The Flaherty and The Doker

… New York and Moscow. Strong promotion of the creative documentary takes place these days in the two cities. Or should we call it the cinema d’auteur?

Anyway, no-one would object to put that characterisation on French Nicolas Philibert, who on monday visits Anthology Film Archives in NY to present his film ”Qui Sait? (Who Knows?) that is from 1998. He is there due to the Flaherty NYC series ”The Infinite Child”. Behind it all stands the director of Flaherty, Danish Anita Reher. A description of the rather unknown film by Philibert you will find at the end of this post.

At the same time, with screenings yesterday, today and tomorrow, the Doker Moscow International Documentary Film Festival, that actually took place in May this year, shows and presents the winners of the festival after a crowdfunding campaign to be able to bring over some of the directors. The winner was the Chinese documentary by Ye Zuyi, ”The Gleaners”, best director was Maciej Glowinski with ”Fish’R’Us” and best cinematography went to the film ”The Silence of the Flies” by Eliezer Arias from Venezuela. Behind it all stands Irina Shatilova and colleagues, all filmmakers fighting to get documentaries to the audience. More about the festival and its films, use the link below.

The film of Philibert: WHO KNOWS?, is set in a military hut where, one winter’s night, a group of fifteen students at the Strasbourg National Theatre assemble to fine-tune a show on that city that they developed at the bidding of the director. Over the course of many hours, they talk, argue, sing, teeter on the brink of exhaustion.

Still from Qui Sait? (Who Knows?) Credit: Dunn Méas.

http://flahertyseminar.org/dont-fall-head/

http://www.midff.com/#!home/mainPage

http://illuzion-cinema.ru/международный-фестиваль-документаль/

DOK Leipzig/ 5/ Loznitsa Award for “The Event”

From a reporter’s point of view this could have been put on the site last night but I wanted to watch the winning film of the Stiftung Friedliche Revolution Prize today and so I did and it was a good decision to give Sergei Loznitsa (photo) one more award to the many he has already. He is a master of creative treatment of archive material, his masterpiece in that genre is still “Blockade” about the siege of Leningrad, and this one, that goes back to the same city – that I visited a month ago, now called St. Petersburg – has the same approach, letting the archive “speak for itself”. And yet Loznitsa has chosen the material, put it together, selected the sound, to be brief, he has directed the film material being intelligent enough not to seduce us to simple solutions and thus conclusions. Those of us who are old enough and interested in recent world history remember the coup d´état in Moscow in August 1990 and we have again and again seen the images of the “junta” at their press conference, the shaking hands of one of them and of course Yeltsin making his victorious climb of a military tank to make a speech about – well about the fall of USSR. But Loznitsa is not in Moscow in his film, he is in Leningrad and gives me

exceptional material from what happened in the streets and the squares, that I love so much today, where people gathered to try to understand what is going on. +  he gives me the legendary mayor Sobchak and his impressive speeches, “the sea of faces” listening to him, the USSR flag being substituted by the Russian, the slogans used like “fascism will not prevail”, bring the “coup gang to justice” and the name of Yeltsin shouted again and again. Fascinating. One objection, however, I have to come up with – Loznitsa, you over-use the fact that the television plays “Swan Lake” while history is made. And of course you watch that film from a 2015 perspective of what Russia is today. That is in YOUR head, Loznitsa does not give any easy journalistic solutions.

And here comes the edited version of the DOK Leipzig press release: Yesterday, on Thursday the 29th of October, the documentary film about the coup in Russia in August 1991 entitled “The Event” (‘Sobytie’) was awarded the Leipziger Ring. This film prize from Stiftung Friedliche Revolution (Peaceful Revolution Foundation), endowed with 5,000 euros was given to Ukrainian filmmaker Sergei Loznitsa in Leipzig’s St. Nicholas Church. In his 74-minute film he employs archive footage to describe the end of an epoch. The Leipziger Ring is the first award given within the framework of the DOK Leipzig Festival 2015.

The foundation awards its prize to acknowledge an artistic documentary film that either portrays civic involvement on behalf of democracy and human rights in an exemplary manner, or has arisen due to great personal commitment and courage on the part of the director against obstacles and restrictions dealing with freedom of the press and freedom of expression.

The jury substantiated its selection for the honour as follows: “Sergei Loznitsa’s film distinguishes itself through a coherent, clearly defined dramatic composition. All of the creative devices employed are utilised deliberately and consistently. Particular emphasis is to be given to the respectful way in which the documentary material is dealt with. The filmmaker places his faith in the power of the material itself and does not manipulate it.”

