Mila Turajlic: Cinema Komunisto

Young Serbian director Mila Tulajlic has finished her work on “Cinema Komunisto” that will have its international premiere at idfa in Amsterdam and its national premiere as part of the Magnificent/ festival in Belgrade January 25-29. The film will exist in several versions, for cinema and festival release, and for television. The director has made a fine website, see below, where you can find texts and wonderful photos, and a trailer for the film, of course. Here follows the text that will introduce the film to the idfa audience:

Leka Konstantinovic was the personal film projectionist of Yugoslavia’s President Josip Broz Tito for 32 years. In that period he showed Titoa total of 8801 films. Along with Yugoslav directors, film stars and studio bosses he tells the story of how Marshall Tito (1892-1980) gave form to the post-war federal state of Yugoslavia, while at the same time setting up a productive film industry for his country. With the state supporting filmmakers "no problem" was the standard answer for whatever a director needed – with soldiers serving their entire tour of duty as extras on war films, and in the case of The Battle of Neretva (1969) the blowing up of a real bridge to create an Oscar-nominated film. Tito followed these film shoots closely, watching one film a day in his private theatre.  After his break with the Soviet Union, he invited Hollywood stars to come to Yugoslavia, and soon Richard Burton, Orson Welles and Sophia Loren were commissioned to participate in massive productions, often about the heroic struggle of Tito and his partisans against the Nazis.

“Cinema Komunisto” is told with clips from over 60 feature films, some great archive footage, mixed with the storytellers taking us back to bittersweet memories of old times, with plenty of funny anecdotes and remarkable details. With Tito's death, the entire Yugoslav film industry crumbled, and a decade later, the rest of the country followed suit. Today, nothing remains but the old studio complexes, which are rotting away, and the filmed memories of a country that no longer exists.

www.idfa.nl

www.cinemakomunisto.com

Manifesto against Ketchup Television

At a meeting arranged in connection with the EU MEDIA supported training programme Eurodoc, under the leadership of the former head of documentaries at arte France, Thierry Garrel and current Head of Documentaries at YLE, Finland Erkki Astala, the following text was formulated:

We, commissioning editors and fund executives for documentary from all over the world, convened in Arles for the first Creative Commissioning Agora (CCA) on September 24, 2010.

We are the curators of public media, the advocates of public service. We bear the responsibility of the care and feeding of the viewership, the responsibility of building bridges between the creative community and the attentive audiences.

We want to reach a multitude of spectators, bearing in mind that audience is an ambition, not an obsession. Our job is to provide the documentaries and for the people to have the choice. Public service needs to keep the door open.

We aim to prevent television becoming more primitive than the people. We oppose the ketchup television that reduces documentaries to mere mainstream docu-pleasant. We should not make programs just to fill

cph:dox

November 4-14 is the time to watch documentaries in Copenhagen. An excellently edited and layouted website – address below – takes you through the huge programme with its many competitive sections, its industry programme, seminars, concerts, paries and events. There is something for everyone, the target is for sure a young audience but there is also a lot for those who are 50+, and would like to meet Günther Walraff or see the new Jørgen Leth, the long awaited ”The Erotic Human” (PHOTO), that the director himself introduces like this:

"It's a film told from a man's point of view. It is based on my sensitivity. It is not a democratic film. It is very egocentric."

The film of Jørgen Leth is among the13 films have been chosen to compete for this year's DOX:AWARD. ”The nominated films constitutes the selection of this year's best international documentaries. They stand out thanks to their strong personal expression, their filmic qualities, and by insisting on the fact that documentaries have a rightful place in the darkness of cinemas.”

”New Vision Award is the competition for boundary-seeking experiments between documentarism and artistic reflection. Provocative and challenging, but also poetic and abstract. From the short, poetic moments via the 

RIDM

... stands for Rencontres Internationales du Documentaire de Montréal and is a 10 day long festival event with ” Dozens of activities: workshops, roundtables, master classes, tributes, kids’ screenings, receptions and parties, and a market “with the mission of supporting and stimulating independent documentary filmmaking and facilitating meetings between professionals, artists, producers, distributors and exhibitors from around the world.”

