Phie Ambo: Free the Mind/ 1

Below, in Danish, in connection with the national premiere on June 6, a review of the new film of Phie Ambo, who brillliantly invites her audience on a both emotional and informational journey into the traumatised lives of two American war veterans as well as introduces us to Will, a kid who suffers from ADHD. Will is too scared to enter an elevator, the two vets fight with experiences that have had severe consequences for their post-war lives.

Into their lives comes professor Richard Davidson and his scientific team. The film follows the process the soldiers go through at the research centre of Davidson, and what the pedagogical team does to help Will overcome his fear.

The film is made for the big screen. As her female documentary star colleagues, Pirjo Honkasalo and Kim Longinotto, and at the same quality level, Ambo does the camera herself and brings beauty to the characters, at the same time as she with music and sound (maybe a bit overdosed) supports an editing that is superb in its integration of the four characters in a narrative flow. On top of that there are graphic and animation sequences, the latter sometimes made as were we in a school – white chalk on a blackboard. Fine solution!

Which, for this reviewer, is the core of this film’s success: You get a cinematic experience, you follow an exciting healing process, you are touched, maybe mostly by seeing a little boy’s fear, and you are offered knowledge, you might learn someting about the brain, ”the most complicated phenomenon in the universe”.

Denmark, 2012, 90 mins.

http://www.doxbio.dk/dbio/b.lasso?ll=2&e=1

Phie Ambo: Free the Mind/2

Du bliver grebet om hjertet fra første øjeblik. En lille dreng er rædselslagen ved tanken om at skulle ind I en elevator. Det er den tanke og følelse, der skal ændres hos Will, der lider af ADHD og ofte hamrer håndfladen ind I sin pande. Det kan lade sig gøre netop ved tankens kraft og professionelle menneskers hjælp. Det samme gør sig gældende med to krigsveteraner, Rich og Steve, som bærer på frygtelige krigsminder. De lider af PTSD (Post Traumatic Stress Disorder) og de kan også hjælpes via meditation og åndedrætsøvelser, siger den fjerde hovedkarakter I filmen, hjerneforskeren Richard Davidson, hovedpersonen kan man sige for det er hans forskningsresultater og aktiviteter, som filmen skildrer – “we can change our brain for the better”.

I filmen man ser hvordan. Det er en film, hvor karaktererne udvikler sig og hvor processen med at gøre livet nemmere for Will, Rich og Steve følges. Det sker I børnehavelokalet og I Davidsons forskningscenter, hvor de to soldater sammen med andre gennemgår et helbredelsesforløb. Der gives parallelt hermed konkrete oplysninger om, hvordan hjernen fungerer og kan forandres “for the better”, og der oplyses om de familiemæssige sammenhænge for de tre. Deres historier er dramatiske, de har brug for den hjælp, som kan gives ud over den traditionelle medicin.

Se, det her kunne være en indholdsbeskrivelse til en klassisk videnskabs-dokumentar fra BBC. Det er det ikke. Phie Ambo har lavet en stor og smuk Film til det store lærred, visuelt brilliant, fremragende klippet af Marion Tuor I et flow, der formår at bringe historien fra den lille dreng til de to voksne og tilbage igen uden at det virker postuleret.

Det er ikke bemærkelsesværdigt, at dokumentarfilm I dag er karakter-baseret og appellerer til følelserne, som Phie Ambos film I høj grad gør, du

ler og græder som det hører sig til I en biografs mørke, men det er usædvanligt, at det følelsesmæssige kombineres med ambitionen om at gøre publikum klogere. I dette tilfælde på hjernen, hvis funktion stadig, siger Richard Davidson, er “the most complicated in the universe”. I filmen er det naturligvis Davidson, I billedet, som giver os viden, men det er også Ambo, der betjener sig af grafik og animation til at redegøre for, hvad der sker oppe I hovedet på os. Det sker f.eks. med kridt på tavle, jo det skjules ikke at vi også er I biografen for lære noget!

