, er en detalje, men ligeså vigtig for mig. De medvirkende får ikke navneskilt på, de er medvirkende, altså skuespillere i en film, og de er ikke vidner i en journalistik. Princippet svigtes dog sært nok ved scenerne med Erik Bohr og med Margareth Growing. Men det gør ikke noget, nu er jeg glad.



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Categories: Film History, Artikler/anmeldelser DANSK, Web

Filmcentralen / For Alle:1 rs fdselsdag!

Written 08-04-2015 15:37:39 by Allan Berg Nielsen

Filmcentralen / For Alle:1 rs fdselsdag!

Det Danske Filminstituts streamingtjenste Filmcentralen fylder ét år i dag. Vi siger glade til lykke og bliver overrasket, selv om det selvfølgelig er i fødselarens ånd og i overensstemmelse med Filmcentralens inderste vilje, at det er os, som får gave: fra i dag kan vi se en dansk version af Michael Glawoggers markante mesterværk Arbejderens død (Workingman's Death), 2004.

Lars Movin har på Filmcentralen skrevet en fin og nyttig præsentation af Glawogger og af perspektiverne i hans film: "Arbejderens død er et hovedværk i Glawoggers produktion. Filmen er en storslået hyldest til noget så uglamourøst som det fysiske arbejdes historie. Fortællingen er opdelt i fem kapitler, som hver skildrer et sted på kloden, hvor globaliseringen og industrialiseringen ganske vist har sat tydelige spor, men hvor det fysiske arbejde ikke desto mindre fortsat dominerer menneskenes tilværelse... Glawoggers film er drevet frem af essensen i den dokumentariske impuls, altså selve dette at se og undersøge verden for derpå at videreformidle de indsamlede indtryk i en kunstnerisk form. Originale værker, der udtrykker sig gennem ét menneskes sensibilitet og temperament. Og mere eller mindre politiske udsagn, der uden at anvende hverken paroler eller løftede pegefingre taler direkte ind i hjerterne på alle, som ønsker at åbne sig for dem," skriver Lars Movin.

Filmkommentaren siger hjerteligt tillykke til FILMCENTRALEN og tak for de til i dag 509 film på jeres site og nu specielt tak for Glawoggers Workingman's Death, som vi også holder meget af.

Filmcentralens streaming: http://filmcentralen.dk/alle/film/arbejderens-doed/

Lars Movins præsentation: http://filmcentralen.dk/alle/nyheder/naerkontakt-med-livet


Categories: Film History, Web

IDFA Offers Video Reports

Written 16-03-2015 18:09:39 by Tue Steen Mller

IDFA Offers Video Reports

For those of us who were not able to visit the documentary film festival in Amsterdam, the good news is that the festival (link below) is bringing out videos from the festival. You can watch the opening and closing ceremonies but more important is that there are small interviews with directors whose films you might have seen on other occasions.

Three films that I like a lot are there: Maite Alberdi talks about her wonderful ”Tea Time” (photo), you can meet the winner of the festival with ”Of Men and War” Laurent Bécue-Renard and there is a more than one hour long registration of a masterclass with Heddy Honigmann, who had a retrospective at the festival, had chosen her 10 favourite documentaries to be screened  AND showed her ”Around the World in 50 Concerts” as the opening work of the festival. I am looking forward to watch that masterclass – Honigmann is a master and (by the way) her ”Forever” was the first film reviewed here on the filmkommentaren, August 2007... Nostalgia.

http://www.idfa.nl/industry/daily/2014/video-reports.aspx


Categories: Festival, Articles/Reviews ENGLISH, Web

DocAlliance Offers Kino Maidan Online

Written 10-03-2015 10:30:15 by Tue Steen Mller

DocAlliance Offers Kino Maidan Online

Voilá - 5 films for free taken from the upcoming festival programme of One World Romania (see post below)… words from the site of DocAlliance:

…For the eighth time, the international festival One World Romania brings a critical voice as well as a rich film programme to Bucharest. For the third time, you can watch a selection of the best films online. This year, too, we will present films dealing primarily with the questions of democracy, observance of human rights and reflection of various forms of public protests. One of these protests, held at Maidan square in Ukraine, gave the name “Kino Maidan” to this year’s festival edition. As the festival’s director Alexandru Solomon points out in an exclusive interview, the festival celebrates all the Maidans across the world as well as documentary film as one of the best tools to fight injustice…

The films are ”Vitosha” (Bulgaria, Lyubomir Mladenov), ”Waiting for August” (Romania, Teodora Ana Mihai), ”Naked Island” (PHOTO) (Croatia, Tiha K. Gudac), ”The Serbian Lawyer” (Serbia, Aleksandar Nikolic) and ”Outside” (Germany, Romania, Andrei Schwartz).

These films can be watched for free until March 15. Read the descriptions, read the interview with Alexandru Solomon.

http://dafilms.com/


Categories: Festival, Articles/Reviews ENGLISH, Web

DocAlliance puts Focus on Czech Documentaries

Written 19-02-2015 16:21:57 by Tue Steen Mller

DocAlliance puts Focus on Czech Documentaries

Energetic Andrea Pruchova from DocAlliance invites you to watch 5 new Czech documentaries that compete for the Czech Lion, read what she writes:

“Already this Saturday, February 21, the statuettes of the major Czech film award, the Czech Lion, will be presented to their new holders. These will include the fresh winner of the Best Documentary Film category. The nominees include five renowned and popular films Into the Clouds We Gaze, The Magic Voice of a Rebel, Olga, The Century of Miroslav Zikmund and Václav Havel – Living in Freedom. You have a unique chance to watch all of the nominated films for free or for a small fee from Monday, February 16 to Sunday, February 22! You can also join the vote and choose your own winner of the prestigious award!...”

It’s for free (until this coming Sunday) and if you click below you get an introduction to the films. One has already been reviewed on this site, Olga (photo) by Miroslav Janek, a wonderful work by the Czech master.

http://dafilms.com

http://www.dokweb.net/en/czech-docs/news/where-does-the-czech-lion-live-online-at-dafilms.com!-2646/?


Categories: Articles/Reviews ENGLISH, Web

Jon Bang Carlsens hele vrk p FILMCENTRALEN/alle

Written 31-01-2015 11:58:28 by Allan Berg Nielsen

Jon Bang Carlsens hele vrk p FILMCENTRALEN/alle

FOF-Randers har også en højskole. Der havde jeg for nogle dage siden et foredrag, som noget pompøst var slået således op i aftenskolens katalog: ”JON BANG CARLSENS FILM - mellem digt og virkelighed. Jon Bang Carlsen har lavet film siden 1974. Titler, som måske huskes er ”Jenny”(1977), ”Ofelia kommer til byen” (1985), ”Før gæsterne kommer”(1986), ”Portræt af Gud” (2001), og han er stadig i fuld gang, hans seneste film er “Just the Right Amount of Violence” fra 2013. Stederne er Danmark, Amerika, Irland og Sydafrika. Jeg vil de to timer fortælle lidt om mine læsninger af hans film og nærmere introducere nogle få af dem og vise CITATER fra dem. Jeg vil pege på links til, hvor man på nettet kan se dem i fuld længde.”

Jeg begyndte foredraget forleden dag med at snakke om, hvor vigtigt det er engang imellem at læse hele værket, den hele Henrik Pontoppidan, hele Josefine Klougart. At se hele værket, Peter Greenaway, David Lynch, Werner Herzog og altså Jon Bang Carlsen. Udbredte mig om mine personlige oplevelser med den øvelse, belærende, det var jo højskole.

LINJERNE

Så kom jeg til linjerne i værket, linjerne i Bang Carlsens værk. Jeg talte først om KVINDERNE, altid stærke, men fulde af hensyn, eller ydmyge, men stolte, jeg talte med udgangspunkt i ”Jenny” og ”Før gæsterne kommer” og ”Næste stop Paradis”,  først om de ældre kvinder i filmene og ud fra den sidste og ”Time Out!” om Bang Carlsens skildringer af unge kvinder. Derefter om hans MÆND, som altid er stærke og hensynsfulde eller stærke og hensynsløse. Vi så på hans steder og landskaber, som blev hans LOCATIONS, Vestjylland, Sjælland, Amerika, Irland, Sydafrika. Gennemtænkningen af spørgsmålet om GUD, troen og tvivlen kunne også følges gennem værket, hvor det spidsedes til i ”Portræt af Gud”:

”Præsten: Det modsatte af tro er ikke tvivl. Det modsatte af tro er vished.



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Categories: Film History, Artikler/anmeldelser DANSK, Web

Viktor Kossakovsky Online Retrospective

Written 22-01-2015 14:24:27 by Tue Steen Mller

Viktor Kossakovsky Online Retrospective

Yes, of course it is the unique Doc Alliance that brings to us – FOR FREE – seven of Kossakovsky’s film online – UNTIL FEBRUARY 1ST. It is “the first time that they enter the virtual online world and thus also your computer screens”.

It is indeed fantastic, thanks for that. Some of us will have the pleasure to revisit his work, others will have the chance to follow a great director’s development from “Losev” (1989) to “Vivan las Antipodas” (2011), passing by wonderful “Belovs” (1992), the conceptual “Wednesday” (1997), the declaration of love with “Pavel and Lalya” (1998), “Tishe!” (2002), a from-the-window-look from his appartment in St.Petersburg and “Svyato” (2005), the director’s two year old son discovering himself in the mirror. On top of that the film by Carlos Klein, “Where the Condors Fly” (2012), follows Kossakovsky during the shooting of “Vivan las Antipodas”. The latter it has to be said is available for viewing in” the following countries: Czech Republic, Slovakia, Denmark, Portugal, Great Britain, Greece, Sweden, Lithuania, Latvia, Botswana and all Latin American countries.”

More roses to Doc Alliance – if you enter the website you will also be given competent information about each of the films. My advice for the Kossakovsky (smiling to you from a photo taken at the premiere of Vivav… in Venice) film festival you can make for yourself is to go chronologically.

http://dafilms.com/event/197-Kossakovsky/

 


Categories: Film History, Articles/Reviews ENGLISH, Web

Chile Doc on DocAlliance

Written 13-01-2015 16:36:49 by Tue Steen Mller

Chile Doc on DocAlliance

For those of us travelling to festivals like DOKLeipzig and idfa it has been obvious that something good is happening with documentaries in Chile. Good fims are made and delegations arrive to the festivals to launch films through the ChileDoc, whose executive director Flor Rubina is interviewed for the site of DocAlliance. She says that ”information is ”power”, we an amplify it”. Later on in the fine interview, she says that ”Something that we have definitely improved in the last decade is the cinematography of the films. Visual approach, sound design, and the search for new languages to tell stories are very important to our filmmakers. As I mentioned before, diversity and eclecticism are characteristic of current Chilean documentary production. As any filmmaker, Chilean directors are looking for ways to reach global audiences through small stories that connect them with issues that any human being cares about…”

BUT check it out for yourself on DocAlliance, eight films are free for all until January 18, including the great “The Last Station”. by Cristian Soto and Catalina Vergara.

ChiChiChi – LeLeLe!

http://dafilms.com/news/2015/1/12/ChileDoc_Interview

http://dafilms.com/event/196-chiledoc/


Categories: Articles/Reviews ENGLISH, Web

CPH:DOX 2014/ Doc Alliance

Written 16-11-2014 18:23:35 by Tue Steen Mller

CPH:DOX 2014/ Doc Alliance

Hurry up, Breaking News: CPH:DOX has announced the list of films that will be available for free streaming in cooperation with Doc Alliance. Over the course of 48 hours, on 16 and 17 November, the following five films will be screened online: "Web” (photo), "The Iron Ministry", "Palestine Marathon", “American Interior" and "Me and Dad – No Expectations of Applause". You can read more about the films and stream them on

http://dafilms.com


Categories: Festival, Articles/Reviews ENGLISH, Web

Michael Madsen free online this week

Written 10-11-2014 15:22:00 by Allan Berg Nielsen

Michael Madsen free online this week

MICHAEL MADSEN ON DOCS ALLIANCE

Andrea Průchová from Doc Alliance Films writes: I am contacting you on behalf of the portal DAFilms.com with a very pleasant news.

It is our great pleasure to release early films by Michael Madsen online, and even more for free this week until Sunday, November 16th. You can find the films online at the following link:

http://dafilms.com/event/188-cphdox_2014/

The programme includes these films: THE AVERAGE OF THE AVERAGE; TO DAMASCUS; CELESTIAL NIGHT - A FILM ON VISIBILITY and STATISTICS OF COPENHAGEN. After this week of free streaming all the films will stay in our catalogue permanently which we are very happy about.

CPH:DOX ON DOCS ALLIANCE

Please do not overlook a fact that there will be a 48-hours free streaming of 5 documentary films from this year´s CPH:DOX film programme at the end of this week from Sunday, November 16th until Monday, November 17th.

www.DAFilms.com
Join us on Facebook

Doc Alliance members: CPH:DOX Copenhagen, Doclisboa, DOK Leipzig, FID Marseille, Jihlava IDFF


Categories: Web

Eastern Europe in the Centre of Documentary Events

Written 06-11-2014 21:32:10 by Tue Steen Mller

Eastern Europe in the Centre of Documentary Events

Is the headline of the generous invitation made by unique vod DocAlliance, that until November 9 (you better hurry up!) offers excellent documentaries, all nominated for the Silver Eye Award, read more about it on the site that you have to go to in order to have access to five films, for free.

The films are Bahkmaro by Georgian Salome Jashi (her portrait is on the head of filmkommentaren.dk, in the middle), Father and Son by Polish Pawel Lozinski, A Diary of a Journey by Polish Piotr Stasik, Linar (photo) by Russian Nastia Tarasova, I don’t Love You by Pavel Kostomarov and Alexander Rastorguev and Homo Ciris by Slovak Jana Mináriková.

Yes, East Beats West! This selection proves it convincingly!

http://dafilms.com/event/187-silver_eye_award_2014/


Categories: Articles/Reviews ENGLISH, Web

Helena Trestikova Free Online Retrospective

Written 26-09-2014 07:01:14 by Tue Steen Mller

Helena Trestikova Free Online Retrospective

Yes, she is a documentary superstar, Helena Trestikova. Filmkommentaren has had many posts about her films, which are shot over decades, always with a warm heart for its protagonists, and a social perspective. Now the DocAlliance gives you an offer you can not refuse:

From September 22 to October 5, 2014, the DAFilms.com documentary portal presents (FOR FREE) the first world online retrospective of unique Czech director Helena Třeštíková under the telling title “A Long Journey”. The works by the popular documentarist who has won a whole range of international awards, including Europe’s highest film award Prix Arte, are introduced on the portal in the form of more than 25 films made since the mid-1970s. Moreover, Czech viewers can vote for their favourite film by the filmmaker at www.dafilms.com and win an invitation to an exclusive film meeting with Helena Třeštíková… A quote from what we have written about Trestikova:

About Helena Trestikova at the Magnificent7 Festival 2013: ...a masterclass with a very well prepared presentation with 11 scenes from her films, through her work of long-time observation. She showed us clips from ”Marcela”, ”Katka” and ”René” (Best European Documentary in 2008) and talked about the ethical questions connected to being so close to her characters, helping them ”outside” the film as well, to get on the right track in their lives. Trestikova said that she did not really consider herself as a filmmaker, more as a chronicler, who has new films coming up this year and has plans to continue to film René and maybe also the family in ”Private Universe”. Deep respect for Trestikova for a constant non-tabloid humanistic focus on people outside the celebrity spotlight.

http://dafilms.com/event/182-retrospective_helena_trestikova/


Categories: Film History, Articles/Reviews ENGLISH, Web

Fotografiet 175 r

Written 21-06-2014 10:08:21 by Allan Berg Nielsen

Fotografiet 175 r

Nicéphore Niépce: Fotografisk optagelse ’heliografi’ af bygninger uden for vinduet i arbejdsværelset i Le Gras 1825.

 

 

 

”Forlydender om, at det var lykkedes at fastholde billeder i et camera obscura, blev bekræftet 7.1.1839 af Pariserobservatoriets direktør Francois Arago. 19.8.1839 offentliggjordes Niépces og Daguerres opfindelse, som den franske stat havde købt… ” (Den Store Danske) Det må være disse begivenheder i 1939 i fotografiets langvarige og komplicerede opfindelses-historie, som har fået FILMSTRIBEN til i sit nyhedsbrev i går at fejre 175 året med et tema om fotografi og fotografer ved at sammenstille og anbefale en række film fra repertoiret. Jeg vil så så benytte anledningen til at pege på e af disse film, som jeg synes særlig godt om, ”Fotografi” af Steen Møller Rasmussen (som i parentes bemærket havde fødselsdag i går):

FOTOGRAFI (2006)

I filmen medvirker fire fotografer, Keld Helmer-Petersen, Per Bak Jensen, Krass Clement og Kirsten Klein, men filmen handler ikke om dem. Næsten heller ikke om deres fotografier, sådan specielt. Den er ikke et gruppeportræt, slet ikke en biografisk sammenstilling. Den er om det, som titlen siger, fotografi. Den er et essay, måske, eller en poetik i hvert fald.

Steen Møller Rasmussen har lavet sin film som et fotografi, naturligvis. Med alle de fotografiets elementer, de medvirkende taler om, som synlige og mærkbare tråde af konstruktion og holdning i filmen, så den hviler i sig selv, i sin viden om æstetikken, som et billede af hver af de fire (det skifter hele tiden, i stor ro, selv om skiftene ofte markeres af fast motion (eller hvad det hedder) OG som et billede af Steen Møller Rasmussen.

Tydeligst er selvfølgelig motivet vinduet, som introduceres i første scene. Ude, inde, kigge ud. Det er Helmer-Petersen, som kigger og taler om at løbe ud og ind at hente kameraet og ud. Bak Jensen analyserer udsigtens linjer og beskæringer, Clement er fascineret af tågedagens lys: "Det er fandme smukt", og bliver selvfølgelig optaget af en handling derude i bylivet. Kirsten Klein tager tråden op og får langt, langt ude øje på en båd på fjorden. Jo, det er da en fisker, der er ude at sætte garn. Og hun runder den anden linje af, et træ er med årene blevet så stort, at det dominerer vinduets billede, det forstyrrer ved at tiltage sig for megen opmærksomhed.

Og Møller Rasmussen fordeler rollerne: serier og slægtskaber (Helmer-Petersen), stedet og jeg og dets ånd og det religiøse (Bak Jensen), magien, oplevelsen og besjælingen af den, som så bliver fotografiets sjæl (Clement) og endelig: "Se Jordens krumning her ved Livø Bredning" (Kirsten Klein). Klipperen Anders Villadsen har omhyggeligt foretaget dette fletværk (her kun antydet, analysen kan fortsætte og fortsætte), som gør "Fotografi" til ét eneste billede af denne kunsts væsen.

Fotografi

http://www.filmstriben.dk/fjernleje/film/details.aspx?id=2646376900

http://www.filmstriben.dk/fjernleje/page/article.aspx?id=1852  


Categories: Poetics, Web

Anne Regitze Wivel: Menneskenes land

Written 18-06-2014 15:36:41 by Allan Berg Nielsen

Anne Regitze Wivel: Menneskenes land

Den smukke, velordnede, velfungerende og gratis streamingtjeneste FILMCENTRALEN / FOR ALLE foreslår i sit nyhedsbrev i går, at man ved siden af fodboldfilm skal se film om grønlandske emner: ”Grønland-før og nu. Storslået natur og barske levevilkår – det er to gennemgående elementer i denne samling af film om Grønland. Filmene er lavet i perioen 1955-2013 og handler både om hverdagsliv, ekspeditioner og særlige begivenheder”, hedder det, og jeg kigger listen med de udvalgte titler igennem, og vil anbefale Anne Regitze Wivels ”Menneskenes land” (2006), som jeg holder så meget af. Den handler om et punkts position. Ja, den gør…

Jeg husker endnu fra min tid på filminstituttet den allerførste formulering af filmens synopsis: ”Jeg tror, der mangler en film om Grønland, dette store hvide sted som er skæbneforbundet med Danmark. Alle danskere, der har været i Grønland, har siden et punkt i hjertet, der er helt blødt. Sådan også med mig, der har rejst deroppe to somre for længe siden. Grundstemningen i den film, jeg ser for mig, er det bløde punkts position. Hvor øvelsen går ud på at lade sig rive med, snarere end rationelt at holde igen.”