All right, you can discuss whether he manipulates or just lives up to being a – pretty skilled – film director.

The prize-winner received the Leipziger Ring statuette in addition to the prize money. It recalls the large-scale demonstrations in the fall of 1989 on Leipzig’s Altstadtring, the ring thoroughfare encircling the old town, as well as the burning candles the demonstrators held in their hands as a symbol of their non-violent stance. Nine films were nominated for the prize.

Final comment: This award and the way it is being celebrated is full of the seriousness and dignity that is DOK Leipzig.

http://www.dok-leipzig.de

DOK Leipzig 2015/ 4/DOK.Incubator

Let’s leave our bikes here, Latvian producer Uldis Cekulis said when he, Ukranian directors Roman Bondarchuk and Darya Averchenko met me last night at the Museum, the Festival Centre of DOK Leipzig. They had been doing their presentation at the Kabarett Leipziger Pfeffermühle in the morning followed by meetings in the afternoon and they were happy and relaxed, of course much more so as their film ”Ukranian Sheriffs” has been selected for IDFA, main feature duration competition. Photo: Bondarchuk at the editing table.

The DOK.Incubator workshop does not only provide bikes for their participants, it has in no time developed into a very valuable tool for filmmakers with films at a rough-cut stage. Andrea Prenghyova, with whom I had the pleasure to work for years for another precious workshop, Ex Oriente, is a powerhouse, who has analysed what is needed at this critical point just before you lock the picture and go into postproduction of your film. She, Prenghyova, has gathered good people around her as tutors, producers like Sigrid Dyekjær from Denmark and editors like French Yael Bitton and Menno Boerema, not to forget the former DOK Leipzig festival director Claas Danielsen.

If you click below you will be able to watch trailers from the films developed

during the workshop 2015. I am looking forward to watch the Italian/American ”Thy Father’s Chair”, the ”Amazona” by Clare Weiskopf, who I met during the DocsBarcelona, a very promising film project.

Prenghyova and her team can be proud of what they are doing, and they are, just read this quote from the news on the website:

Not only three of the eight 2015 projects, but also three films from the previous editions of DOK.Incubator are meeting in November at IDFA. In four years’ history of DOK.Incubator, 12 out of the total 32 films have competed in Amsterdam.

The 28th edition of the Festival will open with A Family Affair, the personal struggle of the director Tom Fassaert (NL) with the femme-fatale of his family: the grandmother Marianne. The film will compete in both Dutch and feature-length competition. In the main category, the filmmakers will meet two colleagues from DOK.Incubator 2015: Ukrainian Sheriffs /LV, UA, DE/, following a pair of local heroes, Victor and Volodya, appointed to keep the Order and Law in Ukraine, where even the police is not available right now, and Thy Father’s Chair /IT/ which tells the story of two Orthodox twins who have stopped throwing away anything since the death of their parents. Now, their upstairs tenant threatens them to stop paying the rent unless they get rid of all the accumulated stuff.

http://dokincubator.net/preview-2015/

DOK Leipzig/ 3/ Leena Pasanen Speech

The festival opened last night and the press people sent out a Release under the heading ”Political Voicings at Opening of DOK Leipzig”. I quote from the text:

Leena Pasanen: “DOK Leipzig traditionally stands for peace and human dignity. Today this is perhaps more necessary than ever before,” said the native of Finland, who had previously lived in Budapest for 3 years and experienced the dramatic changes under the Orbán administration.

These circumstances caused Pasanen to express concern over Legida, whose demonstration took place at the same time as the opening of DOK. “I want to do more than merely ignore this demonstration, I want to take a stand: Our Leipzig is tolerant, open-minded and willing to help those who need help.” Above and beyond this, documentary films are an excellent tool in combatting ignorance and narrow-mindedness. As this was the first time that the opening film was being screened in the east concourse of Leipzig’s central railway station simultaneously to the ceremony, Pasanen was ready and waiting with a suggestion for those sympathising with Legida: “Instead of demonstrating, they would be better off going to the station to watch the great film by Andreas Voigt.”

… I doubt they did, but many welcomed this fine initiative – see photo.

