Ada Bligaard Søbys amerikanske trilogi

FOF-Randers havde bedt mig pege på film til filmklubbens sæson 2014-15. Jeg havde denne gang til fire aftener valgt de fire film, som jeg på filmkommentaren.dk havde givet de bedste anmeldelser, simpelthen. Nogle af filmene havde en længde, som levnede plads til forfilm. De er så lidt ældre, men valgt efter samme princip: de har fået de bedste anmeldelser. Forleden aften var det så Ada Bligaard Søby aften i Filmklub FOF, vi skulle se og snakke om ”Petey & Ginger”(2012). Den er på knap en time, så der var plads til de første 15 minutter af ”American Losers” (2006) og hele ”Black Heart”(2008), så vi kunne snakke om instruktørens amerikanske trilogi, som vi kaldte det. Indbydelsen til medlemmerne bestod logisk nok af tre citater fra mine anmeldelser:

American Losers, 2006

”… Og jeg samler mig sammen. Hvad er det med den her film? Genren bestemmer jeg hurtigt, det er filmisk dokumentar milevidt fra journalistik. Attituden er kunstnerisk. Indholdet er vanskeligere at indkredse, det er en blanding af biografi, tragedie og komedie, og det er med musikkens afgørende placering tæt på at være en lille street musical også. Metoden er rejsebeskrivelsens, og der iblandes post-chatwinsk samtaler og interviews alt sammen i direct cinema stil, men ikke klassisk. Her er kameraet medspiller, den tredje karakter. Og der garneres med en overdådighed af billedmateriale, personligt arkivstof og lyriske optagelser til indklip. Grebet er ofte collagens, men helheden er og forbliver timen igennem et vemodigt personligt essay om en stor herskende kultur og om to forskellige og dog så ens frigørelsesforsøg inden for dens dominans.”

Black Heart, 2008

”… Vedholdende og inspirerende og fascinerende fortsætter Ada Bligaard Søby sit filmarbejde, hvor hun dels lag for lag undersøger den moderne kærlighed mellem ham og hende, dels i fremstillingen disciplinerer balancen mellem disse to karakterer med en milligram-vægt uden den flimrende lethed i fortællingerne et sekund slippes, dels fornyr det nutidige filmbillede med ganske nye kvaliteter af sikre, personlige valg i både andres arkiv, i instruerede nyoptagelser og sit eget fotografiske materiale. I hendes film bliver alt musik ved siden af den egentlige musik som igen omhyggeligt afmålt slutter sig til billedernes og sætningernes og sindsstemningernes kadencer. Genren er lyrisk film, indholdet poetisk indsigt, stemningen humørfyldt vemod.”

Petey & Ginger, 2012

”… Efter at have set filmen sidder jeg helt stille, for det her er egentligt tankevækkende. Det er ikke en bekymring, dog, det ligner, men det er noget mere, det er en stille fortvivlelse. Ada Bligaard Søby ser det vist ikke selv sådan, jeg læser imidlertid filmen sådan, og så rigt er værket, det kan bag ryggen på sin autor forstås ud fra en lang række andre forudsætninger, og jeg er sikker på, der er svar til dem alle. Elementerne er for så vidt enkle og sædvanlige, men kvaliteten af dem er overraskende og overrumplende, ny og frigørende. Jeg har ikke set det tilsvarende i nogen anden af den nye bølge af berømmede danske dokumentarfilm. Dette er enestående i filmverdenens nu.”

Citaterne var altså fra anmeldelser på FILMKOMMENTAREN.DK : http://www.filmkommentaren.dk/blog/blogpost/2116/

Vi gennemførte aftenen i aftenskolens foredragssal siddende ved borde med et glas rødvin foran os i passende dæmpet lys, så vi både kunne se billederne på lærredet og hinanden og hinandens reaktioner. Samvær og senere samtale. Som en del af mine små oplæg til de tre film ville jeg citere de tre synopser fra forskellige kilder, men som jeg af deres karakter må tro er skrevet af Ada Bligaard Søby eller godkendt af hende, renset for reklamesprog som de er, men direkte korte signalementer af værkernes kerne. Dem satte jeg op ved siden af mine egne tekster, mine læsninger af filmene. Der gik imidlertid lidt rod i det, så dagen efter måtte jeg sende et PS til medlemmerne:

Til filmklubbens medlemmer. Ved min introduktion i aftes lavede jeg rod i de tre films synopser (instruktørens indholdsresumeer), som jeg prøvede at læse op. Selvfølgelig lå den synopsis, jeg så flovt manglede, hjemme på skrivebordet. Undskyld! Nu får I så alle tre synopser sammen med de relevante billeder, så I kan huske de tre film lidt lettere.