Instruktøren meddelte altså, at hun gerne ville lave en film om Grønland. Så uoverskuelig som landet og så enkel som sætningen. På én gang. Og det stod med det samme klart for mig: ja, naturligvis. Som en selvfølge næsten. Før jeg hørte begrundelserne, før jeg læste oplægget.

Det var fordi Jette Bang ikke er mere, fordi også Jørgen Roos er død. Og tiden en anden, ikke bedre, men heller ikke ringere. Der var altså stadigvæk filmfolk med kærlighed til virkeligheden bag det smukke navn for landet. Folk med nervøsitet og indsigt og poetisk holdning. Som kunne fortsætte arbejdet med at lave film i den tradition. Som er blevet vores forpligtelse, fordi det land har en vigtig del af vores skæbne knyttet til sig. Der er altså for eksempel Anne Wivel. Jeg bildte mig ind at vide, hvor det her ville bevæge sig hen.

Jeg oplever, Anne Wivels store film hver for sig i deres kerne handler om et omfattende væsen , som hun tager til filosofisk og poetisk behandling: troens væsen, kunstens væsen, tankens væsen. De har hver deres afsides sted: præsteseminarets samtale (Ansigt til ansigt, 1987), balletmesterens indre monolog om kærlighedens forvandlingsformer (Giselle, 1990) og endelig den store digters tekster (Søren Kierkegaard, 1994).

Her kunne det så ske, hun føjede politikkens væsen til. Stedet ville blive den politiske vilje, som den udfolder sig i Nuuk. Men filmen ville også komme til at handle om det grønlandske landskab. Landets mørke og lys. Om et bestemt punkt, som kun Anne Wivel kan skildre på den måde: "alle danskere, der har været i Grønland, har siden et punkt i hjertet, der er helt blødt…" Anne Wivel ville med det her være på vej til en ny stor film. Som ved siden af sin poetiske erkendelse tillige ville blive en omfattende dokumentarisk skildring af det nye Grønland og dets magtelite. På godt og ondt, men mest på godt, forestillede jeg mig.

Filmen var længe undervejs, mange ideer måtte sikkert forlades, nye muligheder kom bestemt til. Den havde premiere februar 2006. Den var helt anderledes, end jeg havde forestillet mig, men det bløde punkt var bestemt positioneret og skildret. Jeg holder meget af den film.

Danmark, 2006, 81 min.

http://filmcentralen.dk/alle/film/menneskenes-land-min-film-om-groenland

http://filmcentralen.dk/alle/tema/groenland-foer-og-nu?utm_campaign=&utm_medium=Alle&utm_source=Newsletter


Categories: Web

Gianfranco Rosi on DocAlliance

Written 06-05-2014 21:22:27 by Tue Steen Mller

Gianfranco Rosi on DocAlliance

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!

http://dafilms.com/


Categories: Articles/Reviews ENGLISH, Web

Med prcision og stor entusiasme

Written 03-05-2014 09:11:44 by Allan Berg Nielsen

Med prcision og stor entusiasme

”Niels Jensen behandler på sin umistelige lyriske malerbaggrund indforstået Palle Kjærulff-Schmidts 'Der var engang en krig' og når efter et langt tilløb om den tids stemning frem til Claus Loofs fotografi. Som, ja altså, så forunderligt præcist rammer den stemning. ’Så smukt som grålys kun kunne være det i – nej ikke i fyrrerne. Men i tresserne.’ Det var jo Coutards lys…” (Fotografi: Niels Jensen på sit kontor på SFC omkring 1985 fotograferet af Freddy Tornberg)

 

Forleden dag udkom i Ulrich Breunings redaktion på filmskolens hjemmeside Niels Jensens efterladte forelæsningsmanuskripter. Det synes vi her på Filmkommentaren er en dejlig nyhed. Derfor har vi her samlet hvad vi har skrevet om Niels Jensen og hans arbejde.



Read more / Ls mere

Categories: Film History, Artikler/anmeldelser DANSK, Web

EDN Today and Yesterday

Written 26-04-2014 14:09:03 by Tue Steen Mller

EDN Today and Yesterday

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.

http://www.edn.dk/


Categories: Articles/Reviews ENGLISH, Web

For alle danskere/ 5

Written 12-04-2014 10:02:37 by Allan Berg Nielsen

For alle danskere/ 5

Jeg er ved langsomt at lære FILMCENTRALEN / FOR ALLE at kende. Den er ikke Statsbiblioteket eller Det Kongelige Bibliotek, jeg kan ikke bare komme med min seddel over de filminstrktører, jeg har brug for i mit arbejde, og så bare finde deres værker. Men jeg prøver alligevel lige med de seks, som lige disse dage er aktuelle i min verden: Per Kirkeby (1 film og 4 links til film), Jytte Rex (4 film og 2 links), Jesper Jargil (1 film og 4 links), Steen Møller Rasmussen (1 film og 3 links), Ada Bligaard Søby (0 film, men 3 links) og Michael Madsen (1 film, men ikke ”Into Eternity”, som der er link til, og videre links til Netflix og YouBio) Det må jeg så prøve. Men hvor er de vigtige tidlige film ”Himmelnattens kejser” og ”Til Damaskus”?

FILMCENTRALEN / FOR ALLE er altså ikke noget bibliotek eller arkiv, ikke en samling. Jeg ser nu, den er tænkt ind i biografkulturen, det her er ikke til arbejde, det er til oplevelse og underholdning. FILMCENTRALEN / FOR ALLE kaster sig ind i den nutidige webbaserede biografkultur, ind blandt denne kulturs stadigt voksende mylder af streamingmuligheder med gadeskilte, indgange og billetluger. Med programmer og profiler, jeg nødvendigvis må orientere mig i og styre efter. Det statslige ansvar, som er bevaret, er den generøse henvisning til de andre webbiografer ved en effektiv og garanteret opdateret linkservice. Det vil vise sig at blive det, jeg især vil benytte mig af i det daglige.

Og når jeg så i dag tager en filmaften i sofaen, vil jeg kigge på programmet i udhængsskabet, på opslagstavlen: Hvad har jeg lyst til? ”Fede streger til de yngste”? Nej, det tror jeg ikke. ”De udvalgte fra Burma til Danmark”, Katrine Philps film, som jeg bestemt bør se? Lad mig nu lige først se på ”Litteratur på film”. Det viser sig at være et overdådigt program at tage fat på fra begyndelsen med Jørgen Leths hver gang overraskende ”Dansk Litteratur”. Men det bliver nu altså filminstruktørerne og deres værker det gælder denne aften, weekend, ferie i sofaen, ikke digterne i første omgang. Ud over Leth er der Li, Roos, Bohm, Preisler, Johansson, Kestner, Rex, Braad Thomsen, Elling, Poher Rasmussen / Anostoni, Movin / Møller Rasmussen, Holbek Trier, Skjødt Jensen og Østergaard. Imidlertid er denne række vigtige navne ikke i  forgrunden af FILMCENTRALENS tema, de skal hittes frem ved yderligere klik. Men er det selvfølgeligt? Jeg kunne spørge: når litteratur er tema for film, når vi bruger udtrykket forfatterfilm, hvem er så autor? FILMCENTRALEN er vist ikke i tvivl. Jeg er…

Still: Michael Madsen: ”Into Eternity”. ”Vi er som hos Tarkovskij i det smukkeste landskab kontrasteret til det foruroligende i et filmfotografi, som ikke svigter. Det er usvigeligt og sikkert, vi vil blive bragt til en slutning, kompetent. Vi er igen mellem de betydningsladede replikker (det har måske gjort indtryk, at Madsen var via Strindberg i To Damascus) her dybt musikalsk klippet til filmens langsomme dialog af dæmpede stemmer. Den undersøgende (den rejsende, den ukendte, den indtrængende) stiller enkle, ofte naive spørgsmål. Svarene kommer tøvende, de er uafbrudt tænksomme, kompliceret-enkle. Rytmen er uendelig langsom: pause, pause, indholdsmættet udsagn, pause, udsagn igen, pause, pause, pause og sådan videre. Den citerede musik er af Sibelius, Varèse, Pärt, Kraftwerk…”

http://filmcentralen.dk/alle

http://filmcentralen.dk/alle/tema/litteratur-paa-film

http://www.filmkommentaren.dk/blog/blogpost/2643/  ("Forfatterfilm, hvem er så autor?", blogindlæg af ABN) 


Categories: Film History, Artikler/anmeldelser DANSK, Web

For alle danskere/ 4

Written 11-04-2014 15:19:34 by Allan Berg Nielsen

For alle danskere/ 4

”Vi er allerede ved slutningen. Hun ligger livløs på scenens gulv. Stemmen, den mørke, kompetente mandsstemme siger: ’… og hendes sind bristede, og hun blev vanvittig, og hun døde.’ Heidi Ryum rejser sig med et suk af anstrengelsen. De går omkring på scenen og snakker om forestillingens detaljer, jeg genkender den indre stemme, ser hvem han er, balletmesteren. Som fortæller mig om dette sværeste af alt, kærligheden. Spændet i alder mellem danseren og balletmesteren lover mig, at fryden og smerten fortsætter filmen igennem, livet ud…”

Jeg har som den i den her omgang sidste kærlighedshistorie Anne Wivels ”Giselle” på min liste, min ønskeseddel til FILMCENTRALEN / FOR ALLE. Men nej, den er der ikke. Jeg bliver høfligt henvist til filmstriben.dk, men der kan jeg kun komme til at se den, hvis jeg er en skole. Der er ikke flere links. Jeg prøver så alligevel bibliotek.dk , og de har den på siden, men igen nej, end ikke en VHS kopi fra samlingen på biblioteket i Herning er der, kun en henvisning til et netdokument... altså Filmstriben, hvor den som nævnt ikke findes i gruppen ”Lænestolen”, som er for sådan en som mig. Jeg noterer på min blok, at jeg ikke længere er begejstret.

Altså ikke bruge mere energi på studiet af den nutidige kærlighedshistorie. Og jeg kigger i min liste over film, jeg har brug for at gense, men af andre grunde, i en anden sammenhæng: hvad med Audrius Stonys ”Alone” og Herz Franks ”Flashback”? Nej. Filmcentralen / For alle rummer kun danske film! Jamen, sådan var det da ikke med den gamle, fysiske Statens Filmcentral, der var der da udvalgte, vigtige importerede film? Og netop de to film ved jeg, Det Danske Filminstitut har indkøbt eller støttet under produktionen, og for ”Flashback”s vedkommende betalt for en dansk version, som endnu findes i VHS kopi, i hvert fald i Herning. ”Flashback” er et ubestridt mesterværk, som i hvert fald bør digitaliseres og indgå i samlingen på Filmcentralen / For alle. Og ”Alone” er uden dialog, den kræver stort set ikke oversættelse. Så tålmod, de kommer, nu de er så langt. Er i huset.

Men, det er klart: jeg kan altså ikke bare ønske. Jeg må gå systematisk til værks som kollega Tue Steen Müller, som fandt ud af, at der er 13 film af Jon Bang Carlsen på Filmcentralen / For alle og blev begejstret. Jeg vil prøve samme øvelse med mine instruktør-helte og -heltinder. Måske bliver også jeg glad. Igen…

Still: Anne Wivel: "Giselle" (1990)


Categories: Film History, Artikler/anmeldelser DANSK, Web

For alle danskere/ 3

Written 10-04-2014 21:52:37 by Allan Berg Nielsen

For alle danskere/ 3

Så er FILMCENTRALEN / FOR ALLE åbnet. Jeg går forventningsfuld, men forsigtig i mine forventninger i gang med en liste over lige netop de instruktører og de film, jeg har brug for at gense, som jeg igen forsigtig i forventningerne glæder mig til fra nu al tid at se igen og igen. Og lige nu har jeg altså brug for bestemte, altså helt (af mig) bestemte kærlighedsfilm. Og jeg har held i første forsøg!

Michael Noers ”Vesterbro”er der! Den vidunderlige åbning er der igen. Genset. Den ikke alene holder, den har i mit sind vundet ved at blive gemt. Fra nu er den altså kun et par klik borte. Jeg gemmer resten af filmen til senere. Det kan jeg jo nu! For jeg skal lige se efter noget mere.

Asger Leths og Milos Loncarevic: ”Ghosts of Cité Soleil” er der ikke. Sådan umiddelbart tilgængelig. Øv. Altså ikke gense Lele’s desperat konsekvente kærlighedshandling. Men der dukker nu en fornem service op: det fortælles, hvor jeg så kan se filmen i dansk version. Jeg prøver: den kan lejes som streaming i to døgn hos YouBio for 29 kr., hvis jeg accepterer deres cookies. OK. Det kræver imidlertid planlægning lige at sætte et par døgn af til nærstudier. Men YouBio er heller ikke noget offentligt filmarkiv, det er en kommerciel hjemmebiograf… må jeg indse.

Pernille Rose Grønkjærs ”The Monastery” er der heller ikke. Øv igen, men jeg benytter mig med det samme af den, forstår jeg nu for alvor, vigtige link-service. (Den er vigtig, hvis den passes dagligt. Kan Producentforeningen klare det? De lover dristigt vedligeholdelse!!) Den uforgængelige og smukke smukke skildring af Vigs kærlighed til to kvinder kan jeg finde på YouBio, på Sofarækken og på Netflix. Ok, men, men… min begejstrings rus over genoplivningen af Statens Filmcentral legendariske offentlige samling, og nu som det særlige, for alle danskere, ikke kun skolebørn, ja den rus damper ligesom væk… Det er vist alligevel ikke himlen, det her.

Still: Pernille Rose Grønkjærs ”The Monastery”: "The third actor in the film, the filmmaker with her camera, becomes entangled in a relationship of complex fascinations. The camera gazes at the old man with increasing tenderness and, for his part, he draws the filmmaker into all his deliberations, talking to the camera as if that were the most natural thing in the world. In their long conversations, the small instrument is a prosthesis for memory that, in eagerness and engrossment, is more easily overlooked than a pad on a stenographer's knee, the black octave of note-taking. Grønkjær's film charts the manifold nature of love." 


Categories: Film History, Artikler/anmeldelser DANSK, Web

For alle danskere/ 2

Written 09-04-2014 19:53:27 by Allan Berg Nielsen

For alle danskere/ 2

"... en ung kvinde, Lele, fremhæves og der skabes grundlag for en kærlighedshistorie mellem hende og en af bandelederne."

 

 

 

 Streamingtjenesten FILMCENTRALEN / FOR ALLE åbner i morgen på

 http://filmcentralen.dk/alle 

Filmkommentaren ønsker Det danske Filminstitut, Filmcentralen og alle danskere til lykke!!! Nu vil vi alle sammen gå i gang med at undersøge, om vi så nu kan komme til at se netop de film, vi længe har ønsket at se. Vi på Filmkommentaren vil, når det lykkes for os, nok skrive om nogle af dem.

Still: Asger Leth og Milos Loncarevic: Ghosts of Cité Soleil, (2004 / 2007) I et af sine mange lag også "århundredets kærlighedshistorie." 


Categories: Film History, Artikler/anmeldelser DANSK, Web

For alle danskere/ 1

Written 08-04-2014 08:43:15 by Allan Berg Nielsen

For alle danskere/ 1

Det Danske Filminstitut, Filmcentralen åbner 10. april 2014 en ny dansk streamingtjeneste, for - som det flot hedder i pressemeddelelsen - alle danskere, som hermed får fri adgang til en række dokumentarfilm og kortfilm, som tidligere har været tilgængelige på filmstriben.dk

På Filmcentralen er der både aktuelle film og klassikere. Der er filmperler for alle: animation for de yngste, prisvindende kortfilm, kunstnerportrætter, film om Danmark og den store verden. Propagandafilm, eksperimentalfilm og debatfilm, der har rykket politiske dagsordener. Film, der får os til at se virkeligheden med nye øjne. Filmene på Filmcentralen er primært danske. Der kommer hele tiden nye film til, og ældre titler bliver fremhævet, når der er aktuel anledning. Filmcentralen bliver desuden en platform, hvor Filmmuseets nydigitaliserede filmarv sættes i spil for nye generationer.

SYNLIGHED OG OVERBLIK

Filmcentralen er dedikeret til kortfilm og dokumentarfilm. Sitet formidler filmenes kvaliteter og relevans med fortællinger om filmene og filmskaberne. På Filmcentralen kan man fordybe sig i en instruktørs værker, læse interviews og instruktørprofiler – eller lade sig inspirere af tematiske samlinger, anbefalinger og nyheder.

På Filmcentralen / For alle kan man se flere hundrede film uden begrænsninger og uden abonnement eller password. Kan filmen ikke ses direkte på sitet, leder Filmcentralen brugeren videre til andre tjenester, hvor filmen kan ses. Det kan være kommercielle tjenester eller bibliotekernes Filmstriben.

OFFENTLIGT- PRIVAT SAMARBEJDE

For Filminstituttet er det afgørende, at så mange danskere som muligt får glæde af den store filmsamling. Direktør på Det Danske Filminstitut Henrik Bo Nielsen siger: ”Vi har længe arbejdet på at gøre disse film tilgængelige for borgerne. Danske kort- og dokumentarfilm er af enestående høj kvalitet og fortæller vigtige historier. Publikum strømmer til festivaler og events, og mange film opnår høje seertal på tv. Men vi skal have filmene endnu bredere ud. I praksis fungerer det sådan, at hvis en film er i kommerciel distribution, henviser Filmcentralen i et pop up-vindue til det site, hvor filmen kan ses. Denne del af løsningen er udformet i samarbejde med Producentforeningen.” Direktør for foreningen Klaus Hansen siger: ”Filmcentralen / For alle er et eksempel på et godt offentligt-privat samarbejde. Dokumentarfilm og kortfilm gøres tilgængelige for borgerne, samtidig med at branchen fortsat kan udnytte de kommercielle muligheder, der findes med den voksende interesse for danske dokumentarfilm. Disse muligheder er vigtige for dokumentarproducenternes skrøbelige økonomi og dermed den fremtidige produktion af dansk dokumentarfilm.

TO INDGANGE

Ud over Filmcentralen / For alle er der også en indgang til brug i under¬visning. 90 % af landets skoler og gymnasier abonnerer allerede på Filmcentralen / Undervisning, der åbnede i oktober 2013. Her har lærere og elever med UNI-login nem adgang til film og undervisningsmaterialer, der inspirerer til at arbejde analyserende og kreativt med levende billeder.

FILMCENTRALEN / FOR ALLE ÅBNER 10. APRIL 2014

Yderligere oplysninger: Susanna Neimann, kommunikationschef susannan@dfi.dk Tlf. 4119 1540 og Liselotte Michelsen, kommunkationsmedarbejder, liselottem@dfi.dk Tlf. 3374 3566.

Still: Michael Noer: "Vesterbro" (2008) "... århundredets kærlighedshistorie."


