Andrei Dăscălescu: Holy Father

This text is written by festival directors Svetlana and Zoran Popovic

This is an exclusive road movie in search of answers hidden deep in silence and oblivion.

Andrei Dăscălescu is facing a situation that announces a major, important change in his life. Face to face with his worried wife, unprepared to directly express his own condition and emotions, he takes a camera that he uses more successfully than words and resolutely and bravely undertakes a great documentary endeavor. With his film skills, he tries to break through the invisible walls between the present, the past and the future, and sets out to meet his father, who has renounced the world and left the son in that renunciation. The journey takes us to spaces of deep devotion, to the Holy Mountain, and confronts us with long-buried secrets and conflicts. This is where the unusual friendship between the father, a monk crucified between his duties and family history, and the son begins. A camera helps him to behold and understand his own father and the rest of the world. This is a touching film quest for a father, but also for what it really means to be a father. And finally, a quest for how to become a father himself. This is a dramatic search for reconciliation and a story about the true courage of future parents ready to face the legacy they need to pass on to their child.

A film that enchants you with its warmth and intimacy, as well as with its amazing documenting the deep need to create an inner space for the new life to come.

Romania 2020, 85 minutes 

Heddy Honigmann: 100UP

This text is written by festival directors Svetlana and Zoran Popovic.

One of the world’s most important authors took on an incredible, unusual endeavor and made a unique film in her elegant style. 

Heddy Honigmann is a documentary filmmaker who breaks through impenetrable walls with her warm, carefully measured and dedicated communication with people in her films. This time, she decided with considerable courage to make a film about people who have already entered the second century of their lives. Contrary to the incidental news that someone anonymous until then or someone famous, celebrated his hundredth birthday, this great film directly confronts us with fascinating characters full of passion, spirit and life. This is the unique document about active life of people at the beginning of their second century, valuable because it reveals to us people that we could read about in legends, but very few people could meet them in person. Heddy Honigmann masterfully introduces viewers to the active lives of her enchanting heroes who never cease to amaze us – from a woman who, as a bewildered girl, watched one of the greatest evils in history, to a man who passionately seeks an answer that will change the destiny of humanity. A sensational drummer, sexologist, philosopher, doctor, characters whose vitality gives this film a wonderful, exciting inner rhythm. 

A precious documentary that reveals to us the depths of human experience and wisdom. 

Netherlands, Belgium, Norway 2020, 92 minutes

http://www.magnificent7festival.org/en/100up.php

Kim and Bouillot: The Man Who Paints Waterdrops

Oan Kim and Brigitte Bouillot are their full names.

This text is written by festival directors Svetlana and Zoran Popovic.

A superb documentary work that ranks in style with the films of some of the most important French authors.

This is a story that introduces us to the dark inner spaces of a man crucified between Korea and France, to the spaces of a personal history inextricably intertwined with the history of a nation, to the spaces of colours, paintings and painting, to the immeasurable space between the painter and the fluid surface of the canvas, to the microcosm of innumerable droplets. This is an exciting personal search and a refined essay on art and the artist. Together with Brigitte Bouillot, Oan Kim tells the story of his father, one of the most important contemporary artists in South Korea. This is the story about the dilemmas and secrets that the son faces when trying to make a study of the father, a study in which close up shots of his always unusually pensive father are intertwined with the shots of his work. This precisely captured meditative peace is filled with additional flow of oneiric fragments of drama and unrest. Authors create together the film as a perfectly constructed puzzle where the last, smallest piece will give the final meaning to the whole story. In a musically precise rhythm, in a slow pace, the authors build a real cinematic tension that keeps the viewers nailed from the beginning to the end of the film.

This is a film about a secret hidden in depths of a torn being who turned into a charismatic artist so that he could testify to the world about the beauty that rises above the dark abyss.

France, South Korea 2021, 79 minutes

http://www.magnificent7festival.org/en/kapi_vode.php

Marc Isaacs: The Filmmaker’s House

“The Filmmaker’s House” is masterly made film by one of the most important documentary authors in Great Britain, created in facing a space that we usually think of as a set of walls and things.

