Henning Larsen 1925 – 2013

Jytte Rex nåede i tide at portrættere Henning Larsen, og hun binder i kvartetten om kunstnerisk arbejde, hvoraf filmen om ham på alle tænkelige måder er en integreret del, denne kunstnerskildring fuldstændig sammen med de tre forrige: Inger Christensen, Palle Nielsen, Pelle Gudmundsen-Holmgreen. I greb efter greb. Også Henning Larsen skal op ad en trappe. Tæppebelagt i et hvidmalet trapperum. Op til sin bolig, hvor alt er hvidt, især gulvene, forklarer han nøgtern, i en tilbedelse af lyset, dagslyset, som former rummene, som jo er hans kunsts genstand. Og han siger senere, at et rum kan være tydeligere i tåge, og i Riyadh skulle lyset begrænses. Som det er med musikkens lyd, er det med lyset, det skal formes, derfor er arkitektur som frossen musik, hedder det frapperende. På det mest neddæmpede fører Larsen mig stolt, beslutsomt og bestemt gennem filmens univers af æstetiske problemstillinger, inden for arkitekturen, ja vist, men med reference efter reference til kunstnerisk arbejde i det hele taget. Henning Larsen er spiller i Jytte Rex’ essayistik, hans bygningsværker er locations og landskaber til Jakob Bonfils’ og Steen Møller Rasmussens optagelser, og Grete Møldrups klip placerer ham og hans replikkers fortælling nænsomt og sikkert i en uventet sammenhæng. Uventet for dem, der ikke kender de tre film, som går forud for denne. Filmen med ham bliver med faste og beslutsomme hænder placeret som et stort og herefter uundværligt element, en fuldstændig bygningsfløj i en filmisk arkitektur. Filmen kan ses for sig selv, men den kan kun for alvor læses som et afsnit, det fjerde, men ikke sikkert det sidste, i et stort, dybt integreret og dynamisk filmværk i fortsat udvikling, fra nu en firefløjet tavle med de forunderligste og skønneste billeder. Så godt Henning Larsen er med i dette filmværk, som skildrer hans arkitektarbejde kongenialt, så godt at vide nu, han er død.

Jytte Rex:  Henning Larsen – lyset og rummet, Danmark 2012, 70 min. Manuskript: Jytte Rex, fotografi: Jakob Bonfils, Steen Møller Rasmussen og Jytte Rex, klip: Grete Møldrup, produktion: Christian Braad Thomsen , Kollektiv Film, distribution: Kollektiv Film (salg af DVD herfra). Kan ses på filmstriben.dk nårsomhelst og på DR K tirsdag 25. juni 21:35.

Blogindlæg om Jytte Rex’ fire kunstner film (Inger Christensen, Palle Nielsen, Pelle Gudmundsen-Holmgreen):link 

Deutscher Dokumentarfilmpreis 2013

The German Documentary Award… was given out in the framework of Dokville, a two day event organised by the Haus des Dokumentarfilms. In German a “Branchentreff Dokumentarfilm”, with a fine and inspiring website. For German-reading visitors. A text clip from the SWR site announcing the winner, “Sofia’s Last Ambulance”, with the jury motivation: „Aus spannenden, mitunter rätselhaften Teilaspekten des Erzählten fügt sich der Alltag dieser Ambulanzeinsätze zu einem Ganzen, das die Dramatik des Geschehens nicht voyeuristisch preisgibt und dennoch die Dramen sichtbar macht. Ein neuer Beweis dafür, dass Kino im Kopf des Betrachters stattfindet. (…) Die Reduktion der filmischen Mittel und die dennoch große Nähe zu den Personen machen den Film zu einem besonderen Ereignis.“

The Bulgarian director Ilian Metev, who at the Magnificent7 festival in January also showed his skills as violin player, had tough competition, look at this list of nominated films:

Carte Blanche [mehr]Länge: 91 Min.; Autor/Regie: Heidi Specogna, Sonja Heizmann; Produktion: PS Film/WDR/ARTE/SRF; Schweiz/Deutschland 2011 [mehr] 