Categories: Film History, Artikler/anmeldelser DANSK, Web

Alexandru Solomon and Kino Kombat

Written 12-03-2014 16:08:54 by Tue Steen Mller

Alexandru Solomon and Kino Kombat

I just discovered that it is 20 years ago that I met Alexandru Solomon in Bucharest. My wife worked at DR (Danish Public Broadcaster) and I was at the National Film Board of Denmark. We bought two of his visual experiments/short films for broadcast and non-theatrical distribution. Titles: ”Shriek into the Ear-Drum” (1993) and ”2 x 5” (1993), pretty wild stuff... would never pass through today’s overall filmic normalization, well maybe at art museums and galleries.

Times have changed, Solomon is now an internationally renowned and committed documentarian, who has made several films on politics in his country. His films are made through hifilm, the company of his wife Ada, who produces award-winning fiction films on an international level.

Back to why I am writing this: Kino Kombat is online and for free until March 16, 5 films are available from the current programme of the 7th edition of One World Romania International Human Rights Documentary Film Festival.

You can read more about the films on DocAlliance website, see below, where there also is an interview with Alexandru Solomon, who is the director of the festival. He gives the following answer to ”Why Kino Kombat?”:

“Each year we express the focus of the festival’s current edition through a slogan. In Romania, in the past year we have seen a fresh civic commitment expressing itself in the streets, through protests and gatherings, but also through the arts. We are premiering two Romanian films that portray these demonstrations and we are exhibiting the drawings of Dan Perjovschi, one of the most important artists of our time, who reflected and nourished these protests. “Kino Kombat” stands as recognition of our double pledge – to human rights and to documentary cinema, as one of the best tools to promote human rights in a creative way. The Romanian version of this slogan is “Cine-luptă”, meaning cine(matic)-fight, and our central picture for the 7th edition is the camera-weapon. A weapon that is honest, intelligent and non-violent. The documentaries we select and promote are usually committed to a certain cause but they are not politically correct, they are provocative and have multiple layers, because they are also cinematic.” BRAVO!

http://www.alexandrusolomon.ro/

http://www.hifilm.ro/

http://dafilms.com/event/160-kino-kombat-online/


Categories: Articles/Reviews ENGLISH, Web

DocAlliance Offer Films by Peter Liechti

Written 12-02-2014 09:30:00 by Tue Steen Mller

DocAlliance Offer Films by Peter Liechti

The vod that calls itself “your online documentary cinema”, and very right so, always high quality has this time chosen to present 11 films by a real auteur, Peter Liechti, for free until February16. The text that introduces the director follows below and on the site you will also find the interview that Sevara Pan has made with Liechti for the spring2014 issue that just came out. Pan made earlier a review on filmkommentaren of Liechti’s “Father’s Garden – the Love of my Parents”, which is not part of the retrospective. If you have time for only one film, choose “Sound of Insects”.

DocAlliance: What forms can documentary film take? Really extraordinary ones, as far as films by internationally renowned Swiss director Peter Liechti are concerned. To Liechti, the film medium is an open field entered by other art elements such as music and literary text. Under his directing guidance, plastic documentary images emerge, dominated by a common trait; that of a stream of imagination. Learn more about the power of Liechti’s visual language in a unique online retrospective from February 10 to 16 at DAFilms.com for free!

The online selection of Liechti’s works represents a summary of his films made in more than 20 years. During this time, Peter Liechti, who had originally studied visual arts, has created a specific film language with an emphasis on the powerful combination of long takes, macroscopic details and literary means of expression. In case of Liechti’s films, the label “documentary essay“ is more than fitting. The unique compilation, with its accord of narrative and visually powerful images, is perhaps best represented by the highly suggestive documentary The Sound of Insects: Report of a Mummy, which has received the Prix Arte of the European Film Academy in 2009. The voluntary death of the protagonist, accompanied by a philosophical reflection on the birth and death of life, is captured by means of the miniature movement of individual natural elements.

However, the rest of Liechti’s works deserve attention as well. A specific combination of electronic music and film characterizes Liechti’s debut Kick That Habit. Music has also been the main theme of the appreciated film Namibia Crossings capturing an ethnically diverse group of musicians on tour in the South African state. Whereas music is a strong linking element between the individual protagonists, their cultural differences and bias lead to many a misunderstanding. The director’s personal testimony about the search for his own roots, integrated in the story of his attempt to get rid of his nicotine addiction, is given during the contemplative journey to the director’s native city in Lucky Jack.

http://dafilms.com/event/156-the-power-of-imagination-a-retrospective-of-peter-liechti/


Categories: Articles/Reviews ENGLISH, Web

Slovak Documentary Masters Online

Written 20-12-2013 09:32:09 by Tue Steen Mller

Slovak Documentary Masters Online

… for the first time. This is how the vod DocAlliance presents its christmas present to us viewers. It is quite a generous offer that comes up in collaboration with the Slovak Film Institute that celebrates its 50th anniversary. If you only have time for one film, you should watch Dusan Hanak’s classic masterpiece “Pictures from the Old World” (photo). Here is the introduction from the site of DocAlliance:

Wild Slovak nature, the harsh life in deserted mountains, the beauty of almost forgotten folk traditions and powerful existential themes resound in the films by four Slovak documentary filmmakers Dušan Hanák, Martin Slivka, Deo Ursiny and Martin Šulík. Thanks to the Slovak Film Institute, the works by the four leading figures of Slovak cinema are now available to international audiences. In the week from December 16 to 29, DAFilms.com presents a selection of over 20 short as well as feature-length films by unique filmmakers of the Central European region for free.

Founded in 1963, the Slovak Film Institute represents both the oldest and a single local professional film institution to take care of Slovak cinema in a complex way. This cultural institution manages archive collections preserving both early and contemporary Slovak film works. On the occasion of its 50th anniversary, the Slovak Film Institute presents; in collaboration with DAFilms.com, Filmtopia distribution company and with the support of the Slovak Audiovisual Fund; a special selection of 26 films covering primarily the second half of the 20th century and representing four remarkable filmmakers of four generations.

The works by versatile artist Dušan Hanák, who is also renowned on the cultural scene as a screenwriter and photographer, are represented by the highly prized film Pictures of the Old World ranking among the most significant documentaries of Slovak film tradition. Through the film camera, Hanák faces the questions of human existence in its rawest and purest form; manifested in the



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Categories: Film History, Articles/Reviews ENGLISH, Web

Time to Celebrate Documentaries

Written 24-10-2013 16:56:33 by Tue Steen Mller

Time to Celebrate Documentaries

… say the DocAlliance people, who again are advertising their vod repertory, including several films that can be streamed for free. The reason for celebration NOW is of course that two of the festivals that are part of the Alliance start today (Jihlava and Lisbon), two other (Leipzig and Copenhagen) follow a bit later.

Go to the site below and see what is on the menu – Frederick Wiseman is not (yet) but his new film “At Berkeley” (photo) will be screened in Lisbon and Copenhagen. Here is the text from DocAlliance:

A month full of the best of contemporary documentary film is about to start! Four Doc Alliance partner festivals are inviting both local and international audiences to meet new talented directors, emerging producers and progressive distribution trends. DAFilms.com offers you the unique opportunity to watch selected festival films during special weekly events online for free. Are you going to one of the festivals only? Are you planning your film trip for the spring months? Watch DAFilms.com and enjoy the festival fall in the comfort of your home!

http://dafilms.com/


Categories: Articles/Reviews ENGLISH, Web

Walter Woodman and Patrick Cederberg: Noah

Written 19-09-2013 19:19:11 by Mikkel Stolt

 Walter Woodman and Patrick Cederberg: Noah

Noah is a 17-min. long student film which was showed in the Short Cuts-program at this year’s Toronto Film Festival. Since it is entirely taking place on a teenage guy’s computer screen, it has lately - and logically - been spread on the internet through social networks.

Through a very clever and fast-paced “editing” with zooms and pans plus dialogue, video, pictures and text on-screen, we follow him and his online-behavior. He is Facebooking, Skyping with his girlfriend while surfing and then putting his relationship with her in peril by some quite questionable actions. After a series of events (or non-events, if you’re older than 25) he ends up on Chatroulette.com where he chats with different people at random.

Of course, this is not a documentary but it sure - at times - feels like one with its attention to detail and its pace. The speed really mimics the feeling you get when you’re trying to follow your 15 year old son or your teenage niece trying to show you something on a computer. But it is well worth it, because it is a glimpse of how our means of communications affect our social behavior.

You can argue that the main character is a scatterbrain and has the attention span of a common housefly. And you can say that this is brought on by the computer industry and when WE were young, we certainly had better things to do. But in my and my avatar’s opinion, the real message is that no matter how and through which apparatus or software we as humans interact with each other, we will always bring in our human emotions; our fears, joys, needs and hang-ups. And the film shows it in a way that I so far haven’t seen any well-meaning documentary about the subject do quite as engaging.

Canada, 2013.

The film can be seen here: http://www.fastcocreate.com/3017108/you-need-to-see-this-17-minute-film-set-entirely-on-a-teens-computer-screen


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Categories: Festival, Web

Documentary Conference in St. Petersburg

Written 03-09-2013 16:39:44 by Tue Steen Mller

Documentary Conference in St. Petersburg

It’s September 26-27 that an important documentary conference takes place in St. Petersburg. And you can sign up NOW by clicking the link below. It is for free and you can take part in person or via the internet. If you decide to come to St. Petersburg and you need an invitation for your visa application, contact the organisers, use the same link. The organisers are two wonderful people, who fight to better the the documentary conditions in their country: Ludmila Nazaruk and Viktor Skubey, I have previously promoted the website Miradox, link below. And the website for the conference is brilliant, professional and inviting!

So here is their presentation: “The organiser is DoxPro, the International Program for Documentary Professionals based in St. Petersburg Russia. DoxPro works “to facilitate economic and cultural cooperation between Russian and European documentary professionals, to create a wholesome environment for development of documentary as a creative industry in Russia.”

This is a countdown clock to the start of the Conference, which will be held within the frameworks of The XXIII International Documentary, Short, and Animated Film Festival "Message to Man".

We have invited the most advanced experts from the Northern Dimension countries:  Denmark, Finland, Iceland, Norway, Sweden, Estonia, Latvia, Lithuania, Poland, Germany and Russia. They will share with you their unique experience, ideas and information regarding the new reality of documentary industry in the Northern Dimension area, and the existing funding sources for creative documentary projects. (Some names: Iikka Vehkalahti Finland. Jaak Kilmi Estonia. Vera Obolonkina 24Doc Russia. Gints Grube Latvia. Evgeny Grigoryev Russian Doc Guild and Grigory Libergal Russia. Maria Fuglevaag Warsinska-Varsi Norway… and many others, ed. Mikael Opstrup EDN and your blogger will moderate the sessions, short presentations and (hopefully) lively debates.)

Transmedia: what is it, what is to be thought about from a documentary point of view? Crowdfunding: an overview of platforms, what to think about, positive and negative examples. Case studies of crossmedia and webdocumentary projects. New and alternative ways of documentary distribution. These and many other topics will be covered at the Conference.”

Photo from one of previous activities of DoxPro, a meeting between Russian and Finnish documentarians.

www.doxpro.org

http://www.miradox.ru/

http://miradox.ru/1/NWFilm

https://www.facebook.com/groups/370731739707021/  


Categories: TV, Festival, Articles/Reviews ENGLISH, Web

Adam Nielsens klippekunst

Written 26-08-2013 12:08:01 by Allan Berg Nielsen

Adam Nielsens klippekunst

Det Danske Filminstituts Roos Pris 2013 blev i lørdags tildelt filmklipperen Adam Nielsen for, som det hedder i begrundelsen, bag kulisserne med kompromisløshed, alsidighed og unik musikalitet at være med til at løfte kvaliteten af dansk dokumentarfilm.

Det er jeg meget glad for, for Adam Nielsen er min helt, og jeg fejrede begivenheden i aftes ved at se hans og filminstruktøren Tine Katinka Jensens mesterværk ”Solange on Love” (2008), hvor han klipper et intenst og nærværende og i ethvert sekund autentisk materiale nænsomt og håndfast gennem en forrygende parallelhandling og udvikling af 2 + 2 karakterer frem til et vidunderligt digt om kærlighedens fremtrædelsesformer set fra kvindernes vinkel med en mands blik. Et stort sted er noget så sjældent som et fuldendt frieri i en dokumentarisk og aldeles ægte scene.

GHOSTS OF CITÉ SOLEIL (2007)

Jeg mødte første gang Adam Nielsens filmkunst, da jeg så en arbejdskopi af ”Ghosts of Cité Soleil” (2007), som han havde klippet for Asger Leth. Det var en voldsom oplevelse, som jeg aldrig glemmer. Jeg skrev senere på den baggrund en anmeldelse af filmen, faktisk det første indlæg, jeg lavede her på Filmkommentaren:

Det er ikke journalistik det her, men vi må have styr på de politiske fakta, og klipperen Adam Nielsen vælger håndfast at gøre rede for disse ting ved at gøre journalistikken til et element i filmkonstruktionen. Den politiske tv reportage er helt regulært anbragt i dette musikalske forløb, så kompositorisk nodebundet, at jeg tænker mig der i klippemanus disse steder står: andante. Vi skal lige have vejret...



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Categories: Cinema, TV, Poetics, Web

Per Kirkeby: Asger Jorn

Written 12-08-2013 08:15:29 by Allan Berg Nielsen

Per Kirkeby: Asger Jorn

Som regel kan jeg ikke lide at læse, hvad instruktørerne mener om deres film, hvordan de udlægger deres film. Det minder mig så meget om facitliste. Og at se film er jo ikke at løse regneopgave, slet ikke at nå frem til det eneste gyldige resultat. Men der er undtagelser, der er for eksempel Bang Carlsen og Leth og Bergman. Og der er Ada Bligaard Søby. Og så er der Per Kirkeby. Når jeg læser deres tekster om deres læsninger og gensyn med egne film (Bergmans ”Billeder” frem for noget) eller deres synopser (Bligaard Søbys tænker jeg på, men hvor er det nu man finder dem?) så sker der det, at teksterne i stedet for at afrunde mit arbejde med filmene: nå det var så det, så lukker vi den bog, udvider og forlænger mit liv med filmene. Jeg får lyst til og brug for at se dem igen. Sådan er det i høj grad med Per Kirkeby. Lad mig derfor begynde gensynet på Filmstriben med ”Asger Jorn” (1977) med hans frygtindgydende tekst ”Jorn – udvortes” (1995), som bare skal læses (min absolutte anbefaling) og så hans elegante lille essay om fiktion ”Hvad skal man egentlig med kunstnere på film?” (1995), hvor jeg her simpelthen citerer hele stykket om ”Asger Jorn”:

”Fiktion. Da jeg lavede min film om Asger Jorn var det mit udgangspunkt. Jorn var død, jeg havde aldrig mødt ham, men han havde været meget nærværende i mit kunstnerliv. Som frastødning og tiltrækning, en fiktion i mit liv. Og der var ikke andre kilder end efterladenskaberne, reportagen var udelukket. Så filmens fiktion var rekonstruktionen af en figur, et liv, bestemt af efterladenskaber og mine spørgsmål. Derfor blev det først og fremmest en film der handler om valg og hvorfor i et liv i en tid som måske var anderledes. Om valgenes mulige suverænitet og mulige uundgåelighed og melankoli. Denne fiktion, denne handlingsgang, skulle opleves som en historie i sig selv, uden legitimering i værkernes berømmelse.



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Categories: Film History, Artikler/anmeldelser DANSK, Poetics, Web

DocAlliance: Laila Pakalnina

Written 16-07-2013 22:06:39 by Tue Steen Mller

DocAlliance: Laila Pakalnina

Readers might think that I am paid to promote the vod that is run by DocAlliance – I am not, the simple reason it has so many posts on this blog is very simple: It has high quality and is edited with competence and sense for both new upcoming directors and veterans that can give you the possibility to catch up your documentary film history.

So here we go again with Latvian director Laila Pakalnina: 20 films are offered for free until July 28. It is an amazing offer to film students, film directors who look for inspiration and film buffs – to set up your own retrospective with a director, who started her carreer with documentary shorts shot on 35mm, for cinema, most often without dialog: The Ferry (1994), The Mail (1995), The Oak (1997) – going to the playful ”Papa Gena” (2001) and the fantastic nature and man masterpiece ”Dreamland”, not to forget a long documentary from her hand from 2011, ”33 Animals of Santa Claus”. 7 fiction films are on the list for you.

I have just watched two new films by Pakalnina, not in the list, ”Marathon” (photo of director who films with a camera fastened on her head) and ”Chimney”, both of them on their way to festivals around the world, showing that she is still surprising her audience with new precise, atmosphere-filled documentaries.

http://dafilms.com/news/2013/7/15/laila_pakalnina


Categories: Film History, Articles/Reviews ENGLISH, Web

Per Kirkeby: Ekspeditionen

Written 13-07-2013 09:48:12 by Allan Berg Nielsen

Per Kirkeby: Ekspeditionen

Jeg fortsætter mine gensyn med Per Kirkebys film, som så lykkeligt er dukket op på Filmstriben. Nu altså Ekspeditionen (1988), som vist nok aldrig har været i distribution, men som jeg sært kender alligevel. Noget af materialet er optaget, da Kirkeby og Teit Jørgensen lavede Geologi – er det egentlig videnskab? (1980)

”Det er om Eigil og mig og Pearyland”, siger stemmen, om det handler den varde, som blev rejst af dem i landskabet der. Forstår jeg, da jeg ser den senere. Det var sommeren 1963 han var med på Eigils ekspedition, og det fortæller fortællestemmen sådan lige ud ad vejen, og stemmen er Per Kirkeby, det kan jeg jo høre, og Eigil er Eigil Knuth, det ved jeg. Billederne er fotografier, stills, som det siges i filmsproget, og de er sært slørede og gamle, det er arkivstof, ja, men helt umanipuleret, upoleret og ikke på nogen måde strammet op. Så fortæller fortællestemmen, altså Kirkeby, at han nu, han er i gang med den her film, må han erklære, at han har mistet lysten til det filmiske, at han vil fortælle om denne personligt skelsættende begivenhed, ekspeditionen i sit liv, som i hans sind vokser som drøm og forestilling og gennemtænkning til hele mytologien om ekspeditionerne i dette grønlandske landskab, hvor døden får sin ikke fortrængte plads, så livet bliver til fylde, det vil han fortælle om i en lysbilledserie. Og jeg forstår, at Teit Jørgensen er sat til at filme lysbillederne, mens Kirkeby viser dem med sit lysbilledapparat på lærredet og ind imellem med sin finger peger på en bestemt linje i det viste landskab, noget, han vil pointeret, som han derefter i sit store værk, akvarellerne og malerierne atter og atter har pointeret.

Og så med ét forsvinder stemmen, og der bliver stille, ikke klodset stille som et lydhul, nej hensynsfuldt stille som ønsket: se nu på de her billeder! Og jeg ser og ser og tror, jeg forstår det ufortællelige og bliver rørt over, at han ved, jeg også har det i mig, indtænker alt det, han ved, jeg ved, alt det, jeg har set og læst. Og netop som det er klart for mig, hvad det er, får jeg belønningen, Hans Andersen (ved jeg senere fra et tekstskilt) spiller tuba, det er filmmusik. Af Henning Christiansen, kan jeg gå ud fra som selvfølge.

