Docudays UA: The Winners

13th International documentary films about human rights festival has ended in Kyiv. The awards ceremony was held on March 31th in Cinema House. Hosts of the ceremony: festival moderators Marina Stepanska and Oleksandr Vynogradov.

Films were competing for prizes in categories: DOCU/LIFE, DOCU/RIGHT, DOCU/SHORT, DOCU/UKRAINE and for theSpecial Prize from Students’ Jury. The festivals’ Orzanizing Committee favorite is awarded with the Andriy Matrosov Award. After the ceremony was the Ukrainian premiere of the documentary film Mariupolis the Lithuanian director Mantas Kvedaravicius.

During the closing ceremony the results of “The Guardian Goes

Ukraine” national contest were announced as well. The final pitching included six documentary projects, three of which were awarded by the jury. The £5,000 grant from the British publication The Guardian has won the Match of Her Life project by Alisa Kovalenko. The British Council in Ukraine and Docudays UA have also chosen the winners. Docudays UA has granted £3,000 to Semen Mozhovy and his project The Story of the Winter Garden. The British Council gave the grant (£3,000) to the Lenin-Fall project by Svitlana Shymko.

Docudays UA 2015 Winners:

DOCU/LIFE

Main Prize

THY FATHER’S CHAIR

dir. Àlex Lora, Antonio Tibaldi

Italy-USA-Spain

2015, 74’

For its superb and precise depiction of a hidden and claustrophobic world full of memory and pain, the directors beautifully realize a work of cinematic accomplishment that makes for one of the most expansively human portraits we’ve ever had the privilege to see . It is, simply put, a big film.

Honourable mention

VARTA1, LVIV, UKRAINE

dir. Yuriy Hrytsyna

Ukraine

2015, 63’

This thoroughly original vision introduced us to an incredibly exciting cinematic voice in the Ukrainian landscape. Displaying artistic courage, the director dared to choose an off-road narrative of an epic event whilst completely exploding the documentary form in a thrilling way.

DOCU/RIGHT

Main Prize

CALL ME MARIANNA

dir. Karolina Bielawska

Poland

2015, 75’

For the humanity and the capacity to stand for your rights despite internal and external obstacles in spite of physical pain and everyone’s rejection.

Honourable mention

CENSORED VOICES

dir. Mor Loushy

Israel-Germany

2015, 87’ (diploma)

For the powerful and important archival work. For the musings over the difficult questions through the soldiers’ doubts that unveil the ugly face of war.

Honourable mention

AMONG THE BELIEVERS

dir. Hemal Trivedi, Mohammed Ali Naqvi

USA-Pakistan

2015, 84’

For showing the difficult contradictions inside the Muslim world and the ability of civic society to resist the inextricable circle of violence. For giving the word to each of the sides when it seems that the dialogue is impossible.

DOCU/SHORT

Main prize

END OF THE WORLD

dir. Monika Pawluczuk

Poland

2015, 40’

A film of natural insight, this emotional, balanced, well structured film discusses loneliness, and longing, caring, affection, and courage in everyday city life, making a strong statement about making a difference through humanity and the art of listening. 

Special mention

SALAMANCA

dir. Ruslan Fedotow, Aleksandra Kulak

Russia

2015, 41’

A film built around powerful visual compositions that truly stay with you. This harmonical, poetical film contemplates the crucial moments when we reach the most difficult choices in your lives, circling from childhood to old AGE, with a unique view inside an isolated community.

DOCU/UKRAINE

Main Prize

PEOPLE WHO CAME TO POWER

dir. Oleksiy Radynski, Tomáš Rafa

Ukraine

2015, 17’

This film is at the same time raw, controversial, and understanding. It’s powerhouse film making with immediacy you can’t turn your head away from. It offers insights, and allows access into an enormously difficult situation of violence, conflict and illusion.

Special mention

REVE TA STOHNE ON TOUR

dir. Nadia Parfan

Poland-Ukraine

2016, 30’

This bittersweet, tragicomical and universal story about artistic struggle and friendship was our emotional favorite, showing a wonderful chemistry between the two protagonists, and building the atmosphere in a genuine and organic way. 

