Juris Podnieks: Hello do You Hear Us?

No film-visit to Riga without the thinking back to Juris Podnieks and his contribution to world cinema. With an introduction by Lev Gushin, who took part in the scriptwriting of the five hour breathtaking perestroika documentary made for British television, the first of the five parts of ”Hello do You Hear Us?” were shown and proved to be as fascinating fresh and emotionally strong as when I saw it 20 years ago. I had forgotten how brilliantly the presence of composer Aleksei Rybnikov and his music links the parts of a film that bears the title Red Hot and includes chapters like the Armenian earthquake, the Jaroslavl factory, the Chernobyl aftermath and the 
Soviet Spring. The film is in itself a composition, rythmical and breaking the rules of classical dramaturgy. And can only again stress the director's position as one of the most important political filmmakers ever.

I met Antra Cilinska, the editor of the series and all films Podnieks made until his tragic death in 1992, including the beautiful piece of patriotism, “Homeland”. Cilinska is the CEO of Juris Podnieks Studio and is currently planning the premiere of “Is it?” that is a follow-up of “Is it Easy to be Young?” and “Is it Easy to be” shot 20 and 10 years ago. The premiere will be on the 4^th of May, the Latvian day of independence, and Cilinska herself is the director.

15 Young by Young

Think Big! Is what young Latvian producer and director Ilona Bicevska is doing. For a couple of years she has been pitching a project that I have praised on this site with a simple Bravo! Now the potential directors have been invited to come to Latvia, to Sigulda 50 kilometers from Riga, from where I write these words. A development workshop goes on, discussions, clips are being watched, coffee is being drunk – and harder stuff as well.

The project will consist of 15 films, each of them 15 minutes long, to be made by 15 different directors from the 15 ex-Soviet republics. They can then be put together in whatever way the broadcasters want, A representative from arte is present to listen and comment on the pitches. 5x45 minutes it could be or one long version. Or a webdoc series. Many platforms are possible. To be finished 20 years after the collapse of the USSR and/or the independence of the ex-Soviet republics. Run from the country of Juris Podnieks, Ivars Sleckis and Herz Frank. Bravo!

The photo is from a small pilot that Bicevska made for the series.

Arab Documentary Funding

The Arab Fund for Arts and Culture (AFAC) has announced the winners of its Documentary Film Program Grants for the year 2010.  The grant of a total of 300,000 USD was given to 15 winners, along with a series of workshops and consultations with international advisors for the following year.  In partnership with the Sundance Institute Documentary Film Program, the Arab Documentary Film Program is dedicated to supporting contemporary nonfiction films produced by filmmakers targeting the audience in the Arab world.

The program objectives are three-fold.  First, it aims to contribute to the development and growth of the regional industry and talents in the field of documentary filmmaking.  Second, it aims to open opportunities for Arab directors and producers to participate in key international events and to promote Arab work in major international markets.  Third, is to reinforce competitiveness of Arab audiovisual works within the framework of an open and competitive Arab market.  The winners were Ahmed Fawzy Saleh, Egypt: The Tanneries Concerto/ Akram Zaatari, Lebanon: Twenty Eight Nights and a Poem/ Amer  Al  Shomali, Palestine: The Wanted 18/ Dima Abu Ghoush, Palestine: Emwas/ Elias  Moubarak, Lebanon: My Uncle, The Terrorist/ Habib Attia / Director Kaouther Ben Hania, Tunisia: Challat, the Best a Man can Get/ Joana Hadjithomas and Khalil Joreige, Lebanon: Lebanese Rocket Society/ Karima Zoubir, Morocco: Woman with a Camera/ Laila Hotait Salas, Lebanon/Spain: The crayons of Askalan/ Louly Seif, Egypt: Take me Back to Sydney/ Malek  Bensmail, Algeria: Origins/ Nahed  Awwad, Palestine: The Mail/ Orwa Nyrabia / Director Omar Amiralay, Syria: Seduction/ Rania Stephan, Lebanon: The Three Disappearances of Soad Hosni/ Regine Abadia, Algeria: Yasmina and Mohammed.