Jeg er så glad for, at Michael Kull (aftenskolens forstander) henledte opmærksomheden på Paul Austers ”New York Trilogien”. Som jeg sagde jeg ville, tog jeg den udgave, jeg har, Jan Bredsdorffs danske oversættelse i ét bind (1998) frem og kiggede selvfølgelig efter det, som Kull havde været inde på, det gennemgribende vemod, og det vil jeg fortsat gøre. Men jeg læste også Bo Green Jensens forord. Og der var noget, jeg lige kunne bruge til det, vi talte om, at se Ada Bligaard Søbys tre film som en egentlig trilogi. (Hvad hun mig bekendt ikke selv gør, men et publikum har visse rettigheder…) I forordet citeres Austers kommentar til at opfatte de tre romaner i trilogien som en trilogi. Det vil jeg viderecitere efter de tre synopser til filmene i aftes, for egentlig passer det også på dem som trilogi, tror jeg.

SYNOPSER

American Losers, 2006:

”…Hvor ellers end i New York er grænsen mellem at være en vinder og en taber så utydelig og uklar? Hvem er vindere, og hvad definerer en taber? Kimberle – en rockstjerne-aspirant fra Bibelbæltet – lever et fuldblods New Yorker liv. Hendes energi er uendelig i hendes forsøg på at klare den i storbyen, samtidig med at hun konstant presser sig selv for at kunne tjene penge og nå til øvetimer i PSYCHIC DRIVE. Kevin er en enspænder. En autodidakt forfatter, der er begyndt på college som 40-årig. Han bor alene i et hus 30 km nord for New York og bruger størstedelen af sin tid på at læse og skrive i en evig søgen efter store filosofiske og romantiske spørgsmål. AMERICAN LOSERS er en reportage dagbog. Filmen er en almindelig historie i et ualmindelig collage af billeder og følelser. Med filmen vil instruktøren gerne udfordre publikums ofte overfladiske domsfældelser over os selv og hinanden, kigge den amerikanske drøm efter i sømmene og stille spørgsmålet: Hvorfor er det så svært at leve op til sine egne forventninger?”

Black Heart, 2008:

”…New York er fuld af historier: Marina blev gift i en forelsket rus for 10 år siden og kæmper nu for at holde skruen i vandet som enlig mor til to. Tim sidder i et pladestudie i Brooklyn i erkendelse af, at frihed er omvendt proportional med mængden af ens ejendele. Og Joshua, der netop har mistet alt i en brand, er nu en fri fugl. Men hvis det ikke var for kærligheden, hvad ville man så have? ‘Just lust and money, cocaine and sushi’. ´Black Heart’ er en film om mentale efterveer. Den følger tre new yorkere, som hver især bestræber sig på at behandle et personligt tab. Den fjerde karakter er New York, som forsøger at komme sig efter 9/11-tragedien og det sår, som stadig eksisterer.”

Petey & Ginger, 2012:

”… A Testament to the awesomeness of mankind. When the global economy collapses the only true victors are those that weren’t invited to the boom. Petey plays in a band and works in a pornography warehouse, packing and shipping sex paraphernalia to customers all over the world. Ginger works the late night shift in a bar as a fortune-teller to those who have been hit hard by the financial crisis.

Living on opposite coasts of America and both friends of the filmmaker, both their stories begin with their respective escapes from difficult childhoods.

The film weaves voices and images, seeking to reveal how in-between people are hanging on in today’s America, desiring and dreaming in a no-man’s-land, but now adapted to the lack of hope.

“Petey & Ginger” is a personal take on individual crisis vs. collective crisis, and what happens when the two overlap. In their narrative, we experience a broken culture exposing a wasteland of shattered economic dreams and unfulfilled social promises; a reality that only music and friendship float freely above.”

