Nicolas Philibert: Maison de la Radio

Voices, yes voices it will be, communicates Philibert right from the start, before the titles appear on the screen. An hommage to the human voice as it is performed in the public radio of France. Quick sound montage, titles, the building that houses the radio from outside, people walking into it, a working day starts. Voilà, simple, classical.

And then faces, yes, faces it will be, very often close-ups of faces, people who are alone in a studio with the microphone very close to their lips, or faces concentrated on listening to voices which are being recorded. Can be literature, news, talk or quiz shows with people who call the radio, or we, the audience, are invited to attend an editorial meeting, what is important, which choices do we make.

Philibert chooses his characters and situations, he goes from one to the next but he comes back and thus give us the illusion of getting to know the characters better. We do and we experience the development they make in

the music recording studio with the opera singer or with the beautiful young singer you see on the poster. Yes, Philibert falls in love with his characters, he has always done so, be it an orangutang (Nenette) or a human being. He is basically an observational documentarian but his presence and influence on the scene he is shooting, mixed with his ambition to make us viewers have ”the feeling of being there” (to quote master Leacock again again again…) makes it impossible to resist the joyful tone that he offers.

He leaves the radio building once in while. He goes with the nerd who records sounds in the nature, and he lets us see and hear the studio recording of the sound of peeling a potato(!) or be with a man, who plays a home-made sound machine, experimental music you might argue, but an artist in action, indeed.

You are in constant good company with this film and for one who enjoys listening to clever people with good language and beautiful voices in the radio (we have that in Denmark as well, in a country where television mostly is tabloid blablabla) during summer time (in the allotment garden), you appreciate the film even more. Having said so, this is not another highlight from Philibert, is does not have many layers but joyful and playful it is, masterly montaged and photographed, that’s quite a lot! You sense that he has enjoyed having been behind the walls of sound!

France, 2013, 100 mins.

http://www.filmsdulosange.fr/en/

Jay Bulger: Beware of Mr. Baker/ 3

Ever since I saw the film in New York last December, the film has been in my head. Or rather the mad Ginger Baker has been in my head. I bought a Cream cd in New York and the music of Jack Bruce, Eric Clapton and Ginger Baker is giving me fantastic pleasure – “outside my window is a tree… there only for me”.

Now I see that the Krakow Film festival that started yesterday, May 26, and runs until June 2 programmed “Beware of Mr. Baker” on its opening night – and at the upcoming DocsBarcelona that opens the coming wednesday, May 29 has two screenings of the film, don’t miss it!

http://www.krakowfilmfestival.pl/pl/

http://www.docsbarcelona.com/

Sønderby J. & Bervald Jørgensen: Blodets bånd /2

Traileren er et chok for mig, det bliver en overvindelse at gå ind i biografen til den film. Så nøgen den må være og så blufærdig på samme tid. Den udstiller ikke, mærker jeg i de effektivt klippede scener, den er bare. Nøgen og blufærdig, ville helst dække sig. Det er en særlig tone i datterens fortvivlede stemme, som siger mig det. Det er så privat, at det gør ondt, gør ondt at komme til at høre, for jeg burde jo gå, det her kommer mig bestemt ikke ved. Men filmen forlanger, at jeg bliver. Sådan vil det også være, men voldsomt manifest ved premieren, for jeg tror faktisk, at den film vil holde, hvad traileren lover.

http://vimeo.com/63647643

 

Maciej Drygas: Abu Haraz/ 2

In Warsaw, at the Planete+ Doc Film Festival, I was asked to talk about film critic, especially the one about documentaries. I did so and together with a dozen of workshoppers, the new film of Maciej Drygas was screened. I made a call for reviews to add to the one I had already done, see below. Polish Marta Tarnowska, polish sociologist and anthropologist, made one, which comes here and which perfectly illustrates how another perspective on the film can widen your understanding: 

The camera eye opens and starts to observe carefully the severe yet harmoniously poetic daily-life routine of the humans and other animal species habiting the fertile lands by the banks of the Blue Nile river. The ‘other animal species’ part of the narration is not marginal, but just as important as the human one in this story-telling. We see a world where a human is just another symbiotic element of the natural system.

Maciej Drygas and Andrzej Musiał successively visit Abu Haraz for seven years. They spend there one month each year 2005-2012, observing the natural rhythms that organize life in Abu Haraz, a small village where people make their living from agriculture and livestock herding. We enter an idyllic and maybe even slightly romanticized yet appealing world, where the notions of linear, clock-measured time, space and the basic for the westerners binary distinctions like ‘richpoor’
do not structure nor organize the social world.