The dates are November 10-21 and the film programme includes more than 100 films and a good audience – in 2009 28.500. There are several competition sections, and BRAVO also prizes for best camera, best montage etc. Which is unusual in documentary festivals.

Among the films are several that has been reviewed or noticed on this site: “17 August” by Alexander Gutman, “La Danse-le Ballet de lÓpéra de Paris” by Frederick Wiseman, “Steam of Life” by Joonas Berghäll, “Armadillo” by Janus Metz, “Autumn Gold” by Jan Tenhaven, “Disco and Atomic War” by Jaak Kilmi, “Kill the Referee” by Yves Hinant and “Katka” (PHOTO) by Helena Trestikova. And many, many other films, among them several French-Canadian that we seldom see in Europe.

http://www.ridm.qc.ca/en

Belgrade Revisited

I am in rainy Belgrade. Wonderful to be back in the city where the magnificent documentary film festival Magnificent7 takes place every year. At the end of January. But this is actually not the main reason for my presence... for two hours yesterday I was in the world of fiction film, playing the role of a Danish diplomat... in the first long feature film of Andrijana Stojkovic. "The Box" (PHOTO) is the title of the film... based on a true story, for the Danish diplomat the leaving from Belgrade in 1992 and his meeting with one of the main characters in the film, a young man working in a company responsible for the moving of the belongings of the diplomats out of the country.

I am going to meet with Svetlana and Zoran Popovic, the two organisers of the Magnificent7 festival, that is to celebrate the seventh edition in January 2011, the pick of four of the 7 films have been done. Titles like "48", "Nenette", "Zanzibar Musical Club" and "Men who Swim" are already confirmed.

I am also to meet and have a private sneak preview of the film of Mila Turajlic, "Cinema Komunisto", which has been selected for First Appearance Competition in the upcoming idfa festival in Amsterdam.

www.idfa.nl

DOKLeipzig Awards

The night of making some people happy, others disappointed. The award ceremony to hand out more than 70.000€ and statuettes. Speeches and clips. Main prize, The Golden Dove, went to the Swedish film "Vodka Factory" by Jerzy Sladkowski (PHOTO), The Silver Dove to "Steam of Life" from Finland.

The Fipresci Jury, film critics, very rightly awarded "48" and the jury I was part of, the EU prize for safety workplaces (8000€) went to Tomas Kudrna for his "All that Glitters", which also got the prize for Best East European Documentary given by the local bnroadcaster MDR.

The German competition was won by the film "How to make a Book with Steidl", an intelligent and well made observation of the publisher,who works with famous artists like the photographer Robert Adams and the legendary Robert Frank and Günther Grass.

All awards and the jury motivations are to be found on

www.dok-leipzig.de

DOKLeipzig Peaceful Revolution

Every monday the opponents to the GDR regime met at the Nikolai church in Leipzig. With candles in their hands - speeches, "stille und schweigend" as said one of the leaders, former priest at the church, Christian Führer, who also referred to the 70.000 people who formed the "Leipziger Ring" on October 9 1989. "Jetzt oder Nie. Demokratie".

The other day these important moments in the history of Germany were remembered at an award ceremony full of dignity in the church, where the festival and the Stiftung Friedliche Revolution (Peaceful Revolution) inaugurated the first "Leipziger Ring" prize - a beautiful statue and 5000 Euros. The awarded film was from New Zealand, "There once was an island" about a Polynesian culture about to disappear. Festival director Claas Danielsen referred to an 1983 incident where a group of young people welcomed the foreign guests with candles in their hands protesting against the regime - some of them were sentenced to one year of prison, and expressed his joy to the natural connection between current history and the festival. A very special evening it was with speeches, organ music, and a film screening.

www.stiftung-fr.de

www.dok-leipzig.de

Photo: Friedensgebete in der Leipziger Nikolaikirche, 30. Oktober 1989, Gerhard Gäbler.