Die große Passion [mehr]Länge: 144 Min.; Autor/Regie: Jörg Adolph;Produktion: if Productions/BR; Deutschland 2011 [mehr]

Dragan Wende – West Berlin [mehr]Länge: 87 Min ; Autor/Regie: Dragan von Petrovic, Lena Müller;Produktion: von.müller.film/RBB; Deutschland 2012 [mehr]

El Bulli – Cooking in Progress [mehr]Länge: 113 Min. ; Autor/Regie: Gereon Wetzel;Produktion: if Productions/BR/WDR;Deutschland 2011 [mehr] 

Gerhard Richter Painting[mehr]Länge: 97 Min.; Autor/Regie: Corinna Belz;Produktion: zero one film/ MDR/WDR/ARTE; Deutschland 2011 [mehr]

Oma und Bella [mehr]Länge: 76 Min.; Autor/Regie: Alexa Karolinski;Produktion: Alexa Karolinski/ARTE/RB; Deutschland/USA 2012 [mehr]

Phoenix in der Asche [mehr]Länge: 92 Min; Autor/Regie: Jens Pfeifer;

Produktion: Pech und Schwefel Filmproduktion/WDR; Deutschland 2011 [mehr]

Sofias letzte AmbulanzLänge: 78 Min; Autor/Regie: Ilian Metev;Produktion: Sutor Kolonko Filmproduktion/WDR/ARTE; Deutschland/Bulgarien/Kroatien 2012 [mehr]

Vergiss mein nicht [mehr]Länge: 88 Min; Autor/Regie: David Sieveking;Produktion: Lichtblick Media GmbH/Lichtblick Film- und Fernsehproduktion/BR/ARTE/HR; Deutschland 2012 [mehr]

Wadim [mehr]Länge: 90 Min; Autor/Regie: Carsten Rau, Hauke Wendler; Produktion: PIER 53 Filmproduktion/NDR; Deutschland 2011 [mehr]

Stifter und Preisgelder

Der Deutsche Dokumentarfilmpreis wird alle zwei Jahre verliehen. Preisstifter sind der Südwestrundfunk (SWR), die MFG Filmförderung Baden-Württemberg (MFG) und das Stuttgarter Haus des Dokumentarfilms (HDF). Das Preisgeld beträgt insgesamt 25.000 Euro. Der Deutsche Dokumentarfilmpreis (Hauptpreis von SWR und M F G zu je 50% getragen) ist mit einem Preisgeld von 20.000 Euro für einen Autor oder Regisseur verbunden, das in ein neues Filmprojekt fließen soll. Das Haus des Dokumentarfilms stiftet einen Förderpreis in Höhe von 3.000 Euro, die Stadt Ludwigsburg einen Preis in Höhe von 2.000 Euro.

Previous Blogposts: Sofia’s Last Ambulance  Dragan Wende  Ilian Metev  El Bulli

http://www.swr.de/unternehmen/deutscher-dokumentarfilmpreis-ludwigsbur/-/id=3586/nid=3586/did=8202780/1wk9vu9/

http://www.dokville2013.de/ 

I am Breathing – Global Screening Day

Amazing initiative around the film by Emma Davie and Morag McKinnon, I am Breathing, a film that has been shown at festivals all over, has been praised for its cinematic quality (also here at filmkommentaren.dk where it was on the Top 10 list of documentaries from 2012):

Tomorrow, June 21st, the film is to be shown in 164 places. Read this fine text from the website:

This year, on 21 June, in a wee village in Scotland a small group will get together to watch a film about a man who dies from Motor Neurone Disease (MND), also known internationally as ALS, ELA, or Lou Gehrig’s disease. At the same time, in a cinema in Mexico City, people are arriving from all over to see the the film, I AM BREATHING. In Russia and Romania, in Kosovo and Kenya, in India and Ireland, in Bahrain and Belgium, in the US and the UK – across the world people have volunteered to show the film – in village halls, schools, churches, living rooms, pubs, and theatres.