Det kan godt være, at det er en forudsætning for, at jeg opfatter den intense skønhed i Kirkebys film (ikke kun den, mange af dem, måske dem alle), at jeg ved lidt om baggrunden for eksempel billedsidens radikalitet. Manden er jo maler og han mener noget med billederne, de er ikke tilfældige eller sjuskede, som jeg først kunne mene, så de kan selvfølgelig ikke uden videre afvises. Men det er for mig nødvendigt at studere deres forudsætninger, som er en helt anden æstetik end den, jeg er vænnet til og til dels skolet i. Det har hjulpet mig meget at læse, hvad han skriver om det. Som nu her om Teit Jørgensens fotografi (i det hele taget), som han beundrer: Tilbage i december 1976 skriver Per Kirkeby om kvaliteten af de mere nøgterne kompositioner, der afspejler en accept af ”procesessens almindelighed”:

”... Forstår fotografen dette, bliver hans billeder hverken platte eller demonstrativt tilbydende (…). Billederne får den klare redegørelse for udstrækninger og rum, figurer og størrelser, den rolige klarhed som bliver erindringens og stedernes magi. (…) Meget få fotografer når denne indsigt i simpelheden, de fleste frygter den faktisk og står på hovedet. (…) Men ud af den fotografiske dokumentation, denne simpelhed, vokser stemninger uden ord. Tænk det lader sig se. Teit Jørgensen er en dansk fotograf der har disse kvaliteter. Hans billeder er ikke demonstrative, men de viser at dette lader sig se. Hans billeder har denne rolige udstråling”

Danmark 1988, 31 min. Manuskript: Per Kirkeby, fotografi: Teit Jørgensen, klip: Grete Møldrup, musik: Henning Christiansen, fortællerstemme: Per Kirkeby, produktion: Vibeke Windeløv / Kraka Film, distribution: Filmstriben. Litt.: Per Kirkeby: Ekspeditionerne i Fisters klumme, 1995. Per Kirkeby citatet er fra teksten Fotografen i Victor B. Andersen's Maskinfabrik, december 1976, side 86. Her citeret via en hjemmeside (uden årstal) om Teit Jørgensens separatudstilling ”Snapshots & Stills” i Galleri Tom Christoffersen.


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Categories: Film History, Artikler/anmeldelser DANSK, Web

Per Kirkeby: Geologi er det egentlig videnskab?

Written 12-07-2013 09:29:28 by Allan Berg Nielsen

Per Kirkeby: Geologi er det egentlig videnskab?

Titlens provokation har siddet fast i mig siden jeg så filmen ved dens fremkomst. Det er for mig at gribe tilbage i mit liv og se begyndelsen til den kunstopfattelse, den videnskabsforståelse, som jeg orienterer mig med nu. Per Kirkeby er geolog med istiden som speciale tror jeg nok, og så er det da en udfordring, når han et sted i filmen, stilfærdigt siger, at istiden er en antagelse, en omvæltning for en skolelærer og nybegyndt museumsmand, som kom lige fra geografilokalet og Axel Schous Danske Atlas, et vidunderligt værk, som i imponerende kort og smukke rekonstruktionstegninger forklarer sammenhængen mellem isrande, tunneldale og hovedstilstandslinje og det danske landskab med bakkeøer, moræner og tunneldale. Og jeg troede at dette alt sammen var fakta og bare skulle læres. En antagelse siger han så, kvartærgeologen! Jorden gyngede, måske var der helt andre forklaringer, geologi var ikke længere noget, der var dernede eller dengang, men inde i hovedet på en videnskabsmand, en tanker, muligheder blandt flere, måtte jeg tro. Jeg var dog forberedt. Det begyndte for mig med Flyvende Blade, som jeg nok læste fire-fem år tidligere. Jeg havde først været forundret, blev så fascineret og hurtigt optaget af denne særegne meget personlige blanding af dagbog, notater, breve, biografiske studier, erindringsfragmenter. En essayistik ud over alle de litterære grænser, jeg til da havde mødt. Sådan var også filmene, grænseløse, ustyrlige og skarptskårne med en fast hånd.

Per Kirkeby skriver om nogle af dem i 1995 i en tekst om kunstnere på film, han har lavet film om Asger Jorn og Wilhelm Freddie, dem skriver han om, Jornfilmen er fiktion i instruktørens liv, og Freddiefilmen er en film med den medvirkende malers egen fiktion, og så om den her film: ”… ’Geologi – er det egentlig videnskab?’ er en stump selvbiografi. Det kan man naturligvis i en vis forstand sige om alle en kunstners film, men i denne film er det et direkte motiv. Filmen opsøger et landskab og forsøger at genskabe et miljø i videste forstand, som var afgørende for kunstneren som ungt menneske. Men fiktionen er jo at det drejer sig om en undervisningsfilm. Og hvad så?” Jeg prøver at læse ”opdigtet” i stedet for ”fiktion” og tror, jeg forstår det lidt bedre.

Hurra, Per Kirkebys filmarbejde kan nu delvist, efterhånden vel komplet, ses på Filmstriben. Herefter kan jeg vende tilbage til basis, her til én af søjlefødderne for min langsomme forståelse af, hvad film egentlig er for noget.

Danmark 1980, 41 min. Manuskript: Per Kirkeby, fotografi: Teit Jørgensen, klip: Grete Møldrup, musik: Henning Christiansen, fortællerstemme: Per Kirkeby, produktion: Vibeke Windeløv / Kraka Film, distribution: Filmstriben. Litt.: Per Kirkeby: Hvad skal man egentlig med kunstnere på film? i Fisters klumme, 1995 og Flyvende Blade, 1974.


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Categories: Film History, Artikler/anmeldelser DANSK, Web

Impressions from Sheffield Doc Fest

Written 05-07-2013 17:30:30 by Tue Steen Mller

Impressions from Sheffield Doc Fest

Dagnė Vildiūnaitė is the producer behind the Lithuanian production company Just a Moment. She has for years had an international focus, and her films have had both national and international success. “Father” by Marat Sargsyan were this year awarded in the festivals in Nyon and Krakow, “How the Revolution Played” by Giedrė ickytė got the award as the best film at the 9th Vilnius International Documentary of 2012, whereas ”Igrushki” by Lina Luzyte still waits for the international breakthrough, it deserves. Wake up festival people, here is a creative documentary film shot in Belarus that does NOT take the usual ”easy” path with Lukashenko in picture in every other moment!

Dagne sent me a mail a couple of days ago after travels to Moscow and Sheffield. It is always a pleasure to read what she has to tell, she has opinions that go way beyond, what more mainstream producers come up with in the numerous workshops of marketplaces for documentaires around the year. She gave me an ok to post her impressions from the visit to the Sheffield Doc Fest:

… and, yes, before that I was in Sheffield. I thought a lot about what made me feel so "not in place" there. And I made certain conclusions. Almost the entire festival program is consisting of the films talking about our "bad and unfair our world is, full of social problems and heroes who give their lives to change it". I'm totally ok with it and I like many human rights documentaries.

But just next door they are organizing the market that has a strong focus on cross-media, online platforms, teaching that the audience has to be able to choose the content that they want and even influence the story of the film... and of course we also have to make our documentaries shorter and easier for the audience to "swallow", while they are googling the entire world on their computers. And then my question comes - isn't it our job to try to capture the audience that has less and less interest in the world around them? And isn't it that audience that we are making our films about/for in the end? So why not challenge them and bring them back to cinemas to watch films that make them think. Instead of teaching them to push button "stop", when they are not comfortable with the image they see?

But I'm so happy that I have attended one the best lectures in recent years – the masterclass by Walter Murch (it made my trip worth it). After it I suddenly realized one simple thing. There has always been a real interaction between audience and filmmakers. But it was on an intellectual level where the filmmaker raises the question, and an audience leaves the cinema with a gift - a new question, a new understanding, a new inspiration... Now it seems they talk about interactive elements in a purely physical way - audience pushes the button and feels satisfaction of being part of a creative process. We support a lazy audience locked in their rooms by their own choice, not willing to know smth more. And after that we talk with serious faces how bad it is that people end up living in the streets and vote for populists to become their presidents?...

I left Sheffield really scared. The town itself is full of people living in supermarkets and people living on social security payments (or what you call it). So the market and festival in this surrounding was even more symbolic.. But maybe I'm digging too deep?

http://www.justamoment.lt/en/


Categories: Articles/Reviews ENGLISH, Polemics, Web

Nicolas Philibert on DocAlliance

Written 09-06-2013 22:36:17 by Tue Steen Mller

Nicolas Philibert on DocAlliance

One more generous free offer from ”your online documentary cinema”, the vod DocAlliance, starts tomorrow and runs until June 23:

7 films by Nicolas Philibert, who once wrote the following about his method:

”I feel the need to create a frame for each film, a starting point that I can build upon. This frame consists of the things that I find motivating and exciting when working together with the subjects of the film. When filming starts, the final destination is unknown to me and I don’t know which path I will follow. A lot depends on the things that emerge through work and encounters. Naturally the journey is different with each film...” (A quote from a text for the Finnish Docpoint festival).

Filmkommentaren.dk has posted several texts about the works of the French documentarian. To mention a couple of them – ”La ville Louvre”, ”La moindre des choses”, ”Nénette” and of course ”Etre et Avoir” – all of them available online for two weeks.

Make your own retrospective of films by Nicolas Philibert!

http://dafilms.com/event/125-retrospective-of-nicolas-philibert/


Categories: Film History, Web, Directors

Snderby J. & Bervald Jrgensen: Blodets bnd /2

Written 27-05-2013 10:18:34 by Allan Berg Nielsen

Snderby J. & Bervald Jrgensen: Blodets bnd /2

Traileren er et chok for mig, det bliver en overvindelse at gå ind i biografen til den film. Så nøgen den må være og så blufærdig på samme tid. Den udstiller ikke, mærker jeg i de effektivt klippede scener, den er bare. Nøgen og blufærdig, ville helst dække sig. Det er en særlig tone i datterens fortvivlede stemme, som siger mig det. Det er så privat, at det gør ondt, gør ondt at komme til at høre, for jeg burde jo gå, det her kommer mig bestemt ikke ved. Men filmen forlanger, at jeg bliver. Sådan vil det også være, men voldsomt manifest ved premieren, for jeg tror faktisk, at den film vil holde, hvad traileren lover.

http://vimeo.com/63647643

 


Categories: Cinema, Web

Jay Bulger: Beware of Mr. Baker /2

Written 15-05-2013 14:52:25 by Allan Berg Nielsen

Jay Bulger: Beware of Mr. Baker /2

The Guardian to-day: MICHAEL HANN: "Meeting Ginger Baker: an experience to forget. How an onstage Q&A with the great drummer turned into a professional horror show":

Link to guardian.co.uk/music  On Jay Bulgers film "Beware of Mr. Baker".


Categories: Cinema, Articles/Reviews ENGLISH, Web

NFB Wants to launch the Netflix of Documentaries

Written 01-05-2013 19:20:27 by Tue Steen Mller

NFB Wants to launch the Netflix of Documentaries

Realscreen newsletter of yesterday presents interesting news from NFB, National Film Board of Canada, the pioneer film institution in the world, set up in 1939 (parallel to the Danish equivalent, I want you to remember...) and now very much active in finding new ways to get ”high quality auteur documentaries to an international audience”.

From the article: The destination, available on the Web, connected TV and mobile devices in 2014, will offer interactive documentaries and content that is curated, bilingual, and eventually multilingual. The NFB says it is aiming to create “the Netflix of documentaries.”

Using the NFB’s existing investments in digital platforms, systems, infrastructure and content development, the service will launch first in North America and Europe.

Users will be able to access films from around the world, and create their own playlists, which they will be able to share with others. Documentary and subject experts will also guide viewers through the offerings.”

A subscription service of course, sounds great, let it happen and let other providers of quality docs join the initiative.

http://realscreen.com/2013/04/30/the-nfb-launches-pay-multiplatform-service-for-docs/#ixzz2S3vOdjNf


Categories: Articles/Reviews ENGLISH, Web

Peter Liechti and Avi Mograbi

Written 30-04-2013 15:25:38 by Tue Steen Mller

Peter Liechti and Avi Mograbi

For free until May 5 are the new films of two contemporary film artists who have always gone non-mainstream with their own voice and approach. The films of Liechti and Mograbi can be watched on DocAlliance, that has picked them from the Visions du Réel section ”Etat dEsprit”.

”Father’s Garden – The Love of My Parents” (photo) is the film of Liechti (”Sound of Insects”), the description from DocAlliance: After a long absence, Peter Liechti visits his now elderly parents, ready for a close encounter. The stories of their lives and rather difficult marriage are largely presented as a puppet theatre, with the parents, from the lower middle-class, portrayed as hares wearing shirts and aprons. Via the "Punch" character, the rebellious son channels the emotions that overwhelm him in this stunning portrait.

The film of Avi Mograbi is called ”Once I entered a Garden” and has this text: Avi Mograbi and his long-time friend Ali embark on a journey to a land that existed before borders were created. A world that existed, even though most of the people and especially politicians pretend it never did. A world where communities were not divided along religious lines. With a light hand held camera, Mograbi continues to question the history of Israel. Everything is still possible.

Last feature documentary film of Mograbi was Z32, masterpiece.

Both films will be reviewed here asap.

And keep checking DocAlliance, it is a brilliant vod.

http://dafilms.com/news/2013/4/29/visions_du_reel


Categories: Articles/Reviews ENGLISH, Web

The Carnation Revolution Films

Written 27-04-2013 15:52:35 by Tue Steen Mller

The Carnation Revolution Films

The DocAlliance does now include 7 festivals with the inclusion of DocLisboa in the group. A welcome gift from Portugal is given to the users of DocAlliance, the vod that calls itself: Your online documentary cinema.

The so-called Carnation Revolution, in 2014 it is 40 years ago it happened, is the theme and 4 good films are available for free today and tomorrow, April 28:

”Good Portuguese People” from 1980, ”Tarrafal: Memories of the slow Death Camp” from 2010, ”25 April – an adventure for democracy”  (2000) and ”Another Country”.

If you only have time for one film you could take the latter, directed by Serge Trefaut. Here is the description:

The red carnations revolution in Portugal also known as the last romantic revolution of the 20th century was, for many, an unimaginable communist threat. For others, it was a lab of dreams and politics, an exciting place for young people and bright photographers and filmmakers. People like Sebastião Salgado, Glauber Rocha (photo), Robert Kramer, Dominique Issermann, Santiago Alvarez, Pea Holmquist, Jean Gaumy, travelled to Portugal and lived there until the party was over. What is left of this experience?

http://dafilms.com/event/119-the-carnation-revolution/


Categories: Articles/Reviews ENGLISH, Web

Karla's Arrival - for free

Written 18-03-2013 09:29:37 by Tue Steen Mller

Karla's Arrival - for free

Got a mail from Koen Suidgeest, whose touching film “Karla’s Arrival” has gone all over the world due to the director’s constant commitment and energy. Here it is, and here is the generous invitation to watch the film for free, this week:

Wondering whether you could help out. Today – March 15th – is the 4th birthday of Karla, the baby in my documentary Karla's Arrival. To celebrate, we're offering the film for free for a week through the below link. I am writing to some of my friends in the doc world to see if they wouldn't mind posting this on their own timeline.

Karla's Arrival is about a Nicaraguan teenage girl who lives on the street, is pregnant and plans to raise the baby under a tree in a park. The story starts shortly before birth and follows mother and child for 14 months.

This ITVS supported doc has been seen by some 4 million people, played at 35 festivals, was broadcast in 14 countries and won four international awards.

http://www.karlasarrival.com/screening-room.html


Categories: Articles/Reviews ENGLISH, Web

EDN & DocAlliance join Forces

Written 18-03-2013 09:03:53 by Tue Steen Mller

EDN & DocAlliance join Forces

Here is an offer you can't refuse, taken from the EDN website: EDN is happy to announce that all members, who are part of the organization on April 12, will get free access to over 700 documentaries at Doc Alliance Films.

EDN and Doc Alliance Films will offer all members of EDN free access to stream the over 700 documentaries available at the DAFilms.com web site. The offer will be available for current EDN members with a valid membership on April 12 and those joining the organization before this date. The over 700 documentary films at Doc Alliance Films will be available for streaming for three months. The free streaming period will start on April 16 and run until July 16 2013.

DAFilms.com is an online documentary distribution site offering access to a selection of over 700 documentary films from around the world, with an emphasis on European cinema. In addition to offering notable recent films, the website also functions as a film archive of important documentaries. This includes works by masters such as Ulrich Seidl, Jørgen Leth and Peter Mettler. Every month, DAFilms.com expands its catalogue with the addition of up to 20 new titles. The films are selected on the basis of strict dramaturgic criteria, with an emphasis on their social and aesthetic value and signature style. Photo from Michael Glawogger's extraordinary "Working Man's Death", one of many classics at DocAlliance.

http://www.edn.dk/

http://dafilms.com/


Categories: Film History, Articles/Reviews ENGLISH, Web

Dox Box Global Day for Syria

Written 17-03-2013 20:02:28 by Tue Steen Mller

Dox Box Global Day for Syria

… is a project initiated by the film festival DoxBox in Damascus where the festival for obvious reasons do not take place. Instead Syrain films have been shown all over the world – and there has been a “soirée thématique” on arte last week. The Danish cph:dox offers until midnight Sunday/Monday free streaming of “professional short films from Syrian filmmakers, but focus mainly on films and videos made by the Syrian people themselves. Films that often circulate and are seen outside of the official media circuit. Therefore we have decided to host this year's event online: Free streaming in support of free speach! “

Hurry up, watch the films – there are a bit more than 3 hours:

http://www.cphdox.dk/d/blog.lasso?s=2012800&show=430&n=430

and go on facebook, write Dox Box Syria Global Day, to see how wide the support is with screenings all over. Bravo!

Photo: Lina al Abed: Damascus, My first Kiss


Categories: Articles/Reviews ENGLISH, Web

Films for Free from East and Central Europe

Written 13-03-2013 17:49:33 by Tue Steen Mller

Films for Free from East and Central Europe

We have previously praised the work of the vod DocAlliance, its special collaboration with the IDF (Institute of Documentary Film) in Prague and what this institution is doing to promote films from Central and Eastern Europe. Today a mail came in with the following (edited) text and useful links:

In the week from March 11 to 17, VOD portal DAFilms presents a selection of films from the new collection of recently finished documentaries from Central and Eastern Europe which have been included in the East Silver market.

What is Love (dir. Mader Ruth, Austria, 2012, 81 min.)

We Will Be Happy One Day (dir. Pawel Wysoczański, Poland, 2011, 42 min.)

The Black Box (dir. Krzysztof Kowalski, Poland, 2013, 76 min.) (photo)

New Life (dir. Adam, Czech Republic, Slovakia, 2012, 80 min.)

Out of the original 268 films from the 9th edition of the market, presented in October 2012 in Jihlava, East Silver catalogue has expanded by 75 brand new films introduced at the East Silver Videolibrary within East Doc Platform held in March 2013. DAFilms portal now provides the unique opportunity to watch three of these films for free.

The Black Box is presented like this: Tomasz Tomaszewski (*1953 in Warsaw) is a famous photographer who was working for many Polish newspapers, documenting historical events in Poland (such as Lech Wałęsa and Gdańsk Shipyard, Solidarity, protests in Warsaw). Since December 1981, during the Martial law, using his camera hidden in a glove, he managed to capture the warfare: tanks on the streets of Warsaw, soldiers suppressing manifestations and many more. Those photos were smuggled abroad by diplomats and published in foregin press. He also took some unique photos by smuggling camera in a jamjar with the instructions how to use it to Polish prisons. The most important and famous picture from this action was a photo of imprisoned Lech Wałęsa. It was published in newspapers all over the world.

http://dafilms.com/event/112-east-european-caravan-online/

http://www.dokweb.net/en/


Categories: Articles/Reviews ENGLISH, Web

Simon Klose: TPB AFK

Written 21-02-2013 09:17:02 by Allan Berg Nielsen

Simon Klose: TPB AFK

”Det er dagen før retssagen begynder. Fredrik pakker en computer i en rusten gammel Volvo. Sammen med hans Pirate Bay (TPB)-medstiftere står han ansigt til ansigt med et erstatningskrav fra Hollywood på 72 millioner kroner i en sag om krænkelse af ophavsret. Fredrik er på vej hen for at installere en ny computer i den hemmelige serverhal. Det er her verdens største fildelingsside er gemt. Da hacker-vidunderbarnet Gottfrid, internetaktivisten Peter og den fordrukne webnørd Fredrik findes skyldige i retssagen bliver de konfronteret med virkeligheden i form af et liv offline AFK away from the keyboard. Men dybt nede i de mørke datacentre fortsætter skjulte computere stille med at kopiere filer.”