PAUL AUSTER OM SIN ”NEW YORK TRILOGI”

”… Teknisk set er det vel ikke nogen trilogi. Snarere kan man kalde dem et triptykon. Det er sikkert en bedre måde at beskrive bøgerne på, selv om det lyder meget prætentiøst at tale om dem på den måde. Men de er som et maleri i tre fløje, tre dele. Man kan tage hvert af billederne og se på det alene, og det giver mening, for så vidt som det hele giver nogen mening, men når man ser dem sammen, bliver de mere interessante. Historierne fortsætter ikke, og de flyder ikke ind og ud af hinanden, men der er en fælles stemning, en tematisk resonans, og jeg tænkte på dem som et hele. Jeg ønskede, at de skulle hænge sammen til sidst. De udgør ét værk i følelsesmæssig henseende.”

STREAMING

American Losers: http://vimeo.com/23358196 

Black Heart: http://vimeo.com/57073699

Petey & Ginger: https://itunes.apple.com/dk/movie/petey-ginger/id679442596?l=da 

og http://dafilms.de/director/8198-ada-bligaard-sby/  (her er Black Heart også)

Bringing Truths to Life – at Sundance

Realscreen reports from the ongoing Sundance festival. And documentaries are shown and discussed. Last saturday a panel of three directors were talking about ”the blurring lines between journalism and non-fiction storytelling”.

Laura Poitras (Citizen Four etc.) (Photo): “It’s not a blurry line, it’s additive, It’s ‘Journalism Plus.’ It’s not just telling the facts. We don’t make films to break news. Hopefully we make lasting narratives, so that’s different.”

Alex Gibney (Taxi to the Dark Side etc.): “I consider myself a filmmaker, but with journalistic baggage. I do have a commitment to make something in the visual medium that stands the test the time.”

Mark Silver (3 ½ minutes)… To illustrate how different journalists and filmmakers are perceived in the U.S., the British-born Silver said that he applied to be part of a journalists union in the UK before directing 3½ Minutes, a very American crime story debuting at the festival. “I needed something to help me get through customs without having to explain myself,” he said. “Being a journalist union member did that. And to get access to the courtroom, we couldn’t have pushed that without being a journalist.”

Just a taster for the article by Michael Speier on a theme that comes up whenever the documentary genre is on the agenda.

Read more: http://realscreen.com/2015/01/25/sundance-15-gibney-poitras-silver-debate-journalism-filmmaking/#ixzz3QFOjIroi

Flaherty: The Scent of Places

The Flaherty has announced its 2015 seminar, June 13-19 at the Colgate University, Hamilton NY. The programmer is Laura U. Marks. There is a focus on Arab film artists – you can read much more about the event by clicking the link below. Here is the introduction to the seminar that is – among others – supported by AFAC, The Arab Fund for Arts and Culture:

“The title “The Scent of Places” suggests the ways cinema makes the subtlest of presences perceptible. It brings lost or forgotten events into present awareness. It gives form to unbidden feelings. It invents stories more truthful than fact. It detects patterns—emotional, social, and political. It sharpens perception so that we can see and hear, smell and feel more clearly.

Filmmakers from the Arab world are some of the most adept at these creative strategies. Living in the Arab world in recent decades, with its barrage of external and internal pressures, demands filmmakers and artists to come up with smart and subtle ways to express forces, histories, and experiences that lie under the radar. The goal of the program is to focus not on the works’ geographic, social, and political context, but on their aesthetic qualities: the scents of places that they make present. So the program brings Arab artists together with other international filmmakers who share creative strategies with them. The program also diminishes large-scale politics to focus on more intimate and playful gestures. The richest and strangest scents—those of ordinary life—float through these works. They discover patterns in the chaos of the world. They fabulate, or invent fictions that become true. They engage in psychodynamics, teasing people into expressive acts. They crackle like Geiger counters in the presence of invisible forces. With rhythm and performance they shake up the world and squeeze it for its juice.”

http://flahertyseminar.org

http://www.arabculturefund.org/home/index.php

Carl Th. Dreyer Award to Anders Østergaard

Of course we Danes must have an award carrying the name of Dreyer:

“Every year on Dreyer’s birthday, the Carl Th. Dreyer Memorial Fund awards a prize primarily to a young film director, or other artist working in film, in recognition of an outstanding artistic performance. The fund is financed by the annual earnings from Gaumont’s distribution of The Passion of Joan of Arc.”