Herligt! Og dermed placerer Phie Ambo sig I en fornem dansk dokumentar-tradition ved at forklare vanskelige sammenhænge filmisk. Børge Høst fik I 1963 en Bodil for sin atomfysik-film “En ny virkelighed” og I nyere tid har Dola Bonfils set på den aktuelle hjerneforskning I “Tankens anatomi” (1997) og på et forskerhold på Novo Nordisk I “Drømme med deadlines” (2003).

For alle tre gælder det, at der er udført et kolossalt grundigt researcharbejde, og I Phie Ambos tilfælde har det så tilsyneladende været uomgængeligt vigtigt, at filmen fik en appellerende visuel form og en dramatisk struktur, som passer til en film til biografen. Hvor man også et godt stykke henne I filmen accepterer en effektfyldt montage, et billed- og lydbombardement, som sigter på at fortolke, hvad der sker I hovedet på veteranerne, når de gennemlever deres krigsmareridt. Det er film, det er flot at se og høre på, men jeg spekulerer på, hvad professor Davidson siger til den udlægning? Men det er lykkedes at få de mange stilistiske elementer til at spille sammen (allright, der er måske undertiden lidt for megen tjubang tryk på musik og lydeffekter), men formen bærer igennem og det ender med, at Will kører I elevator og med at Rich og Steve får det bedre. Hvilket er, hvad vi som publikum forventer med den valgte fortælleform. Imponerende sikker og overlegen er denne film, nummer to I en trilogi, hvor robotfilmen “Mechanical Love” var den første.

Filmen får landsdækkende premiere under DOXBIO d. 6. juni I 50 biografer. Herefter fortsætter den I minimum en uge I bl.a. i Grand Teatret, Øst for paradis, Café Biografen, Biffen i Aalborg, Ishøj Bio og Ikast Bio.

Den 6. juni vil der være en live-transmitteret diskussion, hvor instruktør Phie Ambo, professor Richard Davidson og en veteran vil diskutere filmens temaer og svare på spørgsmål fra publikum i hele landet.

www.doxbio.dk

Phie Ambo om Free the Mind

Vi er på vej ind i en ny æra, – en renæssance hvor alting bliver vendt på hovedet. På alle niveauer opdager videnskaben nye sammenhænge, som betyder at vores verdensopfattelse hele tiden ændres og intet er længere er, som vi først antog. Vores viden bliver større og mere kompleks. Konstant bliver der stillet nye fundamentale spørgsmål om, hvem vi er som mennesker. Og jo flere spørgsmål der stilles, jo mere tydeligt bliver det for mig, at der bliver flere og flere ting, som vi stadig ikke ved eller forstår. Det synes jeg er vanvittigt inspirerende!

FREE THE MIND er anden del af min trilogi om fundamentale menneske-lige spørgsmål. Filmen Mechanical Love (2007) om robot-forskning var den første og med FREE THE MIND er det kendetegnende for begge film, at de befinder sig i det spændingsfelt, hvor videnskaben møder virkeligheden, og hvor videnskabsmændene sætter spørgsmålstegn og tankestreger i stedet for punktummer.

I FREE THE MIND er det centrale spørgsmål: Hvad er en tanke og kan den manifestere sig i kroppen? Kan vi ændre vores hjerne fysisk kun ved hjælp af tanker?

Min personlige grund til at kaste mig over netop dette emne, var at jeg for nogle år siden pludselig og helt uventet blev ramt af panikangst. Det var en meget fysisk oplevelse og føltes mest af alt, som om ’pladen’ i min hjerne var gået i hak og der skulle noget fysisk til for at skubbe til pick up´en. Jeg opdagede at meditation kunne være det lille skub, der skulle til og jeg blev meget interesseret i at forstå, hvordan det hang sammen. Jeg fik lyst til at åbne op for kraniet og kigge ind i hjernen og se, hvad der egentlig foregår derinde under meditation.

FREE THE MIND er et resultat af den undersøgelse. Filmen er ikke et facit, men et indlæg i en fortløbende debat om, hvad mennesket er for en størrelse.