STUDENTS’ JURY AWARD

PANORAMA

dir. Yuriy Shylov

Ukraine

2015, 27’

For the prosperty of film art.

ANDRIY MATROSOV AWARD FROM THE DOCUDAYS UA ORGANIZING COMMITTEE 

TEN SECONDS

dir. Yuliia Hontaruk

Ukraine

2016, 69’

For creating the convincing sensation of fragility and vulnerability of life. For the ability to hear, love, and accept the people with their contradictions. For the masterful visualization of overwhelming despair and unbreakable optimism combined in the same people at the moment of tragic Mariupol shelling.

AUDIENCE AWARD

David & Me

dir. Ray Klonsky, Mark Lamy

Canada

2014, 79’

Arvo Pärt og Robert Wilson: Adam’s Passion /3

Günther Attelns The Lost Paradise, som skildrer opsætningen af Pärts og Wilsons værk, er sært nok i dette avacerede projekt et helt almindeligt ærligt journalistisk arbejde, en film om den lange tilblivelse af musikken og af scenografien, lyssætningen og koreografien, en formidlende dokumentarfilm uden egen originalitet og egentlig personlig håndtering, men den films høje kvalitet skyldes især dens sikre og rolige administration af de medvirkendes tilstedeværelse i en række korte møder. Disse mennesker er alle intense og nærværende og meget vidende, en række musikere, en journalist og en musikhistoriker, alle centralt placeret omkring Arno Pärts og Robert Wilsons arbejde hver for sig tidligere og sammen nu.

Og så er der selvfølgelig møderne med de to hovedpersoner. Jeg vil al tid huske Pärts rygvendte langsomme arbejde med nodepapiret på klaveret i sin stue. Det ligner et arrangement som i et stille sitrende maleri, men jeg tror ikke det er det, det er ikke set design. Sådan er der i det rum hver dag, sådan bliver hans musik til. Ren, tavs og smuk.

Og jeg vil aldrig glemme scenen (FOTO) med Wilson ved sceneinstruktørens bord mellem komponisten Arvo Pärt og dirigenten Tõnu Kaljuste. Wilson er alvorlig, rigtig meget. Det er han faktisk i alle situationer, i alle scener. Bortset fra denne, hvor det begynder at regne i sommerdagen udenfor. Og så kommer som et under Wilsons smil da det begynder at regne og han hører det, en port til fabrikshallen står vel åben, og han fortæller sine medarbejdere omkring sig om sin mor, som når det blev regnvejr altid tog sit tøj på og gik ud i regnen, Jamen, det er jo regn! Sagde hun…

Fem spidse penne til The Lost Paradise!

Günther Atteln: The Lost Paradise. Estland, Tyskland 2015, 55 min. Filmen bliver vist før Andy Sommers film over Pärts og Wilsons Adam’s Passion. Biografmatineen med de to film finder altså sted nu på søndag, 3. april og begynder 14:15. Billetter kan købes via dette link til Cinematekets programside:

http://www.dfi.dk/Filmhuset/Cinemateket/Billetter-og-program/Film.aspx?filmID=v1023950

Her er der også yderligere progaminformation om de to film.

 

American Documentary Film Festival 2016

Palm Springs, March 31, the official opening of the Amdocs takes place tonight after a morning pitch session and a film programme that runs during the whole day. Actually the festival screenings already started yesterday as one day has been added by Teddy Grouya, the founder and director of American Documentary Film Festival and Film Fund, also called Amdocs as mentioned: 150 films, 81 premieres, 35 countries

I am here for the third time and will keep you posted on films and discussions and atmosphere at this ”unique and special Desert, this mecca for the sun, fun, arts and culture…” as Teddy Grouya formulates it. Here is a slightly shortened version of his introduction from the catalogue:  

Much like a filmmaker working to make the best film possible under difficult circum- stances, AmDocs constantly pushes the boundaries of how a film festival is defined. Through our year-round activities, we continue to expand our education outreach throughout the community as well as increase our presence on the international stage with expanded programming opportunities.

With the ever changing landscape on this planet it becomes more

and more vital to embrace the arts and how they reflect on our sense of humanity. Documentary film is in a unique position to potentially affect change through the most important contribution of awareness and what can lead from that awareness.

