Langballe & Konopka: Theatre of Violence

Denne tekst er taget fra Line Bilenbergs pressemeddelelse sendt ud som foromtale til én af de stærke film i CPH:DOX hovedkonkurrence. Anmeldelse af filmen følger op til premieren:

Emil Langballe (tidl. Q’s Barbershop m.fl) og polske Lukasz Konopa har helt ekstraordinært fået lov til at følge forsvarsadvokat, den karismatiske Krispus Ayena og hans hold, samt anklagerteamet i den kontroversielle sag om den tidligere børnesoldat, Dominic Ongwen, der i december 2022 blev dømt for 61 ud af 70 anklagepunkter ved den internationale strafferet i Haag…

Dominic Ongwen blev kidnappet som 9-årig af LRA, The Lord’s Resistance Army (Herrens Modstandshær), der i årtier har hærget i det nordlige Uganda. Her blev han tvunget til at være børnesoldat og lærte hurtigt, at det handlede om at dræbe for at undgå selv at blive dræbt. Som årene gik steg han i graderne indtil han blev brigade-kommandant under den omstridte leder, Joseph Kony. Ongwen er den eneste LRA officer, som er stillet for retten i Haag, mens Joseph Kony stadig er på fri fod.

Instruktørerne siger: ”I ‘Theatre of Violence’ undersøger vi, hvordan man som samfund bearbejder et kollektivt traume. Vores medvirkende har alle oplevet krigens grusomheder på nært hold. Nogle som gerningsmænd, andre som ofre, men ofte begge dele. Under arbejdet med filmen oplevede vi nemlig, hvordan grænsen mellem disse to kategorier kan blive udvisket og utydelige under en borgerkrig – ofre og gerningsmænd bytter ofte roller. Ongwens forsvarsadvokat, Krispus Ayena, er filmens hovedperson, men vores film skal ikke ses som et forsøg på at retfærdiggøre hans klient. Vi bruger derimod retssagen som ramme til at beskrive den udvikling Ongwen måtte gennemleve, fra da han som 9-årig blev kidnappet og til han endte som en frygtet kommandant i den selvsamme oprørsgruppe, der kidnappede ham og dræbte hans forældre.”

I filmen forsøger Krispus Ayena at finde svar på, hvor grænsen går i mellem offer og bøddel. Filmen rejser desuden en række universelle spørgsmål: Hvad er kilden til ondskab? Er vi født med et iboende moralsk kompas? Har vi mennesker en fri vilje – eller er vi blot produkter af vores miljø? Og sidst men ikke mindst, hvordan sikrer vi, at retfærdigheden sker fyldest, både for borgerkrigens ofre, men også for den tiltalte, som i dette tilfælde selv er et offer? Retssagens udfald truer med at få gamle sår til at springe op hjemme i Uganda. Ongwen og LRA tilhører nemlig Acholi-folket fra det nordlige Uganda – hvor Kony startede sin brutale hær som modsvar til den siddende præsident, Musevenis ligeså brutale overgreb på Acholierne.

Trailer: https://vimeo.com/801596061

Børnekonventionen siger, at ingen børn må deltage i krig. Alligevel melder FNs Børnefond om tusindvis af børnesoldater i forskellige militser, væbnede grupper og hære rundt omkring i Verden.

“Udfaldet af retssagen mod Dominic Ongwen kan danne præcedens og have store konsekvenser i de dele af verden, hvor børn og unge udnyttes som soldater i væbnede konflikter, som fx i Nigeria, Syrien – eller i Danmark. Tusindvis af unge mænd og kvinder flygter fra radikaliserede grupper som ISIS og forsøger nu at vende hjem. Skal vi straffe dem, eller i stedet forsøge at reintegrere dem på trods af deres handlinger? Vores hovedperson Krispus Ayena er ikke i tvivl. På trods af de grusomheder hans klient er tiltalt for, er han fast besluttet på at forsvare det gode, der er tilbage i ham og samtidig forsøge at nuancere opfattelsen af konflikten i Uganda i den vestlige verden – en vigtig fortælling, vi synes fortjener at bliver fortalt”, siger de to instruktører Emil Langballe og Lukasz Konopa.