Phie Ambo, maj 2012

Dan and Noit Geva: Noise

It has so many layers this Israeli documentary about a man, who lives in the middle of Tel Aviv and suffers from the noisy surroundings, to the point where he goes bananas, and into an action with surveillance cameras and loudspeakers to identify and scare the noise-makers. He is a filmmaker, this man, he has a family with kids, he has a wife, who tells the story to us in a third-person manner, until she objects to his total obsession and sort of “enters” the narrative.

The point of view is his. He is the one, who shouts to groups of people passing by, or has the police come and ask a homeless person to move from his resting place outside the window of the appartment of the director “with the hyper-acoustic sensittivity” (from the publicity material). He is the one, who goes to the neighbours to ask them to calm down, and he is the one who constantly has a row with drivers, who park their cars in “his” street.

All this forms the fun part of the story, but the film also takes you to hear about how the nazi used sound as a torture instrument, as do many armies and police forces nowadays. The story progresses from the daily, banal noise damage on an individual – that you can easily identify with – to become a small Orwellian metaphor for a society where measures are taken to control communication and movements. It is a style that also another Israeli filmmaker, Avi Mograbi, has been using in several of his critical, political comedies. “Noise” carries succesfully the same tense, funny, critical reflection on a society full of noise on several levels.  

Israel, 72/59 mins.

http://www.docaviv.co.il/en/2012/films/1537

http://www.JMTFilms.com/

Bassel Shihadeh

Filmmaker and DoxBox Campus organiser Diana el Jeiroudi posted this text on facebook one hour ago:

“I lost a dear friend and colleague. Syria lost Syrian Filmmaker Bassel Shihadeh who was killed by a mortar grenade in Homs  this evening. My condolences to humanity .. at large..”

At DoxBox last year in Damascus Bassel was one of the filmmakers, who developed and presented “Brakes” at the pitch session at the Danish Institute. His film project was awarded as the best by the international panelists present. Bassel, Dox Box Campus alumni, was full of energy and charm and talent.

Really touching to see how his Syrian friends and colleagues one after the other change their facebook profile photos to the one you see. Condolences.

Mit navn er Jørgen Leth

Redaktionen gik på udstilling i den københavnske kunstforenings fine lokaler. Allan Berg, den udstillingskyndige, blev bedt om sin vurdering. Den er generøs for nu at bruge ét af Jørgen Leths egne yndlingsudtryk, sagde Berg, da vi spiste fiskefrikadeller på Diamanten lige ved siden af med udsigt til store fotostater på et plankeværk foran kanalen: Andy Warhol der spiser en burger i ”66 Scener fra Amerika”, Leth selv foran det store lærred i Bombay i ”De fem benspænd”, Bud Powell, et sort/hvid billede fra ”Stopforbud”, det tidlige jazz-værk, han skabte sammen med Ole John.

Det er jo det hele, det næsten samlede værk, fortsatte Berg, digtene, filmene, Moleskinnotesbøgerne, teksterne på plancher, Leths stemme og hans flotte samling af malerier og skulpturer fra Haiti. Det er materialer, og ikke biografi, og det er et rigtigt valg. Et højdepunkt er den lille kulisse, hvor man kan sætte sig ned og se Lene Adler Petersen i ”Ofelias blomster”, en lille ofte overset perle. Et andet er optagelserne fra castingen af unge kvinder til ”Det erotiske menneske”, indimellem hylende morsomt.

En enkelt lille indvending mod den manglende sammenhæng mellem lyd og billede i et rum, hvor der på væggen vises klip fra Leths favoritøjeblikke i hans elskede Tour de France, samtidig med at han taler om disse øjeblikke. Det følges bare ikke ad.

Hvis jeg havde mulighed for det, sagde Berg, der bor i Randers, ville jeg gå ind og se alle filmene én gang til. Det får man lyst til og det kan man nemlig på udstillingen med den nu 75-årige mesters herlige oeuvre.

