Tsymbal & Smoljanski: Two Painters…

… Oscar Rabin and Valentina Kropivnitskaya, their lives and their art. I knew the name Rabin in beforehand and that he is exiled, living in Paris now, 90 years old, but I had never really heard the story about him as an artist in the USSR and I did not know that his wife Valentina was such an excellent artist. All that was clarified because I met Alexander Smoljanski at DOK Leipzig, who invited me to watch the two films about the artist couple. The film are introduced like this on the website:

”This is a film project in two parts showing the story of the leader of the Soviet underground artists, painter Oscar Rabin, and his wife, painter Valentina Kropivnitskaya. It is a story of painters who never betrayed their artistic principles and always fought to show how powerful a weapon nonviolent resistance can be – it’s a story of love, art and human dignity.”

I learned a lot from the two films. About the Lianozovo group of so-

called non-conformist artists from a small village outside Moscow, who rebelled against the official social realism; that was late 1950’es beginning of 1960’es. And I was reminded of the importance of the Bulldozer Exhibition in 1974 with Rabin as one of the main organisers – the bizarre name comes from the fact that the KGB sent, yes, bulldozers with water canons to stop the exhibition. It is said to have changed the art scene in USSR.

Oscar Rabin (th) sammen med kollegerne Youri Jarki og Alexander Gleser 1974

And it changed the life of Oscar Rabin, who with his family was expelled from the country to live in Paris.

The 2018 film about Rabin, made in this year where he is 90 years old, is shot in Paris with an enormous archive from his (almost) first years in USSR and including the known material with Kruschev calling modern art for perverse. Rabin’s childhood is explained, he is interviewed and colleagues and art critics talk about him. The Greek art collector Costakis and his important is mentioned in this film about an ”unofficial artist”.

And Rabin is the main storyteller in the film from 2015 about his wife Valentina Kropivnitskaya, who died in 2008. Their close love story is told by Rabin in his studio in Paris; he does so in a beautiful caring way, where he talks about this outsider in the Lianozovo school, who went her own way as an naíve artist, making fine delicate works – she used colored pencils like children do – it’s a artist who talks with love about his modest and shy wife, who did not say a lot and was not interested in publicity. In Sovietunion she painted animals, in France she turned to landscapes, dreamerish, the title of this film is rightfully ”In Search of a Lost Paradise”.

Two fine artists living and working in quite limited space. Portrayed in a classical way – lots of interviews, commentary, archive, works – conventional, yes, but the characters stand out as extraordinary.

In Search of a Lost Paradise, 2015, 52 mins. Director: Evgeny Tsymbal. Script and production: Alexander Smoljanski.

Oscar. 2018. Directors: Evgeniy Tsymbal and Alexander Smoljanski.

The film is quite new so I have no information on its festival life yet. But Rabin is celebrated in many countries where the film will get its place, I’m sure,

http://oscar-rabin.web61.server4.configcenter.info

https://www.theguardian.com/world/2014/sep/17/bulldozer-underground-exhibition-revolutionised-russian-art

 

CPH:DOX 2018/ The Cleaners

HANS BLOCK OG MORITZ RIESEWIECK: THE CLEANERS

”What responsibility do Facebook, Google and YouTube have for what is being posted on their sites? And what power do they have to shape the public discourse through censorship? Two questions that are currently preoccupying legislators and politicians. But who are the people who actually try to keep the internet clean? Meet five Filipino ‘content moderators’ who have the unrewarding job of keeping social media free from offensive content, but who also work full-time in a legal and ethical grey zone between freedom of expression, censorship and commercial interests. ‘The Cleaners’ brings us into the underworld of the internet, where the debates are already raging. 500 hours of video are uploaded to YouTube and 2.5 million posts created on Facebook. Every minute. Every day. And the media giants’ influence on everything from presidential elections to the number of likes for one’s status updates is now so enormous that legislation can no longer ignore it.” (CPH:DOX programme)