Sådan sætter DR2’s pressemeddelelse filmen i gang. Og sådan går filmen faktisk i gang. Og jeg er i en thriller, og jeg holder ved længe, for der er spændende det her, det er spændende i lang tid. For mig begynder thrilleren først at tabe højde, da tv-timen er gået, og vi skal i gang med retshandling to, appelsagen. Så mærker jeg, at det ikke er biograf det her. Fortryllelsen damper væk, og så står jeg ud af filmen og begynder at tænke IRL (in real life), får lyst til at google og finde facts. Og jeg griber mig i at sidde og kigge på en tv-dokumentar, hvor jeg mangler forudsætninger. Og jeg mærker en sær udelukkelse, en arrogance, som de medvirkendes indforståethed forsvarer sig med over for deres modstandere, samtidig med, de inkluderer alle internetbrugerere af deres slags og med deres moral, ekskluderer de fremmede som mig, mærker jeg, og jeg tænker, hvor er de journalistiske dyder, jeg plejer at stole på? Og så sker det, at tv-dokumentaren sandelig også smider mig af... Men jeg kan stå på igen, denne gang har jeg mange chancer som publikum:

For i et samarbejde mellem DR2, Information og DOX BIO var der i aftes, 20. februar dansk biografpremiere i Grand Teatret, København med efterfølgende debat. Det kan man nok læse om i Information i dag. Og snart kan den vel ses i flere biografer. Dertil kommer, at den har tv-premiere på DR2 Dokumania den 26. februar 21:00. DR2 skriver i pressemeddelelsen desuden om en ”nytænkende måde at frigive dokumentarfilm på”, her altså en film, som DR2 er tilfreds med at have medfinansieret. Denne nytænkende måde er, at TPB AFK samtidig har web-premiere på youtube.com: link Her kan man, gratis altså, se filmen, og det var sådan, jeg i aftes var til premiere ved min computerskærm. I sig selv en oplevelse og en overvejelse: har Per K. Kirkegaard klippet en biograffilm, en tv-dokumentar eller en youtube-film? Jeg er forvirret og i syv sind. Og det gør altså ikke noget. Jeg er foreløbig ikke begejstret, men jeg er faktisk alligevel lidt fascineret og nysgerrig…

Simon Klose: TPB AFK, The Pirate Bay Away from Keyboard, Sverige 2013. Klip: Per K. Kirkegaard. Producere: Signe Byrge Sørensen, Anne Köhncke og Martin Persson. Medvirkende: Peter Sunde, Gottfrid Svartholm Wark og Fredrik Neij. Produktion: Blandt flere selskaber Final Cut for Real


Vurdering:

 
Categories: Cinema, TV, Artikler/anmeldelser DANSK, Web

Audrius Stonys, Collected Posts on his Works

Written 19-02-2013 14:45:56 by Allan Berg Nielsen

Audrius Stonys, Collected Posts on his Works

Myterne, legenderne, ritualerne, det er omkring det, jeg ser Stonys hele oeuvre dreje sig: det irrationelle, det uforklarlige, det spirituelle, det som ikke kan og ikke skal forklares. I utallige sammenhænge har jeg som ordstyrer ved filmforevisninger forsøgt at få ham til at forklare. Men altid stritter han imod de hurtige fortolkninger og konklusioner, hvor ord efter hans mening banaliserer den visuelle oplevelse og følelse, han ønsker at give sin tilskuer. Og hvorfor lige det klip og den overgang. Kunne det være fordi... måske, siger han, det er op til dig... (TSM)

 

THE BIG CENSOR INSIDE

Audrius Stonys made a lecture this morning. I have heard him doing so many times and have written several praising sentences on filmkommentaren.dk – about this filmmaker who is for sure to be considered as a national poet in his own country, and from a world perspective as an excellent representative of a different documentary cinema.

The biggest censors are inside yourself, Stonys said, who grew up in a country occupied by the big empire and who did not really see films in general geting better after the independence. He said so after another pleasant view of the 1978 Herz Frank film ”10 Minutes Older”. I truly believe that film is a conversation between equal partners, Stonys continued, the audience takes part in the creative process, this meeting is the most important part of the filmmaking.

I don’t believe in films without mistakes, he said and went on to show a clip from his own ”Flying over Blue Fields”, where a sport aeroplane lands on a field, a man gets out, parks the plane and goes inside while the camera observes chicken and bushes accompanied by music. No words, I don’t trust them, Stonys said, and showed another clip, from his early work, ”Earth of the Blind”, that has no words at all. I want to catch the impossible, he could also have said the invisible and the emotions in a face, like he demonstrated in the film from 2000, ”Alone”, a film in many layers: a girl that visits her mother who is in prison, a film crew that is (the director’s words) ”using” her, and an atmosphere of melancholy, a feeling that is present in most of Stonys films. He did not show films from recent years, he could have done so, and demonstrate that he can also cope with words as he did in ”The Bell”. (Post 25-06-2009 11:42:45 by Tue Steen Müller)

 

ANTIGRAVITACIJA (1995)

This Stonys film was made using the prize he received in 1992, the Felix Prize, for the best short film in Europe, Neregiu Zeme (World of the Blind). It was shown in Gudhjem that same year. In 1995, he returned with the result, a film about our longing to overcome what keep us on the ground.

For a long time, Stonys had wanted famous Lithuanian cinematographer Jonas Gricius to photograph a film for him. He finally succeeded. And what wonderful pictures! We are moved into the beautiful old tradition of large black-and-white 35 mm film sequences where every shot is considered down to the last detail. Stonys subsequently pursues this artistic deliberateness by putting every single scene into a perfectly harmonious context, whose authenticity I thoroughly accept. A soundless work. I have rarely experienced a film that leaves me so utterly incapable of objecting, of imagining other solutions. This film is definitively finished.

But what's it really about? Like his previous films, Stonys portrays empathy. At the 1991 festival, he brought his film from 1989 called Atverti duris ateinanciam (Open the Door to Him Who Comes). Like Neregiu Zeme, it is photographed in the same dignified and old-fashioned manner, 35 mm film, black and white, features shared by subsequent films. With Harbour from the 1998 festival, he finally brings colour into his meditation on body and water. The film's setting is public baths. Its plot is purification. It also describes a pastor in a remote parish who is visited by people, from large cities too, because of the peace of mind and answers the big questions he gives them. The other film portrayed people without sight in a world of sounds and dim contours, and changing degrees of light and darkness. Reflecting, almost wordless, states of mind. Dreaming, they yearn for existential relics. Dismal tones, will the project succeed?

Stonys' manuscript for the gravitation film demanded that the crew had to shoot sequences for at least a year, because as a matter of course the scenes jump from snow-covered landscapes to sweltering village streets in spring, from spring floods to a sleigh in crunchy frost. And the young director pulled the fine old cinematographer, who here made his first documentary, up to heights, on roof scaffolding, on high railway bridges and at the very pinnacle of church towers. Because the pictures must show us how the world looks from these man-made structures reaching to the heavens. The film's heroine is an old woman who forces her way up the longest ladder I have ever seen to the tip of the spire on the village church. At the very top she gazes out on summer landscapes. The next clip shows us, very correctly, the scene from her angle, but now it is in the bitter cold of winter. She climbs up there all year round. We don't know why, she does it out of necessity. (Allan Berg Nielsen in Tue Steen Müller, ed.: Balticum Film & TV Festival 1990-99, Baltic Media Centre, 1999)

 

ALONE (2001)

A girl visits her mother in prison. That’s the story. The whole story. The girl sits on a bed in a room at her grandparents’ house. She says nothing.s nothing. She is in a car, her grandfather drives. She says nothing. They take a break and have a bite to eat at a highway café. She says nothing. She enters the prison and sits with her mother. No words.

Nothing really happens. You don’t get any explanations – what I have just told you is my interpretation. They must be her mother and her grandparents. Three generations gathered around an event, which we don’t know anything about. Why is the mother in prison? We are not told. It is not important.

The girl is important. The pace of the film is slow and insisting. The filmmaker wants you to look at the girl, to see her. A beautiful face, a dreamy look, yet sad maybe. What is she thinking of? What are her feelings? Is she scared? Of what? Maybe of taking part in a film and being shuffled around by the filmmakers, who are busy placing the camera in the car! ‘This is a film, we set the whole thing up, we want you to be aware of this fact,’ is what the filmmaker tells us. When the cameraman with his Arriflex appears in the picture, it creates a meta-level and a certain distance. The face of the child is not the face of a specific child, it is the face of a child. Music by Händel and Purcell accompanies this image. With a magnificently strong metaphor at the end of the film – the Tree of Life.

After a handful of short documentaries, Lithuanian filmmaker Audrius Stonys has, as (too few) festival connoisseurs know, positioned himself as a true poetic documentarist. With films like World of the Blind, Antigravitation, Harbour, Flying over Blue Fields and now Alone, he has left his unique signature on the short documentary genre. Though he has a much more romantic approach to reality and a more distinct narrative style, Stonys is the most obvious follower to the Armenian master Arvand Pelichian and his enigmatic film language demonstrated in Seasons. Stonys believes in the strength of the picture and prefers to avoid dialogue if possible. He knows how powerful and manipulative film can be. This is why he introduces the filmmaking aspect in this new film. He wants us to look at the face of the child. At innocence. That is what I read into this beautiful visual poem.

(Tue Steen Müller in Modern Times 2017)

  

UKU UKAI (2006)

The film starts in deathly silence. Make-up is carefully being applied to a woman’s face by another woman. Death in disguise? Is this about death? Are we death in disguise? All of us? Or does the first scene of the film also infuse our thoughts with the idea of closeness and distance? The closeness of the old woman, the distance of the young. To death. And their distance to each other. And then, at the end of this chain of thought, the alarming realisation: their closeness to each other. The long scene finally ends.

Death is a condition and a moment. Of silence. Life is a long-distance race. Surrounded by good advice and soft, noisy punchlines, “… just sit back and close your eyes / take a deep breath… / … breathe in and out / again, breathe in deeply …/ …and breathe out / listen to the sounds around you / accept them / become one with the environment,“ – he is running against time, for his life. In every respect, someone quite unlike the woman being made up. But his scene follows close on the heels of hers. Because they basically think alike, they are both struggling for life, pleasure, beauty. Audrius Stonys wants his films to gather lonely people who think alike into groups. This is his method of making films. And he has used it to make this one. The long-distance runner runs into the picture, through it and throughout the film. Against time.

Sleep is the living sister of death. Just before the woman in the third scene falls asleep (and also at that moment), her thoughts resemble the runner’s in the second. She surrenders to sleep as day to night, life to death. Confident of reawakening. Later on, awake again, she is jogging barefoot on her living-room carpet. The scene emphasises tactility, repetition, reality. In another scene, she is standing in front of the mirror, carefully applying night cream to her face. Revitalising it after removing her make-up. Working against time.

The film is indeed difficult, and we observe its relentless quest: to pursue the themes throughout the filmmaking. Like all auteurs, Stonys apparently works from film to film as if crafting a single work. In his lyrical, documentary meditations, the familiar motifs recur. His perception of time, of beauty and – starting with the etude Alone – he tests his art’s ability to endure in genres and idioms. To keep it from dying an early death, like nostalgia or aestheticism. Moralism or entertainment. Mainstreaming or consumerism. Which is why it requires such an effort for us to watch it. As Tarkovskij recalls what Goethe wrote, ”Reading a book is just as difficult as writing it!”. In other words, much remains to be done before we can truly claim to have watched Stonys’ film.

This is also the film’s major dilemma: it is so self-absorbed, we’re denied its reward; we become so accustomed to the way it jars our sensibilities that we all too easily abandon it instead of being taken in by it. Because we are not seduced, as in Earth of the Blind, by the beauty of Rimvydas Leipus’s magical black-and-white tapestry. Nor, as in Antigravitation, by the tension created by Jonas Gricius’s camerawork, drawing on an illustrious tradition (for which he gave his life). Will the old woman reach the top of the ladder? And if so, what will she do then? Nor, as in Harbour, by the fascination of travelling along an old wall in dignity, like the tired bodies in the public baths. And absolutely not, as in Alone, by the movement as the music infuses a dimension of measured infinity into the face of the grieving child on the back seat of the car.

As we watch Uku Ukai, we are once again robbed of retrospection’s comfort of convention. As in Countdown, where we were brutally and without warning delivered up to the aesthetics of television, here we are abandoned to the unique pictorial beauty of the TV commercial repeatedly disturbed by the ugly colours of sportswear. There’s no getting around it. The world has changed. Alone in brief silent night scenes of the city silhouetted against the sky, yes, and trees blowing against the same sky, yes, and a young dancer practising, yes, – leading our thoughts sadly back to the master, Henrikas Sablevicius, and his era. (Allan Berg Nielsen in DOX 2006)

 

THE BELL (2007)

The sixth film to be shown at the unique festival in Belgrade, starting tomorrow saturday, under the subtitle "European feature documentaries", organised by Svetlana and Zoran Popovic and their team, and with me taking part in the selection is made by Audrius Stonys according to the old stories, written about 300 years ago, during the Lithuanian - Swedish war, the bell from the bell tower of Plateliai Church has been removed and taken off. It was carried away across the frozen lake, but the ice cracked near the Kastel island and the bell sank. One hundred years later a snorkeling expedition went on a search for the bell. It has been told that they found it, but for inexplicable reasons, they let it sink again. It has been told that the sound of a submerged bell can be heard from the lake’s depth. In the Summer of 2006, the film crew, along with a snorkeling team, went on a search for the legendary bell. This diving into the still water of the mythical lake was a motive for the search through the time dimension and through shady silhouettes of memory and ancient tales. Audrius Stonys penetrates behind the surface of reality and tries to transform simple actions into fantastic sights allowing us to take a glimpse into the methaphysical world.

Audrius Stonys has always remained faithful to himself and to his unique conception of cinema and a poetical interpretation of the world. He has probably won all the prizes worth winning, including the European Oscar, the Felix, but it has not made him less uncompromising in his film language. Or maybe it is better to call it film paintings! Watch ”The Bell” that can be seen as the director’s hymn to legends and irrationality. Or to the beauty of human creativity. (Post 25-01-2008 19:13:35 by Tue Steen Müller)

 

AUDRIUS STONYS OG THE BELL

Jeg har kendt Audrius Stonys siden begyndelsen af 1990’erne. Som andre baltiske filmfolk kom han til Bornholm til Balticum Film & TV Festival, som fandt sted i ti år med hovedsæde i Gudhjem. Ved de første festivaler drejede mødet med balterne sig om politik og historie. Verden havde ændret sig omkring 1990. Det sovjetiske imperium var faldet sammen, Berlin-muren var væk, og Estland, Letland og Litauen var blevet selvstændige republikker. Det var det, som filmfolket talte om. I al fredsommelighed og med kun få nationalistiske udfald.

Der var et væld af historier, som skulle fortælles og de fleste drejede sig om de sovjetiske overgreb på balterne – og om glæden ved friheden til igen at være sig selv, at kunne udtrykke sin mening og hylde sit land og dets kultur f.eks. gennem sangfestivalerne og andre samlende manifestationer.

Så der var ingen markante kunstneriske præstationer at lægge mærke til det første par år. Det ændrede sig hurtigt og for mig var det en fryd at kunne se unge talenter markere deres helt egen stil. Jeg fandt ud af, at der var stor forskel på de tre landes dokumentarfilmtradition, helt naturligt når man tænker på de meget forskellige udgangspunkter, landene havde haft tilbage i tiden før den sovjetiske besættelse. Nok var der kraftig censur i USSR, men de lokale statslige filmstudier havde en vis bevægelsesfrihed og fremragende dokumentarfilm var blevet skabt i såvel Tallinn, Riga som Vilnius. Vi havde set nogle af dem, men alt for få. Det blev der rådet bod på i løbet af de 10 år festivalen varede og for mit vedkommende også siden da.

Audrius Stonys og hans kammerat Arunas Matelis kom tll Bornholm med en film, der skildrede den smukke kæde af hænder, der blev formet fra Estland i nord til Litauen i syd. Det var den rene eufori, som bar denne menneskekæde og dette udtryk for solidaritet. Som Stonys har udtrykt det, ”alle kameraer ville fange disse første frihedens åndedrag”. ”Baltic Way” hed filmen, som er 10 minutter lang og var instruktørens første og formentlig også sidste direkte politiske kommentar. I det hele taget var alle Stonys film fra 1990’erne kortfilm, optaget på 35mm materiale med henblik på at blive vist i biografer og på festivaler.

I 1992 fik han så sit internationale gennembrud med filmen ”Earth of the Blind” og i en alder af 26 år fik han den fornemste europæiske filmpris, Felix, uddelt af tv-stationen arte, for bedste europæiske dokumentarfilm. Filmen blev også vist på Bornholm, og Stonys blev en af festivalens faste gæster. Jeg var med til at arrangere festivalen og siden begyndelsen af 1990’erne har han været en god ven, hvis kunstneriske udvikling, jeg har kunnet følge tæt på, og hvis internationale karriere jeg har kunnet skubbe på gennem retrospektiver på forskellige festivaler og gennem at få ham ansat på European Film College i Ebeltoft, hvor han var dokumentarlærer i et år i begyndelsen af dette årtusinde. Stonys er nu en ofte brugt lærer på workshops i og udenfor Europa, han har en stor filmviden og det har været vigtigt for ham at videreføre sin læremester Henrikas Sablevicius arbejde som mentor for yngre filmfolk. Sabelivicius var vor mand i Vilnius, når vi tog dertil for at vælge film ud til festivalerne. En fremragende dokumentarist som holdt fast i dokumentarfilmen som et kunstnerisk udtryk og undgik at lave propagandafilm, som mange af hans jævnaldrende gjorde under USSR-tiden.

I sommeren var min kone og jeg i Litauen, jeg for at vælge film til Leipzigfestivalen, men vi var der også for at holde nogle dages feries med familierne Stonys og Matelis. Vi blev taget ud til kysten, kørte rundt i de Sahara-agtige dunes, som så ofte har været en kulisse i litauiske film. Stonys tog os til sine locations, vi aflagde et besøg ved Sablevicius grav, og mødte nogle af personerne fra hans 15 film, som alle er optaget i hans land.

Det er det, som jeg kender til, det er hvad jeg er en del af, den kultur og det sprog, som jeg elsker, har altid været svaret, når jeg har spurgt ham, hvorfor han aldrig har optaget udenlands.

Et af de steder, vi besøgte på vores Litauiske rundtur, var søen Plateliai, rammen om ”The Bell”, og stedet hvor der angiveligt skulle ligge en kirkeklokke, i følge de mange historier, der florerer herom. Men om ”The Bell” i virkeligheden handler om om noget helt andet, vil jeg lade stå et øjeblik. Det er ihvertfald klart ret tidligt i filmen, at der er ikke er tale om en reportageagtig dokumentar a la National Geographic, hvor plottet er: finder de klokken eller ej?

Ikke desto mindre sender instruktøren et hold dykkere ned på søens bund for at kigge efter klokken, samtidig med at instruktøren tager rundt til folk i regionen for at spørge dem om de har hørt noget. Om den forsvundne klokke. Det er der mange, der ikke har og nogle, der har. Der var vist noget om... er et svar, der dukker op.