This year’s festival possesses multiple themes related to our community, our environment, our political and social structure, our history, our family, and our sense of international understanding.

With our new alliance, The North South Doc Network (NSDN), we have added a dynamic element to the festival experience for both audience and filmmaker, affording both access to films and markets they may never have seen without this unique partnership.

As always we hope that you reach out to one another, audience and filmmaker, as we are one in this world and we each gain from sharing our experiences. Make our guests feel welcome, many of whom have never been to the United States, let alone to our unique and special Desert, this mecca for the sun, fun, arts and culture…

http://www.americandocumentaryfilmfestival.com/

Docudays UA: A Unique Festival

Early monday morning. We arrive to the modern airport of Kiev, Borispil, to go back to Copenhagen after far too short a stay but with intense days at the Docudays UA festival. A familiar face meets us at the check in, Nadia Savchenko, the Ukrainian helicopter pilot, who was recently sentenced to more than 20 years of prison and who has been hungerstriking in the Russian prison, where she is.

The political reality is strongly present at the festival that goes on until April 1st. In the programme newspaper one headline introduces a new section in the festival, Ukrainian documentaries, as ”Docu in Warland”, and in the same newspaper you can find several daily discussions, conferences and masterclasses that raises political and human right issues.

The festival is a voice for a free and democratic Ukraine at a time of war. And documentaries play a role.

… not only in Kiev during the festival but all year round. Let me mention some initiatives and the connected websites.

www.docuspace.org

an online cinema with ”films created by the Docudays UA team with the support of various NGO’s”. Access to the site also for us outside Ukraine.

www.seeukraine.org

an amazing initiative for showing Ukrainian documentaries around Europe with discussions on the films and with the directors present. On the site there are teasers from the films included and information about the next stops: ATHENS, GREECE: MAY, 2016, MILAN, ITALY: JUNE, 2016, HAMBURG, GERMANY, SEPTEMBER, 2016, SPAIN: AUTUMN, 2016.

www.traveling.docudays.org.ua

the distribution of films around Ukraine. “In 2015 the festival visited 254 cities, towns and villages in 23 regions, including Donetsk and Luhansk regions, as well as Crimea, and gathered an audience of 108.000 viewers and participants.”

On top of that English newspaper Guardian, together with British Council and the festival has organized “a national contest of documentary projects in 2015-16”. 97 projects applied to “Guardian Goes Ukraine”, there will be 3 winners, which will be screened for the 2 million subscribers of the newspaper, and at the 2014 Docudays festival.

And of course you should follow the constant documentary reporting done by the festival team on

www.docudays.org.ua

 

 

 

 

 

 

Docudays UA: Jon Bang Carlsen

I am a landscape painter, said Jon Bang Carlsen at his masterclass at the Docudays in Kiev last night. I found it to be a perfect auto-description after having seen his ”It’s  Now or Never”, that came out in 1996, and has a camera that constantly caresses the Irish green and stony fields, where the director chose to have his story take place about the bachelor Jimmy looking for a woman.

I was film consultant at the National Film Board of Denmark (now The Danish Film Institute) in the early 1990’es and commissioned this film, when Jon Bang Carlsen (together with Jørgen Leth and Anne Wivel the Danish ”auteurs” of that time) came to me with a list of film themes/stories that he would love to make into films in his original style that he himself called ”staged documentary”. Today it is almost ”menu of the day” and called ”hybrid”.

The film is wonderfully old-fashioned, the characters are lovely, the

story totally romantic, straight forward it goes with Jimmy searching for a woman with the help of a matchmaker. Shot on film, the film became a success as a documentary in Europe, and as a fiction in Asia, the director told the audience.

Jon Bang Carlsen is excellent at a masterclass. He formulates himself in an inspiring manner, he expresses doubt about what he is doing, and he does so with the humour that you also see in his films. Of course he had to show a clip from ”Before the Guests Arrive” with the two old ladies in the pension before the season starts. Of course he expressed his fascination with the landscapes in South Africa where he lived for 10 years – clips from ”Addicted to Solitude” and ”Blinded Angel”, the latter he described as ”clumsy and wild” in its style, and yet this man who has travelled the world had – he said – to return to his roots, the Danish landscapes of Northern Jutland.

