Xavi – The Director

I am in Barcelona, it’s summer, there is an outdoor pool outside my hotel window, and it is crowded. I am not here for holidays, DocsBarcelona has started with some events for professionals and tomorrow is the opening of the festival for the audience – opening film “Falciani’s Tax Bomb”, a German/Spanish coproduction with an English director Ben Lewis. But in my mind I have been in Barcelona for some days. Saturday at Camp Nou the ceremony was held to celebrate that FCBarcelona won the Spanish League in football AND it was the farewell to Xavi Hernandez, who has been in the club sinde he was 11 years old and has played (from 1998-2015) more than 500 matches. 35 years old he has decided to end his carreer in Qatar, where other ex-Barca players spend their life and earn…including Michael Laudrup as a coach.

Anyway, I was thinking about how squeeze in a text about this wonderful gentleman of the game, a man I have adored for the whole time – and is he not the perfect dramaturg? Has he not been the one who has mastered to find the rythm, the one who has been able to see when the descriptive, the informative should be there, playing the ball around in small circles for suddenly to feel that now is the time to poetry, to surprise the audience making a peak in the narrative and send a player a pass that makes it easy for him to score. A director, an editing director who knows when to set more pace. Always available with an enormous overview, a man with a big generosity to his audience.

Photo taken by friend and colleague Joan Gonzalez, who was there with his son Marti.

Signe Byrge Sørensen to Barcelona

There have been masterclasses with Avi Mograbi and Michael Glawogger, world class directors of documentaries, at previous DocsBarcelona festivals.

This year the festival has invited Signe Byrge Sørensen, producer of ”The Act of Killing” and ”The Look of Silence” AND many, many other important documentaries, to meet the audience at Gaudi’s famous La Pedrera. The participants to this masterclass will experience the carreer of a committed producer during an event called ”7 Shots 7”:

”…  DocsBarcelona’s annual invitation to a prominent figure within the documentary world, who by selecting 7 shots or sequences from their work, opens up a debate around audiovisual language.”

And a quote from when I visited a Q&A with Signe Byrge in Riga at the Baltic Sea Forum:

”It was not the first time that I attended a session with the producer of this all-over-world-going film (”The Act of Killing”, ed.). And it was not the first time that I left the cinema full of admiration for the professional and personal way Signe Byrge addressed the audience giving it precise, inside and interesting background information on the making of a film that was 7 years on its way, with her on board five years.”

I will be the moderator of the masterclass and I have told Signe Byrge not to be modest and polite, but to talk about herself and not (only) Oppenheimer and her editors Janus Billeskov Jansen and Niels Pagh Andersen!

http://www.docsbarcelona.com/en/ed-2015/festival/sections/master-classes/

The Salt of the Earth in Danish Cinemas

The film of Wim Wenders and Juliano Ribeiro Salgado, a portrait of world star photographer Sebastião Salgado, runs in Danish theatres right now – go and watch it!

Mikkel Stolt wrote about it at the Danish cph:dox premiere, here is a quote:

”The film’s sense of time and space turns out to be the perfect conveyor of Salgado’s pictures and words. The horror and the beauty in the protagonist’s work are presented to us in a way that reveals how great interpreters of reality both the still photographer and the directors are… ”

And I saw an exhibition of the photographer’s ”Genesis” in New York last year and quoted from the catalogue:

The result of an eight-year worldwide survey, the exhibition draws together more than 200 spectacular black-and-white photographs of wildlife, landscapes, seascapes, and indigenous peoples—raising public awareness about the pressing issues of environment and climate change.