The Arab Fund for Arts and Culture (AFAC) is a non-profit organization registered in Zurich, Switzerland with its regional office in Amman, Jordan.

http://www.arabculturefund.org/

Poul-Erik Heilbuth: Manden der løj verden i krig 3

Heilbuths arbejde genudsendes nu i dag 14:00 på DR1. Se bort fra de åbenlyse filmiske kiks, se det som et journalistisk arbejde, "sobert" som Information skrev i sin leder dagen efter den første udsendelse. Se den for at høre brudstykkerne af de meget vigtige, tydelige og energiske interviews med David Kay, tidligere højt placeret CIA medarbejder, våbeninspektøren Rocco Casagrande, den tidligere sikkerhedsrådgiver for Bushregeringen Paul Pillar og allervigtigtst, den tyske FN-ambassadør Günther Pleuger, som direkte advarede ammerikanerne om Curve Ball, som tyskerne havde i varetægt og under psykiatrisk behandling i Schweitz netop da Colin Powell brugte hans opdigtede informationer i sin berømte tale i FN. "Vi advarede amerikanerne mod Curve Ball. hans informationer var komplet utroværdige", siger Pleuger direkte til Heilbuth.

Filmen kan også ses på DR hjemmesiden 

Poul-Erik Heilbuth: Manden der løj verden i krig 2

Her er så Heilbuth med den rigtige mand, med Curveball, som hedder Rafid Ahmed Alwan. Det er framegrab fra scenen, hvor han endelig kommer ud af huset, Heilbuth har sporet ham til. Han går med til interview, inviterer Heilbuth indenfor, men går afsides og taler i telefon og kort efter er lejligheden fyldt med politi, som standser interviewet, smider Heilbuth ud, river kameraet fra fotografen og ødelægger dele af optagelserne.. Her slutter filmen.. men historien kan da ikke være slut?

Manden som løj verden i krig genudsendes på mandag 26. april 13:00 DR1 

... kan også ses på nettet: http://www.dr.dk/

Poul-Erik Heilbuth: Manden som løj verden i krig

Jeg må sige, at jeg er skuffet over DR-dokumentaren, som jeg havde ventet mig meget af. Men jeg vil bestemt se den igen for at finde ud af præcis, hvordan den knækker. Det kan være, at det simpelthen er sådan, at den skuffer der, hvor Heilbuth selv skuffes. Han kommer ikke til at tale med manden, som han filmen igennem har jagtet. De tyske politifolk snyder ham for byttet, netop som interviewet skal i gang... Frustrerende!

Rygsøjlen i dokumentaren er et gavnligt resumé af hele historien om begrundelserne for at invadere Irak. Specielt to danske ministre står centralt. Selv om de selvfølgelig ikke ville medvirke endnu. De har ikke nået tilbageblikkets tid. Men til da tænker vi vort. Og det er godt at holde forløbet klar i erindring.

Jeg har én indvending foreløbig. Historien med den danske soldat, som dør i krigen, er overeksponeret. Forstyrrer derved, at ægte følelse i forkerte omgivelser bliver til noget meget, meget forkert. Og jeg mærker en hensigt, som jeg ikke kan lide.

Det er - og det er så en indvending mere - som med den bærende fortællerstemme. Den vil omklamre mig med for megen følelse og insisterende overtydelighed. Det bliver ubehageligt.

Men trods disse to indvendinger i min bedømmelse en vigtig film. Især, selvfølgelig, på grund af rækken af stærke medvirkende fyldt med faktuel viden og personlig energi til at aflevere den. Men, Heilbuth, altså... selve story-line  kræver en fortsættelse... Hvad siger tyskerne? 

Foto: Nej, det var ikke ham, som løj. Han vidste vist ikke bedre. Men tyskerne snuppede løgneren for øjnene af Heilbuth og seerne..

Bogen om Curveball anmeldt her: GoogleBooks

Vurdering:

News from Paris: Godard

This years festival Cinéma du reel had a program called Nous deux – Both of us, featuring films made by filmmakers in couples or pairs. Amongst those shown where The Old Place (1998) and Reportage amateur (maquette expo) (2006) by Anne-Marie Miéville and Jean-Luc Godard, who have been partners and made films together since the 1970s. Since I could not attend to the screening, I acquired the DVD of four short films by Godard and Miéville: De l’origine du XXIe siècle (2000), The Old Place (1998), Liberté et Patrie (2002) and Je vous salue Sarajevo (1993) (ECM Cinema 2006).

I highly recommend this edition, which is the first DVD released from the renowned German record label ECM Records. The DVD-cover is actually a fine little book with beautifully reproduced stills from the films, an introduction by the German film critic Michael Althen as well as the complete dialogues. All of this in French, English and German.