The audience asked questions. One was ”what were you looking for when you were 20 and what are you looking for now as 65…”. Another complimented him for asking questions with his films and not giving answers. ”In my last film ”Déjà Vu” that is just finished a woman gives the answer to it all…”, he said at the masterclass that had a full Blue Hall in the Cinema House in Kiev.

The film was part of a Danish “High Five” programme that I put together and the Docudays festival organised – with no help from the Danish Film Institute, to my big surprise and disappointment. But that is another story…

Arvo Pärt og Robert Wilson: Adam’s Passion /2

SYNOPSIS

Адам, отец вселенной, в раю знал сладость любви Божией, и потому, когда был изгнан из рая за грех и лишился любви Божией, горько страдал и с великим стоном рыдал на всю пустыню. Душа его терзалась от мысли: «любимого Бога я оскорбил». Не так жалел он о рае и красоте его, как о том, что лишился любви Божией, которая ненасытно каждую минуту влечет душу к Богу.

(Adam, father of all mankind, in paradise knew the sweetness of the love of God; and so when for his sin he was driven forth from the garden of Eden, and was widowed of the love of God, he suffered grievously and lamented with a great moan. And the whole desert rang with his lamentations, for his soul was racked as he thought, ‘I have distressed my beloved God’. He sorrowed less after paradise and the beauty thereof; for he sorrowed that he was bereft of the love of God, which insatiably, at every instant, draws the soul to Him.)

LÆSNING

Lad mig begynde med denne synopsis, som er indledningen til en bøn og klagesang, Adam’s Lament af den russiske digter og munk Skt. Silouan Athonite (1866–1938) fra Panteleimon klosteret i Makadonien, Grækenland. Skt. Silouan Athonites digt er tekstgrundlaget i Arvo Pärts værk for kor og orkester med samme titel, som oprindelig er fra 2009 og nu udgør anden sats i hans Adam’s Passion, og Silouans tekst er dermed formodentlig også en oprindelig synopsis for Robert Wilsons iscenesættelse og for Andy Sommers film over de tos værk. Det er godt, jeg har haft den stille uge og nu påskedagene og tid og ro, for den her film er altså stor på mange måder, den kræver forberedelser, opslag i bøger og på internet og tænkepauser, når man er så uvidende uforberedt som jeg.

Verdenspremieren på Arvo Pärts og Robert Wilsons Adam’s Passion fandt sted i Tallinn sidste sommer, og nu er denne opførelse så fastholdt i et filmværk, som på søndag eftermiddag kan ses i Cinemateket i København. Publikum vil der finde ud af, at det befinder sig midt i en enestående og stor og aktuel begivenhed. Adam’s Passion vises i Cinematekets biograf på, i den kristne kultur, ugedagen efter Påskedag som både en forudsætning for, en sammenfatning af og en konklusion på påskens gentagne drama.

Adam’s Passion er en på samme tid ganske sædvanlig og omhyggelig tv-produktion af en koncert og teaterforestilling og så endelig et aldeles mærkværdigt og enestående Gesamtkunstwerk, som vil blive husket i musikhistorien og i teaterhistorien og i kunsthistorien som installation og koncept, ja, og så også i filmhistorien: som var jeg tilhører / tilskuer i salen den dag i Tallinn nærmer kameraerne og klippet sig i langsom omhu indfølt stedet og punktet for min nysgerighed og fjerner sig igen og glider videre i en ny blikkets søgen, noterer sig og mig salens indretning over kirkebygningens skema. Scenen som altertavlen og et langt podium som midtgangen til processionen, scenens forlængelse ud i midtskibet, publikums som menighedens placering på bænkeraderne foran scenen ved podiets sider, orkesterets placering bag publikum som orglet bag i kirken og korets placering på balkoner over sideskibene som munkene og nonnerne på gallerierner over sideskibene i klosterkirkerne.