And another voice – Jan Rofekamp, sales agent and Head of Documentary Campus, described what happened in the streets of Leipzig on his FB page like this: Big anti-migrants demonstration here in Leipzig right now, neo-nazis, skinheads, screaming, blowing whistles, lots of German flags, massive police presence on the streets…very disturbing and very scary…

http://www.dok-leipzig.de

DOK Leipzig 2015/ 2/ The Programme

If you click the link below you will find an overview of the programme for the DOK Leipzig 2015 festival that starts tonight, see post below. There is the Official Selection, the Special Programmes, Discussions and Events. There is so much you could highlight, let me put the focus on the main competition for feature docs and animated films and first – see photo – mention the film by Andreas Voigt, ”Time Will Tell” that is the sixth part of the Leipzig Cycle. The Head of the festival programme Grit Lemche writes about it, a long quote:

“When Andreas Voigt and Sebastian Richter were shooting in Leipzig in 1996, the skinhead Sven wanted to marry and settle down. The former punk Isabel tried to lead a middle-class life in Stuttgart. And the journalist Renate wanted to come to terms with her past as an IM (informal collaborator) of the Stasi and start a new life.

The Leipzig cycle reaches as far back as 1986. The sixth part is structured by images of the run-down industrial quarter of Plagwitz which casually provide a

visual context, especially for Renate’s tragic story, that makes understanding possible. The film does not only show the qualities of the DEFA documentary school, such as recording social contexts through precise framing and an emphatic closeness to its protagonists, it’s also a masterpiece of editing. Voigt masterfully combines material from the 25th year after the German reunification with images of the lethargy of the East, the departure of 89 and the arrival in the post-reunification age. Which was different from what the mainstream media narrative would have us believe…”

I will be in Leipzig from wednesday afternoon and will give you my impressions of what I see, including Voigt’s film that is very appealing. It is one of twelve in competition, I have already written about Wojciech Staron’s ”Brothers”, ”Lampedusa in Winter” by Jakob Brossmann and I have seen Greek Marianna Economou’s ”The Longest Run” that is such a timely and well made and touching documentary on two refugees from Iraq and Syria.

Of course I expect a lot from master of archive, Sergei Loznitsa’s ”The Event” and look forward to watch Sokurov’s ”Francofonia” in a version that I can understand better than the Russian one I saw in St. Petersburg recently. Or what do you think of this quote (by Matthia Heeder) from the website about ”The Wolfpack”, an American film:

“Get ready for the Angulo brothers who spent their whole young lives in a shabby council flat on the Lower East Side. Their Hare Krishna-damaged father, for whom evil began at his doorstep, forbade any contact with the outside world. No school, no friends. The six brothers were virtually never allowed to go outside. Instead they were home-schooled and had more than 5,000 feature films on DVD, their only window on the world. They retrieved it by creating their own cinema, re-enacting the films for their video camera – faithful to the script, with homemade costumes and props. This made them feel alive…”

Much much more will follow – the German competition should be good, there is (Bravo!) a Next Master’s Competition etc. etc.

http://www.dok-leipzig.de/en/festival/programm

DOK Leipzig 2015/ 1/ Opening

The Press department at Dok Leipzig presents below what happens to night at the opening of the 58th edition of the international festival for documentary and animated films – tomorrow we will be able to report on what has happened outside the cinema and the Central Station, where Legida and anti-Legida demonstrations have been announced:

DOK Leipzig opens this evening at 7pm in Leipzig’s Cinestar Cinema. Burkhard Jung, Lord Mayor of the City of Leipzig, and Dr. Eva-Maria Stange, State Minister for Art and Science, will welcome some 700 national and international guests of DOK Leipzig. The keynote speaker is Festival Director Leena Pasanen. The evening will be led by Dr Grit Lemke, Director of Programming for DOK Leipzig, and journalist Jörg Tashmann.

The festival opens with the Andreas Voigt’s film “Time Will Tell”. The sixth part of Voigt’s internationally renowned Leipzig-Cycle, its World Premiere will be celebrated at the Opening Ceremony. The short Polish animated documentary ‘A Documentary Film’, directed by Marcin Podolec, will also be shown.

For the first time the Opening Film of DOK Leipzig will also be shown at a Public Screening. ‘Time Will Tell’ by Andreas Voigt will be shown at the Leipzig Central Station at 7.30 pm, in cooperation with Promenaden Hauptbahnhof. The event is public and admission is free. Following the screening, we welcome you to a Q&A with Andreas Voigt.

http://www.dok-leipzig.de

Karel, Paravel og Castaing-Taylor: Ah, Humanity!