Link to ECM Records

Saskia Bisp: Nobody Passes Perfectly

Scenen i sengen med de elskendes tyste, intense samtale fuld af autentisk kærlig følelse er det hele værd. Den er klippet med lydhørhed for den lille angst for tiden, der forandrer, og kærligheden, som ikke er til at holde fast, trods forsikringerne. Den ængstelse vokser gennem den smukke scenes replikskifte til et helt kammerdrama i det lille format.

Det handler om at ville ændre på sin seksuelle identitet. Det er den ene af de to i sengen i færd med. Og hvad vil så ske?

Vurdering:

Barbara Cros, Lisbeth Lyngse: Kvinder i forandring

De er så omhyggelige med deres tøj, de tre kvinder, det handler om. De er så omhyggelige med det danske sprog, som de taler forbilledligt. De er så ordentlige og sympatiske og tydelige. Deres fortællinger er detaljerede, uden dramatik. Pletfri. De medvirker i en undervisningsfilm. Den har brug for forbilleder. Det kan jeg godt forstå. Det er ærlig snak. 

Det handler om danske uddannelsers betydning for herboende kvinder fra fremmede kulturer. Det lyder bestemt ikke spændende. Men sådan en opgave kan reddes...

Vurdering:

Markku Heikkinen: All Boys

Det er en tv-rettet knapt én time lang real-kommentarbåret reportage med filmede illustrationer og vekslende interviews fra to nutidige pornografiske produktionsmiljøer med små forskelle, som skal gøre en sammenligning interessant. Det lykkes ikke.

Det er en bornert nysgerrig sammenlignende sociologi-interesseret skildring af af to små professionelle selskaber, som fremstiller den slags film og magasiner. Et i Prag og et i Berlin med hver deres chef, som begge forsøger at leve op til rollerne som farverige og karismatiske ledere...

Vurdering:

Filmstriben.dk

.. og danskerne kan nu se streamede film, også dokumentarfilm, hjemme hos sig selv via deres lokale biblioteks hjemmeside. Det har været i gang længe, nu er jeg gået i gang med at prøve muligheden af.

Først har jeg kigget på dokumentar nyheder. Og det falder i øjnene, at den internationale succes Waltz with Bashir af Ari Folman fra 2008 er tilgængelig. Det lover godt! Importerede dokumentarfilm på bibliotekernes hylder er igen omsider en mulighed, efter filminstituttet for mange år siden lukkede af for den vitale luksus. Folmans film har været anmeldt og flere gange omtalt her på bloggen.

Men nu de nye film. Der er endnu ikke film fra i år, men listen over film fra 2009 er en lille begyndelse...

Doc Alliance: Free films

More free viewing for documentary addicts. A generous offer is given by the Doc Alliance (the four festivals in Nyon, Leipzig, Jihlava, Warsaw and Copenhagen). Below is their promotion text, and the films are available from April 21-25. When you visit the site, notice also all the very fine titles available for screening for a very small amount of €’s:

To celebrate the upcoming 2010 edition of Visions du Reel Nyon (April 15 – 21), DocAllianceFilms.com will offer free streaming of the five documentaries from the Doc Alliance Selection 2009,

“Maggie in Wonderland” by Ester Martin Bergsmark, Beatrice "Maggie" Andersson und Mark Hammarberg (Sweden, Finland 2008, 72 min) Maggie, a young woman from Kenya, films her world in the Swedish city of Malmö. A creative portrayal of the meaning of social isolation. “

Auto*Mat” by Martin Mareček (Czech Republic 2009, 90 min). Martin Marecek invents a militant, jubilatory action to combat the automatisms generated by Prague’s automobile culture. “

Big John” by Håvard Bustnes (Norway 2008, 86 min) The rise and fall of a young boxer coached by his father ‘Big John’ – who was also his trainer, impresario and agent. ”Hotel Sahara” by Bettina Haasen (Germany 2008, 85 min) Nouhadibou in Mauritania: a melting pot of dreams, hopes and the terminus of countless young African emigrants who end up here. “

Survival Song by Yu Guangyi” (China 2008, 94 min) A family of Chinese peasants is condemned to poverty and broken apart in the name of modernity. A deeply moving and sublime social tale.