Filmen har premiere i Grand Teatret den 17. marts under CPH:DOX, hvor Krispus Ayena deltager. Filmen kan ses flere gange under festivalen. 

Masters of DOX – ZagrebDox 2023

Here is a copy-paste from the website of Croatian ZagrebD0x (March 26 – April 2), a good read:

Master, expert, maestro, connoisseur, virtuoso… The ‘title’ can be given both to a craftsman and an artist, but one thing is for sure: with it we address only the best in our business. Masters of Dox, a long-time programme section of the ZagrebDox International Documentary Film Festival, has been made up of films by authors at the top of the world film for years, but not necessarily documentary! The 19th festival edition brings six new titles directed by prominent film artists, undoubtedly masters of their craft.

In a deep personal documentary A Cooler Climate the Oscar-winning director James Ivory, in one of his rare trips to the documentary practice, takes us to Afghanistan, in the 1960s, on a journey that has changed his life. The story is about the travels we all take, exploring, in addition to the world, our own inner landscapes. Along with Ivory, the film was directed by Giles Gardner and the score was composed by the double Oscar-winner Alexandre Desplat. As a homage to the great master, the recently deceased director Carlos Saura, who made over 50 films, many of which were awarded in Cannes, Venice, Berlin and Karlovy Vary, the film Walls Can Talk will be screened. The film portrays evolution and the relationship between art and wall as a creative canvas, traveling from the first graphic revolutions of prehistoric caves to the most avant-garde urban expressions. Music for Black Pigeons is a visually powerful documentary by the Danish director and poet Jørgen Leth, a living legend of documentary, and Andreas Koefoed, and explores the lives and artistic processes of some of the world’s most famous and prolific jazz musicians. Leth and Koefoed reveal intimate, improvised moments between the pioneers of experimental music in studios in New York, Copenhagen and Lugano. Behind the unconventional documentary fantasy Dreaming Arizona is another Dane known to Croatian audience, Jon Bang Carlsen, a winner of the My Generation Award, presented to him in 2017 by the founder and director of ZgDox Nenad Puhovski. Carlsen has devoted much of his career to finding new ways of extracting the truth from reality by dramatization. The film follows a group of brave teenagers who have decided to set up a play about their own lives and to invent an alternative reality for themselves, in which they are strong enough to face traumatic childhood events. Another master will visit Zagreb with his film, the famous German director Volker Schlöndorff. For his famous film, The Tin Drum, which was partly shot in Zagreb, he won an Oscar and a Palme d’Or in Cannes, and in his documentary debut The Forest Maker he paints a portrait of Tony Rinaud, an exceptional man whose life’s work was awarded the so-called alternative Nobel, the 2018 correct life award. At the Hamptons IFF, the film won the Victor Rabinowitz and Joanne Grant Award for Social Justice. The Fire Within: A Requiem for Katia and Maurice Krafft, by the great Werner Herzog, pays a visually fascinating tribute to the lives of Katia and Maurice Krafft, famous and bold French volcanologists. Herzog’s film was awarded at the Doc La Festival, and at the Gijón International Film Festival it won the Audience Award, as well as a Special Mention of the jury.

Finally, the Italian director Gianfranco Rosi is the first winner of the Honorary Stamp Award, for his exceptional contribution to the documentary practice, awarded to him by Nenad Puhovski. It is enough to list only two of his films – Sacro Gra, which won the Golden Lion at the 70th Venice Film Festival, and Fire at Sea, awarded the Golden Bear at the 66th Berlin Film Festival – and the explanation of the motivation for the award was written. Rosi has a new film, an extremely interesting documentary In viaggio, which had a premiere in Venice, and follows Pope Francis in the first nine years of his pontificate. At that time, the Pope visited 53 countries. Intrigued by the fact that two of the Pope’s travels closely reflect the contents of his films (the famed Fire at Sea and Notturno), Gianfranco Rosi follows the Pope’s way of the cross through a dialogue between the archives of Francis’s travels, the photos taken by himself, which reflect the recent history and general state in the world today.