http://www.icp.org/museum/exhibitions

FILMCENTRALEN 6 /Claus Bohm

Jeg tager et nyt dyk tyve år ned i filmsamlingen på Filmcentralen / For alle og rammer en af de kloge og tænksomme film af Claus Bohm, nemlig Filosof, en samtale mellem Villy Sørensen, Per Aage Brandt, Hans-Jørgen Schanz og Ole Fogh Kirkeby, fire talking heads, hvad for nogen nok lyder støvet. Men jeg husker fra dengang i 1996, da filmen var ny, at den gnistrede af klarhed, og det gør den selvfølgelig stadig. Jeg skrev dengang denne anmeldelse og ser med fryd, at min tekst forankret i sin tids teknologi er forældet i visse pointer, men filmen derimod er fri af al aktualitet, den handler om dette samværets eufori, som gør mig tør i munden:

Sjældent har jeg set en film, hvor jeg i den grad ønsker at eje en videokopi at spole tilbage i. (Nu har jeg så altså en mulighed mere, streamingen på Filmcentralen!) Selvfølgelig er det flot at se disse kloge, talende hoveder projiceret på lærredet i biografen. Man drukner sig i samgværet, og glemmer selve formuleringen. Og i Bohms film Filosof er det formuleringen det gælder, det er jeg ikke i tvivl om, men da det er film og netop ikke radio, som man automatisk kunne hævde, så er det samværets fysiske eufori, der står som erindring bagefter. Som efter en god bog jeg har slugt i én køre. Når jeg udmattet lukker den indser jeg til min selvbebrejdelse, at jeg ikke husker formuleringerne. Kun samværets berøring, som gjorde mig tør i munden. Og jeg græmmes som min tegneseriehelt, ved som han, at jeg endnu en gang ikke slog til.

Så er det herligt at få fat i båndet for et gensyn, så jeg ved videomaskinens hjælp får noteret, hvad det er Kirkeby, Sørensen, Schanz og Brandt formulerer. Tag nu bare Kirkeby. At se ham tale, se fremstillingens formulering, er at høre sprogets musik, der hvor det er nærmest bestemmelsen. At begribe verden. Kirkeby taler i ubrudte kadencer. Fortryder ingen sætning, retter ikke en detalje. Og Bohms film fastholder enhver frasering, så hvad jeg i fryd glemmer af indholdet, det genkalder jeg på båndet. Claus Bohms arbejde er en god film, radikal og hensynsløs som forestilling, men frydefuld. Generøs som del af en videosamling.

Danmark 1996, 36 min.

Litt.: Claus Bohm: Filosof, 1996. En fin lille bog om filmen, som man ofte ledsagede filmene med dengang på Statens Filmcentral.

Filmcentralens streaming: http://filmcentralen.dk/alle/film/filosof

Om filmen: http://www.dfi.dk/faktaomfilm/film/da/28588.aspx?id=28588

Om Claus Bohm: http://www.dfi.dk/faktaomfilm/person/da/7554.aspx?id=7554

FILMCENTRALEN 5 /Jon Bang Carlsen

Ved hjælp af Filmcentalen / For alle kan jeg gå langt tilbage for eksempel i den gamle diskussion om iscenesættelse i dokumentarfilm, og se de i den sammenhæng uomgængelige hovedværker, Jon Bang Carlsens It’s Now or Never og How to Invent Reality fra 1996. Jeg skrev om filmene dengang, og sådan så jeg dem altså ved deres fremkomst:

Når Jon Bang Carlsen i It’s Now or Never lader de medvirkende i Vestirland spille løs, ikke deres egne liv, men digtede liv, ikke i deres egne huse, men i huse, han har fundet velegnede til den særlige stemning, han ønsker i sin film, kunne man hævde, det ikke længere er dokumentarfilm, han laver, men fiktion. Men egentlig er det lige meget, blot det er en enestående oplevelse. For så er alle midler tilladte, skrev juryen i sin begrundelse for at give ham grand prix på Dansk Film Festival i Odense (1996). ”Vi behøver ikke at klassificere et sådant værk som det ene eller det andet. Det er bare en glæde at tage imod med åbent sind”. Som Christian Braad Thomsen fortæller om Karen Blixen i sin film om hende: ”Hun digtede frejdigt om på sandheden for skabe sand digtning.”

