Cross-Media Public Service – Storydoc

With the support of the Culture Programme of the European Union and the European Commission the documentary production company that is most active internationally in Greece, Anemon, led by Rea Apostolides and Yuri Averof, presented at Storydoc what they are working on: two exciting cross-media projects, which for me combine perfectly what is the original core of the documentary genre, Information, with the use of many media AND distribution and activities.

The company has just finished a fine single documentary, Sayome (financed by ERT, arte and GFC (Greek Film Centre)) directed by Nikos Dayndas, describes on their site the two projects like this:

Twice a Stranger: A cross-media project about the most significant population exchanges of the 20th century and the experience of being “twice a stranger”. Comprising of a multi-media exhibition, documentary screenings and educational programmes, it will is hosted in Athens, Nicosia and Istanbul in 2012.

A Balkan Tale: A cross-media project about the cultural legacy of the Ottoman era in the Balkans. Comprising of a photography exhibition, documentary screenings & educational programmes, it will be hosted in Athens, Belgrade, Pristina, Tirana and Skopje in 2012.

http://www.anemon.gr/other_projects.html

The Film Essay – Storydoc

Truls Lie, editor of DOX and filmmaker, made a fine inspirational introduction to what is the film essay. He stressed the characteristics of the genre and showed great classic clips from masters like Jean-Luc Godard (photo) (”L´Histoire du Cinema”, Chris Marker (”Sans Soleil”), Alain Resnais (”Night and Fog”) as well as Pier Paolo Pasolini and Haron Farocki. For Lie the essayistic documentary is ”a meeting ground for documentary, avant-garde and art impulses”. It can be a critical reflection (Marker’s many films on the American dominance of world politics) and/or an authorial ”voice” – great to watch Godard, cigar in mouth writing on his classical typewriter. The genre gives more freedom, it is elusive and inclusive, and it has an open structure. Lie also showed clips from his new film on Jørgen Leth, Danish filmmaker

The first half of Lie’s lecture was decicated to this historical perspective on great names of Cinema, whereas his second half included a trailer for his own film project from the Middle East, where he wants to focus on the situation of the women in Egypt and in other places in the region. His approach provoked a lot of comments from the participating film people, the strongest from Khaled Jarrar, Palestinian filmmaker, who argued that Lie with his images was just reinforcing the stereotypes that are always conveyed when Westerners want to make film. A couple of people in the auditorium said that Westerners should not make any films outside their own country!

Lie thought that the essay film was on its way back, I think he is right as it is one of the many ways being unfolded to fight against the mainstream documentary that lives under the tyranny of the (television) formats.

www.storydoc.gr

www.dox.dk

Nahed Awwad: Gaza Calling

This is what was written after I attended the Storydoc session in Ramallah, Palestine in March 2011: Nahed Awwad (PHOTO) showed us unique material from her 28 minutes long, scene divided disc. She presented what is to be an observational film entitled ”The Mail” that gives us both knowledge and emotion. Knowledge when it comes to the documentation of the transport of ID application papers in a cardboard box from the Palestinian authorities in the West Bank to Israeli authorities, that has its office in a settlement! Emotion, to mention just one scene, when a mother and her daughters watch a clip with the son/brother, who lives in Gaza and can not get a travel permit to see the family unless strong illness in the family is proved! Division, humiliation, what else would you call it – but here shown in a non-aggressive manner with big effect. She dares the pauses in her filming, what a relief in a stressed film environment where the idea seems to be to get as much as possible out to the audience as quick as possible.

Now – 8 months later – in Athens at the Storydoc session, the director generously invited her colleagues, the invited tutors and the broadcasters to watch her 110 minutes long rough cut of the film, that now carries the title “Gaza Calling”. The approach is the same, the characters are now developed – Samer who returns to Gaza from Ramallah on the West Bank, to his parents and to see his small sister for the first time and Hekhmat, the mother who with her daughters skype with her son in Gaza, walking along the beloved Sea. They can not meet.