Photo: Film at Lincoln Center

Christoffer Dreyer: Til kamp mod spekulanterne

For en tidligere Frederiksberg – borger (har haft tre forskellige adresser i bydelen) kommer navnet Blackstone ikke som nogen overraskelse. Det fine boligkompleks Hostrup Have på Rolighedsvej var den amerikanske boligspekulant ude efter for nogle år siden, men det blev et svensk firma som opkøbte, fik renoveret og sat huslejen drastisk op. Blackstone var til gengæld igen på færde et andet sted ude i nærheden af KB-hallen som det fremgår af Christoffer Dreyers film. Jeg citerer fra pressematerialet:

”På det ydre Frederiksberg ligger Den Sønderjyske By. Et smukt og charmerende ejendomskompleks med 308 lejligheder med små haver, hvor man kan bo billigt til leje. Her bor pædagoger, enlige forsørgere, pensionister, kunstnere og småbørnsfamilier i skøn forening. Sådan er det i hvert fald indtil begyndelsen af december 2018, hvor verdens største kapitalfond Blackstone køber Den Sønderjyske By af Frederiksberg Boligfond for 538 millioner kr.

Lejerne, med beboerformanden Søren i spidsen, vælger at tage kampen op mod Blackstone og laver både store og små demonstrationer. Der er opbakning fra mange sider, og pressen dækker ivrigt de små lejeres kamp og modstand mod den store amerikanske kapitalfond. Lejerne får endnu mere medvind, da et gammelt skøde fra 1932 dukker op. Skødet dikterer, at hvis ejendommen nogensinde bliver solgt skal lejerne tilbydes hele ejendommen med de 308 lejligheder for 2,8 millioner kr. 

Beboerne hyrer advokaten Lars Langkjær, som er en af Danmarks bedste boligadvokater til at føre retssagen. En retssag, der på sigt kan gøre samtlige beboere til boligmillionærer…”. No spoiler om hvordan det så gik

Filmen følger det stille drama, som udspiller sig – for det meste i hælene på beboerformanden, som går rundt og taler med beboerne, sidder med omkring bordet når bestyrelsen af beboerforeningen mødes, er der når der skal sættes bannere op med protester, når der holdes mødes med advokaten, når der demonstreres foran Rådhuset. Publikum inviteres indenfor hos ham og i mange andre, hyggelige lejligheder. De har det – ifølge filmen – netop hyggeligt i Den Sønderjyske By.

Nogle gange skal man kæfte op her i livet, siger en beboer på et tidspunkt også selvom det ikke lige ligger til éns temperament. 

Filmen vises på DR1 på mandag og kan derefter findes på dr.tv.  Længde 1 time.

Latvian Nat. Film Prizes: Lielais Kristaps

Sunday is the ceremony, where Latvian film is to be praised in all categories you can think of, also for camera, sound, editing etc. and what is attributed to fiction filmmaking. I have a heart for Latvian documentaries so I limit myself to mention the five nominated in the section “long documentary”. I have seen three of them. They are:

Bach against Covid / Bahs pret Covid (Latvia)Directed by Ivars Zviedris

The director is – for me – a true documentarian (btw. the title of one of his films) and it is no surprise that he makes this film, as Baltic Sea Docs manager, critic Zane Balcus wrote to me: Ivars Zviedris manages to capture current issues in society – be it political, economic, or social processes or shifts… Here he has filmed during the Covid period documenting visual facets of lockdown and its imprint on the life of the film’s protagonist – the cello musician Normunds who plays his instrument for the tourists in Riga Old Town…

Hecuba’s Question / Hekabes jautājums (Latvia) Directed by Pēteris Krilovs, Iveta Budreviča

Krilovs… have followed his many films, and his “Klucis. Deconstruction of an Artist” is for me a masterpiece in storytelling. This one Zane Balcus gives these words: ”This film Krilovs has directed together with Iveta Budreviča, close friend of the film’s main protagonists. Through associative representation of a dream told by Krilovs at the start of the film, the directors draw us into the world of the musician Rolands Ūdrītis, who after the tragic accident a few years back has not recovered, and his wife Ilona Balode. We are asked to imagine and then follow how their life goes on and what strength is needed to endure and keep up the hope.”