Og Bang Carlsen har villet lave et sandt filmdigt om en fattig tilværelse omgivet af stor skønhed på den barske Atlanterhavskyst. Hovedpersonen Jimmy køber en ny ko. Den kan tydeligt ikke lide ham (eller filmholdet?) og vil kun nødtvunget ind i hans gård. Og sådan går det formodentlig også, da han omsider gennem en ægteskabsmægler får kontakt med en kvinde at gifte sig med. Filmen slutter netop som kontakten er etableret. Jimmy har stillet samme nøgterne krav til konen som til koen. Hun skal kunne malke, den give mælk.

Det er godt, at Bang Carlsen lavede How to Invent reality også, mens han var i Irland. Den samme historie for så vidt, men set fra kulissen med alle snorene, billedernes bagsider og skkuespillernes ventetider, så deres persona demaskeres. Og vi ser hvor tynd masken er, hvor vellignende.

Formen er jo set før, et dokumentarhold følger filmoptagelserne og portrætterer instruktøren. Her bliver det noget mere, meget mere. Bang Carlsen udvider værket med et selvportræt, fortæller løs om, hvad det var, han ville, hvordan han gjorde, og hvordan han syntes, det gik. Praktisk og i rask tempo. Det bliver til en hverdagstekst fuld af arbejdsdagens rigdom og filmisk teori. Og humor. En vældig tekst er den film, om det at lave et billede, et kunstværk.

Mange siger, at How to Invent Reality er en bedre film end It’s Now or Never. Jeg slutter mig til. Jeg ser også problemerne i It’s Now or Never. Synes, at filmen har opbrugt sin energi langt før slutningen, mener at hovedpersonen slet ikke er stærk og interessant nok til at bære så mange gentagne ture. Han synger titelmelodien mindst én gang for meget. Og jeg synes også, at den meget mindre villende journalfilm, som registrerer og diskuterer kunstværkets tilblivelse, har den charme, hvormed skitsen i gamle dage overgik udstillingsbilledet i intensitet. Men det er også sådan, at dette filmessay var meningsløst uden dokumentarfilmen, det diskuterer. Tilsammen er de film et forunderligt værk om nogle kantede mænd, som forsøger at nærme sig det eksistentielle og det poetiske. De er så forsigtige med deres grove hænder og ekstremt gearede motorik, at de nok ikke når at røre ved den kærlighedsfølelse, projektet gælder. Vi får næppe øje på følelsens fossil i deres bjerge af kroppe. Til gengæld bliver følelsen heller ikke kvalt i udpensling. Den er stadig den lyslevende længsel.

Danmark 1996, 45 min og 31 min.

SYNOPSIS

”It’s Now or Never”. The Irish West Coast, both harsh and beautiful, creates the frame for this humoristic documentary. The main character is Jimmy, middle aged and lonely. Of earthly creatures seen from his window is an equally lonely cow which has been bought by Jimmy from his bachelor friend, Austin. Jimmy would like a woman to share his life and looks up a matchmaker who dutifully asks him about his wishes and preferences. Jimmy bides his time, fantasizes, chats with the boys, asks God for advice and builds stone dikes, all the while humming that ‘it’s now or never’. Then, this rugged man gets a telephone call from the matchmaker. (dfi.dk/faktaomfilm)

”How to Invent Reality”. A demonstration of Jon Bang Carlsen’s method using the example of his film about Irish bachelors, “It’s Now or Never”. At one point in this essay about documentary staging someone says: “You move into a film like you move into a house.” Whether you feel comfortable there, however, depends on many small, sometimes unnoticeable things. That’s what Bang Carlsen talks about in this film: the search for protagonists, places, events, moods, and their translation into a cinematic narrative. That’s why what we finally encounter in the cinema is neither the protagonist’s story nor the director’s. Instead, the film has found its own truth. And that’s the wonderful thing about filmmaking. In that sense you can’t help agreeing to another comment by Bang Carlsen about his documentary method: “It’s a result of mistaken orthodoxy to be limited by the way the world happens to look.” (Matthias Heeder, Dok-Leipzig)