We watch an absolutely magical scene where the school-children in the classroom are being taught by their teacher the meaning of the word ‘poor’. It seems that none of the school-children had previously had the chance to use this category to describe anyone, although in the eyes of many westerners all of them would probably be categorized as ‘poor’. Apparently, there are no people considered as such among them. All of them are affluent. It tells us something important about the anglo-american term ‘poor’. It shows us clearly that the notion of ‘poor’ does not describe ‘objective’ reality. ‘Poor’ is relational. It points to the relation between means and ends. Marshall Sahlins, an
american anthropologist, brilliantly explained it in one of his articles about the concept of ‘affluence’. To accept that the original societies are affluent is ‘therefore to recognise that the present human condition of man slaving to bridge the gap between his unlimited wants and his insufficient means is a tragedy of modern times.’

Sudan is a relatively young, postcolonial country. Its frontiers were arbitrarily delineated without any respect given to the local ethnical, cultural and political context. The power was given mainly to the muslim Arab elites, ignoring other ethnic and cultural groups. Obviously, this immediately produced multiple military conflicts. Access to the natural resources like water and control over the oil fields are the main drives of the conflicts. In the period of seven years when Drygas and Musiał repeatedly visit Abu Haraz, the Second Sudanese Civil War reluctantly comes to an end resulting in

the secession of South Sudan (2005 autonomy, 2011 independence). It is estimated that around 180 000 – 450 000 people died and 1,7 millions were displaced or lost their shelter as a consequence of the ongoing war in Darfur. The western frontier with Chad is in conflict as well as the Eastern Front and Blue Nile, where ‘popular consultations’ about potential succession from Sudan are to be held.

Meanwhile, in Abu Haraz shown by Drygas signs of military conflict(s) are scarce. Drygas does hardly inform us about the regional or national politics. We can only sense the air of conflict because of some groups of men shouting some disturbing, revolutionary slogans. Lack of explanation of the political situation is a conscient and well-argumented choice. Many of the habitants of the ‘Nile culture’, Abu Haraz included, identify themselves much more with the local community, village or tribe than with the artificial postcolonial pseudonational-state Sudan.

National identities have not developed. Moreover, many of them probably do not understand the political issues either, just as an unprepared viewer. Nevertheless, the pseudonational-state Sudan has a vital (more adequately put would be ‘deadly’) influence on their lives. As a result of Khartoum’s decision, a huge dam Meroe was built on the Nile near Amre. As a consequence, a huge area was flooded and 70 000 people (including 80 from Abu Haraz) lost their homes and homeland, habits, cultures and ancestors’ rests and were forcibly displaced to villages artificially built for this
purpose in the middle of the desert. The people from Abu Haraz are taken to Wadi Mugaddam, they are provided houses with electricity and tv. Yet, they call their new place a dead place and they claim they feel dead inside as well. It is hard to admire this work of ‘modernization’ and ‘development’. We can see them daydreaming, suspended between the tv-converting them into aspirational consumers of new identities and the dreams of the ‘paradise lost’, memories of the past, dreams of Abu Haraz and the traditional life rhythm they adapted to over generations.

Sønderby Jepsen & Bervald Jørgensen: Blodets bånd

Jeg kan faktisk rigtig godt lide den her synopsis, som er sendt ud med pressematerialet til næste film i DOX:BIO:

”Synopsis: Svend har 16 børn. De fire yngste har han sammen med Gitte, som han netop er ved at blive skilt fra efter 28 års turbulent ægteskab. Samtidig har Svend og Gittes yngste datter, Christina, besluttet sig for at flytte hjemmefra. Men opbruddet i familien åbner en byge af spørgsmål – især for Christina, som er på vej ind i voksenlivet uden rigtig at kunne huske noget fra sin barndom. Christina vil for eksempel gerne vide, hvorfor hun og hendes tre hel-søskende blev tvangsfjernet, da de var små. Men Svend og Gitte lider af en slags kollektiv hukommelsessvigt og er ude af stand til at give et fornuftigt svar. De mener begge at tvangsfjernelsen blev iværksat på falske anmeldelser fra et nært familiemedlem.