My Mother the State (Latvia, Iceland)Directed by Ieva Ozoliņa

Fascinating universal story, straight forward and emotional, about looking for a sister and finding out that you have not only one but four sisters “scattered all over the world”. It’s an incredible story and the protagonist is one, who never gives up in her search for family and herself.

Before the Light / Svārstības (Latvia) Directed by Kristīne Briede

Kristine Briede made the magnificent “Bridges of Time” with Audrius Stonys, she is one of the most knowledgeable I know from the Latvian documentary scene but what I did not know, but now saw, she is also one who points in fine cinematographic language at an incredible story from nowadays Latvia – as it is written in an introduction of a review in the magazine Kino Raksti: Would it be normal for us if women were allowed to work as doctors or teachers only under the supervision of men? Why then is this considered normal within the Lutheran Church and in the work of a pastor?.. The personal service stories of three women – Dace Balodes, Rudīte Losāne and Agrita Staško – are being unfolded.

The Land / Zemnieki (Latvia) Directed by Ivars Seleckis

Ivars, my hero, my friend, known him for more than 30 years, I am biased, here is what IDFA wrote when it was shown there last year: In The Land, Ivars Seleckis’s measured, observational images capture the cycle of the seasons in a rural community in Latvia. Fifty years ago Seleckis shot another film in the same region: The Corn-Bins (1973), which documented a major shift in the country’s agriculture. The upscaling of farming had already been started under Stalin—because groups were easier to control than individuals—and these huge farming concerns ushered in the collapse of traditional agriculture… how is it today, Ivars goes back to meet the farmers of today. 

Still: “Bach against Covid”, the cello musician Normunds. 

Alisa Kovalenko: We will not Fade Away

Andriy, Liza, Lera, Ruslan, Illia. Ukrainian protagonists in this heartwarming and also touching documentary from the village Stanytsia Luhanska near the frontline, which after February last year is occupied by Russia. They are teenagers, they have hope, they have dreams, they are creative. They take photos, make music, repair and build motorbikes, plan to be an actor, they have fun as teenagers have and should have…They look for ways of having a good life in spite of the sounds and dangers of the war close to their homes. They live with their families, mums and dads and grannies. They are full of energy, they want to get away from the village, they call it “an asshole”. The film offers them to have a short break from being there, when they are invited by a famous sports commentator to get a tour to Himalayas. They go. A once-in-a-life experience.

Alisa Kovalenko is the director, she has – together with Serhiy Stetsenko – filmed the teenagers, and their families from 2019 till 2022 with an extraordinary attention to and sensibility for what it means to be on the edge of adulthood, as one family member expresses it. As she showed in a previous film “Home Games”, Kovalenko knows how to find the beautiful moments in the daily lives of the boys and girls and make those into a Cinema language she masters. Without breaking any ethical borders.

Andriy, the boy who has his garage for the motorbike, arranges in this place a New Year celebration with an electric light show, pours champagne in two glasses, hands one of them to his granny: “Thank You for Being There for Me”. Another granny talks seriously to Illia, who wants to be an actor: You must leave from here if you want to be an actor, if you stay you can be a policeman. In a previous scene you have seen Illia paint his face white making him look like the sad clown in “Les enfants du Paradis”. And you see Lera (or is it Liza, I mix them up sometimes, sorry) listening to her mother telling her that women are there to be married and serve their husbands. And Ruslan is at his computer rapping a great poem. Earlier you have seen him down in the mine doing the dirty job his father does. 