DOKLeipzig Sergey Dvortsevoy

He has only made 5 films, Sergey Dvortsevoy, but he is one of the most wanted documentarians for the so-called masterclasses. His popularity is huge as the attendance proved at the festival, where the room was packed for the 2 1/2 hour session, where Dvortsevoy  entertained by talking, answering questions and showing clips from his work. I made an interview with the director 15 years ago for Danish television DR, that showed "Paradise". What Dvortsevoy said on that occasion was exactly the same as here in Leipzig with the difference that he now speaks excellent English and knows how to structure his intervention. A charming showman as one said to me afterwards.

The first clip was - of course - the small boy eating and falling asleep in "Paradise". Dvortsevoy told about his fights with the Kazakh cameramen, who did not understand that he wanted to have the boy filmed from one angle in long takes and not from different as they were used to. And he told about the problems that the family in the film still has with the authorities: How can you show the world that we are poor and dirty and wash our hair in kefir milk? (As a woman does in a beautiful scene in the film)." I was recently in India and the people told me that it was the same for Satayit Ray... they said to him, you sell poverty".

Two clips from "Bread Day": The long opening scene where the women push the wagon and (as the closing of the masterclass session) the goats kissing each other. The film was made on 35mm material (all his films were made on film material) that Dvortsevoy had won as awards for "Paradise". The film ration was 1:2,5, and he instructed the cameraman NOT to shoot before he said so - "remember that every second costs 3-5$"!

You have to catch what you can not describe... "I love the image, I love life", was one of many sentences from Dvortsevoy, who said that he is constantly analysing to find the energy in the scenes through the deep image, not the nice image. To the obvious question why he is not making documentaries any longer, he answered that it was so difficult to get funding for his documentaries and that it was also a moral question with reference to the people he has filmed in "Paradise". More about this is to be found on this site. On the site of the festival you can find a podcast of the masterclass.

www.dok-leipzig.de

News from Paris: Mediapart, now in English

For those who are interested in following the news in France, particularly these days, here is an excellent opportunity online. The French Internet news-site Mediapart now has an English version. Mediapart was founded in 2008 by a group of journalists, amongst them Edwy Plenel (journalist and former managing editor of Le Monde). It is independent, add-free and of high quality, and therefore doesn’t come for free! Full access requires subscription, but as an introduction, the English version, launched in October, is available without subscription until the end of the year. Should you choose to subscribe, the money will be well spent.

Mediapart had a central role in revealing of the Bettencourt scandal which involves the richest woman in France, L’Oréal heiress Liliane Bettencourt, her daughter, the butler, the French minister of employment Eric Woerth and his wife, a photographer, some Swiss bank accounts, an island in the Seychelles, the financing of Sarkozy’s presidential campaign and much more… It’s all about money and power and complex human relations and ultimately the independence of the French legal and political systems plus the freedom of the press. Here’s a quick overview from Vanity Fair from this summer, comparing it to Watergate: http://www.vanityfair.com/online/daily/2010/07/can-sarkozy-survive-frances-latest-scandal.html Frightening, but highly entertaining, even the wildest scriptwriter could not have thought this up!

What is important here is that Mediapart also takes an active role concerning cinema and documentary film. As mentioned in an earlier article, Mediapart organized the screening of Film Socialisme in le Cinéma des Cinéastes in the presence of Godard himself and has filmed a series of interviews with him available on its site. Mediapart also participates in presenting documentaries on the big screen and organizes preview showings with debates, recently Entre nos mains (2010, 88 min.) a documentary by Mariana Otero (the story of the employees of a lingerie factory on the verge of bankruptcy taking matters in to their own hands).