Filmcentralen / For alle streaming: http://filmcentralen.dk/alle/film/its-now-or-never 

http://filmcentralen.dk/alle/film/how-invent-reality

Om filmen: http://www.dfi.dk/faktaomfilm/film/en/15694.aspx?id=15694 

Jon Bang Carlsen om sit værk: http://www.dfi.dk/Service/English/News-and-publications/FILM-Magazine/Artikler-fra-tidsskriftet-FILM/60/Poetics-of-Cinema-Inventing-Reality.aspx

Litt.: Lars Movin: Jeg ville først finde sandheden, 2012, 372ff (Hovedværket om instruktøren og om disse film) 

DocsBarcelona 2015

There was champagne on the football pitch the other day in Madrid, where FC Barcelona won the Spanish League. And the Danish fan in his corner chair in the garden house took a cigar from the humidor and celebrated his favourite team once more as he has done so many times in Copenhagen and in Barcelona at Camp Nou. A great prologue to what starts next week in the Catalan capital: DocsBarcelona, another celebration, this time of the art of documentary cinema.

I have been working with and for DocsBarcelona since the very beginning almost twenty years ago, have enjoyed seeing the development of an event that started as a so-called industry training and pitching arrangement to be added with a festival some years ago, and now also an InterDocsBarcelona ” to encourage interactive and transmedia documentary”. If you go to the website of DocsBarcelona, you will also discover that there is a Documentary School coming up, a Documentary of the Month distribution initiative that celebrates its 10th year – and by the way DocsBarcelona also operates in Chile and Colombia!

Yes, DocsBarcelona is super ambitious and still the festival has a moderate size with a reasonable number of films presented in a reasonable number of screening venues. The CCCB (the Cultural Centre) will host screenings and the industry meetings where the format has changed from an open pitching session to speed meetings – 40 projects are to be presented to a selection of 30 financiers and distributors/sales agents. I talked to a friend, who had got 13 meetings. What a logistical process to make this work out!

Back to the festive atmosphere, the festival has introduced ”Docs&Wine” (!!!), a quote from from the site:

…After viewing 5 clips from 5 different films from the festival, the couples will have to pair each film with one of the selected wines. A game in which participants will enjoy a new way of approaching documentary through wine. A pioneering sensual experience that will not leave you indifferent… I have signed up!

http://www.docsbarcelona.com/en/

FILMCENTRALEN 4 /Uyarra og Christoffersen

Filmcentralen / For alle kan jo gå hen og blive en samling som der trygt kan refereres til og hvorfra filmværkerne til enhver tid langt ud i fremtiden kan hentes frem og bruges af mig, af lånerne, af offentligheden ligesom de litterære værker i de store biblioteker, i dem af dem, som ikke har opgivet at være samlinger. Som da jeg forleden dag via et opslag på Facebook fra Sara Thelle om to artikler af diplomatimedarbejderen Julian Borger i The Guardian om de dramatiske og omhyggelige forberedelser til en retssag mod Bashar al-Assad læste om en af mine dokumentarfilmhelte, den canadiske ekspert i international ret Bill Wiley (FOTO) i Esteban Uyarras og Michael Christoffersens Saving Saddam fra 2008, som netop nu er dybt involveret i den sag. Jeg må jo i denne nye sammenhæng se den film igen. Dengang skrev jeg dette om den:

… Det måtte slutte der på forhøjningen med trappen op. Har nogen mon talt trinene? Bødlen med sort hætte lægger et sort tørklæde om Saddams hals, og derefter løkken, som netop ser sådan ud. Man ser det alt sammen på mobiltelefon-optagelsen. Det er ikke noget smukt billede. Det er forfærdende som den grimme videooptagelse fra retssagen mod Elena og Nicolae Ceausescu. Billedet af dem i overtøj. De sidder i den kolde skolestue, hvor standretten finder sted. Summarisk rettergang.