For at hjælpe sin datter – og sin egen hukommelse på gled – beslutter Svend sig for at søge aktindsigt hos kommunen. Ved at læse dokumenterne fra dengang er han overbevist om, at han én gang for alle kan bevise overfor Christina og resten af verden, at tvangsfjernelsen var en fejl. Og en dag kommer posten så med en meget stor kasse fyldt med sagens akter om Svend og hans mange børn. Sammen med Christina og hendes søster Michelle graver Svend sig ned i den fortid, som ingen rigtig kan huske – og de tre kommer ud på en rejse, som er alt andet end køn.”

Det ser ud til, at Sønderby Jepsen fortsætter sit projekt med familieundersøgelser. Den seneste var bestemt også alt andet end køn, men tilføjede jo den nøgne sociale undersøgelse noget. Jeg må nu kigge nøje efter, hvad det noget er. For det er det, som bevæger mig til at blive i hans film, som han laver sammen med andre, denne gang igen en journalist, som i den vellykkede ”Dømt for terror” (2010), han lavede sammen med erfarne Miki Mistrati og også da med Helle Faber som producer. Her er det nyuddannede journalist Pernille Bervald Jørgensen, som er medinstruktør. Hun har researchet materialet omhyggeligt, og hun har fulgt de medvirkende i flere år og lavet optagelser, det er grundigt, det her. Og hertil kommer så dette noget, som må være det, Sønderby Jepsen tilføjer. Jeg tør ikke skrive filmkunst, så det lader jeg være med…

Filmen har premiere i HADSUND BIO 4. juni og kan den 5. juni ses ved simultane visninger i en lang række biografer, de fleste steder dog kun den ene gang.

DocsBarcelona 2013/ 2

In a week from now the thirteen first of 25 documentary film projects have been pitched on the first day of the pitching part of the 16th edition of DocsBarcelona. 12 others will follow the day after. The pitching filmmakers have done their best to draw attention to their project in a room, where observers will guarantee for a good atmosphere with support to those talking and showing their teasers of 3 minutes. The pitchers, most often director and producer, have 7 minutes to present and additionally the same time to answer the questions raised by the panel. 14 commissioning editors and distributors will be sitting around the table, accompanied by the equivalent number of other professionals, who buy or show or invest in documentaries. The latter sit on a so-called Row 0 and will be called upon, when a project falls within their interest area.

No reason to hide that there is a crisis in the financing of creative documentaries in most countries when it comes to the role of the public broadcasters, nevertheless some deals will for sure be made in Barcelona, or let’s say at least some contacts will be made that will result in helping the filmmakers to realise their projects. The organisers of DocsBarcelona are proud to have a strong range of tv channels represented – like local TVC, Spanish TVE, Israeli Yes TV, Dutch AVRO, BBC, arte France, arte/ZDF, American POV, SVT Sweden, YLE Finland – and sales agents and distributors like Autlook, Cat&Docs, Taskovski Films, Echo Bridge Entertainment, Java Films – and many others like idfa and the Mexican doc festival DOCSDF.

Most important, however, are the filmmakers, who come with their proposals to make documentaries for a local and international audience. I can’t mention them all, visit the website, link below, but I am happy that there will be 4 from Latin America as well as many stories that deal with what happens in that part of the world. Many young filmmakers have chosen this pitching forum as the first step into the market. But also experienced directors like Sergio Tréfaut from Portugal, Swedish Fredrik Gertten, Barcelona based Denis Delestrac and Albert Solé, as well as Germany-based German Kral and Paula Rodriguez have been chosen to perform.

Perform… yes, there is a show element to a pitching forum, and I think there should be at such a fest for the the documentary genre – but don’t forget that the filmmakers come there with strong thoughts and the intention to seek help to further their proposal. They will be welcomed with warmth and respect.

Photo: German Kral’s El Ultimo Aplauso – prize winner at previous edition of DocsBarcelona.

http://www.docsbarcelona.com/en/text.php?id=187&edicion=2013&sub=1

DocAlliance Award in Cannes

From one of the partners of the DocAlliance, DOKLeipzig, we have received this press release: The Portuguese documentary film Cativeiro (Captivity) by André Gil Mata is the winner of this year’s Doc Alliance Award.
 
The Award was delivered on Monday at the Doc Brunch at the Cannes Film Festival, where André Gil Mata was present along with the representatives of the seven associated documentary film festivals.
 
In his acceptance speech, André Gil Mata referred to the importance of Doc Alliance for the dissemination of cinematographic documentary: “For a long time I was not at all interested in documentary, for at least in my country the dissemination of documentary was very distant from cinema itself, very narrowed in a standard approach dictated by television, that I find very poor. I hope Doc Alliance can help on changing this situation, to create means for documentary to be a truly free cinematographic practice.”
 