KOMMENTAR

Han her på et still fra dokumentaren er content moderator, han er anonym, men dog ikke sløret som et andet mere forsigtigt vidne. Han er fra Manila, han arbejder der i et firma, der næsten som et almindeligt rengøringsfirma tilbyder de store på nettet som Facebook og You Tube og dem en smule nedefter i almægtighed at fjerne brugernes snavs fra deres sider beregnet til social medieaktivitet i det vældige og ufattelige betydningsfelt mellem frie ytringer og utallige økonomiske, politiske og moralske begrænsninger og hensyn. Utugtige billeder, frygtelige billeder, falske nyheder, politiske spamangreb og visse uacceptable gruppers agitation: Ignore or delete. Simpelthen skelne mellem ondt og godt, som en af hans kolleger fra arbejdsboksen ved siden af i firmaets værksted udtrykker det. Man kan, synes jeg, se Hans Blocks og Moritz Riesewiecks dokumentar alene for de filminspirerede afsnit med ham og hans kollegers skyld.

Man kan også se dokumentaren for Nicole Wongs skyld, det vil de to instruktører mene, da de har bragt hende i front med sine langt mere sofistikerede holdninger, som jeg ikke så umiddelbart som cleanernes ja eller nej har baggrund og mulighed for at opfatte med det samme. Vil jeg forstå hendes synspunkt, må det være langt mere middelbart end dokumentarens argumenterede journalistik kan tilbyde mig, dens nok næstvigtigste vidne er fra den anden sociale medieverden, hun er fra et helt andet overvejelses- og beslutningslag med sine erfaringer som juridisk rådgiver i Obamas administration og fra tilsvarende opgaver i Googles ledelseslag. For så senere at forstå hende, må jeg først læse meget mere og se dokumentaren flere gange. Det er meget rimeligt, sådan har jeg det ofte. Og man kan helt bestemt se dette tv-program alene på grund af de vigtige interviews med Wong og en række tilsvarende kompliceret artikulerende vidner.

Længere opklippede afsnit med reportage er skudt ind imellem: En fotokunstner sidder i sit værksted og fjerner, nej, dekonstruerer et foto af et bestemt barn druknet under en oversvømmelse, arbejder omhyggeligt med en skalpel i den fotografiske overflade, så der blot bliver et hvidt omrids, en skygge som af en engel. Det er egentlig smukt, et icon som fotografiet af den lille nøgne pige i en gruppe flygtende fra et flyangreb med napalmbomber, som alle i min generation kender. ”Det er et icon” siger content moderatoren, han har hørt ordet, hørt, at det er det, ”vist nok fra krigen i Viet Nam.” Men det overtræder reglen om gengivelse af genitalier, især børns, så det må væk. Delete. En maler arbejder et andet sted i verden med sit portræt af den amerikanske præsident nøgen og med lille penis. Ignore or delete?

Enkelte afsnit, eller hvad jeg skal kalde disse dokumentarens linjeskift i rapportstil, er fuldstændig og ren tabloid, omnibus, ugeblad og magasin. De er med vilje lavet for en åbenbart nødvendig breddes skyld, men de svækker den alvorlige dybde i Blocks og Riesewiecks værk, og grebet medfører det banale faktum, at alt er aldeles tekstbåret, alle billedscener er illustrationer til det, som siges. De eneste filmiske scener er de statements, som bevarer lyd og billede sammen. Alle spørgsmål er imidlertid klippet bort, så det er slet ikke samtaler, faktisk heller ikke interviews, jeg oplever som seer, men netop statements, udtalelser, citater fra et oprindeligt samværs helhed.

De fineste, mest interessante af disse er så dem, som de medvirkende content moderators, disse cleaners leverer. De gør dermed dokumentaren værd at se. De er også smukkest fotograferede scener, jeg ved ikke rigtigt, hvorfor jeg mener det. Låner billedet den medvirkendes oprigtighed og særlige aura? Er det journalistiske essay indlejret i dette lag, eller kunne det være det? Tænker jeg hver gang.