Take a look at it, sign up for the newsletter in English, and get a better view of some of the reasons why the French are out in the streets!

http://www.mediapart.fr/english

DOKLeipzig To be a Festival Guest

... and a jury member means that you are treated well, very well indeed. You are in a nice hotel, you get a per diem so you can go and buy yourself a wienerschnitzel or a curry-wurst, and a beer and lots of coffee, to stay awake and alert when you go to the warm cinema halls or down to the market videotheque, where you get a booth and just need to log in and write the title of the film, and vupti (do you say so in English?) the film comes up on the screen. Full service in other words and good meeting places to say hello to old and new friends. I am in one of the many juries, the one for safe and healthy workplaces, 8 films have been picked from the overall programme, and the jury has to choose one of the 8, a creative documentary on the subject of work.

The local newspaper reports daily on the films and this morning the film journalist characterised the film "48" (PHOTO) by Susana de Sousa Dias as a radiodocumentary with some images connected. He is totally wrong as he can read in the review(s) both Allan Berg and I made after seeing the film at Cinema du Reel this year in March – it got the Grand Prix at that festival.

A couple of grumpy remarks to the otherwise professional festival: Last night a film was cancelled because the projection machine could not screen NTSC HD format - why was that not checked in beforehand? And in the same cinema (Wintergarten), at the repeat of the very same film, the organisers allowed the audience to enter when the projection had started, around ten times getting their faces into the screen! Come on organisers, tell the doormen NOT to allow any entrance during screenings. Respect for the films!

www.dok-leipzig.de

DOKLeipzig Mit den Herzen

The opening of film festivals is something that veterans like me normally avoid because of boring official speeches and/or a moderator trying to be funny and/or blonds or brunettes in high heels being there for their looks, knowing nothing about what the film festival is there for.

In Leipzig it is different because of the ambition of the festival director to make a long and reflective and personal statement. Last year Claas Danielsen attacked television for their poor programming and funding of the creative/artistic documentary and this year he had chosen a more soft approach asking the audience "to see and hear with the heart" - and act. The emotional speech was given with passion, commitment and point of view. He referred to strong films in the programme and the debate they raise - Danish Armadillo and Into Eternity were the ones mentioned. Names coming up were Sarkozy and Gert Wilders... in connection with the profiling of the festival programme that has a lot of political films as well as films touching upon the xenophobia of today´s Europe.

An opening night that continued in an atmosphere of seriousness and dignity by the showing of Patricio Guzman´s masterpiece Nostalgia for the Light (PHOTO). Like Joris Ivens did in China with his last film, L´Histoire du Vent, where he placed himself in the open land desert, Guzman goes to Atacama desert in his native country to visit the astronomical observatories, to examine the light with the aim to make an essay on the past and on memories. An intelligent reflection, total beauty in camerawork and touching when he meets women, who look for the remains of the dear ones, killed an buried during and by the Pinochet regime. A woman tells how she found the foot of her brother, the foot with the sock, and his teeth forming a smile that she remembered.

www.dok-leipzig.de

DOKLeipzig Opens Tonight

... and the local Leipziger Volkszeitung has an interview with festival director Claas Danielsen, who stresses that the 53rd edition of the festival could need a couple of days more for a festival that he predicts will have many full houses this coming week as it had the previous week. 347 productions from 58 countries, 223 of them documentaries, the rest animation - and 4 competition programmes.

And a lot of meetings for professionals, looking for funding or to get their knowledge about the industry updated. Belgian filmmakers come as a delegation as does the Chileans, who will be extra warmly welcomed, be sure of that. To follow up on the small text yesterday on the miners, I read a long article in the Sunday Observer estimating that the succesful rescue and the solidarity expressed in and outside Chile will finally take away the label of Chile being only remembered for the death squadrons of Pinochet.