The Doc Alliance Award was given by  a jury composed of seven film critics, chosen by the partners of Doc Alliance: Antoine Duplan (Le Temps, Switzerland), Antoine Thirion, (Independencia, France), Francisco Ferreira (Expresso, Portugal), Dorte Hygum Soerensen (Politiken, Denmark), Matthias Dell (der Freitag, Germany), Tomasz Raczek (Film Magazine, Poland) and Pavel Sladký (Radio Prague, Czech Republic).
 
Running for the Doc Alliance Selection Award were also Demande à ton Ombre (Ask Your Shadow) by Lamine Ammar Khodja, Searching for Bill by Jonas Poher Rasmussen, Pevnost (The Fortress) by Lukas Kokes and Klara Tasovska, The Shebabs of Yarmouk (Les Chebabs de Yarmouk) by Axel Salvatori-Sinz, The Captain and his Pirate (Der Kapitän und sein Pirat) by Andy Wolff and Fuck for Forest by Michael Marczak.
 
Doc Alliance is a partnership which emerged as a result of the co-operative effort of now seven key European documentary film festivals – CPH:DOX Copenhagen, Doclisboa, DOK Leipzig, FID Marseilles, IDFF Jihlava, Planete+ Doc Film Festival Warsaw and Visions du Réel Nyon. Projects of Doc Alliance are the Doc Alliance Selection which will be shown at all partner festivals and the online platform www.DAfilms.com. Here you can find over 700 outstanding documentary films for stream and download.

Documentary Boom in Cannes

The trade magazine Screen Daily has a long article (May 20) on the big presence of documentaries in Cannes. The article, written by Melanie Goodfellow, mentions films to be shown and sold as well as statements from people who sell and distribute documentaries.

Rithy Panh is there with what is called a hybrid work, ”The Missing Picture” and Marcel Ophüls presents his autobiographical film in the Director’s Fortnight section. ”Ain’t Misbehaving” is the title of the film that has interviews with Jeanne Moreau and Fred Wiseman, reflects on the director’s relationship to his famous father Max, and includes clips from the director’s two masterpieces ”Le Chagrin et la Pitié” (English title, see poster photo) and ”Hotel Terminus” – that every documentary interested should have on their shelf, available on dvd they are.

At the festival in Cannes there is a Doc Corner with sales agents, documentary festival people – and a documentary Brunch for talking and mingling.

Anaïs Clanet from Wide House in Paris is quoted for this fine statement: “I definitely have a sense that more and more companies are getting into documentaries,” comments Clanet, head of Paris-based documentary specialist Wide House who is selling Ophüls’ Ain’t Misbehavin. “I see a lot of companies, traditionally specialising in fiction, now handling documentaries. They have woken up to the fact documentaries can actually be more profitable than fiction and easier to place, especially when there are fewer and fewer broadcaster slots for fiction features”.

Another important player in documentary sales: “It is a tough time because prices for TV rights have dropped but at the same time I am optimistic,” reveals Peter Jäger of Vienna-based doc specialist sales company Autlook Films. “Digital revenues are beginning to pick-up, not enough to compensate for the loss of DVD sales but enough to give me hope.Documentary, even when dealing with big subjects, is essentially a niche product and niche products lend themselves well to digital distribution although a theatrical release remains important.”

Read the whole article: http://www.screendaily.com/festivals/cannes/cannes-documentary-boom/5056470.article

Andreas Koefoed: The Ghost of Piramida

Artur Liebhart, festival director of Planete Doc Film Festival, had planned the closing ceremony of his festival in an excellent way. Well, he could not know it but Danish director Andreas Koefoed was as the first award winner called to the stage to receive “Chopin’s Nose” for his film “The Ghost of Piramida”. He was accompanied by his three protagonists from the Danish band Efterklang, that made a great concert after the ceremony. On top of that Koefoed’s film was shown after all awards had been given out at this tenth edition of a festival that not only takes place in Warsaw but also in other Polish cities.

Back to Piramida, here is the description of the film from the hand of the director:

Accompanied by their taciturn and not visibly impressed Russian polar bear guard, the group goes on a audio treasure hunt in the empty buildings of the abandoned town, while the narrator, the former Piramida-citizen Alexander Naomkin Ivanovic, takes us back to a bygone era, when Piramida flourished and the immigrant Russian miners and their families lived in a Soviet parallel society far from the brutal reality of their homeland.