Stonys spiller med tre elementer i denne film, der som ”Countdown” er usædvanlig både i forhold til længde og i forhold til den ordmængde, den indeholder. Han bruger interviewet, han bruger fortællingen om dykkerne der gør klar til og går ned under vandet og han bruger arkivmateriale, der fortæller om den folkelighed, der har udfoldet sig og stadig udfolder sig omkring søen. I dag er der rockkoncerter, tidligere var der andre former for fester, ofte knyttet til religiøse helligdage.

Der er ingen faste fortællestrukturer i ”The Bell”, som der aldrig har været hos Stonys. Det virker som om han konstant bliver nødt til at dvæle ved en ny opdagelse eller reflektere over det materiale, som hans fotograf har givet ham. Når han går fra nutid til datid til undervandsbillederne, er der ingen speciel dramaturgisk logik, der er blevet fulgt. Og det er tydeligt at han bliver mere og mere optaget af at arbejde med arkivmateriale, hvilket kommer til fuldt udtryk i hans seneste film ”Four Steps”, som er en reflektion over kærlighedens vilkår med udgangspunkt i bryllupsritualer, som de har udspillet sig over fire årtier.

Myterne, legenderne, ritualerne, det er omkring det, jeg ser Stonys hele oeuvre dreje sig: det irrationelle, det uforklarlige, det spirituelle, det som ikke kan og ikke skal forklares. I utallige sammenhænge har jeg som ordstyrer ved filmforevisninger forsøgt at få ham til at forklare. Men altid stritter han imod de hurtige fortolkninger og konklusioner, hvor ord efter hans mening banaliserer den visuelle oplevelse og følelse, han ønsker at give sin tilskuer. Og hvorfor lige det klip og den overgang. Kunne det være fordi... måske, siger han, det er op til dig.

Kameraarbejdet er alfa og omega for Stonys, som altid har valgt sine fotografer med stor omhu. Det er indlysende, at hans reference er den russiske tradition for den visuelle fortælling og når jeg har presset ham til at nævne sine inspirationer, kommer han altid tilbage til armenerne Paradjanov og Pelichian, og naturligvis kan han sin Tarkovski forfra og bagfra og er langt bedre til at komme ind i dennes værker med alle de for os svære religiøse henvisninger.

Tilbage til strukturen i ”The Bell”, den ulogiske, hvor det ofte virker som om instruktøren glemmer filmens mål og indledende hensigt (er der en klokke på søens bund?) og falder i visuel svime over den skønhed, som materialet indeholder.

Den gamle dame, der besværet går sin tur til det lille klokkehus... langsomt med horisonten bag sig, krumbøjet er hun der og viser tilbage til andre gamle kvinder, som lader klokkerne give musik fra sig, f.eks. i ”Antigravitation”, et af Stonys hovedværker, hvor man bliver helt svimmel ved at se den gamle dame stige op i klokketårnet.

Der er lange sekvenser af den slags i ”The Bell”, som bevæger sig fra at være meget konkret og interviewpræget – ”har I hørt at der skulle være en klokke på søens bund” – til at være en udforskning af den verden, som findes under vandet, en paradisisk jungle som den visualiseres i billeder, der minder mig om surrealisten Yves Tanguy og hans drømmebilleder.

Man må være logisk, siger en dame i filmen, selvfølgelig er der ikke en klokke under vandet, så var den jo fundet for længe siden, man børnene har en anden opfattelse, nogle af dem har faktisk set klokken.

Og Audrius Stonys har en anden opfattelse, denne fine kunstner som er helt sin egen og som stadig søger nye veje, men altid indenfor sin egen kulturkreds blandt de mennesker, han holder af og hvis historier og sange han aldrig bliver træt af at høre.

Det er så fortjent at Stonys bliver hilst på som den litauiske nationalpoet, han er. (Tue Steen Müller, introduktion til foredrag 13. marts 2009 i FOF, Randers)

 

FOUR STEPS

… My host in Lithuania, a name I mention with much respect and admiration is Audrius Stonys, who makes one film per year, always related to the culture and traditions of his native country, always challenging to watch, born out of humanistic thinking. This time the title is "Four Steps", made out of a deep fascination of super-8 mm wedding films, shot in 1961, 1972, 1983 and 2007. And of course it is not "only" about wedding traditions, it is also philosophy and literature and songs and music. I look forward to see this film for the third time! (From a post 29-07-2008 09:17:34 by Tue Steen Müller)

 

RAMIN (2010)

Audrius Stonys deserves much praise for his ”Ramin”, a film about an old man in Georgia, his daily life, his attachment to his late mother, his looking for a woman he knew in his youth... the story is told in stunningly beautiful images by Audrius Kemezys, the story construction is complicated, but there are magical moments (like in most of Stonys films) that you will never forget, and original ideas. In this one it is a cross-cut from a loong celebration of Ramin’s birthday to a cat crying outside the house with a nice warm hen to lean on! (From a post 02-07-2011 22:01:28 by Tue Steen Müller)

The festival in Vilnius 2011 (September 22 – October 2) opened with the newest film by local master Audrius Stonys, ”Ramin”, produced by Vides Film Studio in Riga, Latvia. The fllm (not in the Baltic competition) is a both touching and amusing portrait of an old man (Ramin), who has been a fighter (wrestler) his whole life and now (as the catalogue says) fights the old age loneliness. Magnificent camera work and the courage to let scenes grow reminds us how important a film poet Stonys is. (Post 29-09-2011 by Tue Steen Müller)

 

LITHUANIA

... is a Baltic country, the most southern, and the most exciting when it comes to documentaries.

They are mostly short and based on images - the Lithuanian documentarians compose the image and treat the spectator as an intelligent person. The information needed to understand a story or a problem or a complex thematic issue is conveyed by the combination of image and sound and montage. In other words, they make FILMS and are still relatively "innocent" when it comes to adapt to television standards.

"They" are directors like Audrius Stonys and Arunas Matelis and Oksana B. and Rimantas Gruodis. I have just been there to watch new films to be recommended to Leipzig Film Festival to which I offer scouting services. If any reader of this would like to have contact with the Lithuanian filmmakers, you can google Stonys and Matelis, who both have their own websites and will direct you to where to get hold of dvd's. (Post 12-08-2007 by Tue Steen Müller)

 

INTERVIEW

I have written - and so has Allan Berg - many times about Lithuanian documentary poet Audrius Stonys, who by the way is a big admirer of the films of Jørgen Leth, who is on the cover of filmkommentaren.dk for the moment. At the University of Pompeu Fabre in Barcelona, a student made an interview with Stonys, 8 minutes long and placed it on YouTube: http://www.youtube.com/watch?v=vjbl6cb7dko  (Post 20-09-2008 by Tue Steen Müller)

 

DOCALLIANCE

For 2.5€ in total you will be able to watch three great films by Lithuanian documentary poet, Audrius Stonys, who is “the event of the week” of the brilliant vod.

The films are Uku Ukai (2006), Countdown (2004) and Ramin (2011). DocAlliance has made a small talk with the director:

The acclaimed director Audrius Stonys ranks among the most prominent Lithuanian documentary filmmakers. According to Stonys, the issue of freedom plays the main part in cinematography, being more important than any aesthetic criterion. Especially as there still are attempts to restrict such freedom, only they have taken the form of dictatorship of money. Stonys believes that documentary filmmaking was not born out of the desire to provide information. It was born out of astonishment and the possibility of being able to stop time and contemplate the miracle called “the world”.

In response to a seemingly perplexing question: “Who makes your films?” Stonys said: “Recently, I visited a doctor because I had problems with my back. And for only fifteen minutes of work he asked for a lot of money. Sure, he fixed me up, but he is my friend. So I wondered why the heck he was asking so much. This is what he said: ‘Look, those fifteen minutes contained all the years of my practical training, all the books I have read plus the experience of my professors who have shared their knowledge with me.’ And my films are also the result of the work of many souls.” (Post 18-02-2013 by Tue Steen Müller)

 

AUDRIUS STONYS OG FILMKOMMENTAREN.DK

Jeg satte for nogen tid siden dette still ind som nyt gruppebillede på Filmkommentarens Facebookside. Sevara Pan så straks, at det måtte være fra en film, og spurgte fra hvilken, og Tue Steen Müller synes, jeg skal rykke ud med hele historien. Den er så her. Billedet er fra Ensom (Viena / Alone), 2001, 16 min. af Audrius Stonys fra Vilnius. Filmen er fotograferet af Rimvydas Leipus.

OM FILMKOMMENTAREN

Da vi begyndte august 2007, skulle grafikeren, som lavede vores blog, have et visuelt forlæg. Vi valgte dette still fra Stonys film, scenen, hvor den lille pige i en travelling går langs fængslets mur hen mod porten for at blive lukket ind til sin mor. På besøg.

Grafikeren brugte murens struktur, som herefter minder os om adskillelse og menneskets tilværelse og ensomhed i den og, ved vi, som har set filmen, skønheden og glæden i kærlighedsmødet. Filmkommentaren indrømmer noget sent lånet af disse fotos og krediterer på det taknemmeligste Rimvydas Leipus og Audrius Stonys for deres definition af vores filmkunstneriske profil. Som vi gør, hvad vi kan, for at leve op til.

OM FILMEN

Den handler om cinematografiens sublime evne til at skabe en mere virkelig virkelighed. Jeg plejer at se den som en etude, på én gang et katalog over en række filmiske greb og så også en ganske lille gribende og smuk fortælling om ubodelig ensomhed. Fortællingen rives hele tiden i stykker ved det Brechtske verfremdungsgreb (husk, dette er film…), men derved understreges alene fortællingens og filmens styrke.

OM INSTRUKTØREN

Han begyndte at skrive og at lave film, da Litauen var en del af Sovjetunionen, og han har siden som uafhængig filminstruktør og producent lavet 14 film. Hans film har vundet adskillige internationale filmpriser. 2004-2005 var Stonys lærer i dokumentarfilm på filmhøjskolen i Ebeltoft. Siden 2006 har han undervist på Tokyo Waseda Universitet. Audrius Stony er af den overbevisning, at frihed i film er det centrale, det er vigtigere end nogen æstetisk opfattelse. Særligt når der har været forsøg på at begrænse denne frihed har det vist sig, at filmene kun har ændret deres ydre skal. Dette synes at være særligt tydeligt i dokumentarfilmene, som forsøges presset ind i en standard ramme af en slags produktion af information, underholdning, følelser og undervisning. I modsætning til dette mener Stonys, at dokumentarfilmen ikke er sat i verden med ønsket om at informere. Den er født af undren med opdagelsen af muligheden for at standse tiden og fordybe sig tænksomt i tilværelsens mirakel. (Written 14-04-2014 by Allan Berg Nielsen, efter http://dafilms.dk/ hvorfra flere af hans film kan streames)

 

GATES OF THE LAMB (2015)

Stonys asked me some time ago what I thought of ”Gates of the Lamb” and its festival potential. These were my words:

This film, which is visual, have very few words, uses music, has no "story" as such but lets us enjoy Faces Faces Faces, mostly in profile at the right part of the image - great cinematography - and music and a solemn atmosphere with fine small humoristic sequences with children with open faces not really understanding, and yet… what is going on. You are back to a world that you master to convey.

I have no information if “Gates of the Lamb” has been to other festivals so far, but to have it here in the hometown of the director is an obvious choice. (TMS 13.09.15 in a post on Vilnius Festival)

 

VILNIUS 2015

The winners of Vilnius Documentary Film Festival Baltic competition have been appointed and the top two were from the hosting country:

Veteran Audrius Stonys took the first prize for his “Gates of the Lamb” that I have written the following words about: This film, which is visual, have very few words, uses music, has no "story" as such but lets us enjoy Faces Faces Faces, mostly in profile at the right part of the image - great cinematography - and music and a solemn atmosphere with fine small humoristic sequences with children with open faces not really understanding, and yet… what is going on. Audrius Stonys is back to a world that he masters as noone else.

Giedre Zickyté took the second prize for her ”Master and Tatyana” that I have written the following words about: So, there it is, the film about the Lithuanian photographer Vitas Luckus (1943-1987), his life, his art and first of all his love story with muse and wife, Tatyana. It is made by Giedre Zickyte, who has been working on it for years. I heard about it five (maybe more) years ago, when she was pitching the film at the Baltic Sea Forum, and since then I have had the pleasure to watch sequences and rough versions. Yes, pleasure, because Giedre Zickyte has kept the passion for her film the whole way through, and pleasure because you can see Quality, high Quality in the final film. For me it’s brilliant, nothing less… the whole review, click: http://vdff.lt/en

The photo of Audrius Stonys thanking for the main award is taken from the FB page of the festival - © Mindaugas Česlikauskas (Posted 28-09-2015 by Tue Steen Müller)

 

THE TRUTH OF LIFE

… this is just a natural thing in documentary filmmaking, the moment you think you know everything and it only remains to capture your “discoveries”, the truth of life takes over and turns against you. So, I let my visions be transformed. The essence lies in the quest. Subsequently, the films will live the lives of their own….

Says Audrius Stonys in an interview on cineuropa, very well made by Aukse Kancereviciute. I recommend you to read it all, here is a taster:  

The film Ūkų ūkai emerged from a desire to expose the beauty industry, but in the course of shooting your attitude changed radically. Does it often happen that life adjusts preconceived visions?

Perhaps not a single one of my films was unaffected by this. The idea changes, because reality turns it upside down and destroys it. At first I was very frightened; it seemed to me that was it – that was the end. I had an idea and everything took another turn. Then I understood that this was supposed to be so. None of my films are as I originally conceived them. In Ūkų ūkai both the theme and the characterchanged. Instead of a strong, healthy, young man who goes swimming every day irrespective of whether it rains or snows, we have a tiny old woman tip-toeing across her room. Alone (Viena) was supposed to be about a girl who is going to visit her mother, who is in prison, and talking what she sees and feels, but instead I made a completely silent film. New Martyrology (Tas, kurio nėra) was supposed to show a man who died unbeknownst to anybody, but instead the Lithuanian film director Augustinas Baltrušaitis, whom fate and circumstances tossed into complete oblivion, became the protagonist of the film. When shooting Cenotaph it seemed that the film was about the meaning of reburial, but it turned out to be about meaninglessness. The initial concept is therefore diametrically opposite… (Posted 25-04-2016 by Tue Steen Müller)

http://cineuropa.org/it.aspx?t=interview&l=en&did=307560

 

WOMAN AND GLACIER (2016)

Yes, it started yesterday, the fabulous documentary event in Amsterdam and today it’s all over with screenings, masterclasses, the academy, some films are in competition, others are not, facebook is full of ”come and see my film”, there will be many full houses. And many who prepare their pitches for the Forum. With meetings and parties.

I am not there this year for family and friend reasons – birthdays – but I have seen some of the films already so comments will arrive on this site, don’t have time for longer reviews but I will pick some films via links and Docs for Sale. So check it out – there could be recommendations you want to follow.

For instance the world premiere tonight of Audrius Stonys' new film

– yes we love him here on filmkommentaren and have done so since his debut at the beginning of 1990’es. The title is ”Woman and Glacier” and this is what I wrote to the director, when I had seen the film:

“…Magic, Audrius, mind-blowing to be there, ... Will watch again, it brings me in a meditative mood, love the way you use archive and the structuring with the musician. Thanks for letting me watch - on a computer... you will have a lot of success with that film…” and later on, ”… this quote from Swedish Sune Jonsson in 1978 fits well to your film, especially the last words "inner landscapes": “…A documentary work is not intended for the esthetic connoisseur or the preoccupied consumer, but rather for people in vital need of increasing their knowledge: of transforming communicated environments, epochs, nature scenes into personal experiential substance - something with which to enrich their own inner landscapes.”

The IDFA website short description of the film: A filmic ode to a woman’s choice to live in solitude. For 30 years, a Lithuanian scientist has been conducting climate research at the Tuyuksu Glacier in Kazakhstan.

New (almost) wordless masterpiece by Audrius Stonys with his genius cameraman Audrius Kezemys. (Posted 17-11-2016 by Tue Steen Müller)

 

POSTS IN DANISH

De oprindelige dansksprogede versioner til to af teksterne ovenfor:

ANTIGRAVITACIA (1995)

Stonys film blev lavet for præmien, han modtog i 1992, Felix¬prisen, for bedste kortfilm i Europa. Den hed Neregiu Zeme (World of the Blind) (Den blindes verden), og den blev vist i Gudhjem samme år. I 1995 kunne han så præsentere resultatet, en film om længslen efter at overvinde, hvad der holder os ved jorden.

Stonys havde meget længe ønsket at få den berømte russiske fotograf Jonas Gricius til at fotografere en film for sig. Det var så lykkedes denne gang. Og hvilke billeder! Vi flyttes ind i den smukke, gamle tradition af store sorthvide 35 mm filmscener, hvor hver enkelt optagelse er overvejet til mindste detalje. Denne kunstneriske velovervejethed følger Stonys herefter op, så hver enkelt scene fuldstændig harmonisk sættes på plads i en sammenhæng, som jeg er overbevist om, ikke kan være anderledes. Et lydefrit værk. Sjældent har jeg oplevet en film, hvor jeg i den grad er ude af stand til at komme med indvendinger, ude af stand til at forestille mig andre løsninger. Den her film er lavet helt færdig.

Men hvad handler den så egentlig om? Som i de tidligere, skildrer Stonys kontemplativiteten. På festivalen i 1991 havde han sin film fra 1989 med. Den hedder Atverti duris ateinanciam (Open the Door to Him, who Comes). Både den og Neregiu Zeme er fotograferet på samme værdige og gammeldags måde, 35 mm film, sort/hvid. Sådan også med de senere. Først Harbour fra festivalen 1998 tager farvefilmen ind i sin meditation over kroppen og vandet. En badeanstalt er filmens sted. Renselsen dens handling. Den tidlige er om en præst i et afsides sogn, som søges af mennesker også fra de store byer, fordi de hos ham, i hans kirke, finder fred i sindet og svar på de store spørgsmål, og den anden film fortalte om mennesket uden syn i en verden af lyde og svage konturer, vekslende lys- og mørkegrader. Tilstande i eftertanke, ordløse næsten. Drømmende søger de tilbage mod eksistentielle relikter, vemodige i tonen, vil projektet lykkes?

Antigravitacija

Stonys manuskript til tyngdekraftfilmen har krævet, at holdet har måttet lave optagelser gennem i hvert fald et år, for der klippes som en selvfølge fra snedækkede landskaber til summende forårsvarme landsbygader, fra tøbruddets oversvømmelse til en kane i knirkende frost. Og den unge instruktør har hevet den fine, gamle fotograf op i højder, på tagstilladser, på høje jernbanebroer og allerøverst i kirketårne. For billederne skal fortælle, hvordan verden tager sig ud fra de himmelsøgende indretninger, mennesker konstruerer. Filmens heltinde er en gammel kvinde, som forcerer den længste stige, jeg mindes at have set, til det øverste i landsbykirkens spir. Helt oppe kigger hun ud i sommeren. I næste klip ser vi hendes syn, helt efter bogen, men det er bidende vinter. Året rundt, livet igennem klatrer hun den tur. Uvist hvorfor, men nødvendigvis må hun klatre. (Allan Berg Nielsen i Balticum Film & TV Festival 1990-99, red.: Tue Steen Müller)

Antigravitacija

 

UKU UKAI (2006)

Der er ganske tyst i filmens begyndelse. En kvindes ansigt sminkes omhyggeligt af en anden kvinde. Er det et sminket lig? Handler det om døden? Er vi sminkede lig? Alle? Eller bygger den første scene i filmen også nærheden og afstanden ind i vores tanke? Den gamle kvindes nærhed, den unge kvindes afstand. Til døden. Og deres afstand til hinanden. Og så ved tankerækkens slutning alarmlyden af overraskelse: Deres nærhed til hinanden. Scenen er lang, men den er slut nu.