www.docalliancefilms.com

idfa: for Viewers Worldwide

8 excellent documentaries can be watched for free on the net, made available for screening by idfa, International Documentary Film Festival Amsterdam. Let me just mention three of them – Florin Iepan’s Romanian ”Children of the Decree” about the atrocities during Ceaucescu, Heddy Honigmann’s ”Underground Orchestra” set in Paris and as always with this great director dealing with people, and Danish Jørgen Leth’s masterpiece ”Haïti Untitled” from 1995, his declaration of love to the country where he lived until the earthquake this year forced him to leave his totally destroyed home. Photo: Jørgen Leth.

http://www.idfa.nl/industry/idfa-tv/films/worldwide.aspx

Dokumentärer i SVT

The following text is in Danish as it includes information on the excellent documentary service that is provided by SVT, Swedish public television, that is available for viewers in the Nordic countries. There are not many broadcasters – if any – that has such a range of time slots, often at prime time, for the screening of documentary films and programmes:

Jeg abonnerer (det er gratis) på et nyhedsbrev fra SVT. Det bringer mig til en velredigeret og indbydende website, der oplyser om kommende dokumentar-visninger på et af de følgende mange strands: ”Dokumentärfilm”, ”Dokument Inifrån”, ”Dokument Utifrån”, ”K Special” og ”Dox”. Hvor ”K Special” (fredag aften kl. 20, se nedenfor om Boris Mitics film) altid har været garant for høj kvalitet og visning af ikke-engelsk sprogede dokumentarer, er ”Dox” nyt. Her er hvad Ingemar Persson, programchef for dokumentar, siger herom:

På tisdagskvällarna sänder vi de hetaste nyproducerade dokumentärfilmerna och de odödliga klassikerna. Under rubriken Dox visar vi världens bästa filmer om verkligheten. Vi vill ge publiken tv-kvällar de inte glömmer. Dox-filmerna visas varje tisdag kl 22.00 i SVT1 och det utlovas dokumentärer från både Sverige och världen som fängslar, engagerar och provocerar.

På Twitter giver SVT besked om dokumentarnyt, på hjemmesiden er der interviews med fine svenske instruktører som PeÅ Holmquist (om hans seneste Gaza-film), Erik Gandini (om Videocracy, filmen om Berlusconi), Nina Hedenius (om den fremragende film “Naturens Gång”) og Nahid Persson (filmen om persiske Farah Diba) – og en del film kan ses på nettet. Med andre ord: SVT tager dokumentaren alvorligt. Foto: The Last Tightrope Dancers in Armenia, vist på K-Special.

http://svt.se/2.118538/dokumentar?lid=index_313009&lpos=sajt&from=innehall_ao

http://twitter.com/svtdokumentar

Boris Mitic: Goodbye, How are You?

A special treat for those of us who have access to Swedish television, SVT2, that tonight at 8pm shows one of the most original Serbian documentaries from the last years. With repeats Saturday April 17 at 11.20 am, and Tuesday April 20 at 11.15 pm. This is the review that was written for this blog:

It is one of those films where you are attracted by the visual and the tone of the film and the words, in other words by the film, and still feel like you want to watch and listen again. Because you did not get it all. Being a chaptered film essay of highest originality, with funny playful captions, you can actually do your re-view by clicking your remote control. To pick the chapters. And you can visit the (also) rich website to get on your screen the aphorisms. Simply to read what you heard.

I say so because it is a difficult film for someone from outside of Serbia and ex-Yugoslavia to fully recognise and sense the constant dialogue between image and words. Much is archive from places and demonstrations, and conflict and war situations. Also from today, also from Kosovo, but also here you have to give up sometimes as you dont have the references in your visual memory. At the same time as the images and the tone and the words keep your attention the whole way through.

Nevertheless, let me skip the eternal (Nordic?) rational wish to understand everything... there is so much to discover in this ambitious journey in absurdity and subtlety where you are taken by the hand by a ”me”, the voice of an old man, who is summarising his life and talks about his friend and about the duels he would love to have. With other people and with himself. My Serbian language knowledge does not exist but the voice of the old man sets me in the mood of laughing of what is being said and what I watch. But not only laughing. There is also a sadness, a sad wisdom I would call it, from the writers and philosophers, who have inspired director Boris Mitic for making this clever satirical catalogue of image & words. It took him ”4 years of travelling 50.000 km along Balkan side roads to make 400 shots” for a story and a visualisation to which there is but one thing to say: Good Day, I am fine. I saw your film. I feel it like I do when I have seen a play of Samuel Beckett. Provoked and entertained in a creative way. Want to see it again. Bravo!