What is in the competition programme, Danielsen is asked: ... again many political films have been made that deal with the themes of our time... told with many different kinds of handwriting, which do not care about the old dogmatic documentary thinking but go essayistic, poetic, playful, imaginative and even experimental. Later on in the interview, Danielsen praises the Polish documentary as well as the Finnish - readers of filmkommentaren.dk will know that this is very often the same estimate made here.

www.dokleipzig.de

Ken Loach on Television

Ken Loach, no introduction needed, gave a strong speech the other day at the opening of the London Film Festival. According to the Guardian, that brought an excerpt of the speech (Saturday 16 October) the veteran director, who has made several films and tv plays for the BBC, Loach launched a quite tough attack on television and BBC in particular...

"Television has now become the enemy of creativity. Television kills creativity. Work is produced beneath a pyramid of producers, executive producers, commissioning editors, heads of department, assistant heads of department and so on that sit on top of the group of people doing the work and stifle the life out of them...if you´ve got 10 people sitting on your shoulder... you can´t be creative. All you can be is a mess...", Loach said, and continued, "those of us who work in television and film have a role to be critical, to be challenging, to be rude, to be disturbing, not to be part of the establishment. We need to keep our independence. We need to be mischievous. We need to be challenging. We shouldn´t take no for an answer. If we aren´t there as the court jester or as the people with the questions they don´t want to be asked who will be?"

Talking Documentaries

It was a person in the audience, who appealed to the panel: We are world famous for our writers - Joyce, Beckett etc. - now it must be time to become known for our films. He, and around 100 other filmmakers and film students attended the Talking Documentary two-day seminar that ended yesterday in Galway. Organised by the MEDIA Antenna and the Galway Film Center the two days had a programme with money and slot and strand and distribution and profile and policy issues on the first day AND content and style and ethics on the second. I chaired the first day sessions with Christina Mueller from DR/TV Denmark, Gitte Hansen from First Hand Films in Switzerland and Sari Volanen from YLE - in the morning - and with the whole range of documentary broadcasters and funding mechanisms in the afternoon. The morning was quiet and full of great clips from films like "Armadillo", "Burma vj" and "Steam of Life", whereas there was a nice atmosphere of opposition to the panel in the afternoon, where especially the representatives from the public broadcaster RTE was met with demands for more flexibility in the scheduling and in the fact that whenever the broadcaster enters into coproduction, there HAS to be an Irish angle. The RTE is not positive towards feature duration documentaries, even if this seems to be the current success in Ireland, very much because of the policy of the Irish Film Board. The film that is on the international agenda right now is "The Pipe" (PHOTO), that was premiered in Toronto and is in the new competition at idfa in Amsterdam, the "Green competition". I will write more about the film later.

The Miners

Oh, what a medium television can be as we have experienced during the last week! Direct tv. Cinema verite. I refer to the rescue operation of the 33 miners in Chile, even more emotional for me, who was in the country a couple of weeks ago. Films will come, the miners will be tempted to take part in loads of tv shows, books will be written, tabloid newspapers and tabloid tv companies will exploit them, we know that, but nothing compares to the broadcast of images from 700 meters underground and from over-ground - and respect for the men, who organised themselves so well down in hell and have decided NOT to talk publicly one-by-one to the waiting cameras. They have a spokesperson and he will talk. Another kind of reality television, authentic, truthful, dramatic, full of emotions and compassion.

Off the Main Road!

The Tafaseel web documentary magazine, see below, asked me to write an article for their first edition. Here it is:

3 months per year I am away from home. I travel in and outside Europe to talk about documentaries, the market, the television slots and strands, the film funds, the festivals, how to write proposals and make trailers that work. Or I organise and moderate pitching sessions and invite TV people – commissioning editors – to come and comment on new proposals. I have done so more or less since the EU in the beginning of the 1990's  introduced the MEDIA Programme, a support mechanism that has meant a lot, and still does, for the international cooperation and coproduction for the documentary. 20 years later you see the results, for the good and the worse. First the good, and then the but...