Sådan orienteres jeg af filminstruktøren og hans fotografer og billedvælgere, sådan orienterer jeg mig i Pärts og Wilsons verden organiseret i en u-bådsfabrik bygget om for en gangs skyld til kirke, og i et landskab af tåge og lys gennemspilles i det rum syndefaldet, fordrivelsen fra Paradis, fortæringen af det daglige brød i ansigtets sved, brodermordet… Det er forfærdeligt og forunderligt, jeg kan ikke rive mig løs, jeg må blive i den film. Der er mange flere årsager.

Så seks spidse penne med det samme!

Andy Sommer: Adam’s Passion. EER/WDR/Arte, Estland og Tyskland 2015, 90 min.  Før Andy Sommers film over Pärts og Wilsons Adam’s Passion bliver der vist en film af Günther Atteln The Lost Paradise, som skildrer opsætningen af Pärts og Wilsons værk. Matineen med de to film finder altså sted næste søndag, 3. april og begynder 14:15. Billetter kan købes via dette link til Cinematekets programside

http://www.dfi.dk/Filmhuset/Cinemateket/Billetter-og-program/Film.aspx?filmID=v1023950

Her er der også yderligere progaminformation om de to film.

 

SYNOPSIS 2

Adam’s Passion is the moving first collaboration between two “masters of slow motion who harmonize perfectly with each other” (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson creates a poetic visual world in which the mystical musical language of the Estonian composer Arvo Pärt can cast its meditative spell. Three of Pärt’s major works – Adam’s Lament, Tabula rasa, and Miserere, as well as Sequentia, a new work composed especially for this production – are brought together here using light, space, and movement to create a tightly-woven Gesamtkunstwerk in which the artistic visions of these two great artists mirror each other. (Producer’s site)

http://www.adamspassion.de/

Docudays UA: The Nordic Contribution

I want to say Bravo Sweden. Our neighbouring country has for years been the main sponsor of the Docudays UA Human Rights Festival here in Kiev. From the state organisation SIDA, channelled through the Swedish embassy 4 mio. SEK (426.184 €) has been given to the festival and its travelling distribution scheme. That is indeed something to be noticed.

The Danish embassy gives nothing but we are here thanks to generosity of the organisers of the festival. Yesterday I did a Docu/Class of two hours  about the Danish documentary culture (distribution and production) and support system supplemented by clips from Ulla Boje Rasmussen’s ”1700 Metres from the Future”, Jørgen Leth’s ”Life in Denmark”, ”Traveller’s Tale” by Lars Johansson, ”Into Eternity” by Michael Madsen and Janus Metz ”Armadillo”.

In the evening the first part of a Danish mini-series that we have called ”High Five” was shown in the Blue Hall of the Cinema House – that was totally full, around 200 viewers. The films shown were ”Motion Picture” and ”66 Scenes from America” by Jørgen Leth and Ole John. Tonight it is another master of Danish documentary, Jon Bang Carlsen, who shows and discusses ”It’s Now or Never” followed by a class, where he will invite the audience to understand his way of making documentaries. Later at the festival two more neo-classics will be shown, ”Family” (Sami Saif and Phie Ambo) and ”The Monastery” (Pernille Grønkjær).

Photo from the festival opening: Three Danes in Kiev: My wife Ellen Fonnesbech-Sandberg, me and Jon Bang Carlsen.

See our collected posts on Jon Bang Carlsen:

http://www.filmkommentaren.dk/blog/blogpost/2569/ 

www.docudays.org.ua  

Docudays UA 2016 Opening!

To say that the opening of the 13th edition of Docudays UA here in Kiev last night was joyous is an understatement. If there was any award for the visually best, most intelligent and funny opening ceremony of a documentary festival the first prize would go to the organizers of this festival.

A CCCP hypnotist emerged on the film screen and on a television set to put us the audience under the influence – with the famous bears popping up once in a while. Cameras were catching the (humorous) effect it had on faces in the audience. And there were streams and dots of light in the totally full hall of the Cinema House. As colleague and jury member Pamela Cohn writes on her FB page: ”… most psychedelic opening ceremony goes to Docudays UA”.

The festival programme was introduced, section by section with fine edited teasers for each one of them.