Serbia, 2009, 60 mins.  

http://www.dribblingpictures.com

Vurdering:

Underground Films

Indiepix, American distributor of independent films, including documentaries and experimental titles, offer their films to be bought as a dvd, to be downloaded to your own computer (pc and mac) or to be viewed as a vod (video on demand). For reasonable prices. You can subscribe – for free – to their newsletter from where I have taken the following text:

In the wake of WWII, with the advent of portable cameras, the world of filmmaking exploded beyond the bounds of the moneyed Hollywood studio system. Filmmakers no longer had to seek approval – or funding – to make their visions a reality. Hell, you didn't even need training, just a camera and a dream (dream occasionally optional). Filmmakers such as Maya Deren, Kenneth Anger and Stan Brakhage created countless films in the 1940s and 50s that tested the limits of the medium in subject matter, style and narrative continuity. In addition to garnering praise abroad from the new Wave filmmakers in France such as François Truffaut, Morris Engel's low-fi Little Fugitive also became the first independent film to be nominated for an Oscar in 1953. In the 1960s and 70s, brothers George and Mike Kuchar added an absurdist, kitschy sense of humor to their short films showing that just becuase it's arty, doesn't mean it has to take itself seriously. Freed from the profit-and-loss constraints of procuring Hollywood backers, these new low-fi, no-budget filmmakers were able to take film out of the realm of entertainment and turn it into an art form. PHOTO: Jonas Mekas.

And if you're in the New York area, the new documentary, It Came From Kuchar, is screening this week at Anthology Film Archives! Tickets are available through the IndiePix Box Office. We hope to see you there!

http://www.indiepixfilms.com/collection/underground-films?ref=NEWSLETTER

Visions du Réel Nyon 1

The important documentary film festival in Nyon, Switzerland takes off in two days, April 15 and goes on to April 21. As usual a huge programme is offered, an emphasis is put on the authored documentary, a strong collaboration with and influence from the European cultural channel arte is visible, workshops will take place, a market will be filled up with buyers, and feature length documentaries will be pitched. The festival has all the elements.

Also for creating a debate, I hope! Big surprise it is for me to see that the film of Nino Kirtadzé, “Something about Georgia” has been chosen for the international competition. I saw the film at the premiere in Tbilisi and wrote about it on this site. Here is some of my hard criticism: … big disappointment, I have to say. Pure propaganda for the politics of the president Saakhasvili, who according to this film has no opposition in his country... Propaganda, yes, and it could be ok, of course documentaries should have a standpoint, a personal view...

Visions du Réel Nyon 2

Festival director Jean Perrret leaves the festival after this edition. Here are his fine words of goodbye: It is comforting to feel the quietness emanated again by the films selected for this 16th edition of Visions du Réel. Not that they are slow,  oh no, some of them are very fast-moving in the way they tell stories! They convey a different experience which documentary filmmakers share with their spectators when they - filmmakers - take time to cast their gaze and focus their attention on the faces, landscapes, voices and din of the world. This film genre is comforting when the real world takes shape thus in its exciting complexity. It is exhilarating to share with the audiences these visions that reflect the extraordinary diversity of genres, scripts and viewpoints. Nearly 2,000 films have been viewed by the members of the Working Group, which is made up of specialists hired to spot the most striking films, to write the texts of the Catalogue and to moderate debates and meetings. At a time when the conditions under which films made by independent directors can assert their identity are deteriorating in terms of production and distribution,

Ripping Reality

The Hot Docs Canadian International Documentary Festival (April 29 – May 9) has introduced an interesting category in this year’s festival programme: Ripping Reality. Ten films have been chosen that in each their own way have added something new to the documentary genre in the last decade. I was asked to give my point of view on this and listed 10 Eastern and Central European works that are close to my heart and demonstrates originality and innovative strength. The Hot Doc people, led by festival director Sean Farrell, has put up a website that has a lot of interesting texts on the state of the art of the documentary. Here is my text contribution for the initiative – and do visit http://www.hotdocs.ca/film/program/Ripping%20Reality

and

http://www.rippingreality.com/

Tue Steen Müller: The last decade of documentaries, a new wave or new waves… well, you can have a look at it from different angles. As a documentary workshop organizer, both in my time as director of EDN (European Documentary Network) and now as a free lancer, I see more and more upcoming talents who try to fight their ways through endless sessions of

Another Planet gets Another Award

There are many films the career of which we have been following with great pleasure. Another Planet by Hungarian Ferenc Moldovanyi is one of them. The film has won the Special Award from the Ukranian Helsinki Human Rights Union at the 7th International Human Rights Documentary Film Festival, which took place in Kyiv from 26th March to 2nd April 2010. (See more about the festival on this site)

Another Planet has won 18 awards and been presented at 58 festivals in 43 countries on four continents and has been broadcast by various prestigious television channels. Congratulations.