Dokumentaren i sin meget bevidste, sin teknisk fremragende, konsekvente og meget styrede helhed mangler nemlig sit essay, sin personlighed, sin intellektuelle synlighed, sin journalistiske værdighed. Den brede, underholdende, jeg synes tvivlsomme, henvendelse har overtaget overvejelsen og tvivlen. Men den er, hvad tv-dokumentaren The Cleaners vil og overdådigt lykkes med. Den er flot visuelt færdiggjort og overbevisende dygtigt produceret som den tv-dokumentar den bevidst vil være, fuldstændig i sin genres stil. Ja, den er stilren. Men er den så fremragende? Spørger jeg imponeret mig selv og mumler et usikkert nej.

Men gå under alle omstændigheder ind og se selv efter, som kollega Müller ofte skriver, og bliv elegant underholdt og lær som jeg gjorde, måske for første gang også som jeg gjorde, hvad en content moderator er. Disse mennesker er for mig dokumentarens uforglemmelighed, de er så almindelige og alvorlige og sympatiske, ja, søde mennesker i deres koldblodige manøvrering i deres arbejdsområde mellem Facebooks og You Tubes og Googles regler og deres firmas regler og så til når det kommer til beslutningen i brøkdele af et sekund deres egen smag og moral. 25 tusind gange i døgnet (eller var det pr. vagt?) denne hurtige afgørelse: ignore or delete.

Tyskland 2018, 90 min. Vises på CPH:DOX 2018: https://cphdox.dk/program/film/?id=583 (Datoer, tider, steder, billetter)

https://www.hollywoodreporter.com/review/cleaners-review-1076159 (Anmeldelse med god baggrundsorientering)

East Doc Forum 2018

Huge cinema for the highlight of the East Doc Platform 2018. After masterclasses, presentations, individual meetings at the market, receptions – all held in the good atmosphere that the IDF (Institute for Documentary Film) is so good in creating, and has been doing since the start of this century – it was show time for 24 projects, many of them coming from the 3 week long development programme EO, Ex Oriente.

The two main tutors of EO, Finnish Iikka Vehkalahti and Danish Mikael Opstrup, were again the presenters of the projects, an enjoyable and easy job for the two football aficionados, who maybe suffered a bit after having seen Tottenham lose to Juventus at ”our” Indian restaurant ”The Londoners”!

On the 8th of March, International Women’s Day, Vehkalahti welcomed the first pitching team, Polish

Malgorzata Goliszewska and Katarzyna Mareja, whose ”Lessons of Love” will be a tribute to a woman, who spent 30 years with an alcoholic husband, raised 6 children and now wants her own life, eventually with a nice man, she meets, when she goes dancing. She is wonderful and it will be a good film. 100 hours, two versions, 40 minutes of scenes to show at the one-to-one meetings after the Forum.

I will mention some more projects from the 24 – I loved ”Amoosed” by Czech Hana Novakova, whose passion is ”man and moose” and whose film will ”make you laugh by its sheer playful surrealism and touch you and make your heart melt”. The director will be in the film; what she showed in the trailer had this craziness that we often miss in modern documentary. Totally different, of course, is the new project by Polish Hanna Polak after her succesful ”Something Better to Come”. The title is ”Angels of Sinjar, Yazidis – 21st Century Genocide”, the latter referring to ISIS wanting to exterminate the Yazidis in Iraq. Polak was in Iraq shooting, the project was – as always – presented carefully and in a professional way by producer Simone Baumann. A strong, with graphic scenes, trailer.

No surprise that Hanna Polak’s film project was one of the winners – see the list in the next post – of the East Doc Platform. And for me quite as obvious was it that Estonian Marianna Kaat with her ”The Last Relic” received the main award in Prague. She has filmed in Yekaterinburg, the city where the last zar was killed by the bolsheviks 100 year ago, in July 2018. I guess Kaat wants the film to be ready for that occasion, I hope she can, so her film about modern Russia (with Stalinists, monarchists and activists) can enlighten us viewers with what is going on in the country, where Putin will be re-elected on March 18. Kaat presented the project at the Baltic Sea Docs in September and I was disappointed. What happened I asked the director? I found my main character, she said, 21-year-old Left Block activist Igor Frolov, who with his charismatic young appearence made the teaser convincing, full of energy.