Døden er en tilstand og et øjeblik. I tavshed. Livet er et langdistanceløb. Omgivet af gode råd af blide, larmende punch-lines: ”.. let’s sit easily and close the eyes / take a deep breath in… / … and out / again a deep breath in / …and out / listen to the noises around you / accept all the noises / be in harmony with the environment “ løber han imod tidens retning, løber han imod livets retning, for livet. I ét og alt forskellig som person fra kvinden, som sminkes. Men hans scene kommer lige efter hendes. For de tænker grundlæggende ens, kæmper for livet, nydelsen, skønheden. Audrius Stonys vil i sine film bringe de ensomme mennesker sammen. I grupper som tænker ens. Sådan vil han lave film. Og sådan har han lavet denne. Langdistanceløberen løber i billedet, gennem billedet, igennem filmen. Mod tiden.

Søvnen er dødens levende søster. Lige før kvinden i tredje scene falder i søvn (også i det øjeblik), tænker hun som løberen i anden scene. Hun overgiver sig til søvnen, som dagen overgiver sig til natten, som livet til døden. I trygheden om genkomsten. Senere, vågen igen, løbetræner hun rundt i sin stue på bare fødder mod tæppet. Scenen fastholder det taktile, gentagelsen, det konkrete. I en anden scene smører hun stående foran sit spejl omhyggeligt natcreme i ansigtshuden. Giver den liv efter at have fjernet sminken. Arbejder mod tiden.

Filmen er vel uomgængelig, vi følger dens konsekvens, som er at forfølge linjerne i hele filmarbejdet. Som alle auteurs arbejder Stonys tilsyneladende fra film til film på ét eneste værk. Motiverne er genkommende i hans lyrisk dokumentariske meditationer. Det er tidsopfattelsen, det er skønhedsopfattelsen, det er fra og med den fuldkomne etude Alone også at afprøve kunstartens overlevelsesmulighed i genrer og greb. Så den ikke dør ung som nostalgi og æstecisme. Moralisme og underholdning. Mainstream og konsum. Og det er derfor et arbejde for os at se den. Som Tarkovskij citerer Goethe for at have skrevet, at det er lige så stort et arbejde at læse en bog som at skrive den! Vi har således langt igen før, vi har set Stonys film.

Filmens store problem er da også, at den så koncentreret om sig selv forholder os belønningen, vi var vænnede til, at den støder ind i spørgsmålet om smag, så vi meget let forlader den frem for at suges ind i den. For vi forføres ikke som i Earth of the blind af skønheden af Rimvydas Leipus’ sorthvide magiske billedtæppe. Ikke som i Antigravitation af spændingen, som Jonas Gricius med sit kamera fra den store tradition (og med livet som indsats) leverer. Når den gamle kvinde mon op til toppen af den stige? Og hvad så deroppe? Ikke som i Harbour fascinationen ved en travelling langs en gammel mur i værdighed lig de trætte kroppe i badene. Og slet ikke som bevægelsen i Alone, lige da musikken lægger sit lag af præcis uendelighed på det sorgramte barneansigt der på bilens bagsæde.

Alone

Når vi ser Uku Ukai er vi atter berøvet de bagudskuende konventioners komfort. Som vi uforberedte i Countdown brutalt blev overgivet til tv-æstetikken, er vi nu prisgivet reklamefilmens særlige billedskønhed, ofte forstyrret af sportstøjets grimme farver. Der er ingen vej uden om. Verden er forandret. Alene i korte, tyste nattebilleder af byens profil mod himlen, ja, og træer i blæst mod samme himmel, ja, og en ung danser, som øver sig, ja – føres vores tanke vemodigt bagud mod mester Henrikas Sablevicius og hans tid. (Allan Berg Nielsen i DOX 2006) 


Categories: Web, Directors

Audrius Stonys on DocAlliance

Written 18-02-2013 13:37:34 by Tue Steen Mller

Audrius Stonys on DocAlliance

For 2.5€ in total you will be able to watch three great films by Lithuanian documentary poet, Audrius Stonys, who is “the event of the week” of the brilliant vod.

The films are Uku Ukai (2006) (photo), Countdown (2004) and Ramin (2011). DocAlliance has made a small talk with the director:

The acclaimed director Audrius Stonys ranks among the most prominent Lithuanian documentary filmmakers. According to Stonys, the issue of freedom plays the main part in cinematography, being more important than any aesthetic criterion. Especially as there still are attempts to restrict such freedom, only they have taken the form of dictatorship of money. Stonys believes that documentary filmmaking was not born out of the desire to provide information. It was born out of astonishment and the possibility of being able to stop time and contemplate the miracle called “the world”.

In response to a seemingly perplexing question: “Who makes your films?” Stonys said: “Recently, I visited a doctor because I had problems with my back. And for only fifteen minutes of work he asked for a lot of money. Sure, he fixed me up, but he is my friend. So I wondered why the heck he was asking so much. This is what he said: ‘Look, those fifteen minutes contained all the years of my practical training, all the books I have read plus the experience of my professors who have shared their knowledge with me.’ And my films are also the result of the work of many souls.”

http://dafilms.com/event/109-audrius-stonys/


Categories: Articles/Reviews ENGLISH, Web

How to Build a Country from Scratch

Written 10-02-2013 11:48:57 by Tue Steen Mller

... is the title of another fine Op-Doc that you can watch on New York Times website. A bit more than 9 minutes long it is a presentation, full of humour, in 12 steps/chapters of the new country, South Sudan, made by the French filmmakers Florence Martin-Kessler and Anne Poiret. A feature duration documentary entitled ”State Builders” will premiere later this year to be broadcasted on arte, the German/French cultural channel.

Again, chapeau for this initiative of New York Times, bringing the short documentary to a big audience.

http://www.nytimes.com/2013/02/05/opinion/how-to-build-a-country-from-scratch.html?_r=0


Categories: Articles/Reviews ENGLISH, Web

Agns Varda Online Festival

Written 05-02-2013 21:05:48 by Tue Steen Mller

Agns Varda Online Festival

What a feast! And don’t say you can not afford it – it is for free! And it lasts until February 17!

I am referring to another generous offer from ”your online documentary cinema” provider DocAlliance.

17 films of Agnès Varda, voilà.

Including ”The Beaches of Agnès”, ”The Gleaners and I”, the documentary she made about her late husband Jacques Demy, ”L'univers de Jacques Demy” and several short films like ”Salut les Cubains” (photo) from 1963, that has the following description on the site of DocAlliance:

”Four years after Fidel Castro came to power, Agnès Varda brought back from Cuba 1,800 photos and used them to make an educational and amusing documentary.”

Have a nice festival and tell others about it!

http://dafilms.com/


Categories: Film History, Articles/Reviews ENGLISH, Web

Op-Docs

Written 27-01-2013 14:01:38 by Tue Steen Mller

Op-Docs

The New York Times runs a series of short documentaries that are quite interesting. OP stands for Opinion and here is how the newspaper (you can get a monthly online subscription for 1$) presents its strand:

”Op-Docs is The New York Times editorial department’s forum for short, opinionated documentaries, produced with wide creative latitude and a range of artistic styles, covering current affairs, contemporary life and historical subjects.

Op-Docs videos are produced by both renowned and emerging filmmakers who express their views in the first person, through their subjects or more subtly through an artistic approach to a topic. Each is accompanied by a director’s statement.

In December 2012, we started a new Op-Docs feature: Scenes. This is a platform for very short work — snippets of street life, brief observations and interviews, clips from experimental and artistic nonfiction videos — that follow less traditional documentary narrative conventions.”

Highly recommended to be seen is the 9 minute long, very tense, touching, cinematic piece by Laura Poitras,



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Categories: Articles/Reviews ENGLISH, Web

Murphy/ MediaStorm:A Darkness Visible: Afghanistan

Written 16-01-2013 11:01:52 by Sevara Pan

Murphy/ MediaStorm:A Darkness Visible: Afghanistan

In a quest for taking a viewer beyond the headlines, Seamus Murphy embarks on a journey through Afghanistan, the land he has grown to love and its culture and people that never ceased to amaze.

A long-term project by acclaimed documentary photographer Murphy with a contribution of the footage from the Afghan Film Organization and Augustin Pictures was produced by the award-winning New York-based multimedia production studio MediaStorm. Based on 14 trips between 1994 and 2010, "A Darkness Visible: Afghanistan" charts people's journey to find their way in the country deluged by the political upheaval. From the Soviet invasion and the mujahideen resistance to the Taliban and the American occupation, the film deftly traces thirty years of Afghan history telling a tale of war through the eyes of ordinary people. In times of war, there is loss and fear but there is also a place for hope, dreams, and even love. The production portrays war giving it a face. The toll should not be esteemed in numbers. Be it a commander of the mujahideen resistance or a member of a typical Afghan family, the life of a man is equally precious and fragile once the war knocks on the door.

"A Darkness Visible: Afghanistan" finds a compelling way to deliver its intricate web of stories by utilizing multiple media and fusing photography, audio-visual material, and external footage. Its dramaturgy follows a clear structure by plotting different chapters of Afghan history. The presentation of the film, therefore, is undeniably comprehensible and adds an educational value. Its powerful black-and-white imagery is captivating, enduring, and will be distinctly ingrained into one’s memory.

Candid, with much tender and care, Murphy tells the story of Afghanistan. They say, “No one comes to Afghanistan once.” Indeed, there is something about this land that captures imagination and allures to come back. But as the shadow of the war lingers long, "there is a moment when you hold your breath knowing that something so bright might just become dark again."

USA, 2011, MediaStorm, webdocumentary.

http://mediastorm.com/publication/a-darkness-visible-afghanistan


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Categories: Articles/Reviews ENGLISH, Web

Dongnan & Doran: The Sound of Vision

Written 09-01-2013 09:26:54 by Sevara Pan

Dongnan & Doran: The Sound of Vision

"I wasn't sure if I felt special or left out", Frank Senior reflects on a moment of realization of being blind. Thought-provoking and insightful, this 8-minute documentary, conceived as part of the International Documentary Challenge, captures a glimpse of a man's journey in the world unseen. Blind from birth, a native New Yorker walks us through the city he has never seen. Alien to light, he finds colors in sounds, voices, and music.

A beautiful short film by aspiring New York-based filmmakers Dongnan Chen and Julia Doran, that is a PBS premiere, available online on POV until September 13, 2016.

Additional information: Frank Senior works as a guide at the Dialogue in the Dark exhibition in New York City. He leads groups of people through a tour of simulated Manhattan -- specially constructed dark rooms in which sound, scent, wind, temperature, and texture convey the characteristics of the environment. In the world without pictures, "it is all about combining other senses and letting them come out and play." Over 7 million people have experienced Dialogue in the Dark in over 30 countries and 130 cities worldwide.

http://www.pbs.org/pov/soundofvision/


Categories: Articles/Reviews ENGLISH, Web

DOCAlliance Offers Free Streaming

Written 29-12-2012 21:32:57 by Tue Steen Mller

DOCAlliance Offers Free Streaming

Again the excellent vod DOCAlliance – calls itself very rightly ”your online documentary cinema” with over 700 quality films – invites (documentary) film lovers to watch films for free, this time its 11 most watched documentaries of 2012. From December 31 to January 6.

Seen from a Danish perspective it is great to notice that Jørgen Leth’s bicycle race classic ”A Sunday in Hell” (1977) as well as his masterpiece ”Haiti. Untitled” (1996) are on a list that includes several Czech and Slovak films. ”Solar Eclipse” by Martin Marecek is a both funny and clever work on two Czech electricians in Zambia, fighting to teach the locals how to have their electricity in good shape. Personally I will take a look at the film on a writer, whose name I know but have never read. Here is a quotation from the site of the vod: 

“The key impetus for Arnošt Lustig’s (1926-2011) (photo) writing consisted in the ordeal of his painful holocaust experience. His first short story collection set in the environment of Nazi concentration camps was published in 1958; considering it his best book ever, Lustig kept on returning to the dramatic historical experience. He knew too well that the “Auschwitz experience” is beyond description and that while trying to describe it, one may get swept by the dark current of dreadful memories; many a “holocaust writer” took his own life (e.g. Primo Levi, Jean Amery, etc.). What helped Lustig escape the fate of his famous colleagues was probably his intense optimism. However impoverished, humiliated and marginalized life could be, it has always been the main axis of Lustig’s interest. His desire to live (and appreciate life) has not been suppressed even by the tragic episodes of his stays in concentration camps (Theresienstadt, Auschwitz, Buchenwald). That is the fundamental victory of Arnošt Lustig over the darkness of war and primarily over the machinery of Nazi hatred, aimed, in its principle, at the very value of life.”

http://dafilms.com/event/103-most-watched-docs-of-2012/


Categories: Film History, Articles/Reviews ENGLISH, Web

Nikolaus Geyerhalter at DocAlliance

Written 07-12-2012 01:35:45 by Tue Steen Mller

Nikolaus Geyerhalter at DocAlliance

Pleased to recommend a new offer from the vod DocAlliance, this time related to Austrian documentarian Geyerhalter. Here is a slightly edited version of the promotion text from the vod site:

We offer a selection of the best films by Geyerhalter in the period December 7-9, for a small fee. Scenes from the life of animals in mass-production shown in Our Daily Bread (photo) represents one of the most powerful visual depictions of the food-processing industry. The director alternates between sequences of shots of machines in operation with images of workers during breaks captured alone and without words which would, in any case, be drowned in the never-ending humming of the machines. All is clean, hygienic and synchronized, including the slaughters of mass-produced animals.

An apparent similarity with the impersonal mass-production processes can be found in Abendland. An observation of the European continent at night shows crowds of people partying, protesting as well as impersonal crews of workers at conveyor belts, for example burning coffins in a crematorium. Besides, scenes of employees of a help line, nurses and medical staff are also observed through absolutely unbiased, cold and distant lens. The impartiality and detachment of the camera constantly merge in CCTV supervision or permanent police controls.

In 7915 km, Nikolaus Geyrhalter follows the route of the Dakar Rally race. He shows the ordinary world of ordinary people living along the route of the race at the moments when the track is free of vehicles. The substantially different characters portrayed in this documentary share their experience with the competitors who are passing through. Their experience is mainly reduced to the roar of motors and whirling clouds of dust. The film presents variations on the idea of the West speeding through countries which would prefer the world to slow down and pay attention to the problems their inhabitants have to cope with.

http://dafilms.com/


Categories: Film History, Articles/Reviews ENGLISH, Web

Louisiana Channel

Written 29-11-2012 19:03:44 by Tue Steen Mller

Louisiana Channel

The Museum of Modern Art north of Copenhagen is of course a must for all art lovers, who visit Denmark. A new web-initiative by the museum deserves to be promoted. Here is the text from the museum:

“Louisiana Channel delivers culture to the Net extending beyond the museum’s own events expanding upon the museum’s exhibitions and activities, as well as looking beyond Louisiana’s own context, meeting the artists in their environment for their stories. Louisiana Channel finds its material in Louisiana’s unique network of visual artists, writers, architects, designers and musicians, and angles the material with a background in Louisiana’s tradition for communication.

The Louisiana team produces videos on art and culture on a regular basis and new videos are posted to the site every week. We welcome you to sign up for our newsletter (go to the website) to be notified of new videos regularly.

At current you can meet David Hockney, Pipilotti Rist, Yayoi Kusama, Jonathan Safran Foer, Henning Mankell and many more…”

Including an acoustic version of “Banga” by Patti Smith.

Photo: Patti Smith performing in Helsinki 2007.

http://www.louisiana.dk/dk/Service+Menu+Right/English


Categories: Articles/Reviews ENGLISH, Web

Jrgen Leth on Docalliance

Written 22-11-2012 20:36:29 by Tue Steen Mller

Jrgen Leth on Docalliance

To be repeated:

You can watch 7 of Jørgen Leth’s films for free on the vod Docalliance (link below), a – too use one of the director’s favourite words – generous offer to film lovers all over to see ”A Sunday in Hell” (Paris-Roubaix race), ”Moments of Play”, ”Good and Evil”, ”Notes of Love”, ”66 Scenes from America”, ”Haiti Untitled” and ”The Perfect Human”. A small festival in itself with the usual high quality text intros from the Docalliance people. For free until November 25. A must for all film students! And cinéphiles of course!

To be added:

You are now also invited to watch Truls Lie 2012, director’s cut version of his “The Seduced Human”, 70 mins. long, reviewed on this blog by Allan Berg, in Danish. Here is the intro from DocAlliance:

"What is the meaning of a whole life lived as an observer? 
Danish filmmaker Jørgen Leth has lived in chaotic Haiti for 20 years. In 2010 the catastrophic earthquake changed his life. Was it a turn from aesthetics to ethics?
 This documentary follows Jørgen while he is making his last film Erotic Man in Haiti before the earthquake, all the way up to its premiere. Jørgen also looks back at his films made over 40 years – like The Perfect Human, Life in Denmark, Play, Notes on Love, Good and Evil, Haiti Express, 66 Scenes From America, and his work with Lars von Trier called Five Obstructions. But not least, this inquiry asks how an artist lives existentially with desire, doubt and despair – the three fundamental concepts in the philosophy of Søren Kierkegaard."

www.lethfilm.dk

http://dafilms.com/


Categories: Articles/Reviews ENGLISH, Web, Directors

Jrgen Leth

Written 14-11-2012 23:56:19 by Tue Steen Mller

Jrgen Leth

Mid wednes(day) off from Copenhagen with troubled SAS to Amsterdam to attend the 25th idfa (International Documentary Film Festival). On board is also Jørgen Leth on his way to idfa as several times before. This year to be in the main jury with (among others) Michael Glawogger, and to attend his own ”My Name is Jørgen Leth” exhibition that is part of the idfa ”Expanding Documentary” that opens at 7pm tomorrow November 15th at De Brakke Grond here in Amsterdam.

The exhibition that ran succesfully in Copenhagen – arranged by Danish curator Michael Thouber at the Kunstforeningen Gl. Strand in Copenhagen – gives the visitors the chance to watch (some of) Leth’s films, photos, notebooks as well as listening to his commentating bicycling races like Tour de France. One of the many characteristics of the director, who in the car from Schiphol to the hotel immediately fell into discussions about this one of many passions of the Danish director, who has been an inspiration for generations of Danish filmmakers. With Lars von Trier as number one as readers will know from the film ”The Five Obstructions”.

Which leads to the most important information: You can watch 7 of Jørgen Leth’s films for free on the vod Docalliance (link below), a – too use one of the director’s favourite words – generous offer to film lovers all over to see ”A Sunday in Hell” (Paris-Roubaix race) (PHOTO), ”Moments of Play”, ”Good and Evil”, ”Notes of Love”, ”66 Scenes from America”, ”Haiti Untitled” and ”The Perfect Human”. A small festival in itself with the usual high quality text intros from the Docalliance people. For free until November 25. A must for all film students! And cinéphiles of course!

http://www.idfa.nl/industry.aspx

www.lethfilm.dk

http://dafilms.com/


Categories: Festival, Film History, Articles/Reviews ENGLISH, Web

DOK Leipzig - Films/ 2

Written 01-11-2012 23:04:48 by Tue Steen Mller

DOK Leipzig - Films/ 2

The Doc Alliance vod that characterises itself ”your online documentary cinema”, and has over 700 quality films in the catalogue, that can be streamed or downloaded for a prize between 0,50 to 5€ - also takes part in the DOK Leipzig with a generous offer to all of us:

Watch for free a selection of short films from DOK Leipzig 2011!