The last 20 minutes of the film describes the trip to the Himalayas – after the film has shown – with a lot of humour – the joyful training moments they perform at home to be ready for the trip that leads them so say that they want to stay here. So this is what beauty looks like! Energy all over, as there is in the whole film that is beautifully edited by Maryna Maykovska and Kasia Boniecka. They have found a flow and yet there are observational poetic moments without any “action”, many times with music that fits the situations and you are happy, when the film does not go down in black upon their return to their homes. A superb montage with the teenagers closes the film and highlights that the intention of the film is to give an homage to LIFE and YOUTH. You leave this masterpiece full of (unbearable?) hope. Slava Ukraini!

Ukraine/Poland/USA/Norway, 2023, 98 mins.

Still (FIFDH Geneva)

CPH:DOX 4 More Competition Lists

I have already posted the list of films in the main competition of CPH:DOX http://www.filmkommentaren.dk/blog/blogpost/5104/

– here comes the other competition films listed one after the other taken from the website of the festival…

NEW:VISION AWARD

16 films (shorts and features) including 14 world premieres, 1 international premieres and 1 European premieres.

  • Bruises (Ginan Seidl & Daniel Ulacia, Germany/Mexico, World Premiere)
  • Drifting Woods (Pia Rönicke, Denmark, World Premiere)
  • The Society of the Spectacle (Roxy Farhat & Göran Hugo Olsson, Sweden, World Premiere)
  • Burial of this Order (Jane Jin Kaisen, Denmark/Germany, World Premiere)
  • Into the Violet Belly (Thuy-han Nguyen, Vietnam/Germany, European Premiere)
  • The Secret Garden (Nour Ouayda, Lebanon, World Premiere)
  • Fat to Ashes (Pauline Curnier Jardin, France, World Premiere)
  • Insert Song (Kamil Dossar, Denmark, World Premiere) 
  • Pacific Club (Valentin Noujaïm, France, World Premiere)
  • Nothing Runs Like a Deere (Max Göran, Sweden, World Premiere) 
  • New Centuries are Rare (Coyote, Sweden/Denmark, World Premiere)
  • An Excavation (Maeve Brennan, UK, International Premiere)
  • An Asian Ghost Story (Bo Wang, Hong Kong/Netherlands, World Premiere)
  • The Departing Images (Ana Edwards, Chile/France, World Premiere) 
  • Levitate (Iván Argote, Italy/Spain/France, World Premiere) 
  • A Piece of Work (Deniz Eroglu, Denmark/Turkey, World Premiere)

F:ACT AWARD

11 films including 6 world premieres and 3 international premieres, 2 European premieres.

  • 20 Days in Mariupol (Mstyslav Chernov, Ukraine, European Premiere) 
  • Baghdad on Fire (Karrar Al-Azzawi, Iraq/Norway, World Premiere) 
  • Beyond Utopia (Madeleine Gavin, USA, International Premiere)
  • Blix Not Bombs (Greta Stocklassa, Sweden/The Czech Republic/Germany, World Premiere)
  • Breaking Social (Fredrik Gertten, Sweden, World Premiere)
  • Deep Rising (Matthieu Rytz, USA, European Premiere)
  • Phantom Parrot (Kate Stonehill, UK, World Premiere)
  • Praying for Armageddon (Tonje Hessen Schei, Norway, World Premiere)
  • Seven Winters in Tehran (Steffi Niederzoll, Germany/France, International Premiere)
  • The Hostage Takers  (Puk Damsgaard/Søren Klovborg, Denmark, World Premiere)
  • Victim/Suspect (Nancy Schwartzman, USA, International Premiere)

NORDIC:DOX AWARD

11 films including 8 world premieres and 3 international premieres.

  • Fighters (Jon Haukeland, Norway, International Premiere)
  • Heartist (Marianna Mørkøre, Beinta á Torkilsheyggi, Faroe Islands, World Premiere)
  • Hypermoon (Mia Engberg, Sweden, International Premiere)
  • Just Before Death (Anne  Regitze Wivel, Denmark, World Premiere)
  • Labor (Tove Pils, Sweden, International Premiere)
  • Lynx Man (Juha Suonpää, Finland, World Premiere)
  • Mrs Hansen & the Bad Companions (Jella Bethmann, Denmark, World Premiere)
  • A Silent Story (Anders Skovbjerg Jepsen, Denmark/Sweden, World Premiere)
  • Soviet Bus Stops (Kristoffer Hegnsvad, Canada/Denmark, World Premiere)
  • The Gamer (Petri Luukkainen/Jesse Jokinen, Finland, World Premiere)
  • Voice (Ane Hjort Guttu, Norway, World Premiere)

NEXT:WAVE AWARD

10 films including 5 world premieres, 3 international premieres and 2 European premieres.