A press release of today communicates that the prize this year goes to Anders Østergaard (cv according to DFI’s website): Director, born 1965. Graduated from the Danish School of Journalism in 1991 after training at Central Television, London. Worked as a copywriter at an advertising agency and as a researcher on documentary programmes. Awarded Best Documentary at Odense International Film Festival in 1999 for “Troldkarlen”/”The Magus”. Writer-director on the international coproduction “Tintin et moi” (2003), and the documentary about one of Denmark’s most popular rock bands “Gasolin” (2006) which had a successful run at the domestic boxoffice with nearly a quarter million admissions. “Burma VJ” (2008) received an Oscar nomination and has taken home a record-breaking number of international awards, including IDFA’s Joris Ivens and Movies That Matter. Also from 2008 is “Så kort og mærkeligt livet er”, about Danish poet Dan Turèll.

And this comment from me – An obvious choice or the award, Østergaard has developed his own original and playful take on how to treat creatively the past, shown brilliantly through his last work “1989”, shown all over Europe. On top of that he is an excellent and inspiring teacher, who can be strongly recommended to film schools and professional documentary gatherings.

André Singer: Night Will Fall

Jeg har ikke tid til at skrive en egentlig anmeldelse af André Singers imponerende og vigtige film, som jeg så på SVT i går aftes. Allan Berg vil muligvis stå for den. Men filmen er som historisk dokument naturligvis unik, historien om den – Bernsteins dokumentar blev lagt på hylden og ikke færdiggjort af politiske årsager – er interessant, det er historie og det er filmhistorie, og det er betryggende kompetent formidlet af The True Documentary Gentleman, André Singer, som har stået bag en perlekæde af dokumentarfilm, som producent (bl.a. af flere Werner Herzog-film) og instruktør. Og har været en konstant supporter af den kreative dokumentarfilm og af nødvendigheden af at arbejde sammen i Europa gennem f.eks. EDN. Han fortjener ros som Signe Byrge gør det, igen har hun og hendes selskab Final Cut for Real været medvirkende til at en vigtig film er blevet til. Og til at vi danskere, når vi vil, kan gå online og se den via DFI’s Filmcentralen.

http://filmcentralen.dk/alle/film/kz-lejrenes-befrielse-hitchcocks-glemte-film

Ai Weiwei: On The Table

If you happen to be in Barcelona this week, it is a must to visit the exhibition at La Virreina Image Centre, La Rambla 99. It is the last week of an exhibition that I was lucky to see in connection with a meeting on the upcoming DocsBarcelona, whose Elena Subira took me to be a perfect guide. Moreover Llucià Homs, the man behind it all and the one who met Ai Weiwei several times in Beijing explained me the exciting background to how the exhibition was put together:

Ai Weiwei asked in beforehand to get precise drawings of the rooms in the fine, old Palau (Palace). From those he arranged it all. There was no discussion where and how the photos from his New York time, from Beijing etc. should be placed on the walls, he decided, he designed the glass showcases where he put the famous vase with coca cola painted on it or other Marcel Duchamp-inspired readymades. His extraordinary fight for the victims of the earthquake in Sichuan 2008, the official letters to the families of the children are placed on the walls in a separate room, his own constant clashes with the authorities, his arrests, are documented on video screens – and you find his sun flower seeds and the marble flowers on the floor…

I was there for a couple of hours, could have stayed longer but have brought home the catalogue book of this Barcelona exhibition of a world artist, who is not allowed to leave his country but produces art exhibitions all over. There are films about him – last year DocsBarcelona showed Andreas Johnsen’s ”Ai Weiwei – the Fake Case” – and if you go to youtube there are loads of his own work available as is Alison Klayman’s ”Ai Weiwei, Never Sorry”. Watch his music video ”Dumbass” inspired by his emprisonment of 81 days in 2011.

I did not know so much about his time in New York, he lived there from 1981-93, well documented in photographs from East Village giving a good impression of his links to writers like Allen Ginsberg and first and foremost other dissident Chinese artists.

The title of the exhibition is explained. A meeting table occupies a whole room, text from the website:

”(It) is a table from Ai Weiwei’s studio in Beijing that has been installed in the former dining room at the Palau de la Virreina.

This table has several thousand meetings in its memory. Professionals from all over the world have gathered with Ai Weiwei around this table to organise and discuss the projects, publications and shows he has been involved with since 2000. This piece is therefore an expression for the artist’s desire for dialogue and conversation, for sharing and discussing ideas and attitudes available to anyone who wants to sit at it during the exhibition.