Max Frisch skrev og udgav i 1979 en roman Mennesket dukker op i Holocæn og den mangetydige titel både dækker og resumerer i en kort sætning en fortælling om en gammel mand alene i sit hus i en lille landsby højt i Alperne med strømsvigt og afbrudte færdselsforbindelser på grund af meget regn og måske eller måske ikke truet af laviner og bjergskred. I en fremskridende tilstand af senilitet er den belæste og erfarne herre i gang med at repetere sin viden om menneskets forhold til naturen. Hans indprægningsevne svigter mere og mere så han skriver på sedler og klipper artikler ud af sit leksikon og monterer disse små papirer på vægge i huset for på den måde at konstruere en protese til sin beskadigede hjerne.

I Ah, Humanity! (Igen en titel som viser hen til Melville) er jeg blandt en senere tids, en senere teknologis, en senere æstetiks erindringssedler fra en senere tids encyklopædi, blandt dens mobiltelefonoptegnelser gennem en kikkert, dens filmcitater, dens lydoptagelser blandt andet af jordlagenes bevægelser klippet til en kort og massiv filmisk opera med et stort lyddesign som i biografen vil opleves som fire parallelle spor.

Jeg ser Lucien Castaing-Taylors, Verena Paravels og Ernst Karels film som et foregribende billede på en skildring (vel i begyndelsen af et uundgåeligt Postantropocæn) en skildring af ruiner efter det uddøde menneske. Fortumlet forsøger jeg et overblik: TIL STEDE / TOGET / BYGNINGERNE / MENNESKENE INDE I BYGNINGERNE / MENNESKENE MED HVIDE ÅNDEDRÆTSVÆRN… som var det overskrifter på små gule post its på væggen i klipperummet, kulturen opløst i huskesedler forsvindende i glemslens mørke barmhjertighed. Filmen vælger jeg at se som Ernst Karels og kollegernes tøvende og tvivlende og således ganske ærlige bidrag til en definiton af af CPH:DOX festivalens aktualisering af den siden 2000 (efter Paul J. Crutzens forslag) verserende alternative betegnelse Antropocæn for den nuværende geologiske periode. Det giver mig en del at tænke over og i hvert fald en konklusion: den film skal ses og genses og anbefales.

Japan, Frankrig, USA 2015, 23 min. Vises på CPH:DOX 2015.

SYNOPSIS

Det Harvard-baserede Sensory Ethnography Lab repræsenterer det mest avancerede, kontemporære krydsfelt imellem film og videnskabelig research. Véréna Paravel, Lucien Castaing-Taylor og Ernst Karels helt nye film- og lydværk ligger således i forlængelse af mastodontværket ‘Leviathan’ (New Vision Award, CPH:DOX 2012), som i den grad har sat et før og et efter i både filmens og forskningens verden. Ikke mindst i forsøget på at give den verden, der omgiver os og som vi selv har skabt, en filmisk form, der lader os se og erkende den på ny. Og denne gang er det Fukushima – optaget på en mobiltelefon og med et massivt lyddesign i fire parallalle spor. (CPH:DOX katalog)

“Ah, humanity! reflects on the fragility and folly of humanity in the age of the Anthropocene. Taking the 3/11/11 disaster of Fukushima as its point of departure, it evokes an apocalyptic vision of modernity, and our predilection for historical amnesia and futuristic flights of fancy. Shot on a telephone through a handheld telescope, at once close to and far from its subject, the audio composition combines excerpts from Japanese genbaku film soundtracks, audio recordings from scientific seismic laboratories, and location sound.” (New York Film Festival)

FILMOGRAFI

”Castaing-Taylor and Paravel are currently at work on various installations set in the middle of the Atlantic Ocean, as well forthcoming projects in Japan. Together with Ernst Karel, he and Paravel have recently completed Ah, humanity!, an installation about the anthropocene.” (Harvard Universitets hjemmeside). Leviathan, 2012.