Several other films like “Burma vj”, “Cash and Marry” and “The Living Room of a Nation” were also awarded at the festival in Ukraine.

www.docudays-ua

Messi Messi Messi Messi

Det er billedet af en dreng, der har fået lov til at beholde bolden. En glad dreng som slår bolden i græsset på vej ud af banen. Han smiler. Han har grund til det. Han har lige scoret fire mål og sendt sit hold videre i turneringen. Han bliver stoppet ved indgangen til tunellen, der fører ned til omlædningsrummet. Han skal interviewes. Men jeg tror ikke han kan høre spørgsmålene eller sin egen stemme. 90.000 tilskuere råber hans navn, eller nærmest stønner det ud som en tak til den lille fodboldspiller, der har leveret  underholdning af en skønhed uden lige. Han kan noget som ingen anden fodboldspiller i verden kan præstere. Han optrådte på Nou Camp den 6.april 2010. Hans navn er Messi. Lionel Messi. Profession: fodboldspiller. Ugeløn: omkring 4 mio. Dkr. Han spiller for FC Barcelona.

Det er billedet af to voksne drenge, der har overværet fodboldkampen. De har stået op ihvertfald fire gange, ved hver scoring, og råbt Messi ned til drengen, der har fået lov til at beholde bolden til minde om den kamp, som han gjorde uforglemmelig for dem. De to voksne drenge har holdt møde om den filmfestival, som afholdes i Barcelona i februar 2011. De har været spændt på kampen, håbet på det bedste og nu har de gennemlevet 90 minutters artisteri på grønsværen dernede. De har siddet på deres plasticsæder og levet med og kommet med bemærkninger om spillerne, deres bevægelsesmønster, deres afleveringer, deres fight og energi – og om drengen med bolden, der bare er i en klasse for sig. Modstanderne var fra London, Arsenal, de havde ikke en chance, selvom de indledte scoringen. Siden krøllede drengen med bolden dem allesammen og lavede fire mål. Resultat: 4-1. Og han og hans medspillere glemte ikke at bolden aldrig bliver træt. Kombination efter kombination, Hurtigt fra spiller til spiller. Mit navn er Tue Steen Müller. Bor i København, arbejder ofte i Barcelona for Joan Gonzalez og hans www.docsbarcelona.com. Ugeløn: ca. 6000 Dkr. Vi voksne drenge var på Nou Camp den 6. April 2010.

A text in Danish about soccer seen by Tue Steen Müller in Barcelona April 6 2010.

Vurdering:

Soccer Cinema

Soccer Cinema is a real dream come true. A travelling cinema, bringing some of the world’s best soccer documentaries to 50 small towns, villages and townships, spread across all 9 South African provinces. The journey begins on 6 April 2010 in Cape Town and will end there on 2 June, followed by a Soccer Cinema Festival held at the Labia Cinema from 5 to 10 June.

Here is a clip from the press release: The FIFA Football World Cup is a unique and very special event. It has the potential to unite South Africa as few other events since democracy was established in 1994. In the months before the championship it is vital that everyone feels part of this. Unity can be built by inspiring South Africans through documentary cinema with insight into famous players, teams as well as incredible highlights and events from the beautiful game's colourful past.  These films are new to South African audiences, and comprise a history and world-view of football that will be available to the public across the whole country. (Full film list see here)

The aim of Soccer Cinema is to better inform audiences about the

News from Paris: Maysles

It’s the Maysles!

At this years edition of Cinéma du réel, the festival paid tribute to Albert Maysles. The Maysles Brothers: the late David on sound and Albert behind the camera, classic direct cinema.

As was the case two years ago, with the retrospective Americana showing the works of Shirley Clarke and Jim McBride (not to forget Agnès Varda’s rare and wonderful Lions Love (1969)), it is a pleasure to be able to discover or rediscover these films on the big screen.