They have been inspired by the story of Neil Platt, who died aged 34, 14 months after being diagnosed with MND/ALS. He was determined more people should know about the disease.

Within a year, he went from being a healthy young father to becoming completely immobile from the neck down. As his body got weaker, he used his remaining months to communicate about his illness. He collaborated with the filmmakers on I AM BREATHING and wrote a blog, determined to play a part in making MND/ALS history by sharing his story and building a community of people to join the fight…

IMPORTANT: Go to the website below and you will find where and at what time, the film will be shown in a venue near you. For the Danes in Copenhagen:

Friday, June 21, 2013 at 05:00 PM

The National Museum of Denmark in Copenhagen, Denmark

A screening made by DOXBIO in collaboration with MUSKELSVINDSFONDEN, THE NATIONAL MUSEUM OF DENMARK, DFI AND DANISH DOCUMENTARY PRODUCTION 

http://www.iambreathingfilm.com/

http://www.filmkommentaren.dk/blog/blogpost/2207/

Sonja Blagojevic: Kosma

This is not a review. I am biased. The film is produced by my dear friends Svetlana and Zoran Popovic from Kvadrat, a (their own words) “film production and education firm, especially focused on production and promotion of documentary films”. For 9 years I have collaborated with them on the Belgrade festival “Magnificent7”, which is one of the most written about documentary events on this blog. On top of that the director Sonja Blagojevic has been a dear colleague in running this unique festival together with the Popovic and several other talented young Serbian filmmakers.

Having said so, I have to express my praise for an honest, well told, informative and emotional documentary and documentation of how it is to be Serbian in Kosovo today. It is my hope that the film will travel because a description with an angle like this has never been done before, and because of its quality as a film.

The best way to introduce the film is by bringing its text from the beginning of the work and to give the voice to the director, see the post below, Kosma 2.

The intro text goes like this: After the NATO bombing of Serbia at the end of the 20th century, the Security Council gave the UN authority over the Kosovo region. In 2008, the Kosovo Albanians unilaterally declared independence from Serbia, which Serbia doesn’t recognize. The final status of Kosovo has not yet been resolved. Over the past decade a large number of Serbs fled from this region. About 120.000 remained and live in ghettoized areas. Their only connection is the sound: a network of five radio stations called KOSMA.

Serbia, 75 mins., 2013.

http://www.kosmafilm.com/

www.kvadrat-film.com

Sonja Blagojevic: Kosma/ 2

The film has a very inviting and informative website that includes all you need to know about the background and motivation for the director to go to Kosovo and find out “What is it like over there”. Here is her personal statement:

While I was shooting my previous film, I eventually ended up in Kosovo. One night 
I slept on the floor and desks of the KIM Radio station in a small village in central Kosovo. At that point, I still couldn’t have guessed that this exact radio station would become one of the main characters in my new documentary film.

A few years later, I started to research and realized that the KIM Radio is part of a larger radio network called “KOSMA”. Five radio stations are scattered in different parts of Kosovo and it is only their signal that connects secluded Serbian communities.

And that is how my journey started: a journey of three years, guided by the sound, and resulting in over 120 hours of footage.
 When I came back from Kosovo for the first time, many people asked me the same question: “What is it like over there?” I wasn’t able to give a precise answer since my stay there was quite short. But I myself couldn’t stop wondering: “What is it really like over there?” And moreover: “What is it like for people who live there?”.

I chose the sound of the radio to be my guide in the search for the answer. I went everywhere where there was sound: to its source (the radio stations and places from which it was broadcast), from one to another, over different regions, over plains and mountains, to the houses where people were listening to the radio.
 I realized that the answer to the question “What is it like over there” is not a simple one. It is for that reason I chose a mosaic structure, with lots of sights and characters, that as a whole can offer a very vivid description of the spirit of a time and its predominant feelings. I hope that the film will at least partially give an answer to this significant question.

http://www.kosmafilm.com

Paul Pauwels: Hurrah, We’re in a Crisis

Below the beginning of the speech that the new director of EDN (European Documentary Network) held in Sheffield June 11th, invited by the EBU Documentary Group. The whole analytical text – that should be read by all documentarians – is to be found on the site of EDN http://www.edn.dk/ named EDN Director’s Blog:

On behalf of the independent documentary sector that I have the honour to represent here, I want to thank you for having invited me to deliver this keynote address.