Denne films hovedperson, Bill Wilay vil forhindre, at noget sådant gentages. Han vil en retfærdig rettergang efter internationalt anerkendte regler, han vil, at drabene hører op, vil afskaffe dødsstraffen som første skridt… (Læs videre) 

In English from FILM Magazine 1 November 2008:

THE CRIME OF CRIMES

by Allan Berg Nielsen

In Saving Saddam, Bill Wiley, a Canadian lawyer, wants to abolish the death penalty. The film is produced by Mette Heide and Michael Christoffersen for Team Productions, the company that produced Milosevic on Trial, about The Hague Tribunal.

There it inevitably ended, on the podium, with the steps leading up to it. Did anyone count the steps? The black-hooded executioner ties a black kerchief around Saddam’s neck, next the noose, which looks just so. The mobile phone video shows all, and it’s not pretty. It’s every bit as horrifying as the ghastly video of the trial against Elena and Nicolae Ceausescu with its unshakable image of the two of them wearing their overcoats in the chilly schoolroom where a military court was hastily convened. The protagonist of Saving Saddam, Bill Wiley, a Canadian lawyer, wants to prevent the same thing from happening again… 

He wants a fair trial according to internationally recognised rules. He wants the killing to stop. As an initial step, he wants to abolish the death penalty. Esteban Uyarra and Michael Christoffersen’s film looks at this lost opportunity.

The film opens by saying what we already know, that he failed. The phone rings. Picking it up, he says he’s been in Baghdad for 19 months, trying to save Saddam Hussein. When the film opens, we know that the project it describes won’t succeed. The film then closes with the same scene of the phone call.

In the meantime, Wiley’s experiences over those 19 months have made us much the wiser. They trace the film’s storyline – ambition, hope, hard work, resistance, persuasion, stubbornness, a victory of sorts just before the final defeat and disappointment. Saddam may hang, but in a way he still wins. Deboarding a plane in Canada, Wiley exclaims, “I’m alive!” But of course, he lost. The film tells us how and why.

As Wiley first saw his role as advisor, he would fight for Saddam Hussein getting a fair trial. But the new Iraqi government wants revenge. As do the demonstrators in the streets, the politicians and the prosecutors. Even the judges want it all along, a lot would indicate. What Saddam and his defence team want is less certain.

INTERNATIONAL CRIMINAL LAW

Wiley is grounded in international criminal law. “My job, my moral duty,” he says, “is to try and save any man whose life is in peril without respect to his goodness or lack thereof. So if it turns out in the judgement that I’ve succeeded, at least in this one case, I will be very, very satisfied.”

Wiley is a lawyer from Canada with years of experience in international criminal law. He comes to Iraq from Congo, where he worked as an investigator for the UN’s International Criminal Court, a relatively new permanent tribunal. Wiley quit because of poor security, after several UN officers were killed. Now in Iraq, the UN has assigned him to monitor the trials against Saddam Hussein and his cohorts to make sure they get due process. Thus, he is a UN observer when the Iraq Special Tribunal opens the trial against Saddam. As a foreign attorney, he can’t actually appear in the trial, though he can serve as an advisor outside the courtroom.

The trial was set up and funded by the American government through an entity known as the Regime Crimes Liaison Office (RCLO), with the Americans providing funding and logistics. Soon realising that Saddam’s defence is a shambles, RCLO, i.e., the Americans, hires Wiley to step in as an advisor to the defence team, though without the defence’s consent. Wiley eventually manages to establish a rapport with them and lends his assistance, though that side story gradually descends into chaos. Our protagonist, then, comes to Iraq as a neutral observer for the UN, but then switches roles when the Americans employ him to ensure that the trial meets international standards. As a climax, he writes Saddam Hussein’s closing document, the final statement by the defence, thought it fails to avert the death penalty. As he says at one point, “Maybe we were naive ….”