The film is not finished, it will be cut down in the coming months, to be finished spring 2012. The impression is the same as when I first saw material in Ramallah in March – a strong film is on its way, told in a low tone it is a heartbreaking story about the Israeli apartheid policy that divides families from meeting each other. Civilisation 2011!

www.storydoc.gr

IDA Documentary Awards 2011

The American (LA) based member organisation IDA, International Documentary Association, holds its annual ”IDA Documentary Awards 11” December 2nd with a big show – the American way with sponsors, of course. The IDA has definitely an international perspective, as it can be seen by a look at the nomination list of films below. Experience how the IDA writes about its event on its site, click on the list of nominations and you will see great films like Patricio Guzman’s Nostalgia for the Light (photo), Strauss & Anastasion’s The Redemption of General Butt Naked, as well as a nomination of the quality documentary strand POV run by Simon Kilmurry. Personally, as a teacher at the Zelig – School for Documentary in Bolzano – it is wonderful to see two of the five Student Documentary Awards coming from there: Janos Richter and Jakob Stark’s ”Guanape Sur” and Mark Olexa’s ”Heart-Quake”:

Read the full 2011 IDA Awards Press Release.

http://www.documentary.org/awards2011

http://www.documentary.org/awards2011#nominees

Michael Christoffersen: Law of the Jungle

Sådan ser han ud, den seneste i rækken af Christoffersens helte, alle jurister på arbejde for et internationalt retssystem. Han her er på vej, på billedet på vej fra en demonstration langt inde i Perus jungle, arresteret og på vej til bank og måneders fængsel og flere mishandlinger, men også på vej til en erkendelse af, at undertrykkelsen og volden og torturen, forsvindingerne og henrettelserne må bekæmpes i seje og tålmodige juridiske argumentationer i internationalt overvågede retssager på et stadigt udbygget og sikret grundlag af international ret, i hans tilfælde internationale rettigheder for oprindelige folk. Han er jæger og familiefar og leder af en gruppe unge indianere, som har sat sig op mod olieselskabet Pluspetrols metodiske ødelæggelse af deres land. Han hedder José Facin Ruiz, og han læser i dag jura på universitetet i Lima. Den kendsgerning er den lykkelige udgang på Michael Christoffersens film om de forfærdelige forbrydelser i Perus Amazonland under Pluspetrols regime.

Som jeg prøvede at forklare, da jeg i sin tid skrev om Christoffersens Saving Saddam har jeg det sådan med hans film, at dengang the crime of crimes og det historisk set nye internationale retssystem om disse sager og nu et spirende internationalt juridisk system omkring oprindelige folks krav på ret til jord og søer og vandløb og naturressourcer i de nu fire film bliver selve emnet og kernen. I hver film vokser fortællingen og en karismatisk hovedperson sammen med forståelsen af denne jura, denne etik, som altså effektivt kropsliggøres i en smuk bue fra den blide og tænksomme Aspegren i Genocide, over den barske og effektive Geoffrey Nice i Milosevic on Trial, den frustrerede Wilay i Saving Saddam og nu i Law of the Jungle den forbitret argumenterende Jorge Tacuri (indianergruppens advokat og filmens egentlige hovedperson) og hans klient og protegé, den med imponerende værdighed determinerede indianerleder José Fachin Ruiz, en måske kommende folkeretsspecialist.

De fire værker set under ét udgør en samlet journalistisk og dokumentarisk erfaring om international ret lagt ned i ét vældigt værk, som filmet på location disse tidlige år vil bevare sin enestående status som skildring af denne ambition om et samlet retssystem. Denne tidlige historie er hermed skrevet og tydeligt formuleret af de bevægende medvirkende, Michael Christoffersens advokathelte.

Operatøren i BioCity Randers kom ind i salen i aftes, tydelig glad og stolt over at være med i Dox-On-Wheels fornemme næsten simultane visning i 20 biografer i 19 byer, altså også i min. Operatøren var skuffet over et beskedent fremmøde, men jeg kan nu bagefter forsikre ham om, at Law of the Jungle var langt den vigtigste film blandt dem, han kørte i aftes, og at det var stort at se en intellektuelt uomgængelig dokumentar i en næsten ny og RIGTIG biografsal med perfekt videoprojektion og smuk lyd.  