I would like to use this occasion to inform you about how the independent producers look upon the current production situation and the relation between “content providers” and “content distributors”, and to share with you not only our worries and fears, but also to extend an inviting hand to tackle together the many current changes in the media landscape that drive us out of our comfort zone and that force us all to become more daring and innovative than ever before.

I think I can say with absolute certainty that today there are no certainties anymore. Every single current media-model is under pressure and although there are many questions about where the future will take us, there are no clear answers yet to put our minds at ease. I don’t think that I’m the only one who experiences this kind of situation as disruptive, paralysing and threatening. But it’s not because many of us feel disrupted, paralysed and threatened that we should sit back, pretending that nothing is going on and that if we just wait and sit still everything will go back to normal. I’m not the smartest guy on earth but one thing I do know for sure; as far as our common professional activity is concerned, nothing is ever going to go back to how it was before.

Over the past months, I have been talking to many professionals and from these discussions resulted an analysis that I have recently presented to several documentary film makers – directors and producers alike – under the very optimistic title: HURRAH, WE’RE IN A CRISIS.

While I was preparing today’s speech, it dawned on me that although I’m now addressing the players at the other side of the pitch, I might as well use the same title. I own the copyright anyhow, so I can use It for free. Very important in these times of severe budget cuts…

EBU Reaction to The Closure of ERT

From BBC News online today, link to the full article below: The European Broadcasting Union (EBU) has called on the Greek government to reopen ERT. A petition signed by 51 European directors general, including the BBC’s Tony Hall, is to be handed over to the Athens government. The EBU called the government’s action “anti-democratic” and “unprofessional”.

Viewers watching the news on the main ERT TV channel saw broadcasting cease late on Tuesday evening. Journalists however refused to leave the building and online and satellite broadcasts are being maintained with the help of the EBU website. ERT, which began broadcasting in 1938, was funded by a direct payment of 4.30 euros (£3.80) added monthly to electricity bills.

It ran three domestic TV channels, four national radio stations, as well regional radio stations and an external service, Voice of Greece… Read also text on the site of EBU.

http://www.bbc.co.uk/news/world-europe-22917171#sa-ns_mchannel=rss&ns_source=PublicRSS20-sa

http://www3.ebu.ch/cms/en/sites/ebu/contents/news/2013/06/ebu-leaders-in-athens.html

Greek Documentary Association Protest

Greek documentarian and good friend Marianna Economou sent this text referring to the outrageous closure of ERT: I am sending you this letter that all of us, the Greek documentary filmmakers, wrote as a response to the sudden closure of ERT. It is very important for us to fight this dictatorial act of the government and to ensure that ERT reopens as soon as possible.

The filmmakers of the Greek Documentary Association: All together we will attempt to erase this shame.

The Greek Documentary Association – We the filmmakers, who through the public TV station, have been challenging, entertaining, or disturbing you with our documentaries by highlighting “the other side” of reality, condemn the sudden silencing of ERT based once again on «an act within legal context» which for all intents and purposes bypasses the parliamentary procedure.

This act has no historical precedent during a democracy in a time of peace! Such an act, furthermore, aligns itself with the general degradation of education and civilization, which has systematically been taking place in our country, devaluing the only investment that in the long term could lead to a better society.

With the closure of ERT, it is not only Greece that loses its voice, it is not only the employees of ERT that lose their jobs. It is:

  • The thousands of Greek artists who are condemned to being “stifled” of free speech, or subordinated to client oriented relationships.

  • The music ensembles that are silenced. The 3rd programme. The Greek emigrants that are isolated. The border areas of the country that are excluded.

  • It is the creative documentary that has constituted an important part of the public television’s program, winning international awards and distinctions as well as co productions with important foreign channels.