The opening film was Vitaly Manski’s ”Under the Sun”.

Docudays UA has started with bravour!

www.docudays.org.ua  

Docudays UA 13th Edition

The festival poster is to be seen around Kiev – the bears are there and not only ”inside us”, read elsewhere what the creative organizers want to communicate with that.

A much more direct communication is to be found in the catalogue that was given to me yesterday in the busy headquarter of the Cinema House, that hosts the opening ceremony tonight followed by Vitaly Manski’s film ”Under the Sun” from North Korea. The festival runs until 1st of April.

Here are a couple of (edited) citations from the catalogue:

Alla Tyutyunnyk, member of the Organizing Committee – ”Beyond Illusion is the topic… We selected it because, after the Maidan, the feeling that humanity is currently struggling through illusions towards some new civilizational order is getting ever stronger. The illusion of the stability in a world order that was agreed upon by strong democratic countries is collapsing. The world’s illusion of Ukraine’s weakness and inability of Ukrainians to self-organize has been dispelled. The illusions about relying on the international institutions in the UN-system, created to secure the world order without war and aggression and to protect human rights, have been dispelled…”

Carl Gershman, president of the National Endownmen for Democracy – ”I applaud the way Docudays UA has defined the basic issue confronting Ukraine as the need to move beyond false hopes and to base its future strategy on a hard-headed assessment of real threats, challenges, and opportunities…Yes, it is an illusion that Russia under Putin will ever accept a democratic and independent Ukraine. But if Ukraine can prevail against Russian aggression, it will be the end of Putin and his delusional ideas of Russian chauvinism and revanchism…”

Inna Pidluska, International Renaissance Foundation – ”For 13 years Docudays UA has been telling the stories of people, who challenged the unjust system… documentaries have given courage and the will to fight for freedom and resist evil. This is the generation of a new Ukraine that we seek… Docudays UA is a source of inspiration…”

www.docudays.org.ua

Chantal Akerman: News from Home

Chantal Akerman’s film News from Home (1977) is a collection of beautifully shot tableaux of New York (the work of the US-based French cinematographer Babette Mangolte). Because of the length of the scenes, the film has an odd photographic sense to it, capturing life in the city as it walks in and out of the camera’s steady framings, panoramas and travellings. This is a New York that no longer exists, a dirty brown worn down place, where Akerman lived for a few years in the early 1970’s.

The field of tension and the heart of the film lie in the interaction and juxtaposition of the visuals and the soundtrack. In a voice-over, Akerman reads aloud the letters she received from her mother when she lived there. She is reading the letters with probably the same enthusiasm as she received them; they are read aloud in a quick monotone diction (which does actually make it difficult to catch all the words since, in the English version, the letters are read translated into English and Akerman’s accent is quite present). The mother’s reproaching words are regularly drowned by the sound of New York: the sound of what we see, cars and subways going by, takes over almost like waves. This is why the film should be shown without subtitles, this displacement and movement of when and what we can’t, or barely can, hear is important.

The letters are filled with pain, illness, worries, anxiety, boredom, exhaustion, gossip, hypochondria, love, and occasionally, dollar bills. “Anyway, I’m not complaining” the constantly complaining mother writes, continuously demanding news from the daughter: more letters more often! The family, the binding “your mother who loves you” as the mother signs every letter, is heavy, a burden, and yet something you can’t or won’t get away from or leave completely.

You get absorbed by the film, of what you see, and are struck by – and maybe recognize – the state of loneliness, the free feeling of being anonymous, the joy of becoming a stranger or maybe even somebody else. News from Home is not a portrait of New York; it is a portrait of all these mental states and emotions, of exile, of escape.

The film has the most wonderful final scene. It is a grey day, the camera/her/we leave Manhattan by boat, the sound of the motor takes over and slowly as we sail out to sea, New York fades away in the mist. An island, an idea, a mirage…

News from Home (France/Belgium/West Germany, 1977, 85 min.) by Chantal Akerman, recently shown at the Copenhagen Architecture Festival 2016.

!! Cinemateket in Copenhagen is screening Akerman’s last film No Home Movie (2015) at 16h30 March 31.

6 pen heads!