To be recommended (seen by this blogger) are ”Decrescendo” (photo) by Polish Marta Minorowicz, the Scottish ”Kirkcaldy Man” by Julian Schwanitz and the Russian ”I will for get this Day” by Alina Rudnitskaya. Read more about them and others on the site of Doc Alliance, and take a closer look at the site of the best documentary vod.

http://dafilms.com/


Categories: Festival, Articles/Reviews ENGLISH, Web

Christian Snderby Jepsen: Fuglekongerne

Written 15-09-2012 10:03:33 by Allan Berg Nielsen

Christian Snderby Jepsen: Fuglekongerne

Avisen i Skagen har fotograferet denne mand, som er den ene hovedperson i Christian Sønderby Jepsens nye tv-dokumentar. (Det låner jeg. Jeg har desværre ikke noget still fra dokumentaren.) Han hedder Rolf og han er i dag enten nr. 1 eller nr. 2 på en vigtig rangliste, listen over ornitologer, som har set flest fugle. Det er noget mere end 400 og de mest sjældne er selvfølgelig fulgt af mest prestige, en bøffeland, en citronvipstjert, en stribet græshoppesanger. Han er oppe mod en mand fra Ringkøbingegnen, Munck hedder han, og i Sønderby Jepsens film følger vi de to mænds kamp (igen to mænds rivalisering, som i Side by Side...) om at føje en sjælden fugl til deres liste over iagttagelser, som de vel at mærke alle har fået omhyggeligt anerkendt af organisationen, af betroede kolleger. Det er dokumentarens historie, den skildrer nogle afgørende uger, hvor Rolf søger at vippe Munck af stillingen som landets bedste fuglekender, -iagttager, -spotter. 

Kampen skildres mod et smukt tænkt og fotograferet bagtæppe af landskaber og figurer i gruppe. Som en trækfugleflok forbliver de uden enkeltindividualitet, dog enkelte trækkes frem for at kommentere Rolfs og Muncks forehavende, som de bedømmer overbærende, måske også på måder anerkendende, mændene på deres neddæmpede, fagorienterede måde, de få kvinder på deres... Ingen siger særligt præcist, hvad det går ud på, udtalelserne er overfladisk generelle: det er en prestigekamp, det er samlermentalitet, de er, måske i højere grad, men som alle ramt af en samlermentalitet. Rolf selv ser biologisk på det, han og Munck er begge alfahanner, siger han et sted, et kort blik fra en kvinde til ham et andet sted følger den tolkning.

Men hvad mener dokumentaren? Har den overhovedet en kerne af indsigt i det eksistentielle? Jeg er ikke sikker. Men det er tydeligt, at som sine hovedpersoner rummer dokumentaren ej heller tvivl. Den er uden undren, uden tøven, skabt i ren accept. Dens iagttagelse er båret af udelt fascination af de to mænd og deres forehavende. En speciel fascination, man som de fleste i bagtæppets figurgruppe, vil jeg tro, kan have svært ved at dele. Både mens man ser dokumentaren og bagefter. 

Christian Sønderby Jepsen: Fuglekongerne, DK 2012, 28 min. DR2, set på http://www.dr.dk/TV/se/fuglekongerne/fuglekongerne#!/  hvor den kan ses til 12. oktober, altså nogle dage endnu. 


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Categories: TV, Web

Ada Bligaard Sby, alle blogindlg om hendes film

Written 06-09-2012 11:43:51 by Allan Berg Nielsen

Ada Bligaard Sby, alle blogindlg om hendes film

Scene efter scene stilles i kø i disciplineret række og forbindes kontrapunktisk med interview- og dialogmateriale, dokumentariske beretninger i løsreven fastholdelse. Det er meningsfuldt i en ganske anden form for filmfortælling end den normale danske tradition; og det er befriende, så befriende…

 

 


 

Ada Bligaard Søby er atter nu i januar 2014 månedens instruktør i FILMKLUB FOF i Randers. Vi skal se klip fra nogle af hendes film og snakke om dem, og til sidst skal vi se Petey & Ginger - a testament to the awesomeness of mankind og på dens hjemmeside hedder det kontant om den: “When the global economy collapses the only true victors are those that weren't invited to the boom. Petey & Ginger elegantly and honestly documents two very real characters who semi-happily live on the fringes of I-don't-really-give-a-fuckville-and-that's-okay-ish.” Filmmaker Ada Bligaard Søby again invites us into her ongoing infatuation with the treasure that is the blissfully detached lives of American Losers. Take notes…” Her har jeg samlet, hvad vi til nu har af kommentarer til hendes film:

AMERICAN LOSERS (58 min., 2006)

I have had occasion to see Ada Bligaard Søby’s film which lasts just under one hour. I am impressed. I cannot bring to mind a more convincing début film in all the years I have been involved with documentary films.

I would like to explain why in a kind of review. It starts with the very first scene. With a glance to the camera, the main character, a woman, invites us to follow this story. Of course this is quite simple and innocent – and it works. We follow willingly. This provides an effective framework.



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Categories: DVD, Cinema, Festival, Artikler/anmeldelser DANSK, Web, Directors

Michel Wenzer: At Night I Fly /2

Written 10-08-2012 08:21:14 by Allan Berg Nielsen

Michel Wenzer: At Night I Fly /2

Jeg tror, jeg kunne lytte til ham i timevis, i dagevis. Han er indsat i Folsom fængslet i Californien. Har været der længe. Skal formodentlig være der al tid. I begyndelsen var hans velkomstgave til en ny indsat et våben lavet der af materiale for hånden, et våben at true med, at slå ihjel med. Sådan fastholdes de nye i voldskulturen det nye sted. Han er barsk nok til nu at holde sig fri af det, han slår hårdere end de andre, må jeg tro. Og nu er hans gave til de nye måske en kuglepen og et stykke papir. Poesi gør fri, det gør et barberblad monteret på skaftet til en tandbørste ikke.  

Her er han i sin celle, forvandlet til digter. En del af de indsatte mødes i en litterær café i fængslet og læser op for hinanden. Det er formidabelt, utroligt, forbavsende: "... and there are great scenes from this room where (some) inmates meet with people from other races, as they say, in a world where the white normally do not meet with the black, or the black with the latinos... music, poem reading, writing, religious meetings, they are well articulated..." som Tue Steen Müller skrev i sin imponerede anmeldelse fra april i år her på siden, og han beskev formen: "The film has a sketchy, fragmentaric structure, but the impressionistic approach slowly adds up sequence by sequence, and you get some characters, who are reflective when it comes to their own situation and to the actions they take to fill their days to make it all bearable, or you could say to make sense of it all..."  

Jeg er fuldstændig opslugt, ser i dag filmen på Filmstriben.dk i mindre bidder. Kan faktisk ikke klare mere, kan slet ikke slippe denne særegne skønhed Michel Wenzer og fotograferne Camilla Hjelm Knudsen og Eric Börjesen har bygget op i en behersket sikker ro, scene for scene.


Categories: Artikler/anmeldelser DANSK, Web

Anders Gustafsson: Succesjgerne

Written 08-08-2012 19:01:36 by Allan Berg Nielsen

Anders Gustafsson: Succesjgerne

Drengene øver sig i at kontakte pigerne. Det gælder om at turde, at få sagt noget, at holde en samtale med den valgte pige så mange sekunder som muligt. Det er en øvelse. De er på kursus på Speed Up Life Academy. De skal til eksamen i mod og andet om knapt fire måneder. De er lige i begyndelsen af kurset, på ryste sammen rejse til et sted i Spanien. Kameraet ser drengene. Med pigernes blik - og de er søde, ser jeg tydeligt, de ser, pigerne.

Problemet er, at drengene ikke ved at de er søde. De er usikre, skuffede, sårede, hæmmede. Det er derfor, de er på psykologikursus. Og der får de at vide, at det kan de gøre noget ved. Som kærlighedslivets kampsoldater træner de sådan tilskyndet med mange mange mavebøjninger, og de lærer at skrige sammen før slaget: Jeg er komplet ligeglad med, hvad andre tænker om mig. Og: Agressivitet er bedre end passivitet.

Gustafssons elegante tv-dokumentar er lige ved, men kun lige ved at blive en rigtig, rigtig klog film. Men den fortaber sig i sine registreringer, sine fine, fine lytninger og iagttagelser, kontrolleret nervøst filmet og flot, flot klippet i en pulserende urolighed, som aldrig bliver rod, som trods jeg hele tiden synes, jeg keder mig, holder mig fast hen over krisepunktet i nærheden af 30 minutter. Igen en film, som vokser og vokser. Imidlertid når den ikke frem til analysens sammenfatning, den siger vist nok, for mig skuffende, at den vil overlade læsningen til mig. Men jeg er ikke interesseret i drengene, jeg er interesseret i Gustavssons anliggende i feltet mellem journalistik og filmkunst, men han giver ikke noget fra sig at læse. I stedet får den charmerende direktør for akademiet det sidste ord. Hos tatovøren ligger han og får sit (og filmens?) credo printet med temmelig vandfast blæk i sin arm: "Med disciplin, målbevidsthed, ærlighed, mod og kærlighed kan du opnå alt det, du sætter dig for. Den rigtige indstilling betyder alt, og ingen vil se mig give op. Fordi jeg vil simpelthen ikke."

Anders Gustafsson: Succesjægerne, Danmark 2011, 40 min. Manuskript: Anders Gustafsson, fotografi: Anders Gustafsson og Niels Thastum, klip: Anja Farsig og Rasmus Steensgaard Madsen, produktion: Plus Pictures, producer: Mette Heide. Sendt på TV2 maj, 2012. Set på Filmstriben.dk


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Categories: TV, Artikler/anmeldelser DANSK, Web

Christian Braad Thomsen: Blues for Montmartre

Written 06-08-2012 11:25:09 by Allan Berg Nielsen

Christian Braad Thomsen: Blues for Montmartre

Det er en rent ud bevægende film om et smultronställe, et sted at høre til. Det er en film om en personlig erindring om et sted i fortiden, som ikke er mere, men som så er her igen. Her i filmen. Redux. Og det mest bevægende er filmens bekendelse af en fejltagelse: musikeren på fotografiet, Ben Webster var dengang overvurderet af de andre, fordi han holdt fast i det fortidige, mens han, filmens fortæller, var interesseret i avant garden. Nu indser fortælleren / instruktøren, at Webster måske var den største, den vigtigste, selve indbegrebet af Copenheaven, det gamle Montmartre, det klassiske Montmartre. Og den dejlige film topper følgelig med afstnittet om ham, om Ben Webster, som spiller balladen og lige netop dette afgørende sted retter intensitetskurven op på denne blues. Tak for musikaliteten. Tak til klipperen. Tak til Grete Møldrup.  

Filmens fortæller er naturligvis Braad Thomsen selv, og han har, igen naturligvis, selv lagt stemme til. Christian Braad Thomsen skriver og læser nok en af de smukkeste fortællerstemmer i dansk film, en af de fire-fem, jeg kan tænke på i en sådan sammenligning. Jeg er så tryg, hver gang han åbner en af sine film med endnu en af sine fine fortællestemmer. Der sker undervejs somme tider det, at teksten svækkes, slår over i simpel humor, causerende afslapning eller anekdoter. Ja, det sker da også her, men det tilgiver jeg her, det gør jeg ikke andre steder. Det uforglemmelige afsnit med Webster retter også det op. Filmen får atter storhed.

For der er mange afsnit som det med den store musiker, der er dertil det ene fremragende interview efter det andet, monolitiske filminterviews som i Karen Blixen filmen, i Morten Korch filmen. De er en insisterende Braad Thomsen specialitet. Hvor er det godt, at han insisterer. Og fortsætter, fortsætter.

Christian Braad Thomsen: Blues for Montmartre, DK 2011, 83 min. Manuskript: Christian Braad Thomsen, fotografi: Steen Møller Rasmussen, klip: Grete Møldrup, produktion: Kollektiv Film, producer: Charlotte Vinter. Kan ses på Filmstriben.dk


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Categories: DVD, Web

Torben Skjdt Jensen: City Slang Redux

Written 02-08-2012 13:53:35 by Allan Berg Nielsen

Torben Skjdt Jensen: City Slang Redux

”… mørkladne firser-vibes og grynet sort-hvide film, der hiver publikum tilbage til et af de få rigtigt stolte øjeblikke i 1980’ernes danske musiklandskab,” skrev Grand Teater i København ved filmens premiere tilbage i marts i år. Den er derefter kommet på DVD og kan nu også ses på Filmstriben. Den stolte begivenhed fandt sted i 1984, det var udgivelsen af Lars H.U.G.’s plade på grundlag af Søren Ulrik Thomsens bog City Slang , som fulgtes af en turné og to teaterkoncerter. Disse koncerter optog Skjødt Jensen. Og så gemte han videobåndene i sit arkiv, som man må tro er temmelig stort og ret interessant. Skjødt Jensen er dokumentarist i alle betydninger af ordet.

Og han vælger så til titlen ordet redux = latin for at bringe tilbage, og som det i dag ofte bruges, om værker, for eksempel filmværker, som genskabes i restaureret og udvidet skikkelse. Her altså pladeudgivelsen City Slang og teaterkoncerterne, genskabt flot restaureret i en film og udvidet med nye, store interviews med Lars H.U.G. og Søren Ulrik Thomsen og med to af musikerne, som var med dengang, Finn Verwohlt og Kim Jansson, og det hele er med sikker hånd omgivet af filmisk vignetstof, af den drømmende slags, vi forbinder med Skjødt-Jensens film, så ikke kun pladen og forestillingerne, men selve den svundne tid og tidsånden midt i 80’er årtiet skildres og tilbageholdende klogt blandt meget andet diskuteres af Søren Ulrik Thomsen, som så tilfredsstillende i lighed med de tre andre medvirkende har rigtig god plads, ligesom musikstykkerne er lagt ind i deres fulde længde. Forbilledligt.

Dokumentaristen Torben Skjødt Jensen registrerer og gemmer, som en dokumentarist selvfølgelig skal, men han gør hver gang noget mere: han revitaliserer arkiverne. I hans flittige produktion falder en stor del af værkerne i tre store blogge: 1) byessays, alle med tekst af en brømt forfatter: Flâneur 1-3 (Firenze / Calvino, i nummer to Clermont-Ferrand / Baudelaire og i den tredje Paris / Benjamin) samt i Wayfarer Randers / Seeberg), 1993-1998, 2) biografiske skildringer som It’s A Blue World / Lerfeldt, 1990, Carl Th. Dreyer, 1995, Den grimme dreng / Ole Ege, 1996, Simons film / Simon Spies, 1999, Den talende muse / Asta Nielsen, 2003, Afgrunden / Asta Nielsen og 3) kulturhistoriske undersøgelser, især tv-dokumentarer, blandt andre Som et strejf  / dansk rockmusik gennem år, 1993 og sammen med Ghita Beckendorff Tugt og utugt 1-2, 2001.

City Slang Redux er således på plads i den tredje gruppe som en kulturhistorisk undersøgelse og en æstetisk refeksion over et ”øjeblik i 80’ernes musiklandskab”, som havde stor betydning i sin tid og som kaster betydning af sig frem til nu, bare forløbigt.

Torben Skjødt Jensen: City Slang Redux, DK 2011, 80 min. Manuskript og fotografi: Torben Skjødt Jensen, medvirkende: Lars H.U.G., Søren Ulrik Thomsen, Finn Verwohlt og Kim Jansson. Filmen kan ses på Filmstriben.dk Disse af de nævnte film kan også ses på Filmstriben: Tugt og utugt 1, Tugt og utugt 2, Den talende muse og Afgrunden. Og disse film blandt de nævnte kan bestilles på Bibliotek.dk (på VHS eller DVD): Som et strejf, It's a blue world, Den grimme dreng, Simons film, Tugt og utugt 1+2, Afgrunden, Den talende muse, Carl Th. Dreyer, Flâneur 1-3.


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Categories: Web

Annette Mari Olsen og Katia Forbert P.: Fangekoret

Written 30-07-2012 16:59:05 by Allan Berg Nielsen

Annette Mari Olsen og Katia Forbert P.: Fangekoret

Korlederen Louise Adrian har oprettet et kor af indsatte på Statsfængslet i Vridsløselille og filmen følger hende i arbejdet, som ikke kun består i at øve sig og synge. Nej, hun og koristerne skriver musik og tekst selv, og det er der kommet en dejlig film om et sympatisk arbejde ud af, en af den slags film, som vokser og vokser, og som for alvor tager fat, da tv-timen er ved at være forbi. Godt, der findes en lang version, den historie kan ikke hurtigt overstås.

Men hvad er historien egentlig? Hvis historie? Det er som om, der har været ubeslutsomhed i klipperummet, hvor skal fokus være? Alt i materialet har peget på Louise Adrian, for hun fylder hver scene med sin tilstedeværelse, hun lyser simpelthen. Men nogen har tilsyneladende ment, at fokus burde være hos koristerne, naturligvis på grund af af den specielle situation, de er i, alle afsonende lange domme, være hos én af dem, Brian for eksempel, eller hos hele banden, altså en kollektiv film. Det ser ud til, at det sidste nærmest har været beslutningen, og det lider filmen under. Korets medlemmer kommer kun langsomt i gang og ud over kanten frem til mit engagement, mens korlederen gnistrer og stråler fra først til sidst.

Det betyder så det alvorlige, at filmens kerne, det kunstneriske arbejde med at omsætte personligt stof til sange og korværker i nogen grad i filmens skildring overskygges af dette personlige stofs biografiske indhold (koristerne skaber værkerne på deres egne ulykkelige historier) og sentimentaliteten truer atter og atter.

To ting redder filmen, de medvirkende korsangeres ukuelige humør, vid og charme og først og sidst korlederens benhårde krav til ærlighed og kvalitet i hver detalje, i hvert moment af hvert musikstykkes elementer og forløb. Det ender med alligevel ikke at blive en debatfilm om kriminalforsorg, det er en musical om kunstens transformation af det personlige til det almene. Dette hårde arbejde.

Annette Mari Olsen og Katia Forbert Petersen: Fangekoret, Danmark 2012, 58 min./76 min. Fotografi: Katia Forbert Petersen, klip: Wojtek Kloczko, produktion: Sfinx Film/TV for DR2 ved Mette Hoffmann Meyer. Kan ses på filmstriben.dk


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Categories: TV, Web

DocAlliance Excellent Online Offers

Written 05-05-2012 13:46:12 by Tue Steen Mller

DocAlliance Excellent Online Offers

Even today, with the existing online possibilities, many come up with the usual comment and ask the eternal question: Yes, I love documentaries but where can I see them. And those who go to festivals with hundreds of films to choose from, often come back saying – I missed this or that masterpiece.

If you subscribe to the newsletter of the best vod for creative documentaries, the Doc Alliance, you will be helped to make your choices. Today the ”Events of the Months” was published and it shows perfectly the editorial skills of the Doc Alliance people.

From May 7 – 13 the theme is ”True Stories from Russia” including a slate of quality films like ”Mother” by Antoine Cattin and Pavel Kostomarov, and Nino Kirtadze’s "Durakovo – the Village of Fools". The week after (May 14 - 20) the distributor Taskovski Films generously offers three masterpieces for free: Bulgarian Andrey Paounov’s ”The Mosquito Problems and Other Stories”, ”Bahrtalo!” by Robert Lakatos and Serbian Aleksander Manic ”The Shutka Book of Records”. The headline is ”Trip to the Balkans” and there is wonderful humour in these storytellingwise original, non-mainstream documentaries.

The highlight, however, is that DocAlliance gives us the chance to watch, in the right order and in one two or three days, as you like, the Indonesian trilogy of Leonard Retel Helmrich, a strong humanistic work to be compared to Satayit Ray’s Pather Panchali work from India. ”The Eye of the Day” (2001), followed by ”Shape of the Moon” (2004) (photo) and ”Position Among the Stars” (2010) are the titles of Helmrich’s so-called ”Single Shot Cinema”. Watch it!

Again, I can only repeat a Bravo to what DocAlliance does for the artistic documentary!

http://dafilms.com/newsletter/view/6Fb7ayvHIY/


Categories: Film History, Articles/Reviews ENGLISH, Web

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