GROWING AWARENESS

As the story unfolds, we realise it’s about this strange naivety. How certain Western political institutions have a hard time putting themselves in someone else’s place, understanding that others don’t automatically accept the Western concept of democracy or the Western view of law. Wiley is divided. He has his long legal education, his broad base of knowledge, yet he somehow understands Saddam’s reluctance to accept him on his defence team.

His growing awareness, expressed as mounting frustration, is edited as an inevitable development for the protagonist. Wiley is constantly thrown into conflict between his idealism and his sense of reality. Meanwhile, he is falling under the influence of Najeeb Al-Naumi, the utterly disillusioned head of the defence team and his intellectual equal. The film’s other focal point, Najeeb is a profoundly fascinating character, and the film effectively pits him against Wiley. Ironic disillusion versus naive idealism.

In principle, no foreigners are allowed in the actual courtroom. Nonetheless, when the time comes for Saddam and his daughter to pick their defendants, their choices include Najeeb of Qatar and Ramsey Clark, a former United States Attorney General on his own political mission (he once defended Slobodan Milosevic), as well as an Egyptian and some Iraqi attorneys. Bending the rules, the tribunal allowed the foreign attorneys in.

The defence attorneys are a motley crew. Sometimes they’re in Baghdad, at other times they meet in Amman, where Saddam’s daughter is staying, or in Damascus. Mainly working out of his Qatar office, Najeeb increasingly isolates himself, when he begins to sense that the others have a totally different agenda. This is the context of a key scene, a confidential call between Najeeb and Wiley, outlining the trial’s complicated standoffs: Saddam versus vengeance, a concept he essentially recognises, and Saddam versus a new, flimsy international court he does not recognise.

THREE FILMS, ONE EXPERIENCE

Christoffersen co-directed “Saving Saddam” with Estaban Uyarra, who made his name as a daring documentarian with his 2004 film about the invasion of Iraq, “War Feels Like War”. Christoffersen had already made two films about international war crimes tribunals: “Milosevic on Trial” (2007) and “Genocide: The Judgement” (1999) – respectively about the tribunal in The Hague, 2002-2006, and the tribunal in Arusha, Tanzania, 1994, that convicted the mayor of Taba, Rwanda, for a number of serious crimes relating to the massacres in his town. “Genocide’s” main character, the Swedish judge Lennart Aspegren, characterises the UN tribunal as the first human rights trial since Nuremberg, an experiment with the potential of international law to prosecute the crime of crimes – murders of civilians, genocide and other crimes against humanity.

All three films centre on the crime of crimes and the historically still quite young international justice system prosecuting such cases. Each film fuses the story and a charismatic central character with an understanding of the law and ethics – as effectively embodied in gentle, thoughtful Aspegren in “Genocide”, tough and efficient Geoffrey Nice in “Milosevic on Trial” and frustrated Wiley in “Saving Saddam”. The three works, as a whole, constitute a collective journalistic and documentary experience of international law. Filmed on location, Christoffersen’s films uniquely document the ambition for a comprehensive legal system during its early formative years.

After his third experience with the subject, Christoffersen says, “Say what you want about the tribunal and the trial of Saddam, but it was, and still is, a real attempt to have a judicial process according to international principles, a first in the region. But of course, such cases always have a political dimension, this one more than most, and ultimately that was a decisive factor. Writing off the trial as an unfair political charade is way too simplistic, to the best of my opinion.”

Danmark 2008, 51 min.

Streaming Filmcentralen / For alle:

http://filmcentralen.dk/alle/film/manden-der-ville-redde-saddam

Filmens side på DFI: 

http://www.dfi.dk/faktaomfilm/film/en/58609.aspx?id=58609

John F. Burns i The New York Times 2008:

http://www.nytimes.com/2008/09/25/world/middleeast/25trial.html?pagewanted=all&_r=0

Julian Borger i The Guardian 2015:

http://www.theguardian.com/world/2015/may/12/smuggled-syrian-documents-indict-assad-investigators?CMP=share_btn_fb

http://www.theguardian.com/world/2015/may/12/syria-truth-smugglers-bashar-al-assad-war-crimes

Allan Berg Nielsen i FILM Magazine 2008:

http://www.dfi.dk/Service/English/News-and-publications/FILM-Magazine/Artikler-fra-tidsskriftet-FILM/64/The-Crime-of-Crimes.aspx

Cannes Festival Goes for Documentaries – does it?