One more Polish – amazing what comes from that country – is ”Of Animals and Men” by Lukasz Czajka, a fantastic story about a couple, Jan and Antonina Zabinski and their fight for animals and the heroic way they saved between 100 and 300 jews during the war. The story is simple, Zabinski set up the Warsaw Zoo in the late 1920’es; the zoo was destroyed when the Germans came – they took a lot of the animals to Germany – but the family stayed in their home at the zoo, hiding jews, also in the empty animal cages. The film will apart from this amazing historical event also be a warm love story between Jan and Antonina, who came back to the zoo when the war was over.

Readers of this site will maybe remember the many times I have written about Peter Kerekes (”66 Seasons”, ”Cooking History”…), who is a true auteur with his own style and humour. As in this one, ”Wishing on a Star”, where he introduces Luciana, astrologist, who has a specific, simple method ”to change your destiny by taking a trip on the day of your birthday”. The trailer was refreshing – the clients of the astrologist all want Love and Luciana suggests them to go to far away places. Kerekes: Luciana and the most famous Italian meal lasagna come from the city of Naples. I imagine this documentary following a ”lasagna concept”: a lot of layers mounted on top of each other, creating an unforgettable delicious taste… Multilayered, yeah, that is what we want documentaries to be.

In the following post you can read which projects were awarded in Prague at the East Doc Platform.

Photo Michal Hancovsky.

The Winning Projects at EDP in Prague

– EDP standing for East Documentary Platform.

Photo: The Last Relic (d. Marianna Kaat (to the left), p. Dorota Roszkowska) and Angels of Sinjar. Yazidis – 21st Century Genocide (d. Hanna Polak, p. Simone Baumann (to the right). Photo: Michal Hančovský.

East Doc Platform Award
 The Last Relic – Marianna Kaat Producers: Marianna Kaat, Dorota Roszkowska Production companies: Baltic Film Production (Estonia), Arkana Studio (Poland)

HBO Europe Award 
Angels of Sinjar. Yazidis – 21st Century Genocide – Hanna PolakProducers: Hanna Polak, Simone Baumann Production companies: Hanna Polak Films (Poland), Saxonia Entertainment GmbH (Germany)

Czech TV Co-production Award
 Angels of Sinjar. Yazidis – 21st Century Genocide

The Current Time TV Award
 Holy Culture! – Ksenia GapchenkoProducer: Maria Chuprinskaya Production company: Ethnofund (Russia) 

The Place of Love – Liuba Ziamtsova
Producer: Maria Yahorava 
Production company: Illusion Film Company (Belarus)

Golden Funnel
 Amoosed! – Hana Nováková 
Producer: Kateřina Traburová 
Production company: GURU Film (Czech Republic)

IDFA Forum 
Journey to the End of the Night – Ksenia Elyan Producers: Max Tuula, Maria Gavrilova, Alexander Rastorguev Production company: Marx Film (Estonia)

Speed Meetings at DocsBarcelona
 Wishing on a Star – Peter Kerekes
Producers: Erica Barbiani, Ralph Weiser, Peter Kerekes, Petra Oplatková
Production companies: Videomante (Italy), Mischief Films (Austria), Artcam Films (Czech Republic), Peter Kerekes Film (Slovakia)

DOK Leipzig Co-Pro Meetings Lessons of Love – Malgorzata Goliszewska, Katarzyna Mateja 
Producer: Anna Stylinska 
Production company: Warsaw Film Center (Poland) 

DOK Preview Presentation
 Hacking Friendship – Oleksiy Radynski Producer: Lyuba Knorozok Production company: Lyuba Knorozok (Poland) 

Sheffield Doc/Fest Award
 In the Name of Allah – Francesco MontagnerProducer: Pavla Janoušková Kubečková Production companies: nutprodukceFAMU Prague (Czech Republic) 