If you want to be a part of it, take a photo of your interaction with the table (a meeting, a conversation, taking time out, etc.) and upload your image to Instagram with the hashtag #AWWOnTheTable. Your images will form part of the installation and can also be seen and shared on this web gallery.”

Elena Subira took a photo of me doing the Ai Weiwei – finger – thing.

The exhibition will not travel, it was specifically made for Barcelona, all objects will now be transported to Berlin for storage – no chance that it would come back to the artist. I was told that the Chinese embassy in Spain was not happy with the exhibition to be made but when it wanted to react, the exhibition was already through the Chinese customs and on its way to Barcelona on a ship!

http://lavirreina.bcn.cat/en/exhibitions/table-ai-weiwei

Scorsese & Tedeschi: The 50 Year Argument

”Cinematekets egne premiere-dokumentarer – håndplukkede historier fra virkeligheden”, sådan præsenteres et fint initiativ, som også kaldes ”månedens dokumentar”, som vises i Filmhuset ved 6 forevisninger, således også januar måneds bemærkelsesværdige ”The 50 Year Argument”, der vises i sin originalversion og uden danske undertekster. Premiere den 29. Januar. En filmisk hyldest til legendariske New York Review of Books i anledning af bladets 50 års jubillæum. Martin Scorsese og David Tedeschi har løst opgaven (bestilt af bladet) med humor og respekt for det skrevne ord, men også med sans for det historiske og tematiske, med tankevækkende og undertiden gribende nedslag i tekster og personer, som vil blive stående i litteraturen og journalistikken. Man får lyst til straks at få fat i bladet og dets artikler skrevet af en række fremragende forfattere, filosoffer, videnskabsfolk og journalister.

The main character is the fine gentleman Robert Silvers, 84 years old, one of the founders, who (together with Barbara Epstein (died in 2006)) ”has guided the Review since its launch”, quote from HBO press material. He is working from morning till night seven days a week and he is the one behind the 50 year celebration event that has been filmed with several contributors reading texts from the essays, they have delivered. Boring with people reading from a speakers podium? Not at all, the texts are put in excerpts on the screen, often accompanied with archive footage and photos of the contributors, beautiful b/w works, and for instance archive footage with James Baldwin, Susan Sontag, Noman Mailer, Gore

Vidal, Isaiah Berlin and Vaclav Havel. The latter is dealt with by Timothy Garton Ash, historian and essayist, professor at Oxford University, who followed and wrote about Prague 1989/90, with Havel in focus.

The narrative goes from the 60’es, the killing of Kennedy till today’s Occupy movement caught in the streets of Manhattan. Not necessarily in a chronological structure. Thematically the film covers the wars, the women’s liberation movement (with clips of the debate between Gore Vidal and Norman Mailer), the art scene with Warhol of course and much more, as New York Review of Books has always been precisely much more than a biweekly magazine. It has covered political events and wars, often with a controversial approach.

There are many roses to Silvers, often like ”he trusted me as a writer”, and many stresses the fact that he (Silvers) very often has asked writers far away from a subject to write. Like Joan Didion did with The Central Park Case. Silvers stresses that an editor is one, who asks, he should never command.

An entertaining and fascinating visual hommage to Words as they are being loved by and cared for by brilliant writers inspired by a unique editor.

http://www.nybooks.com

http://www.theguardian.com/books/2004/jan/24/society

USA, 2014, 95 mins.

Bories and Chagnard: Rules of the Game

Svetlana and Zoran Popovic, directors of the Magnificent7 Festival in Belgrade present ”Rules of the Game” that will be screened February 5th as the closing film of the festival. The text also includes words from the director:

There’s a rumour that the employment market is looking for bold individualists. Within limits, of course. The reality is: if it doesn’t fit, it’s made to fit – or rejected.

The unique pains of finding a job are almost universally relatable. In order to succeed, you must present a certain marketable version of yourself, place yourself in unnatural situations and, above all, play by the rules. It’s even harder when you have neither experience nor qualifications to your name. Claudine Bories and Patrice Chagnard’s observational documentary takes on this very subject, focusing on a small group of disenfranchised young adults as they attend an employment consultancy firm in northern France. Through a series of vignettes we are effectively positioned to empathise with their frustrations, failures and successes over a number of months as they are coached through various stages of the employment process. Through their apprenticeship, the film reveals the absurdity of these new rules of the game.