Interesting article in Nonfics yesterday by Daniel Walber, a clever comment and reflection on the fact that the Cannes Film Festival has introduced a ”Oeil d’Or” (Golden Eye) award of €5000 with 14 films competing and with a jury that includes fine names as Rithy Panh, Nicolas Philibert and Diana el Jeiroudi.

The problem, however, according to Walber, well to anyone who is in for the artistic, creative documentary, is that 10 of the films are films about legendary film directors and actors – a quote:

“There are two 50-minute films on Orson Welles, one of which was produced by Turner Classic Movies. There’s one about actor Steve McQueen‘s love of auto racing, another about pioneering African filmmaker Ousmane Sembène, and a profile of Gérard Depardieu. There’s even a documentary about the history of the Palme d’Or itself. Kent Jones‘s Hitchcock/Truffaut is an inevitable highlight, as well as Stig Björkman‘s Ingrid Bergman, in Her Own Words. Daniel Raim, Oscar-nominated for his short profile of art director Robert Doyle, is back with Harold and Lillian: A Hollywood Love Story. Finally, the one I’m most looking forward to is By Sidney Lumet, a new American Masters film from Afternoon of a Faun director Nancy Buirski.”

I am sure that several of these films are full of creativity (long to see Björkman’s on Ingrid Bergman and the one on Hitchcock/Truffaut) but they “smell” of well crafted television documentaries, where the main subject is commented on by colleagues, experts, whatever. So the competition is in no way reflecting the strong position of author-driven documentaries worldwide today as the feature categories go for the “auteur”.

To be fair Asi Kapadia’s film on Amy Winehouse, Amy (photo), that has received enormously positive reviews after its screening at the festival, is also in this first competition at the Cannes festival. Let’s wait and see what the jury decides.

http://nonfics.com/cannes-documentary-prize/

FILMCENTRALEN 3 /Vibe Mogensen

Jeg vælger denne gang Min fars sind, den er fra 2005, jeg havde haft lidt med den at gøre. Dette er hvad jeg skrev kort efter premieren til en visning i Randers:

Det er en meget smuk titel Vibe Mogensen har givet sin film. Den dækker fuldstændig filmens overvejelse og indhold. Jeg har fulgt den fra de første skitseagtige optagelser for nogle år siden – den var længe undervejs, men den har ikke ændret retning, den var og blev denne uro: min fars sind. Filmen har to medvirkende, Vibe Mogensen selv og hendes sindssyge far. Og den handler om dette sind og tanken i titlen. Arven. Er det sådan i en familie, at alt arves? Og er det så også sådan, at vi må vedgå denne arv?

Instruktøren besøger med sit kamera faderen, som bor alene i Randers. Og de bruger samværet til at dykke ned i familiehistorien. De har fotografierne og de mange film, som skyldes faderens store produktivitet altid. Som datteren anerkendende noterer – nu kan hun bruge dem i sit arbejde, i sin undersøgelse og fremlæggelse af historien, hvor faderens og moderens forhold er centralt. Moderen er borte nu. Hvorfor er hun det?

Faderen malede også dengang, og de leder i kælderrummet og i loftsrummet efter et bestemt billede. En fremstilling af en mand og en kvinde som et tohovedet væsen, som siamesiske tvillinger. Og siamesiske tvillinger kan ikke skilles uden, den ene dør, har han læst. Hun kunne ikke leve uden dig, konkluderer datteren om sin mor, men hun kunne heller ikke leve med dig. Du har ret siger faderen sagtmodigt.