What makes the house we live in? Marc Isaacs presents his own house primarily as a place where film ideas and films live. And one of these films he makes in front of us and introduces us to unusual people who come from different parts of the city and the world, and invade at different times, announced and unannounced, creating together events in which they have different roles. All of these events unfold gradually – from simple everyday situations to unexpected ones, and each one brings some surprising blend or dramatic twist. Everyday life before us alternately becomes an amazing film and a surreal show. How brilliantly documented the unpredictability of life! Marc Isaacs’s films are astonishing precisely when the author allows charismatic people to seemingly create their own stories in front of his camera which also participates in the events. Behind that illusion, the author carefully directs and guides the flow of the film with discreet directions, provoking and encouraging his heroes. They become a part of his house and his everyday life, he and his camera become an oneiric part of their existences.

This film is a manifesto of the power of documentary film to create captivating cinematic stories from simple scenes of reality.

Great Britain 2020, 75 minutes

http://www.magnificent7festival.org/en/kuca_filmskog_autora.php 

Mohamed El Abudi: School of Hope

This text is written by Svetlana and Zoran Popovic

Morocco. Vast desert. People living under tents. And a house like a grain of sand, the grain that becomes a pearl in a shell. 

Mohamed El Aboudi comes to his native Morocco to follow a young teacher who arrives to the wasteland and tries to establish a school among the nomads – a school for children who by birth are not meant for education, yet only to repeat the lives of their fathers and mothers. This is the story of a name inscribed above the door of the small house in the desert, a name that brings joy, arouses curiosity, triggers children’s play and opens the way to new knowledge. The film introduces us to fascinating, cruel landscapes with a few people and children, while they carry together the centuries-old burden inscribed in the books of ancestral laws. Mohamed El Aboudi, with great talent of documentary observer, in a refined manner, discreetly, carefully not to interrupt the newly created sensitive bonds between the teacher and his students, reveals a whole world hidden behind tradition and customs, behind strict laws of survival. Gradually and always with respect, the author approaches school, classes and wonderful moments of school breaks, but also parents and families, their everyday routine, as well as dramatic events in which all fears about the survival of hope become fears about the survival of the community, nature, planet. Collisions of desires and prohibitions, games and obligations, joys and worries build an unusual saga of striking scenes and characters testifying how precious is the striving for new knowledge. A saga about strivings that are the only ones that truly change the world. 

An enchanting documentary made about the school as a wonderful saving oasis.

Finland, France, Morocco 2020, 78 minutes 

www.magnificent7festival.org

Mladen Kovačević: Merry Christmas Yiwu

This text is written by the festival directors Svetlana and Zoran Popovic

This is not a film about China. This is a film about people’s dreams. This is a film about everything that makes a dream about China.

Wonderful and enchanting, this film immediately breaks through all barriers and introduces us to the very center of the intimate circle of dedicated manufacturers of New Year’s decorations. The city of Yiwu, hidden by the shadow of huge Shanghai, every year in December, before Christmas in the western world, becomes one of the most important points on the map of the world for the success of Christian holiday. In that place, series and series of magical, shiny, colourful balls and decorations for Christmas trees around the world are created. This film reveals to us human touches that create colourful Christmas glow. With masterly created long one shot-scenes, Mladen Kovačević brings us closer to faces and secrets, personal stories, hidden desires, hopes. He introduces us to people who become close, dear, interesting to us. At the same time, this is a testimony about leaps in time, about the people who face the world that came out of their vague ideas about the future in which they turned up miraculously. All individual stories exceptionally fit into a vivid, dynamic composition of constant change and never-ending discoveries. Life captured by discreet observation is revealed to us in its exciting fullness and beauty.

A superb modern documentary that amazes with scenes shot for a real cinematic experience.

Serbia, Sweden, Germany, France, Belgium, Qatar 2020, 94 minutes

http://www.magnificent7festival.org/en/index.php 

Magnificent7 – Salomé Jashi: Taming the Garden

In this text the directors of the Magnificent7 festival in Belgrade (October 2 – 6) gives their reasons for showing the film at a special screening followed by their intro-review for the film that is shown on the last day, October 6 at 6pm.