If/Then Short Pitch Award
 Blackandwhite – Zoe Eluned Aiano, Anna BennerProducers: Linda Dedkova, Martin HůlovecProduction company: Punk Film (Czech Republic)

Modern Times Review Spring 2018

… with the subtitle ”The European Documentary and Non-fiction Magazine” is out with its 3rd printed version, and let me start with a strong promotion of what is ridiculously cheap, 28€ per year:

”A yearly subscription gives you the spring and fall issues of Modern Times Review, full access to all (soon 1000 articles from the last 20 years) online articles, and the monthly documentary screenings.”

I met the chief-editor Norwegian Truls Lie in Prague the other day, where he brought the magazine to the big documentary community attending the East Doc Platform and the One World Festival. He told me that this spring issue of the magazine comes out with a focus on films that are being shown at the festivals in Thessaloniki, Prague, Oslo, Copenhagen, Nyon, Krakow. Within the 24 pages there are small interviews with the festival directors of the mentioned festivals to give you an idea of where their focus lies. It’s nice and informative.

Otherwise – and most important – the quality of the reviews and articles are high. Let me mention two excellent writers, Nick Holdsworth and Neil Young. The first has an impressive analysis of the controversial Czech documentary ”The White World According to Daliborek” (PHOTO) by Vit Klusak, the latter, Neil Young, gets a whole page to write a beautiful article on short films based on his visit to the International Film Festival Rotterdam. ”Short documentaries has a capacity to dazzle and delight”, he writes and reviews in details two Ukrainian short films, Tobias Zielony’s ”Maskirova” and Anna Jermolaewas ”Leninopad”. It is a scoop that Lie has Neil Young to write about shorts in the magazine. I am sure many readers know Young from his (long) documentary reviews in Hollywood Reporter… And he gets around, Neil Young, who told me that he was at 28 festivals last year. Gosh!!!

Again a big Bravo to Truls Lie for continuing what was done with the DOX Magazine. A tribute to the documentary genre. SUBSCRIBE!  

www.moderntimes.review

EDN Award to DOC Lab Poland

Adam Ślesicki and Katarzyna Ślesicka receive the 2018 EDN Award for their work in establishing and running DOC LAB POLAND, which is the largest and most multi-faceted program for documentary filmmakers organized in Poland for Polish projects. The initiative supports auteur-driven creative documentary filmmaking and features a comprehensive program for the development of film projects. In addition to development support, DOC LAB POLAND also connects the European documentary industry to the Polish documentary scene, thereby making the strong creative tradition of Polish documentary more widely known and accessible.

With regards to the selection of DOC LAB POLAND for the 2018 EDN Award, EDN Director Paul Pauwels states: “In times where national authorities and state structures seem to care less about freedom of expression, democratic values and creative artists, it is essential that we have initiatives fighting for the rightful existence of the documentary genre as an artistic expression and cornerstone of our democratic society. It is important to have organisations that create European collaborations and bridges to other national industries, especially in times where political structures tend to focus more on national preferences. I therefore believe it is a logical step to recognize DOC LAB POLAND through the EDN Award 2018 for their outstanding contribution to the European documentary culture”.

The award was presented to Adam Ślesicki at The EDN Award ceremony on March 6, 2018 during the Docs in Thessaloniki pitching forum organized by EDN in the framework of the Thessaloniki Documentary Festival – Images of the 21st Century.

Photo: Adam Slesicki right, Ove Jensen EDN left.

www.edn.dk

New Resistance..in the streets of Prague

There was not a lot of power in the panel discussion at the Institut Francais yesterday where a panel discussion was held with good people like Estonian Max Tuula, Bulgarian Vesela Kazakova, Kenan Aliyev from Current Time TV, local hero Filip Remunda and Polish Konrad Szolajski. They gave each one of them a brief on what kind of stir their controversial films had given, the censorship they had met – it has all been written about on this site if you search the names mentioned. And of course, as said by Aliyev, investigative journalism is dangerous right now, referring to the murder of the Slovak journalist Jan Kuciak and his partner.