Michael Christoffersen: Law of the Jungle, Danmark 2011, 83 min., klip: Niels Ostenfeldt, produceret af Radiator Film, Stefan Frost og ABC Film. Filmografi (Michael Christoffersen): Saving Saddam, 2008, sammen med Esteban Uyarra, produktion: Team Productions, Mette Heide, Milosevic on Trial, 2007, produktion: Team Productions, Mette Heide, Genocide: The Judgement, 1999, Michael Christoffersen for BBC og SVT.

Barcelona Calling

This is not a neutral text. I have been part of the DOCSBarcelona team from the very beginning, and have seen how Joan Gonzalez and his team at Parallel 40 over a period of 15 years has built up a basis for the creation of a documentary culture in the Catalan capital. Wednesday next week is the deadline for film projects to be sent in for the eventual selection for the Forum part of DOCSBarcelona that also includes a festival, masterclasses, a latin forum, and rough cut screenings. Taken from the webiste:

DocsBarcelona Pitching Forum calls for submissions to the 15th edition of the documentary financing session held alongside the International Documentary Film Festival (January 31 – February 5). A board of experts will pick 24 applicants for a two-day prep pitching workshop, culminating in project presentations in front of film professionals and observers, followed by one-to-one negotiation meetings. The deadline for submissions is December 1, 2011.

DocsBarcelona Pitching Forum is an established stage for unfinished documentary projects from all over the world seeking financing, promotion or networking basis. With a large number of documentarians as well as film professionals, the venue became one of the major winter season meetings since its foundation in 1996 by EDN. Although the preliminary workshop is optional, it is an essential opportunity for any producer/filmmaker who aims to fine-tune their project before the public pitching itself. In addition to that, Eastern European and “New European” countries (including Malta and Greece) are offered special fees to attend either as a workshop participant, a project pitcher or as an observer. Observers may find special registration form HERE.

www.docsbarcelona.com

IDFA Awards

From press release of IDFA: The winners of the various IDFA competition programs were announced Friday, November 25 in Escape, during the awards ceremony of the 24th IDFA. Seung-Jun Yi’s Planet of Snail (South Korea) won the VPRO IDFA Award for Best Feature-Length Documentary. The Special Jury Award went to 5 Broken Cameras (Palestine/Israel) by Emad Burnat and Guy Davidi, who also won the Publieke Omroep IDFA Audience Award. The film received financial support from the Jan Vrijman Fund.

WINNERS & AWARDS

VPRO IDFA Award for Best Feature-Length Documentary (€ 12,500) Seung-Jun Yi – Planet of Snail (South Korea)

Special Jury Award

Emad Burnat and Guy Davidi – 5 Broken Cameras(Palestine/Israel/Netherlands/France)

NTR IDFA Award for Best Mid-Length Documentary (€ 10,000)

Jorge Gaggero – Montenegro (Argentina)

IDFA Award for First Appearance (€ 5,000)

Xun Yu – The Vanishing Spring Light (China/Canada)

Dioraphte IDFA Award for Dutch Documentary (€ 5,000)

Jessica Gorter – 900 Days

Publieke Omroep IDFA Audience Award (€ 5.000)

Emad Burnat and Guy Davidi – 5 Broken Cameras(Palestine/Israel/Netherlands/France)

IDFA Award for Student Documentary (€ 2,500)

Karen Winther – The Betrayal (UK/Norway)

BlackBerry IDFA DOC U Award (€ 1,500)

Mehrdad Oskouei – The Last Days of Winter (Iran)

IDFA Award for Best Green Screen Documentary (€ 2,500)

Micha X. Peled – Bitter Seeds(USA/India)

IDFA DocLab Award for Digital Storytelling (€ 2,500)

Antoine Viviani – Insitu (France)

RIDM Awards

The documentary film festival in Montréal RIDM sums up its activities and awards like this, with the DOKLeipzig winner “The Tiniest Place” again very much presented. More information, and trailers to be watched, by clicking on the titles below. To be welcomed that the festival also honours editing and cinematography: The festival presented nearly 200 films, (had) events, and activities. More than 60 special guests from Quebec and abroad participated this year, helping us to bring out the best in reality-based filmmaking.

During the awards ceremony on Nov. 19 at the Grande Bibliothèque, 10 awards were given out to highlight some notable contributions. Prizes worth more than $26,500 in cash and services were distributed to the honourees.