This exquisite film done by true masters had a premiere at the Cannes Film Festival and won one the most prestigious documentary prices in Europe – The Golden Dove at DOK Leipzig. The critic of The Hollywood Reporter wrote: “Bories and Chagnard have produced a piece that is urgent in its mission, nonjudgmental in its depiction of its subjects and entirely theatrical in its mise-en-scene and dialogue – a remarkable feat.”

Director’s Word:
Claudine Bories: One could say that “Rules of the Game” represent a follow-up to “The Arrivals”. The principle is the same: to film closely, with no preconceptions, what happens to people who are confronted on daily basis with major social issues of general concern. Chapter one: asylum seekers. Chapter two: jobseekers.

Patrice Chagnard: Our wish is to tackle realities everybody talks about, everybody believes they are familiar with, while hands-on, concrete approaches are rarely offered. “How does it feel to live through this?” That’s the question we ask ourselves, whether our film is about welcoming immigrants or about coaching unemployed youth. Major social issues are always a minefield littered with stereotypes and partisan rhetoric. The job of cinema is to demine the field by showing things as they are.

France, 2014, 106 mins.

happinessdistribution.com/catalogue/158-les-regles-du-jeu

Virpi Suutari: Garden Lovers

Svetlana and Zoran Popovic, directors of the Magnificent7 Festival in Belgrade present ”Garden Lovers” that will be screened February 4th at the festival. The text also includes words from the director:

One of the most important Finnish and European documentary authors, Virpi Suutari, is passionate about two things – documentaries and gardens. In this film she leads us into the beautiful and funny world “North of Eden”.

This is a documentary love story about couples who take care of their gardens together. The film looks behind the middle-class facades with a comic twist and listens to the couples’ stories about the conflicts and joys of long relationships. The setting is their own garden, a hobby that in many cases has gotten out of hand years ago. The film’s angle on the toiling and the passionate gardening is kind and humoristic: fellow human beings build and defend their territories, but also enjoy beauty in the paradise they have built for themselves and their spouses.

In the visually handsome film an invisible bond develops between the key couples. With their own stories they listen, comment and comfort each other – while also providing viewers with a chance to engage. The garden represents a door to the everyday struggles of human life, with joy, without moralizing and underlining. The film’s gardening stories celebrate fertility, play – and love.

This is a comic documentary about the necessity of gardening.

Director’s Word: The process of making “Garden Lovers” was open, cheerful and liberated – a midsummer night’s play in a sense. As a director, I was happier than ever when making this film. At the same time I was bidding farewell to my father, who taught me everything about gardening. Thus, the film also became a personal journey toward accepting the idea of letting go and meeting death. With “Garden Lovers” I want to celebrate things that are temporary but necessary to the meaning of human existence. The main characters work like crazy – as I do – for their imaginary paradises, although the fruits of their labor may vanish in a moment. We cannot cheat death, but as long as our hands are buried in soil, we at least feel alive.

Finland, 2014, 73 mins.

made.fi/gardenloversmovie

Viktor Kossakovsky Online Retrospective

Yes, of course it is the unique Doc Alliance that brings to us – FOR FREE – seven of Kossakovsky’s film online – UNTIL FEBRUARY 1ST. It is “the first time that they enter the virtual online world and thus also your computer screens”.

It is indeed fantastic, thanks for that. Some of us will have the pleasure to revisit his work, others will have the chance to follow a great director’s development from “Losev” (1989) to “Vivan las Antipodas” (2011), passing by wonderful “Belovs” (1992), the conceptual “Wednesday” (1997), the declaration of love with “Pavel and Lalya” (1998), “Tishe!” (2002), a from-the-window-look from his appartment in St.Petersburg and “Svyato” (2005), the director’s two year old son discovering himself in the mirror. On top of that the film by Carlos Klein, “Where the Condors Fly” (2012), follows Kossakovsky during the shooting of “Vivan las Antipodas”. The latter it has to be said is available for viewing in” the following countries: Czech Republic, Slovakia, Denmark, Portugal, Great Britain, Greece, Sweden, Lithuania, Latvia, Botswana and all Latin American countries.”

More roses to Doc Alliance – if you enter the website you will also be given competent information about each of the films. My advice for the Kossakovsky (smiling to you from a photo taken at the premiere of Vivav… in Venice) film festival you can make for yourself is to go chronologically.

http://dafilms.com/event/197-Kossakovsky/