CITAT

“Dead letters! does it not sound like dead men? Conceive a man by nature and misfortune prone to a pallid hopelessness, can any business seem more fitting to heighten it than that of continually handling these dead letters, and assorting them for the flames? Sometimes from out the folder paper the pale clerk takes a ring—the finger it was meant for, perhaps, moulders in the grave; a bank- note sent in swiftest charity—he whom it would relieve, nor eats nor hungers any more…on errands of life, these letters speed to death. Ah, Bartleby! Ah, humanity!” (Melville: “Bartleby the Scrivener”)

LINKS

http://cphdox.dk/program/film/?id=3015  (Katalogside, dansk)

http://cphdox.dk/en/programme/film/?id=3015  (Katalogue, English)

http://ves.fas.harvard.edu/people/lucien-castaing-taylor (Harvard University site)

CinéDOC Tbilisi 2015/ Awards

Last night awards were given out at the documentary festival in the capital of Georgia. A Slovak documentary, “Comeback”, got the main prize, had never heard about it before, looking fwd. to watch, but three other winners have been praised on filmkommentaren: “Twilight of a Life“, “Double Aliens” and “Master and Tatyana” (Photo). The following text is from the FB page of the festival:

The Award Ceremony of CinéDOC-Tbilisi − The International Documentary Film Festival was held on 24 October in Cinema Rustaveli. The International Competition and Focus Caucasus Jury, the audience, Student Jury and the young participants of CinéDOC Young section announced the winning films:

Winning Film, International Competition − Comeback / Dir. Miro Remo / Slovakia / 2014 / 85 min.

Special Mention, International Competition − Twilight of a Life / Dir. Sylvain Biegeleisen / Belgium, Israel / 2015 / 70 min.

Winning Film, Focus Caucasus − Double Aliens / Dir. Ugis Olte / Latvia and Georgia / 2015 / 56 min.

Special Mention, Focus Caucasus − How to Cross / Dir. Sona Kocharyan and Marine Kocharyan / Armenia / 2014 / 15 min.

Winning Film, Student Jury − Master and Tatyana / Dir. Giedre Zyckite / Lithuania / 2014 /84 min.

Winning Film, Audience Award − Twilight of a Life / Dir. Sylvain Biegeleisen / Belgium, Israel / 2015 / 70 min.

CinéDOC Young Award − A Goat for a Vote / Dir. Jeroen Van Velzen / The Netherlands / 2014 / 52 min.

http://www.cinedoc-tbilisi.com/?page_id=6187

Amy Berg: Janis: Little Girl Blue

 

Nearly two hours in company of Janis Joplin, what’s not to like! I was so ready to just lean back and enjoy and I was… disappointed.

Whoa, slow down, hold your horses! I’m being bombarded with talking heads at a speed so I can’t follow. Too fast a pace when all I want to do is to take my time, hear the music, feel the music and the person I’m about to discover.

I’m disappointed because I’m sitting in the dark theatre all alert and ready to take in impressions, emotions, sound, images and Music and I’m not getting the cinematic experience I thought I would. And I’m annoyed because I think a big part of my disappointment is a question of the editing. I don’t mind a conventional portrait film, I don’t mind seeing a TV-documentary in a theatre, but I do mind the rushing.

All the information, all the anecdotes and the archive footage lose sense if I don’t get the time it takes to “meet” the performer and her music. If there is not a moment where I hear something I haven’t heard before, suddenly discover the lyrics of a well-known song or just get to linger on a live performance…

Having said that, award-winning American filmmaker Amy Berg (the Oscar-nominated Deliver Us from Evil, 2006, about child molestation within the Catholic Church) has made an impressively well-documented portrait of Janis Joplin. It has been a long-term project initiated by the Joplin estate who approached the director back in 2007 and behind the film lays a huge amount of work with archive research, funding and clearing rights.

Part of Berg’s take on telling the story is a voice-over (the voice of another southern singer/musician Chan Marshall, known as Cat Power) reading Janis’ letters to her family and lovers. Dear family, she wrote continuously throughout the years, giving news to the Texan middle-class nuclear family she came from (the family letters was originally used by Joplins sister Laura in her book Love, Janis from 1992, later turned into a theatre play and a Broadway show). Joplins two younger siblings (Laura and Michael Joplin who manage their sisters estate), old friends, band mates and fellow musicians are looking back. The portrait seems less depressive and dramatic than I thought it would be, and I like that. Lots of life, fun, love and friendships, the story of a strong young woman who at 17, to her own big surprise, discovers she can sing and from then on the rise to fame, but also the beginning of a heroin and alcohol addiction that ends up causing her sudden death.