This list of winners is as follows:

GRAND PRIZE FOR BEST INTERNATIONAL FEATURE Territoire perdu by Pierre-Yves Vandeweerd 
Special mention: The Tiniest Place (El lugar más pequeño) by Tatiana Huezo

BEST EDITING IN AN INTERNATIONAL FEATURE presented by AQTIS 
Territoire perdu by Pierre-Yves Vandeweerd

GRAND PRIZE FOR BEST CANADIAN FEATURE presented by Bell 
Carnets d’un grand détour by Catherine Hébert

BEST CINEMATOGRAPHY IN AN INTERNATIONAL FEATURE presented by Antoine Laoun Opticien 
El velador by Natalia Almada

BEST NEW TALENT FROM QUEBEC/CANADA presented by the NFB 
The Vanishing Spring Light by Xun Yu

CINÉMATHÈQUE QUÉBÉCOISE – CRITICS’ CHOICE AWARD Les Etats-Unis d’Afrique by Yanick Létourneau 
Special mention: La guerre de Wiebo (Wiebo’s War) by David York

BEST INTERNATIONAL MEDIUM-LENGTH FILM presented by Films Transit 
Hula and Natan de Robby Elmaliah 
Special mention: Out of Reach by Jakub Stozek

BEST INTERNATIONAL SHORT FILM presented by Vox 
Flying Anne (Anne Vliegt) de Catherine Van Campen

WOMEN INMATES AWARD The Tiniest Place (El lugar más pequeño) by Tatiana Huezo

PEOPLE’S CHOICE AWARD presented by Canal D 
Bouton by Res Balzli

PS. The film of Frederick Wiseman was shown at the festival – Crazy Horse, photo – as the opening film resulting in a signed letter to the organisers from around 30 filmmakers, who expressed that the festival supported sexism!

Idfa – film about Michaël Meshke

This is what is (also) nice about going to idfa – you meet directors and producers, whose work you have seen and appreciated before. Viktoria Szymanska made the wonderful “Themerson & Themerson” (photo) about the magic work of this British couple in early avantgarde cinema, pure dadaism, and Szymanska was successful in getting the tone of the artists into the film.

Now she is here to present another film project about an important artist, the puppeteer Michaël Meshke, 80 years old now, the man who had the fantastic “Marionettheater” in Stockholm, Sweden. Viktoria Szymanska showed me some footage, shot today and some archive clips with Meshke performing. She had shot a scene with Meshke walking the streets of Paris with the puppet Baptiste, a reincarnation of the main character in “Les Enfants du Paradis” – you remember it, Jean-Louis Barrault, Arletty, directed by Marcel Carné. It is indeed a very promising film project.

Szymanska’s film is being produced by Estelle Robin from the French company Balibari, based in Nantes, and Szymanska could not have got a better support for an international production. Robin stood behind the constantly award-winning “Village Without Women” by Serbian director Srdan Sarenac and “La Machina” by Polish/French/Italian director Thierry Paladino.

http://www.balibari.com/

Idfa – Weijun Chen

Breakfast meetings in the hotel. This morning I was lucky to meet Chinese Weijun Chen, the director behind the international successes “I Will Vote for You” (photo) and “The Biggest Chinese Restaurant in the World”. He was in Amsterdam to meet his producer Don Edkins, the man behind the big series “Steps for the Future” and “Why Democracy”. Now he has entered and launched another mega project “Why Poverty”, see details on the site below.

Weijun Chen stands behind one of 8 long films in the series that has Nick Fraser from BBC and Mette Hoffmann from DR/TV as editors. More than 40 broadcasters around the world have joined the series that will have its premiere in one year and will also provide a website connected, plus several short films.

Here is a text clip from the site describing the film of Weijun Chen, quite a controversial film for China I guess:

In ancient times in China, education was the only way out of poverty – in recent times it has been the best way. But just over ten years ago, when higher education was commercialised by order of the government, the start of a major change in China’s society took place. The equality that once existed for all students has been destroyed, and for the millions of college graduates who come onto the job market each year, the future is bleak. Chinese Dream is a film that charts a societal shift that will have an impact on the future economic progress of China.

http://whypoverty.net/contact/