Og sådan går deres samvær og deres samtaler videre, datterens og faderens. Kameraet er stadigvæk deres medium, selv om han ikke vil filme mere. Han vil gerne medvirke. Også vise sine følelser, sin sorg, da hun fortæller, at hun skal skilles. Åh, nej – siger han, men han havde anet det. Arven går videre, Sådan også med kærligheden til børnene – som Vibe Mogensen er sikker på hun har, ja, du er god mod dine børn, fastslår faderen, og hun nikker: jeg må jo have lært det et sted.

SYNOPSIS

… ”As an editor I’m trying to find the soul/the spirit of the film”, she (Nanna Frank Møller) said and continued to show material from the masterpiece of Vibe Mogensen, Min fars sind (The Mind of my Father): A grown-up man one day starts to cry, he does not know why, it gets worse, turns into a mental illness bringing him on strong medicine to survive. The daughter, the director, visits him, films him, as he has been filming her on holidays way back before he got ill. I have seen the film several times, every time it moves me immensely. (Tue Steen Müller on The Mind of my father)

Min fars sind, 2005. 59 min. Instruktion og manuskript: Vibe Mogensen. Fotografi: Vibe Mogensen. Klip: Nanna Frank Møller. Smalfilm: Familien Mogensen. Producere: Anne Regitze Wivel og Vibeke Vogel. Produktion og distribution: Barok Film. Streaming: Filmcentralen / For alle.

FILMOGRAFI

Vibe Mogensen (f. 1964) debuterede med Borte i 1992. Vibe Mogensens afgangsfilm Veninder fra 1994 blev sendt på DR1. Hun lavede dernæst Pigerne i 4. B  og Rideskolen begge for DR1. I 1998 kom Salsapiger søger og året efter Mit barn som stjerne, der begge sendt på DR2. I 2002 kom 100 % Greve, som blev vist som tv-serie på TV2. I 2004 fulgte 110 % Greve, der blev vist i biograferne. I 2006 lavede Vibe Mogensen Mit Danmark – film 8 i en serie med ti medvirkende instruktører.

Streaming ”Min fars sind”: http://filmcentralen.dk/alle/film/min-fars-sind

Om filmen: http://www.dfi.dk/faktaomfilm/film/da/43059.aspx?id=43059

Vibe Mogensen: http://filmcentralen.dk/alle/film?field_director=%22Vibe%20Mogensen%22  http://www.dfi.dk/faktaomfilm/person/da/146201.aspx?id=146201 

Franz Grabner 1955-2015

Kind and sweet and warm and knowledgeable Franz Grabner has died. I had the privilege to work with him for many years during my years at the EDN. He was many times at the Ex Oriente workshop and pitching in Jihlava and he found it important to come to ZagrebDox when training and pitching was introduced there. And it was only natural for Mikael Opstrup and me to ask him to join us in September 2011 for the DOCMeeting in Buenos Aires. I wrote the following report on this site:

”Franz Grabner from ORF in Austria, on the contrary to the power point the previous speaker used, opened his textbook and looked down at his handwritten notes. For him the development of a film project is the most important, he wants to create a relationship with the director. We should not lose the audience, he said, and continued to express his concern about the tv audience – no young people watch television – ”sometimes I think that I am producing more for the past than for the future”. But let’s make films for the audience and not for the ratings. Grabner referred to the strong film tradition in Austria after the world war 2, with names like Haneke, Glawogger, Geyerhalter and Ulrich Seidl, and showed a clip from the Bosnian director Begovic wonderful and original ”Totally Personal”.”

Yes, Franz was for the original and personal documentary, the artistic and he was aware that the good days for that kind of films on television were over. He wanted to have a post-ORF life to make his skills available for filmmakers as a consultant after his long hospital stay. Indeed he knew his film history.

Many warm thoughts go through my head when I think of Franz, who was also the one who introduced me to wonderful Austrian red wine. My condolences to his family.