Tafaseel-mag.net

A new, very interesting, well edited documentary web magazine, tafaseel-mag.net, published by Syrian filmmakers and festival organisers of Dox Box has been launched. No.1 includes a lot of interesting articles and comments and reviews and news, that I am looking forward to read further, as it opens to Middle Eastern and Arabic documentary matters, not very well known.

Here is the editorial of the magazine written by director and producer and festival organiser Orwa Nyrabia (PHOTO):

It is easy and predictable to romanticize the launch of a magazine for the documentary in a region where circa 350M people live, and make a smaller number of films a year than the 5M living in a small country like Denmark. Some of the world’s richest countries are part of this region, hundreds; if not thousands; of television channels are targeting it, yet, local/regional production is limited to soap operas, and most of the time satisfied enough with dubbing international productions and making regional hits out of them.

TAFASEEL is about trying to understand this odd situation, in details...

DocLisboa

... is one the best progrqmmed festivals in Europe. The 2010 edition goes from October 14-24 and has several interesting film historical highlights parallel to the international and Portuguese sections. The directors who are presented to the local and international audience are Joris Ivens, Marcel Ophuls and Joergen Leth. Which means that films like "Histoire du vent" (Ivens), "Le chagrin et la pitié" (Ophuls) and "66 Scenes from America" (Leth) will be made available. The widow of Ivens, Marceline Loridan, and Leth will attend the festival to give masterclasses. Also to be noticed is a tribute to Swiss documentaries that includes the masterpiece of Peter Mettler, "Gambling, Gods and LSD" (PHOTO).

www.doclisboa.org

MK2 + la Cinematheque

Our Paris correspondent, Sara Thelle, has already written about Film Socialisme by Jean Luc Godard, and her article was one of the reasons that I, with great expectations and huge pleasure, went to see the film in MK2 Beaubourg, where it still runs at one of those fine late morning screenings, once per week, that is practised by the chain of cinemas of Marin Karmitz (MK). My friend and I left the cinema in complete agreement on the quality and playfulness of the latest work of the old man, who has not stopped challenging the film language in a film that has many layers and reflections, and is serious and full of humour at the same time.

At such a good mood we left the Beaubourg quartier heading for Bercy, to la Cinematheque Francaise, to watch the exhibition "Brune et Blonde" that has just opened and runs in the French capital until January 6 2011. Film history, the stars and their hair, clips from films back to the silent movie, brilliantly edited and displayed, supplemented by paintings by, among others, Paul Delvaux, and photos by, among others, Man Ray. But the main attraction was, without any doubt, the clip scenes, where many evoked wonderful memories like Silvana Mangano in the classic "Rice Girl" (PHOTO), in her sensual, seducing dance. Brigitte Bardot, Catherine Deneuve, her sister Francoise Dorleac, Ingrid Bergman, Julia Andrews, Penelope Cruz... For the exhibition a series of short films had been made; the one of Abbas Kiarostami with a little girl, who is asked to let her hair be cut, she thinks about it, hesitates for a moment, but says no, and hesitates again when she is asked to cut the hair of her friend - a master's work, go and watch it, well go and take an hour or two in the exhibition to have your film history evoked, open for blonds and brunettes.

DOK Leipzig: Caucasian Lessons

The upcoming festival in Leipzig (October 18-24) has an interesting retrospective with films from the conflict zone in Caucasia. Here is the site introduction text:

"Eight programmes with some twenty films will give you sufficient opportunity to deal with a transit and conflict zone between Europe and Asia, between the old world order and a new region. Political stories from Georgia, the clash of traditional and post-modern lifestyles in Armenia, archaic culture and crazy poets from Azerbaijan. The focus is also on the battle in the media around the events in Southern Ossetia, the search for terrorists in Dagestan as well as the war-torn countryside in Nagorno-Karabakh, where the effects of the conflict are still felt. And finally: Figures of loss – the disintegration is omnipresent."