  • Megaheartz (Emily Norling, Sweden/Norway, World Premiere)
  • Queendom (Agniia Galdanova, USA, International Premiere)
  • Silent Sun of Russia (Sybilla Tuxen, Denmark, World Premiere)
  • Smoke Sauna Sisterhood (Anna Hints, Estonia, European Premiere)
  • The Flag (Joseph Paris, France, World Premiere)
  • The Group Crit (Sille Storihle, Norway, International Premiere)
  • The Last Year of Darkness (Benjamin Mullinkosson, China/USA, World Premiere)
  • The Mountains (Christian Einshøj, Denmark/Norway, World Premiere)
  • The Tuba Thieves (Alison O’Daniel, USA, International Premiere)
  • Twice Colonized (Lin Alluna, Denmark/Greenland/Canada, European Premiere)

Sarajevo Film F.:Winner of True Stories Market

Vesi Vuković won the award endowed with prize money amounting to 10,000 euros for the story “The Hero from Arena”

As part of the special edition of the “Dealing with the Past” programme held in Sarajevo and online at Ondemand.kinomeetingpoint.ba, the Sarajevo Film Festival’s “True Stories Market” award was presented in Sarajevo. The winner of the “True Stories Market” award for 2023 is film theorist VesiVuković from Bosnia and Herzegovina, who received the award for the story “The Hero from Arena”.

The award endowed with prize money in the amount of 10,000 euros is awarded by Sarajevo Film Festival, Obala Art Centar and Friedrich-Ebert-Stiftung (FES) Dialogue Southeast Europe…

The award is presented for the development of a story into a film – the story was presented at the 28th Sarajevo Film Festival, at the “True Stories Market” as part of the “Dealing the Past” programme, by Jovana Blanuša on behalf of the Next Game organization from Belgrade. Sarajevo Film Festival’s “True Stories Market” is a unique event that connects filmmakers with organizations that research and document events in the former Yugoslavia from recent wars. “True Stories Market” provides non-governmental organizations with a unique opportunity to present stories and materials (personal testimonies) they have collected, preserved and made available to the entire public. At last year’s 28th Sarajevo Film Festival, the seventh edition of the “True Story Market” programme took place, where, among other things, the award-winning story “The Hero from Arena” was presented.

“The Hero from Arena” is a story about those whose loved ones were killed or disappeared during the Second World War in Yugoslavia and whose war wounds did not end in 1945. In that less visible war after the war, in the struggle to find the missing and reunite families, Marino Zurli, a discreet hero of great deeds, also participated. This Croatian writer and journalist of “Arena” has been publishing stories and photos about the missing for ten years, reuniting separated families, finding lost people and restoring joy to the hearts of those who believed that their loved ones would never appear again. In his lifetime, Marino Zurli managed to reunite 150 families. “The Hero from Arena” is a story about him.

About this year’s “True Stories Market” award winner:

Vesi Vuković obtained her Ph.D. in the field of film studies and visual culture. She defended her doctoral thesis at the University of Antwerp in Belgium. She is a member of ViDi (Visual and Digital Cultures Research Center), as well as A* (Antwerp Gender and Sexuality Studies Network), University of Antwerp. She received her master’s degree from Kyoto University of the Art and Design in Japan. Her scientific works have been published in international academic journals, such as Studies in Eastern European Cinema, Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe, Images: The International Journal of European Film, Performing Arts and Audiovisual Communication, as well as in the book Balkan Cinema and the Great Wars: Our Story, for which she received a special mention in 2021 at the competition for the award for the best academic article of the American Society for Cinema and Media Studies Central/East/South European Cinemas (SCMS). Her artistic portfolio consists of short films directed and written by her. In 2011, she participated in the Berlinale talent campus (Berlinale Talents) at the Berlin festival and the Sarajevo Talents programme of the Sarajevo Film Festival, with the film Shikaku, made in Japan. In 2010, the film was awarded the Special Award for the balanced use of European and Japanese sensibility in building the image of love at the Dukafest International Student Film Festival, held in Banja Luka, Bosnia and Herzegovina. In the same year, Shikaku was shown at the “Spurt” exhibition, at the Aube Gallery in Kyoto, Japan, as well as at the “Gion Festival Projection”, also in Kyoto. In addition, Vuković had the “Ki-sho-ten-ketsu” photo exhibition as part of the “Sonzaikan” exhibition, held in 2009 at Artzone, in Kyoto, Japan.

Photo: Vesi Vuković (Berlin Talents) 

CPH:DOX – DOX:Award 2023

Below you find the 13 films that have been picked for the DOX:Award 2023 competition, but first some introductory words from the festival:

”Marking the 20th anniversary of the International Documentary Film Festival CPH:DOX, the 2023 edition will offer an outstanding programme of approximately more than 200 films by established and emerging filmmakers as well as talks, debates, performances, exhibitions, parties and much more. The festival takes place 15-26 March 2023. 

CPH:DOX’ industry events will include the financing and co-production event CPH:FORUM, CPH:CONFERENCE and INTER:ACTIVE symposium. The industry programme runs under the banner “Business as Unusual” between March 19-24. Read more about the key dates and events in the industry programme here.” 

DOX:AWARD 2023 – the full line-up of nominated films – if you click on the title you will find more information:

After Work (Erik Gandini, Sweden)
A thought-provoking film that looks at the phenomenon of work in the 21st century with a sharp eye and an equally sharp humor. 

Eat Bitter (Ningyi Sun & Pascale Appora-Gnekindy, Central African Republic/China)
A local construction worker and a Chinese engineer are assigned to build a bank in the Central African Republic.

The Hearing  (Lisa Gerig, Switzerland)
Four asylum seekers reenact their conversations with the authorities in a role-playing game that reverses the roles.

Light Needs (Jesse McLean, United States)
Generous and imaginative film about the inner life of houseplants, which takes other life forms seriously with creative and artistic originality. 

Motherland (Alexander Mihalkovich & Hanna Badziaka, Sweden/Ukraine/Norway)
Dark and monumental film from Belarus, where corruption and a brutal military culture push young people to choose sides.

On the Edge (Nicolas Peduzzi, France)
A young doctor with an exemplary humanist spirit fights a brave battle to hold together the run-down Paris hospital where he works.

The Other Profile (Armel Hostiou, France)
An elementally suspenseful and completely unpredictable detective story from Kinshasa, where a French film director has to find his own double.

Songs of Earth (Margreth Olin, Norway)
The mountainous landscapes of Norway provide the monumental backdrop for a magnificent, existential journey with the filmmaker’s parents as its human yardstick.

A Storm Foretold (Christoffer Guldbrandsen, Denmark)
Christoffer Guldbrandsen’s long-awaited film about Donald Trump’s former adviser Roger Stone is a chilling report from the rotten core of power. 

Theatre of Violence (Emil Langballe & Lukasz Konopa, Denmark)
An epic and unshakeable drama of guilt and punishment about the first ever court case against a former child soldier accused of crimes against humanity.

A Tiger in Paradise (Mikel Cee Karlsson, Sweden)
A surreal journey into singer José González’s inner world of thoughts and shadows, staged with dark humor in the picturesque Swedish countryside.

Total Trust (Jialing Zhang, China)
The first major film about the Chinese surveillance state is a disturbing tale of technology, abuse of power and (self-)censorship in the 21st century.

Vintersaga (Carl Olsson, Sweden)
The human comedy unfolds in an aesthetically uncompromising and unmistakably Nordic saga in 24 chapters with dark humor and a sociological gaze.