  • It is the millions of viewers or listeners whose only outlet for their information and entertainment will be the private channels, with all the consequences that this will have to our political and cultural life.

IT IS CIVILIZATION THAT SHRINKS

We, the creators of documentaries, united citizens and peoples, will fight for the immediate re opening of ERT, so that Greek creativity and culture reaches every house. We will fight the bill that the government announced as it continues and even strengthens the interference of the political parties and their control of public television. We will make propositions for necessary reforms in order for this voice to acquire its important educational, cultural and ethnic role, especially during these difficult times that we are traversing.

We are the only country in the world that has a black out on the public television screen and where the radio waves are silenced. Let’s fight, so that these media become the essential means, guardians and catalysts for the promotion of education and culture.

Films on Bornholm

Memories… of a festival on Bornholm, Balticum Film & TV Festival, that ran in the 1990’es in Gudhjem and Svaneke, and meant quite a lot for this blogger. (If you write Bornholm in ”Search” you will get numerous texts referring to a festival and a pitching forum that took place at this wonderful island, initiated by the Baltic Media Centre).

Nostalgia, yes, and it came back last night in Allinge, where a huge People Meeting (Folkemøde in Danish) is taking place until sunday. Politicians make speeches, all kind of  associations have tents that you can visit, debates are made in a relaxed climate where you can meet ”your” politician, and/or be enlightened in a classical Danish folk-high-school-kind-of tradition.

For that reason – and now I come to the film side of it – it is only very right that the Danish Film Institute together with the leading Danish newspaper Politiken has arranged film screenings where an introduction is made, the film is screened and then you can go and talk about the topic. Here I finally got to watch Nishtha Jain’s “Gulabi Gang”, produced by Norwegian Torstein Grude, a fine film, in my view more interesting than the one Kim Longinotto made about the same fabulous movement that was formed by Sampat Pal, according to her “not a gang in the usual sense of the term, we are a gang for justice”.

… in the mornings, in the summer house, the film screenings include “Krtek” (The Mole), the masterpice children animation film series by Czech Zdenek Miler, beautiful, funny and more than attractive for two year old Henry. The first he says when he wakes up in the morning! Zdenek Miler said in an interview: “When I draw Krtek I am drawing myself,” his creator, the Czech animator Zdenek Miler, once said. “What I mean is that Krtek is the ideal that should be me. But I can’t meet that ideal.” To my sorrow I found out that the film series is no longer available in Denmark. A cultural scandal! But if you have friends in Czech Republic (I have, thanks Veronika Liskova)…

http://www.dfi.dk/Nyheder/FILMupdate/2013/Juni/FILM-MED-KANT-PAa-FOLKEMOeDET.aspx

https://www.facebook.com/pages/Gulabi-Gang-the-documentary/125738920900493

http://www.gulabigang.in/

History is What’s Happening

Have to confess that my knowledge of The Robert Flaherty Film Seminar was very limited until my former colleague from EDN Anita Reher got the job as executive director and put me on the mailing list for news. Frequently press releases arrive in my mailbox giving the impression of an active organisation that makes much more than a yearly seminar, see below. Yesterday was a good day as the executive director could announce ” that it (the Flaherty…) is the recipient of an Educational Grant from the Academy of Motion Picture Arts and Sciences in support of the Flaherty’s continuing efforts to foster all forms of the moving image and encourage dialogue between audiences and makers with the goal of illuminating our shared humanity.” Good that the Academy is not only about Oscars. The grant was 15.000$, Anita told me from a crowded minivan on her way to work:

Tomorrow this year’s Flaherty seminar starts. It runs until the 21st of June at the Colgate University, Hamilton, NY. The theme is History is What’s Happening. From the press release: The Seminar will examine the frame and subject of history in cinema to understand how the social and political conditions of the past are inextricably linked to the present. Pablo de Ocampo, a curator based in Toronto and the Artistic Director of The Images Festival, is the 2013 Seminar Programmer.

http://flahertyseminar.org/