A couple of the films have been reviewed or noted here: Georgian Salome Jashi's 'The Leader is always Right' , Nino Kartidze's propaganda piece 'Something about Georgia' , 'The Last Tightrope Dancer' by Inna Sahakyan and 'A Story about People in War and Peace' by Vardan Hovhannisyan - the two latter from Armenia. Not written about, but seen at Baltic Sea Forum is the shocking film by Andrei Nekrasov, 'Russian Lessons' (PHOTO), that I would need to watch again before writing about a film that is more controversial than the rest of the programme. Nekrasov, Russian, has been threatened to death for this film, in Russia, whereas he is said to be a hero in Georgia in his description of the recent war.

A bench in Recoleta

Saturday in Buenos Aires. Sunshine. Spring has come to the wonderful city of Argentina. We (my wife and I) have just come back from some days in Chile. I met filmmakers who are going to DOKLeipzig and to idfa. The Chileans want to tell the world that they are making documentaries. For that purpose the Ministry of Culture has granted funds to send delegations to the two big festivals and markets coming up in September and November. The Chilean documentary has been and still is dealing with the atrocities committed through the Pinochet dictatorship, the shadow of a nation, but there are also other and more current issues being dealt with. I left with a bag full of dvds and projects. And with a very pleasant impression of a country that had Pablo Neruda and Salvador Allende and still has a colourful Pacific Ocean Valparaiso. With Patricio Guzman as the father of Chilean documentary. "The Battle of Chile", a masterpiece.

Back to Buenos Aires and the sunshine and to the walking in the city on the last day before the loooong journey back to Europe, 17 hours before Copenhagen. We wanted to have lunch at the Lola restaurant where we had dined before, wonderful place in the Recoleta area. I booked a table for 2pm, and we went out and sat in the sun the two of us. I phoned Rodrigo Vila, the organiser of DOCMeeting Argentina and thanked him for his generosity, and told him that he should rest with his family and not care about us.

That proved to be totally wrong... Having finished the phone call, I got up and saw that my bag with computer, passports and expensive glasses, and calendar and notes for several films to be written about on this blog was gone!!! Stolen, simply while we were sun-enjoying. Rodrigo Vila arrived and was our saving angel - in a bit more than two hours we had made a police report, had passport photos taken and had been to the Danish embassy, where we were kind of robbed again: 1100 US dollars for two passports, price for opening the embassy on a saturday! Unfortunately Buenos Aires is going that way, said Vila, an incident like this happens every bloody day.

A day in the life of a film consultant! 

Peter Kerekes: Cooking History

The Danish audience, at least the one in Copenhagen, centralised Danish cultural policy, but that is another story, will have the possibility to watch one of the most awarded and spoken about documentaries from the recent years, "Cooking History" by Slovak Peter Kerekes. The film is number two (after "Last Train Home") after the launching of "Documentary of the Month" by the Danish Film Institute. The film has been reviewed and "career-followed" on this site. The director will attend the opening screening in Copenhagen.

www.dfi.dk

Jakob Rosenkrands: Jagten på de røde lejesvende/3

Historien sluttede overraskende underfundigt. Jagten på de røde lejesvende lykkedes. Til sidst blev deres topbeskyttere Nissen og Knudsen smidt ud. Den nye direktion kunne fotograferes som ”gruppebillede uden dame” som en af de nye så morsomt kunne udtrykke det. De blå lejesvende havde overtaget DR, om dette slutspil handlede 3. og sidste del. Men de blå fra CBS og omegn har måske sejret ad helvede til over de røde fra RUC og omegn. Det kunne Hjort Frederiksen nøgternt ironisk notere på sin måde ved at indse, at i dag er et folkeoplysende program utænkeligt i prime time. Alt der er nu underholdning. Jakob Rosenkrands lyttede sig nysgerrigt og undrende frem til historiens morale. En dokumentarisk bedrift.

Jakob Rosenkrands: Jagten på de røde lejesvende, 3. del DR2 søndag aften. Net-tv her. 

Vurdering: