Dokumania /BOLSHOI BABYLON

NICK READ: BOLSHOI BABYLON

Den 17. januar 2013 blev den kunstneriske leder af Bolsjoj-balletten, Sergej Filin, angrebet med syre af en maskeret mand. Han vendte efter behandlingen for skaderne i ansigtet tilbage til Bolsjoj (STILL).

”… Overfaldet afslører imidlertid, hvad mange kendere har vidst længe, nemlig at balletten er i dyb krise. Personlige konflikter, jalousi og dårlig ledelse infiltrerer Ruslands mest berømte kunstinsitution og sender den på katastrofekurs. Solodanseren Pavel Dmitrisjenko bliver anholdt for angrebet, og andre dansere siger op eller bliver fyret. I et forsøg på at skabe fred i kulisserne bliver Vladimir Urin udpeget til ny direktør, men dette skal vise sig at være et uklogt træk, der blot skaber endnu flere problemer. Denne betagende dokumentar følger en kunstinstitution på randen af forfald og blotlægger intrigerne bag tæppefald”, skriver DR2 Dokumania i sin pressemeddelelse.

Nick Read: Bolshoi Babylon (Dansk titel: Syreangrebet i Bolsjoj-balletten), UK 2015 (BBC FOUR, Storyville), 86 min. Sendes tirsdag 14. marts 20:45 på DR2 Dokumania og efterfølgende på DR TV.

SYNOPSIS

In Jan. 2013, Sergei Filin, artistic director of Russia’s celebrated Bolshoi Ballet, was attacked by an unknown assailant who threw acid in his face. The Bolshoi’s ballet company had long been part of the nation’s identity, but this mysterious and vicious attack thrust it into the limelight for all the wrong reasons, pulling back the curtain on the scandals and infighting plaguing the iconic institution.

When one of their own – male soloist Pavel Dmitrichenko – was arrested and charged with the crime, it revealed a company defined by personality clashes, power struggles and professional jealousy, something Bolshoi insiders had known for decades.

Featuring backstage footage, breathtaking performances and illuminating interviews with Bolshoi dancers and power players, Bolshoi Babylon examines a storied cultural institution struggling to survive tempestuous politics inside and outside theater walls. (HBO)

PHOTO: Sergei Filin returns to the Bolshoi

INSTRUKTØREN og filmfotografen Nick Read har blandt talrige observerende dokumentarfilm lavet Indira Gandhi (2014) og The Condemmed (2014), som Tue Steen Müller har skrevet om på Filmkommentaren.

KOMMENTAR

15. marts 2017: Jeg så Nick Read’s Bolshoi Babylon, da TV2 Dokumania sendte den i aftes. Jeg havde glædet mig efter, hvad jeg havde læst og bragt som foromtale her, både glædet til filmen som sådan og til at se den navnkundige og erfarne Reads særlige greb om stoffet. Jeg må skrive, at jeg blev skuffet. Ikke over alting, men over en del, først og fremmest over, at den stort tænkte allegori over det særlige ved Rusland og landets sjæl afspejlet i Reads observernede kameras skildring af hele den komplicerede og bevægende verden, Bolshoi Teateret er, som et vældigt mikrokosmos over det russiske makrokosmos. For mig falder den allegori aldeles sammen, ikke i optagelserne, som er smukke og hver for sig tydelige rester af kloge lange scener, ikke i de veloplagte og tilsvarende smukt filmede interviews, som alle er rester af lange, kloge erfaringer og analyser, men af en brutal montage, som i en bestemt journalistisk tv-stil er klippet sønder og sammen, så det kunstneriske indhold svækkes til bortfald, så en tabloidlignende historie mest af sladder står tilbage som fremheskende indtryk.

En cinematogrfisk dokumentarfilm er her forvandlet til en ordinær tv-dokumentar, et shakespearesk drama ændret til en Readers Digest moralisering, direct cinema lavet om til populær collage, en ærlig kunstnerisk ambition sat til side for en kalkulerende journalistik, som synes styret af en svigtende tillid til, hvad vi som tv- publikum formår at forstå i for eksempel en klassisk juxta-position baseret filmfortælling, men som en overfadisk flok skal have alt, selv høj kunst formidlet i underholdende konfettidrys.

Men, men, tilbage er at indrømme, at Bolshoi Babylon er en imponerende flot film, bestemt værd for nysgerrighedens skyld at se på DR TV. Og rolig: det gør ikke ondt. Filmkommentarens vurdering: 3/6 penne.

LINKS

http://www.nickread.org/ (Directors site)

https://www.youtube.com/watch?v=_TK8uth06SQ (Trailer)

http://www.bbc.co.uk/programmes/b0726fq9 (BBC site, et interessant interview med Nick Read)

http://www.hbo.com/documentaries/bolshoi-babylon/synopsis/about.html (HBO site)

http://www.ekkofilm.dk/anmeldelser/bolshoi-babylon/ (Dansk anmeldelse af Bolshoi Babylon)

http://www.filmkommentaren.dk/blog/blogpost/2864/ (Tue Steen Müllers anmeldelse af The Condemmed)

East European Forum Prague

Saturday morning I attended the pitching of 18 projects and an award ceremony, including 9 awards – they will be announced on the site and/or the Facebook page of the organizing IDF, Institute of Documentary Film. As usual with a fine atmosphere at the Komedie Theatre, unpretentious professionalism, all projects were presented without any discussion afterwards, that happened later that afternoon and this morning in round table discussions with the participation of broadcasters, sales agents, distributors, festival programmers, producers…

I watched and listened to the projects and established my own point system with 10 and 9 in the top. 6 out of 18 qualified:

BUCHAREST DELTA

Romania/France, director Eva Pervolovici

First person film, cinematic trailer that gives an idea of what the film will look like. ”An abandoned land…a political prison, a natural park, a roma settlement… past and present”

PROVINCIAL TOWN OF E (PHOTO)

Russia, director Dmitry Bogolubov

Logline: Ghosts of the heroic soviet past don’t allow provincial town of E to live in the present… Trailer with excellent cinematography… if they can avoid the clichés, pay respect to the people with no pointing fingers at them… The project received 3 of the 9 awards.

MERCEDES PRINCIPLE

Russia, director Alina Rudnitskaya

Docu comedy by one of the most talented Russian directors, character-driven, women who are looking for ”a prosperous man”. Proff. Trailer.

THE SMUGGLER

Latvia, director Ivars Zviedris

The man behind ”Documentarian”, a true documentarian, director/cameraman, showed a trailer AND a small scene, hilarious, with a man being questioned by the border police. In Borderland between Russia and Latvia. Received the DocsBarcelona award.

THE LABUDOVIC FILES

Serbia/ France, director Mila Turajlic

Fine trailer and presentation, will be an interesting historical documentary, ”an archival road trip with cameraman Labudovic, Tito’s cameraman, cinemic eye of the Algerian revolution…”

GOD OVERESTIMATED ME

Bulgaria/ Sweden, director Yulian Tabakov

A hand reaching out for a cup or water on a table, an old woman’s voice, a horse and its carriage in a landscape that looks like a dump – a director’s aesthetic choice for the presentation of his film. Great.

Looking forward to seeing these films completed as well as the others of the 18, which were maybe not so interesting at a first glance. The question that comes up for me is what kind of trailers should be made – the ones that present the topic or the ones that are the film in terms of style, handwriting, l´écriture as the French call it.

https://www.dokweb.net/en/

Joe Bini at East Doc Platform

Of course it was a scoop for the organisers, IDF (Institute of Documentary Film), to have an editor capacity like American Joe Bini as a tutor and to have him deliver a masterclass like he did yesterday at the Cervantes Institute for a full house. It was obvious that we liked what we heard and saw from the editor, who has been working with Werner Herzog on 27 films.

Bini started his class reading from a paper what he thought of film or rather – liked that – cinema language, because of the reading difficult to convey to you, and after he told us how much he dislikes American documentaries for their journalistic language, he became lovely concrete in his story about how he has been working with Herzog.

He showed clips from ”Little Dieter Needs to Fly” (1997), ”Into the Abyss” (2011) and ”Grizzly Man” (2005) as well as the opening of the film he edited ”Roman Polanski: Wanted and Desired” (2008) by Marina Zenovich.

Herzog is an instinctual filmmaker, Bini said. He shoots so little footage, it’s insane how little; he decides in advance that this is gonna be in the film. Most of the films with him have been edited in 3 months. With ”Grizzly Man” I found out that this was to be a film about ”the relationship between this German guy and the American bear lover, Timothy”, who had a totally different understanding of nature.

The famous narration of Herzog… With ”Grizzly Man” we made it during the editing. Herzog wrote a text, I often corrected his English, he had a microphone, the recording was done and we put it in immediately.

How do you decide to take on a film? I watch material and if I see that you speak the language of cinema…

Photo: Bini and Herzog at a screening – years ago.

https://www.dokweb.net/en/

Prague: Football and Czech Docs

Elena Subira, colleague from DocsBarcelona, asked worried to my health after wednesday night’s football miracle, where Barcelona beat Paris 6-1 after having lost the first match 4-0. Heart attack…? No, but close to, amazing, 3 Barca goals in the dying minutes of a match that I watched in the good docu company of Mikael Opstrup, Iikka Vehkalahti and Peter Jäger. In a – yes! – English/Indian restaurant, lots of beer and a smell of curry. In the Stepanska street close to the Institute Cervantes, where the East Doc Platform takes place and to the Majestic Hotel, where we stay. Majestic was the football and majestic is the East Doc Platform.

And if all goes well some fine Czech documentaries are coming soon. To a festival or tv near you! Anna Kaslova from the IDF

(Institute of Documentary Film) had asked me to present five films which are in production and/or at post-production. I introduced the makers for a full hall of broadcasters, sales people, distributors, festival programmers and colleagues – each project was given 12 minutes for presentation, including visuals.

Filip Remunda, co-directing with Vit Klusak, presented ”Pepik the Czech Goes to Poland in a Quest for Love of God” with a three minutes trailer, long title, short visual, original storytelling, humour: Czech atheism vs. Polish religion! Petr Horky and Martin Juza had 10 minutes of material to show from Tolyati in Russia, the home of the Lada car factory, a huge one, where a Swedish ”supermanager” comes to make the dying factory alive again. ”A meeting of mentalities” said the two about ”The Russian Job”, that will have editing help by Miroslav Janek. ”Wilder Than Wilderness” by Marian Polak, produced by Radim Prochazka, is already finished in a Czech version, it will have a national theatrical release, beautiful scenes were selected from a film that deals with the life of animals we have in our neighbourhood. Must have potential for international distribution as well. I want to screen it to my grandchildren!

I hope that festivals also will pick up ”Meciar the Movie” (PHOTO) by Tereza Nvotova, produced by the company PubRes. Nvotova, whose ”Take it Jeasy!” I remember from when I was at Ex Oriente, and who has just premiered her first feature film in Rotterdam, got, contrary to many journalists, access to the former prime minister of Slovakia, a pretty much controversial figure, involved in scandals and now living alone in his huge house with a couple of dogs. The material she showed had amazing scenes. The same goes for another HBO supported film, ”When the War Comes” by Jan Gebert, produced by Radovan Sibrt, a more than timely insight to a group of youngsters, who have formed a paramilitary group and are marching in the streets, uniformed, with the aim of fighting for the European civilisation that is threatened by foreigners. We know the story, we shake our heads, but it happens now.

I had information from Anna Kaslova and talks with the makers about the situation for documentary films in Czech Republic. It looks good, 20 films in theatres in 2016, almost 1 mio. € state support, a good collaboration with tv (HBO is in two of the above mentioned film, Czech tv in the three others) and this year a competitive section for Czech documentaries at the One World Festival.

Want to know more – go to the site below and from there to articles etc.

https://www.dokweb.net/en/

Glob & Albrechtsen: Venus

LEA GLOB & METTE CARLA ALBRECHTSEN: VENUS

My colleague at the DocsBarcelona festival, who is also a visual artist, Martina Rogers, 28 years old, has written this review of “Venus”:

 

REVIEW BY MARTINA ROGERS

I enjoyed Venus (great title by the way). I found it very true, the women who appear show honesty and not always, of course, security or self-confidence. Actually they show embarrassment sometimes too. It’s incredible how you get into their intimacy, it’s like you get little by little into their sexuality until they, at the very end, are naked. It’s beautiful. It is very natural and simple. I like the way it has been shot too.

I also think it is a necessary film, not just for women, but for anyone. Sexuality is a subjective and very particular way of living ourselves, of feeling ourselves and looking at ourselves. And sometimes you feel that “there is a correct way of being a woman”, that’s what the society tries to tell you and that generates fear to difference, many taboos… regarding to women sexuality for example, there is a strong dichotomy between whore and saint. This film helps breaking all that. Women, we are responsible for our sexuality, we know what we want, what we desire. No partner should be responsible of the other’s pleasure. But sometimes there is a lack of connection between us and our genitals. If you don’t name it, if you don’t put it on words, it doesn’t exist.

So, I liked the film because it talks about women sexuality, it’s true, and these women share their intimacy and made me think about mine. And I think it will be helpful for some other women, to look into their selves and into their sexuality.

The film will have its Danish premire at 50 Danish cinemas  tomorrow March 8.

Denmark, 2016, 80 mins.

http://www.dfi.dk/Nyheder/FILMupdate/2017/februar/Som-et-kvindeligt-korvaerk-om-seksualitet.aspx

https://www.idfa.nl/en/film/727e73e5-b262-4810-a68e-5564f5440269/venus

Lom & van Egeraat: Burma Storybook

The first names of the filmmaking couple are Petr and Corinne.

Maung Aung Pwint is according to a text at the beginning of the film the ”most famous living dissident poet” in Burma/Myanmar. He was imprisoned several times for his poetry and activism, it is said, and he says to the film crew, ”let’s make a long poem together”.

And Petr Lom, director and cinematographer, does his best to live up to that challenge. He creates stunningly framed and composed images that do simply not ”illustrate” what films with or about literature often do. Klichés are avoided. Many images include the (English) texts of poems which are being read. These are Maung Aung Pwint’s poems or poems from younger poets and – if I got it right – other poets, who have been imprisoned because of their writing and activism. In many cases you simply see the poet reading the poem.

… a long poem together, yes an elephant with a man riding on top

 

of it walks to the water to drink, a man walks slowly in a kind of tai-chi in a street, three dogs are barking at him and the camera I suppose, a man plowing his land, and many other situations are caught with the camera. Sequences with no purpose for the story as such.

However, the film is for me primarily a love story with Maung Aung Pwint and his wife in the leading roles. I could have stayed with them during the whole film. The smiling wife who takes care of him, who has Parkinson’s, and can not write himself any longer. So she does the writing, and is being gently corrected, when he observes a misspelling. He never talks to her about his stays in prison, she only hears about that, when he gets visits from people, who were with him behind bars. ”In jail we could write more, that’s the good thing that came out of it”, he says, and adds some wonderful sentences about how he made friends with the ants in the small cell. The wife warms his feet, holds his hand when they take a walk, takes care of everything, that is the impression you get. There is a grandchild and there are poems/lines that refer to the childhood remembered. And it is very emotional when the son comes back from Finland to visit, the father and mother have not seen him since 1996. ”I thought that my father would come back if I sat at the river and caught a fish”, the son remembers from his childhood. A key scene, poetry, and many of the poems presented in the film are fine literature.

When you have the ambition of making one long poem, you face the risk of losing the red thread once in a while. And there are some moments, where I thought why… a car race in the city, a long water festival sequence, a kite that falls down burning, a young woman saying that women are not respected in Burma, fireworks… seems like the filmmakers thought that some information had to be conveyed. Necessary? But the poet and his wife, thank you for bringing them on screen. It IS an impressive film, and let me also tribute the music score by Geir Jenssen, never too pushy just adding to the film and its images.

The film will be shown at One World Festival in Prague this week, it will have its international premiere at CPH:DOX, is the closing film at Cinema du Réel in Paris beginning of April, and will be screened at Visions du Réel in Nyon.

Netherlands, Norway, 2017, 81 mins.

http://burmastorybook.com/#book

Dokumania /THE FAMILY

ROSIE JONES: THE FAMILY

Anne Hamilton-Byrne var smuk, karismatisk og overbevist om, at hun var en levende gud. I 1963 grundlagde hun sekten ”Familien”, som en blanding af kristendom, østens mystik og psykedeliske stoffer. Ved hjælp af adoptionssvindel og andre sektmedlemmer anskaffede hun sig et utal af børn og opdrog dem som sine egne efter overbevisning om, at de skulle redde verden efter en forestående 3. Verdenskrig. Efter en opdragelse med hjernevaskende motion, tæv, sult og indsprøjtninger med LSD blev de sidste børn reddet ud af sektens klør ved en dramatisk politirazzia i 1987. Men mange af dem lider stadig i dag under deres traumatiske barndom og kæmper for at leve et normalt liv efter hjernevask og misbrug. (Dokumania)

The Family (dansk titel: Sekten der stjal børn), Australien, 2016, 98 min. I TV2 Dokumania 7. marts 20:45 og efterfølgende på DR TV.

SYNOPSIS

Anne Hamilton-Byrne was beautiful, charismatic and delusional. She was also incredibly dangerous. Convinced she was the reincarnation of Jesus Christ, Hamilton-Byrne headed an apocalyptic sect called The Family, which was prominent in Melbourne from the 1960s through to the 1990s. With her husband Bill, she acquired numerous children – some through adoption scams, some born to cult members – and raised them as her own. Isolated from the outside world, the children were dressed in matching outfits, had identical dyed blonde hair, and were allegedly beaten, starved and injected with LSD. Taught that Hamilton-Byrne was both their mother and the messiah, the children were eventually rescued during a police raid in 1987, but their trauma had only just begun.

With survivors and cult members telling their stories alongside the Australian and international detectives who worked the case, this confronting feature documentary exposes not just what happened within the still-operating sect but also within the conservative Melbourne community that allowed The Family to flourish. (Official site)

http://www.thefamilysect.com/

https://www.youtube.com/watch?v=X_KeVkZ_JhM (Trailer)

https://www.theguardian.com/film/2016/nov/20/growing-up-with-the-family-inside-anne-hamilton-byrnes-sinister-cult  (anmeldelse)

ZagrebDox Awards Jashi, Glavonic, Carlsen

… and many others. But very happy to see that the juries in Zagreb agreed so much with filmkommentaren.dk in its praising of the films by Salomé Jashi, Ognjen Glavonic and Jon Bang Carlsen. If you click on ”The Dazzling Light of Sunset” or ”Depth Two” or Jon Bang Carlsen you will find our words on two great films and one great film director. Here come the motivations of the juries:

The Dazzling Light of Sunset  (by Salomé Jashi) (PHOTO) paints an atmospheric and subtly humorous image of daily life in a small town in Georgia. Local events – such as weddings, shows, election discussions, captured owls, church rituals – seem like a good topic for the local TV crew whose cover stories are also in the focus of this film. All this is accompanied by a visually subtle observational detachment which shows this whole mixture of outdated tradition and new customs in both an absurd and poetically gentle light, which makes this film an extremely valuable piece.

Depth Two (by Ognjen Glavonic)… The Big Stamp Award for Best

Film in the Regional Competition Program goes to an extremely well researched and thoroughly immersive film that employs impeccable visual framing, an inescapable sound track and an effective narrative structure. At the same time it tells a horrific, yet completely unknown story that needs to be known – and should resonate with audiences around the world. At first the films seems to tell two different stories that ultimately merge into one, using chilling testimonies of victims and people who were guilty of a huge cover up. Director Ognjen Glavonic proves again great directoral vision with his impressive film Depth Two.

AND, such a good idea, the festival director Nenad Puhovski has his own award and not objections that he gave that to Danish Jon Bang Carlsen with the following motivation:

This year I give the My Generation Award to Danish director Jon Bang Carlsen for Déjà vu, a film in which he not only questions his own life and its demons with artistic prowess and courage, but also continues the lifelong creative exploration of the very nature of documentarism.

Many other awards – the Polish got three special mentions, ”21 X New York” by Piotr Stasik, ”Communion” by Anna Zamecka and ”Close Ties” by Zofia Kowalewska – and the excellent ”Starless Dreams” by Iranian Merhdad Oskouei got the Teen Dox Award.

Check the website for motivations and more awards.

http://zagrebdox.net/en/2017/news/13th_zagrebdox_winners_announced

IDF Presents East Doc Platform

IDF stands for Institute of Documentary Film, is based in Prague with this slogan: We support the emerging stars from Central and Eastern Europe. Link below, but let me sum up what this impressive film institution is doing: training (Ex Oriente), market (East Silver), distribution (KineDok), promotion (Czech Docs), pitching (East European Forum), transmedia (Doc Tank), networking (Project Market) and East Doc Platform, an event that starts this coming monday March 6 and goes on until March 12.

I have a warm connection to IDF and the many people, who work and have been working there. I was part of the ExOriente workshop for many years – it gave me a chance to make my addiction to documentaries and documentarians in this part of the world even deeper than it already was from around 1990, where the Empire USSR fell as did the wall in Berlin, and I travelled in the Baltic countries first of all. I got acquainted with the work of filmmakers like Miroslav Janek, Helena Trestikova, Jan Gogola, Filip Remunda, Robert Kirchhoff and many others.

Marta Obršálová, new pr manager of IDF, asked me to write about

the upcoming East Doc Platform and especially its Open Program, that starts Monday March 6 and has its final Public Presentations of the East European Forum on March 11, 4 hours, 20 feature-length documentary projects, including the ones that have been taken part in the 3 session workshop Ex Oriente. I will be there at the pitch to see which films will come to us in the coming year(s). Always exciting.

Monday, let me give you some highlights, my choices, there is an invitation from “the old boys”, Mikael Opstrup and Iikka Vehkalahti, to hear about what makes good and functional pitching trailers, followed by – the day after – a meeting with Pawel Loziński and his search “for intimacy in front of the camera”; would have loved to be there to hear more about how he made “You don’t Know How Much I Love You”. I know Arnau Gifreu Castells, expert in transmedia projects, from Barcelona, he has invited me to his session during the DocsBarcelona, I have not been able to be there, maybe in Prague on March 8? The same goes for renowned editor Joe Bini, who has a masterclass on the 9th of March, an hour before I have the privilege to introduce “Czech Docs… Coming Soon”. There is much more, and there is a video library, East Silver Market, if you don’t manage to get to the cinema where the One World Festival goes on.

And some more name-dropping – tutors of the workshop before the final pitch, quite a strong group of people: Paweł Łoziński , American editor Joe Bini, Danish producer Helle Faber Soendergaard (Made in Copenhagen), film critic Giona Nazzaro (Visions du réel – International Documentary Film Festival Venice International Film Critics’ Week), Czech distributor Ivo Andrle (Kino Aero, Světozor, Aerofilms), film writer and editor Maya Hawke, consultant Peter Jaeger (Autlook Filmsales, Jaeger Creative) and French director and editor Stan Neumann. My comment: Neumann is a hit at every workshop. Also present at the preparatory workshop will be the Ex Oriente Film workshop lead tutors: director and dramaturg Ivana Pauerová Miloševičová (Czech television), Czech director and producer Filip Remunda (Hypermarket Film), Mikael Opstrup (EDN – European Documentary Network) and Finish producer and director Iikka Vehkalahti (Rough Cut Service).

IDF stands for quality!

https://www.dokweb.net/en/

CPH:DOX 2017 /The Festival

It’s spring, 1st of March, from where I sit in Copenhagen it’s cloudy and windy but milder. I have the window open. It’s spring and the CPH:DOX festival announced its program at noon today. The festival has moved to March and the festival main venue has moved. CPH:DOX will have what they call a Festival Palace at the Charlottenborg on Kongens Nytorv next to the Royal Theatre (the classic, not the new at the harbour). Here will be cinemas, exhibitions, a five day conference, concerts and parties, café and restaurant and much much more. The headquarter in other words. In one of the central squares of Copenhagen.

The website is up and running, the programme newspaper can be downloaded, I guess there will be banners round the city if they are not there yet… and there will be screenings outside Copenhagen, more than 100 it is written in the press material.

More than 200 films with 75 world premieres.

Dates: March 16-26.

Ambition – to be ”more than a festival”, quote from the website’s ”About Us”:

”During the eleven days of the festival, CPH:DOX also presents concerts, art exhibitions, five whole days of professional seminars, a screening market, and the international financing and co-production event CPH:FORUM, as well as the film production program CPH:LAB and much more.

CPH:DOX wants to be the best film festival in and for the world. We insist on freeing the transformative potential of art and documentary films, that is the potential to have a direct impact on the social context. The appealing form of the documentary films allows for the communication of complicated problems in an intimate, reflective and profound manner. And no matter whether the topic is political, philosophical, experimental or focused on a narrow section of the world, documentary film expands and questions the viewer’s conception of the world. But CPH:DOX doesn’t just show documentary films – we anchor them in social context through debates, artist talks, events and masterclasses. In the hope of creating real social transformation, CPH:DOX establishes a space for reflection, dialogue and opinion across the population, and with that making sure that the films and the problems they pose stay with the viewers long after they leave the cinema.”

A manifesto!

https://cphdox.dk/en/