Everything in Albert Maysles films is beautiful; from the American ballerina at the Bolshoi ballet in Anastasia (1962), Yoko Ono performing her Cut Piece (1965), a hilarious and very attractive Brando in Meet Marlon Brando (1966), the self-revealing Truman Capote in From Truman with love (1966), a bible-salesman driving his car in Salesman (1968) to the eccentric mother and daughter in Grey Gardens (1975).

Godard has called Albert Maysles the best American cameraman. The two of them worked together in the Barbet Schroeder production Paris vue par… (1965), a curious piece of film history, described by Albert here:

http://www.arte.tv/fr/Comprendre-le-monde/arte-journal/103288,CmC=3115724,CmPart=com.arte-tv.www.html

Albert Maysles sums up his approach to documentary with a quote from Grey Gardens: “ Come on in, we’re not ready!” (Little Edie in Grey Gardens).

If you can live with the English version with French subtitles, a DVD including both Salesman and Grey Gardens (ArteVidéo) is available on French Amazon http://www.amazon.fr/. Or separately in an English version as well as Shirley Clarke’s Portrait of Jason (1967), Jim McBride’s David Holzman’s Diary (1968) on amazon.uk. You can watch Yoko Ono’s Cut Piece at:

 http://www.dailymotion.com/video/x3dsvy_yoko-ono-cut-piece_shortfilms.

For the French resident readers, some of the Maysles Brothers films can be seen on TV on CinéCinéma Club, on April 30 and May 7.

As for the rest, we are lucky to have retrospectives at the festivals!

I would also like to mention that, unfortunately again only for French residents, the films from the international competition and the French panorama at Cinéma du réel are available on VoD at http://www.universcine.com/promotion/cinemadureel2010 the whole month of April.

Photo: The Maysles on location, Grey Gardens (1975)

Ramallah – Documentaries from Palestine

Palestine, 4 days, end of March 2010. It’s blue sky but still a bit chilly in Ramallah, where I have been for a couple of days. Lively activity outside in the streets of a nice and calm city, 40.000 are here during night, 80.000 during day. The capital of the Palestinian Authority expresses a friendly atmosphere, and energy – waiting for a Palestinian state to be established. Yellow buses, yellow taxis, building work going on everywhere, white buildings, a hilly city with beautiful viewing spots. A city whose economy is very much depending on investments done by rich Palestinians, who have made their money in the Gulf states and return home one month per year.

I am here with some fellow tutors for a workshop including 10 documentary projects. The intentions behind the initiative are triple: 1) The filmmakers are trained for a pitching of their projects to 12-15 tv editors - that takes place late May. 2) The filmmakers are competing for a participation in the Storydoc documentary programme that has its first session in Corfu, Greece in the beginning of July. 4 of the 10 projects will be picked for that purpose. 3) The filmmakers have their projects discussed and their pitching skills improved – the writing, the verbal and the visual. They are being provided with a huge amount of information and

Eric Pauwels: Les Films rêvés 2

Jeg er ikke blevet færdig med indtrykkene fra Cinéma du réel, eller rettere, der er film, som bliver ved med at trænge sig på. Nu Pauwels’ tre timer lange sag, i to dele (85 og 95 minutter) i udtrykkelig 4/3 format. Det står på forsiden af dvd-udgaven, som CBA i Bruxelles har været så venlig at sende mig. Den slags er vigtigt, når det er billeder i en tid og fra en tid, det drejer sig om. Med en mening om deres eget udseende. Det gamle tv-format. Og på forsiden er der seks billeder i dette klassiske format, på bagsiden yderligere seks og så synopsen: Un jour, un homme, un cinéaste fait un rêve: il rêve qu’il fait un film qui contiendrait tous les films qu’il a rêvé de faire. Inden i er tiden, de to dele, i alt 180 minutter.

Jeg så filmen i Paris uden at forstå særlig meget af den franske voice-over og dialog. Men dvd-udgaven har engelske undertekster. Så nu kommer et frydefuldt arbejde med at se det store, smukke værk, omhyggeligt, afsnit for afsnit. Læse det så langsomt, som det indbyder til. Så tiden holdes fast. Hvad dvd kan.

Det begynder med en poetik. Her kan man som begynder begynde. Her kan man som blasert og erfaren begynde forfra og blive ydmyg. Det er yderst håndfast: der findes disse film, og så demonstreres en scene. Og der findes disse, og der demonstreres en scene. Det er medrivende grundlæggende. Og så følger afsnittet om Jean Rouch, hvor poetikken foldes ud, men ikke som skema, nej, som liv og død… 

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