Same Aliyev came with the good news that on his television documentaries are more watched than the news – his channel (financed by Americans) broadcasts in Russian language in Russian speaking countries. BUT there was resistance elsewhere in Prague, here is a quote from Guardian:

Thousands of demonstrators brought the centre of Prague to a standstill on Monday night in a display of anger over the appointment of a communist-era riot squad officer to head the Czech parliament’s police watchdog.

Chanting “communists are murderers” and “we have had enough”, protesters held sheets of paper rolled up to resemble police batons in an expression of indignation over the installation of Zdeněk Ondráček, a Czech Communist party MP, as chair of the parliament’s general inspection of security forces commission.

The choice of Ondráček to head a sensitive committee overseeing police wrongdoing was confirmed in a parliamentary vote last week despite objections that he had served in a unit that beat up pro-democracy demonstrators in the 1989 Velvet Revolution before the fall of communism in what was then Czechoslovakia.

Monday’s protest coincided with simultaneous demonstrations in 10 other Czech cities and towns, including the second largest city Brno.

That’s what is being talked about in Prague right now…

www.dokweb.net

Czech Docs… Coming Soon

We had to put it as the last film to be presented, ”In Mosul” by war photographer and cinematographer Jana Andert, who for 8 months was following the battle of Mosul with Golden Division, an elite Iraq squad. Jan Macola, who produced Mira Janek’s ”Normal Autistic Film”. With Tonicka Jankova as the editor the plan is to make a 70 minutes long documentary out of the 15 hours material, Jana Andert brought home. The 10 minutes presented at the Czech Docs… Coming Soon session at the Cervantes Institute here in Prague was very hard to watch: corpses, crying mothers, a small child heavily injured, explosions, constant tension. After the films from Aleppo and Homs here is another horror story from the crazy world we live in.

5 films were presented, four of them in post-production, one in

development, ”In the Name of Allah”, shot in Bosnia with Italian Francesco Montagner as director. The producer Pavla Janouskova Kubeckova from the company nutproducke showed some scenes from what will be a film that follows the three sons of a radical preacher, who is in jail right now and will be there for two years. The filming will continue until the father returns to the mountain area, where the family lives. I fell in love with the youngest son, 11 years old, who reflects on the situation with his father and on his future.

I was privileged to have meetings with the filmmakers behind the upcoming films, this year with a clear international approach. Martin Pav, director, and Zuzana Kucerova presented a film that takes us to Kibera, the largest slum in Africa, in the center of Nairobi, 300.000 live there. ”Kibera Stories”, working title, will be 80 minutes plus a tv version. Also that was a very promising presentation as was, indeed, ”Fugue”, that takes place in Buenos Aires at a psychiatric hospital, where Martin, composer and piano player was for four years. He is a wonderful character as proved through the three scenes shown by the director Artemio Benki and the producer Petra Oplatkova. The film will end with Martin performing his composition at El Borda. Potential for a great film.

One film dealt with Prague – 50 years ago, 1968. 21.8.1968 where the capital of Czechoslovakia was invaded by soldiers from the countries of the Warsaw Pact. One of them was the grand uncle of Anna Kryvenko, Ukrainian born director living in Prague. When he came home to Ukraine, he had changed completely. He took his own life. 80% archive material, amazing images of soldiers in the streets expressing ”what am I doing here”. (Photo from ”My Unknown Soldier”).