Åben til 12. august.

http://www.glstrand.dk/udstillinger_aktuel.htm

Carlos Klein: Where the Condors Fly

… with the subtitle: A Cinematographic Journey with Victor Kossakovsky, and indeed it is, a true pleasure to travel with the director while he is shooting his masterpiece ”Vivan las Antipodas”. The Chilean director frames the film with his own observations and longing for Patagonia, he observes Kossakovsky in action dealing with his crew, organising the shoot, changing a bit on the nature he wants in the picture, communicating with the protagonists, and puts some clever questions to him at the editing, and in breaks of the shooting, or in a car. There is some arguing between the man in front of the camera and the man behind, Kossakovsky can get pissed, you see and hear that, and Klein catches that as well, but the film is first of all a very well made, warm and intriguing meeting with a director at work, and secondly a dialogue between two filmmakers.

Oh, to see Kossakovsky film the scene with the Siberian women singing. The camera stays on the profile of the director at his camera during the whole song, totally overwhelmed emotionally he is by the beauty of the situation and the song. Kossakovsky appears as a director with the ambition to give us, the viewers, something to remember, and feel. ”I just want people to be happy when they watch it”, ”who created this endless beauty” (that he shows us in the film), always in his limited charming English, ”the film is about planet, cows, stones, you just have to open your eyes, and it is all there”, ”I want people to be happy that such people exist”… and so on, so forth.

But also about problems as when music is to be composed… ”in every film I lost a friend”, he sighs, ”we need helicopter”, he says in Shanghai, while the production people make the outrageous budget calculation. Next clip, Shanghai from above! You can keep on quoting Kossakovsky, the emotional bear who jumps around hugging people, expressing his enthusiasm over life and its beauty to everyone at the same time, as he seems to know exactly what he wants. The strong bear who in other scenes appears like a sad, spoilt baby. Thanks to Klein for giving us all this and thanks also for giving us a film that is a must for all professionals and film students, who want to see how passion and commitment look like. As an invitation to discuss documentary filmmaking, it is a must.

Switzerland/Germany/Chile, 2012,  90 mins.

www.wherethecondorsfly.com 

The Syrian Revolution/ 13

Documentation from Syria taken from FB: Since the beginning of the Annan Initiative, 1,401 martyrs have been documented by the Local Coordinating Committees of Syria (LCCS) in cooperation with the Violations and Documentation Center (VDC). Since the beginning of the ambiguous Annan’s deadline, 1,401 martyrs are documented, including 101 children (83 males, 18 females), 70 women, and 41 martyrs died under torture in the difference Security Branches. The distributions are as follows: Homs paid the heaviest price with 499 martyrs, 243 in Idlib, 176 in Hama,135 in Damascus Suburbs,86 in Daraa, 86 in Aleppo, 77 in Deir Ezzor, and 73 in Damascus.

Regime forces continued to violate the initiative by bombing various cities and towns endangering the lives of the UN international observers. In addition to the widespread torture campaigns, destruction of private property, and torching of homes, regime forces escalated the violence by firing live ammunition on peaceful student demonstrations on University Campuses across Syria

Copenhagen Jewish Film Festival

The Danish Cinemateket in Copenhagen hosts May 20-23 the Jewish Film Festival that offers a programme of feature films, animation, short films and documentaries.

I had a preview of the documentary ”Auf Wiedersehen: Til We Meet Again”, a family story filmed primarily in Vienna, where the directors (Linda Mills and Peter Goodrich, 76 mins.) go to look for places and memories of Mills family, including the comments and reactions of her mother and aunt. Austrian historians take part in the revealing of the past of the family’s fate and give the frame of the history about how efficient the deportations to the camps were organised, as well as how many escaped before the war thanks to the Jewish administration. A story about survivors but also about perpetrators.

The festival not only show new films and for the documentary addicts two films stand out: Marc Isaacs neo-classic ”The Lift”, (photo), 24 mins with different people entering a lift to face the camera of the director in an appartment block in London. Lots of funny situations and indirectly a vision of a multicultural society.

The highlight, however, is ”David Perlov’s Diary”, filmed in the years 1973-78, considered a masterpiece in Israeli documentary film history, as it is written at the site of Cinemateket: a testimony of the turbulent reality in a country in constant conclict, threatened by war. Two of six chapters will be shown, 1 and 3.

www.cinemateket.dk

www.cjff.dk

http://tilwemeetagainfilm.com/film.html