Alisa Kovalenko: We Will not Fade Away

The following are quotes from an interview I made for the IDF in December 2021, with Alisa Kovalenko and Stéphane Siophan, producer of the film:

What do you learn about yourself from filmmaking?

A: We learn to know ourselves through the world around us. We see the reflection of the world in ourselves. Coming into contact with something new, with a new experience, with a new world, always opens something in you, expands your inner space, and opens doors to new rooms. You watch and feel others, but through them you begin to better feel yourself. You learn to listen to others and, at the same time, listen to yourself. Because documentary filmmaking develops in you a unique ability to listen and see more, a capacity for supersensitive perception, it fills and opens up new meanings. We reveal ourselves through the world. The world does not exist without an observer. And it’s incredible how you can be an observer of two worlds in documentary films, the outside-world and inside-world, at the same time. While learning about the world, you always learn about yourself. That’s why documentary filmmaking is the best way to meet and have such an important dialogue with yourself.

Beautifully said… Let’s go back to Expedition 49. Where are you? Finished shooting?
A: I have just returned from Nepal, where I have finally filmed the incredible expedition of the five teenagers I have been following for two years for Expedition 49. It was a tough travel. We climbed up to the Annapurna basecamp, but we were also stuck in Kathmandu in the middle of the Covid-19 lockdown. In any case, in the end it was a wonderful journey that changed us all. We have started editing with my editor Marina Maykovskaya, and I feel a bit overwhelmed because I realize that I’ve been filming five different personalities. Now I have to assemble different lifelines and narrative lines into one, but it’s a good challenge! I will keep filming a bit in Donbas while I’m editing, to show how this expedition has affected my characters and which turns their lives take. The expedition itself is only a small part of this teenage adventure documentary, which takes place mainly on the Donbas steppe, in these dying frontline coal-mining settlements. It’s not a mountain film or a typical coming-of-age movie, but a multi-layered story touching upon a generation of children who have spent half of their lives in a war. It’s the story of working-class kids, which I also consider myself to be.

Photo: Alisa Kovalenko

CPH:DOX – Change Project

The second edition of CHANGE is now ready to reveal its 2022/2023 lineup. CHANGE is a collaboration between CPH:DOX, EAVE, European Audiovisual Entrepreneurs, Europe’s leading training, development, and networking organisation for producers, and IMS, International Media Support, promoting journalism and documentary film to strengthen the capacity of media to reduce conflict, strengthen democracy and facilitate dialogue.

The partners’ goal being to increase equality and access to the international film market, the programme aims to stimulate inter-regional co-production and to connect projects, filmmakers and producers from the European Eastern Partnership countries (EaP) with international film professionals gathered annually at CPH:DOX.

The line-up of selected projects covers a wide variety of current topics spanning from the historical nuclear disarmament of Ukraine and its consequences, Abkhazian and Ukrainian refugees in Georgia, the ongoing non-violent resistance in Belarus, a female filmmaker’s gaze in the patriarchal Azerbaijani society on the gradual disappearance of the Caspian Sea, and a year of the current war in the life of four generations of women from Mariupol.

The selected projects are:

  • A Bit of a Stranger, prod. Anna Kapustina, dir. Svitlana Lishchynska, Ukraine
  • Boxes from Georgia, prod. Tiko Nadirashvili, dir. Gvantsa Meparishvili, Georgia
  • How Long is the Echo, prod. Vahan Khachatryan, dir. Merri Mkrtchyan, Armenia
  • Kartli, prod. Ketevan Kipiani, dir. Tamar Kalandadze and Julien Pebrel, Georgia
  • Keepers of Heritage, prod. Irina Gleashvili, dir. Keti Machavariani, Georgia
  • Nuclear-free Ukraine | Nuclear-freeworld, prod. Anna Palenchuk, dir. Kornii Hrytsiuk, Ukraine
  • Strange Sea, prod. Aysel Akhundova, dir. Lala Aliyeva, Azerbaijan
  • Voices.Streams by Belarusian filmmakers DocWave
Photo: Svitlana Lishchynska (Deutsche Filmakademi)