And here is my brief comment on what I saw: Koefoed has in an elegant way combined past and present in his charming presentation of a town that once was full of people and life but now is a place where a music band goes to pick up sounds for their next album. Russian Alexander provided the director with wonderful archive material and the three musicians give us good music and sound, at the same time as they are urban cowboys in a nature where even an Arctic fox could be dangerous! Not to forget that the film is beautiful to watch. This film is a small pearl and I have become a fan of Efterklang…

On the site of the Danish Film Institute – in Danish – you can read of the impressive distribution initiative taken by the band and director. 800 so-called private-public screenings in 52 countries!

Denmark, 2012, 65 mins.

http://www.dfi.dk/Nyheder/FILMupdate/2013/April/Private-Public-Screenings-af-The-Ghost-of-Piramida.aspx

http://efterklang.net/home/category/the-ghost-of-piramida/

Planete+ Doc Film Festival/ 2

I was invited to the Warsaw festival to talk about film critic, which I did last saturday morning with a general introduction followed by a screening of Maciej Drygas ”Abu Haraz” and a discussion of which points should be dealt with in a review. A dozen people took part, some found that Drygas film was boring because of its slow contemplative rythm, others went straight to the content, which they found actual, one used the phrase that the film was about ”uprooting”. Two psychology students pointed out that the director maybe had fallen in love with his own aesteticism in some sequences. Might be right… Anyway, I wrote my review text (see below) after a computer screening, changing a word or two after the cinema screening. Which makes repeat the banality that films like that has to be seen on a big screen, there is no comparison. I saw many details that I simply could not see on the computer.

The Planete+ Doc Review Festival was well attended, the hospitality from the staff was great, the weather was superb summer-like, but as said, nevertheless there was an audience that left the sun to enter the darkness.

I arrived thursday evening and left sunday. I watched six films: Peter Liechti’s ”Father’s Garden” (read Sevara Pan’s enthusiastic review below), Swedish Martin Widerberg’s film ”Everyone is Older than I Am” about his father Bo, who never finished the film about Arvid, his father. The film is complicated when it comes to the storytelling structure but has a lot of fine moments with Arvid and first of all clips from Bo Widerberg’s wonderful films like ”Kvarteret Korpen”, ”Barnvagnen” and ”Elvira Madigan”.

I saw Nicholas Philibert’s ”Maison de la Radio”, review will follow and the new film of the directors, who made ”Rabbit a la Berlin”, Bartek Konopka and Piotr Rosolowski’s ”The Art of Disappearing”. Again an original film with an incredible fairy tale story about Polish theatre guru Jerzy Grotowski who lands in a helicopter in Haïti to take with him vodoo priest Amon Frémon. I met with the directors after the screening as well as with Anna Wydra, the super-energetic and competent producer, who said that she would bring ”Rabbit a la

Berlin” to the Oscar – which she did even if we were many, who thought she was dreaming. The new film I have to see again to get it all but here is their own description:

Poland was a strange place for him. Even the rain was louder, as if in a land of deaf people. People gathered in queues for hours but they never spoke to each other. A romantic poet Adam Mickiewicz led him to the underworld and helped him contact Polish spirits. He survived the martial law period when the evil white water came from the sky, water that could not satisfy thirst. Finally he decided to perform a great vodoo ceremony to free the Polish people from evil forces. The dead and alive unite in battle. The spirit of the Polish romanticism unites with the Haitian loa spirits just as 200 years ago, during the great revolution in Haiti.

An unknown story of a Haitian vodoo priest, Amon Frémon, who visited the People’s Republic of Poland in 1980. A metaphysical view on time of socialism through the eyes of a stranger form a different culture.”

Film number 5 I saw, was ”I am in Space” by Dana Raga, a compilation of NASA material from space journeys with text quote bites from interviews the director had done with astronuats. Funny moments from life on board a space station but it does not really work as a film story.

And finally Danish Andreas Koefoed’s music documentary with the band Efterklang, ”The Ghost of Piramida”, review follows.

PS. “The Last Station” by Chilean Cristian Soto and Catalina Vergara won a prize for its brilliant cinematography as did “Elena” (Photo) by Petra Costa from Brazil.

http://www.andreaskoefoed.com/index.php?/film/the-ghost-of-piramida/

http://www.otterfilms.pl/projects/in_production/?project=8

http://planetedocff.pl/?lang=en