Today the filmmakers will have meetings with sales agents, tv people and festival programmers. Wish them good luck, there is a lot of talent in these upcoming documentaries in a country where 27 long documentaries were premiered in 2017!

https://dokweb.net/cs/

CPH:DOX 2018/ Tro/Faith

JENS LOFTAGER: TRO / FAITH

Two widely different images of religious faith create a contrasting and thought-provoking totality in Jens Loftager’s new film. The Danish priest Karsten plays music to his confirmation students to help them trust their own qualities and dare to flourish in life. At the same time we meet three Japanese Buddhists, who never had that opportunity, but who are now thinking about their lost youth when they were members of the religious Aum group which committed a terrorist attack in Tokyo in 1995. Across stages of life and cultures, ‘Faith’ explores how religious faith can both make people fit for life and able to understand ourselves better, but also push us to make extreme choices, which we will later regret and find difficult to understand. The film is the last part of Loftager’s trilogy, which started with ‘Words’ (1994) and continued with ‘War’ (2003). (CPH:DOX programme)

https://cphdox.dk/program/film/?id=456 (Datoer, tider, steder, billetter)

KOMMENTAR

Jens Loftagers nye film får premiere på CPH:DOX. Den fornemme plakat er lavet af Claus Lynggaard, som også har tegnet filmens grafik, så Tro venter vi nu på med spænding, den er jo noget så sjældent som sidste værk i en trilogi af filosofiske filmessays, konklusionen på én filmkunstnerisk tanke fastholdt gennem mere end to årtier.

Hvis man er så heldig at have adgang til et uni-login kan man forberede sig på en virkelig lykkelig måde ved at gense eller måske for første gang se trilogiens to første film Ord (1994) og Krig (2003) på FILMCENTRALENS smukke og effektive streaming…

ORD (1994)

”En skildring af ordets magt – og afmagt. En påvisning af ordets undertrykkende – og befriende muligheder. Med Salman Rushdie og Václav Havel som toneangivende symboler veksler filmen mellem statements fra en række verdensberømte forfattere, arkivmateriale fra brændpunkter i det 20. århundredes kamp for (og undertrykkelse af) ytringsfrihed – fiktioner, bl.a. “Tusind og een nats eventyr” i hvilke Scheherezade fortæller historier for at overleve. Udover Havel og Rushdie medvirker Joseph Brodsky, Paul Auster, Günter Wallraff, Mario Vargas Llosa, Villy Sørensen, Inger Christensen, Julio Llamazares, Tahar Ben Jelloun, Kemal Kurspahic (fra Sarajevo-avisen Oslobodenje) og Aziz Nesin.” (Filmcentralen)

http://filmcentralen.dk/grundskolen/film/ord (streaming)

KRIG (2003)

”Det tyvende århundrede har i vores del af verden været præget af krig, ikke mindst de to verdenskrige og konflikten i eks-Jugoslavien. For de, der oplever en krig, repræsenterer den destruktion og død, men under rædslerne trives også håb og næstekærlighed. I filmen mødes billedernes skønhed og beretningernes gru i et forsøg på at forstå menneskets adfærd og oplevelse af sig selv under og efter krigens ekstremer. Med afsæt i optagelser fra krigenes skuepladser fortæller en række vidner om tab, smerte, angst, afmagt, dilemmaer, ydmygelser, kampe og kz-lejre. Men også om betydningen af at forblive menneske i alle situationer.” (Filmcentralen)

http://filmcentralen.dk/grundskolen/film/krig (streaming)

East Doc Calls for New Resistance

I am in Prague for the East Doc Platform, organised by Institute of Documentary Film. It is as always a very welcoming and generous tribute to the documentary, where projects are being presented and discussed – and parallel the festival One World has started. In other words Prague is full of professionals within the documentary community and many viewers are expected – as usual – for the festival.

On the East Doc Platform catalogue and on posters (see photo) the text goes like this: ”New Resistance: Critical filmmaking is a risky business. Keep your brain safe!” This afternoon there will be a discussion on this theme, I will be there and come back to you with a report. In the panel is Estonian Max Tuula, Bulgarian Vesela Kazakova, Kenan Aliyev from Current Time TV, local hero Filip Remunda, Polish Konrad Szolajski. All people who have been involved in films, which have raised hard discussions.

What was the ”Old Resistance”, I asked one of the organisers, 1989 Tue, of course, and what about the 1968… Also that but you know what happened… and what happens now, where the President is very positive towards Russia and the communists are in government!

https://dokweb.net/cs/