Just as with Scorsese’s Dylan portrait No Direction Home, Berg owes some of Janis’ finest moments to D. A. Pennebaker. Not only with the strong scenes from his legendary concert film Monterey Pop (1968, filmed by Pennebaker, Leacock and Maysles, probably the most musical trio in film history), the film that sparked off Joplin’s route to stardom (Pennebaker is there himself to reveal how close Joplin was to not be in his movie!), but also with his footage of Joplin and the band Big Brother and the Holding Company in the recording studio and at concerts (material that Pennebaker and Hegedus have used in their short Joplin-film Comin’ Home from 1991, I now find out from the credits). The recently released Festival Express (2003) by Frank Cvitanovich and Bob Smeaton, documenting the 1970 tour by train through Canada gathering Joplin, Grateful Dead and The Band, is another invaluable source.

The press material states that no one had ever explored Janis Joplin’s story on film. A quick search and I discover that Howard Alk (The Black Panther film The Murder of Fred Hampton, 1971, and editor on Dylan’s Renaldo and Clara) made the portrait Janis: The Way She was in 1974. I have to see that! I assume that old time conflicts between the estate and Alk must be the reason that the film is not quoted even though important and mostly unique scenes from it are reused in Berg’s portrait. I have promptly ordered the Howard Alk DVD, maybe a second Janis Joplin portrait film review will be coming up soon…

I found Janis: Little Girl Blue to be out of rhythm, which is no good when we’re talking about Joplin. But please do go see for yourself, you might not agree with me…

Janis: Little Girl Blue (2015, 103 min.) Production: Disarming Films and Jigsaw Productions. Danish distribution: Camera Film in collaboration with CPH:DOX Premiering in Danish theatres all over the country October 22nd. I DAG!

Trailer: https://www.youtube.com/watch?v=AYizdG42THg

De 5 bedste i Norden skal ses i biografen

 

Se filmene – Søndag 25. oktober er udråbt til ’Store Nordisk Filmdag’ når Øst for Paradis i Aarhus og Grand Teatret i København præsenterer de fem film, der i år kandiderer til Nordisk Råds Filmpris.

Om kort tid afsløres vinderen af NORDISK RÅDS FILMPRIS 2015 men inden det sker, vil biografpublikummet kunne opleve samtlige fem priskandidater i biografen, når Øst for Paradis og Grand Teatret blænder op for “Store Nordisk Filmdag”, søndag 25. oktober.

PROGRAM I ØST FOR PARADIS SØNDAG 25. OKTOBER

• 11.30: GENTLEMEN af Mikael Marcimain, som bygger på Klas Östergrens roman af samme navn, havde svensk premiere i december 2014 og og blev nomineret til intet mindre end 13 Guldbaggar.

• 14.10: MOD NATUREN, som er Norges svar på en prisvinder. Filmen, som er instrueret af Ole Giæver (og spiller hovedrollen) havde dansk biografpremiere tidligere på året.

• 15.45: STILLE HJERTE er Danmarks kandidat til den eftertragtede pris. Filmen som er instrueret af Bille August med manuskript af Christian Torpe blev en af årets store danske anmeldersucceser med 240.000 solgte billetter.

 

• 17.40 Den islandske film VIRGIN MOUNTAIN af Dagur Kari vandt flere priser på Tribeca Filmfestival og supplerede bl.a. med Politikens Publikumspris på CPH:PIX i foråret 2015. Filmen får dansk biografpremiere i juli 2016, hvor den bliver en del af Biografklub Danmarks.

• 19.30: THEY HAVE ESCAPED af Jukka-Pekka Valkeapäa vandt fire Jussi-priser deriblandt den eftertragede Jussi Award for ’bedste film i Finland i 2014’. Filmen som er Finlands kandidat til Nordisk Råds Filmpris havde verdenspremiere på Venice Days og får nu sin danske biografpremiere i forbindelse med markeringen af Nordisk Råds Filmpris 2015.

De fem film, som er udpeget af en national jury, dyster om den ærefulde Nordisk Råds Filmpris på 350.000 kr., der gives til filmens instruktør, manuskriptforfatter og producent. Filmene er alle udvalgt for deres stærke forankring i den nordiske kultur og meget høje kunstneriske kvalitet. Vinderen af Nordisk Råds Filmpris offentliggøres den 27. oktober ved Nordisk Råds session i Reykjavik, hvor der ligeledes uddeles priser til litteratur, musik og miljø.

Pressekontakt: Freddy Neumann, 20467846 / neumann@mail.dk

For billetter og yderligere information: www.paradisbio.dk