Nature, the planet and all of us have been hit by numerous tragedies again this year. They continue to threaten to destroy not only our civilization, man as a species, but all life on Earth. Fires of unimaginable proportions and consequences ravaged Greece, destroying in front of them all living beings. Thousands of acres of virgin forests have been destroyed in the north of the island of Evia. Also, an ancient olive grove was burned near the village Rovies, and in it a 2500-year-old olive tree called Nymph, still fruitful. It was described in ancient times by the geographer and philosopher Strabo. It was among the oldest trees in the world. “This 2500 year old three in the Greek island of Evia saw civilizations rise, crumble and fall. It couldn’t survive this one. But perhaps it glimpsed the crumbling.”

We dedicate this special projection to the olive Nymph with the deepest sorrow.

Below the intro/review of the film written by Svetlana and Zoran Popovic:

Georgia, Switzerland, Germany 2021 
79 minutes 
directed by: Salomé Jashi 

A film that marked Sundance Film Festival and the Berlinale with its poetic cry for the salvation of nature and the planet. 

Shot in the rural areas of Georgia, this film is a turbulent amalgam of harsh reality and surreal scenes, dreamlike images that carry the deepest representations of the symbolism of the collective unconscious. The film is an incredible saga about the life of trees that many neither respect nor see as living creatures. This is the saga about taming the very essence of nature, about an astonishing endeavor arising from the bizarre need of people of power and money, about an endeavor that inflicts intense suffering and sorrow. This is the document of eradication in the basic meaning of the word in order to satisfy the perverted idea of moving hundred-year-old trees from their natural environment of forests and villages to a newly created park, grove, in a domesticated garden of trees, as in a collection of butterflies pierced by pins. Before our very eyes, reality turns into a legend about a cursed land, into a fairy tale about an enchanted forest, into stories about a hidden powerful giant that moves the world. Stunning scenes never seen in reality on such a scale but only in intense dreams, strike us with their presence in the world that we have allowed to be handed over to those who understand nothing about nature its living beings. The exceptional subtlety of perception and the great artistic talent of the author poetize this story, which remains in us as a painful ode to our fellow relatives in life and our silent protectors. 

Salomé Jashi turns her film into the voice of trees of the entire planet. 

http://www.magnificent7festival.org/en/index.php 

Mogens Brejnholm Nielsen: Faktatjek

Alle var dette mærkelige år, et århundredes sidste, efterhånden enige om, at Randers ikke mere var, hvad byen havde været. Sådan skrev jeg 2004 til Mette Lundens og min bog Randersbiografi. Og jeg selv begyndte dengang tilmed at spekulere på, om byen var en by stadigvæk. Med Calvino i hånden kunne jeg – i det mindste over for mig selv – rejse berettiget tvivl om den by, som i dag hedder Randers, nu også er den samme, som eksisterede tidligere under det navn. Som Calvinos Maurilio kunne den have afløst en anden med det samme navn på dette samme sted, uden der var forbindelse mellem dem. Uden der nogensinde havde været forbindelse.

 MORGENMØDER

Og når Jyllands Posten en søndag tidligt i dette år 1999 kunne skrive ”God¬morgen Randers”, og så bare lade teksten handle om nogle møder, man havde tidligt på dagen mellem de øverste chefer i den kommunale administration, så vidste jeg, men accepterede ikke, at den ironiske hilsen også gjaldt mig. Jeg boede i Randers, holdt af at bo der, ville blive ved med det, men var altså i tvivl om, hvad det var for en realitet, ordet dækkede. Var jeg i en eller anden forstand omsluttet af begrebet Randers og således ansvarlig for, hvad disse mænd talte om og besluttede? Naturligvis ikke, skrev jeg til mig selv den morgen. ”Randers” var her en journalistisk forkortelse…

 BYENS ANSIGT

Som ordet også var det hos Randers Amtsavis’ journalist Jørgen Bollerup Hansen, når han den 14. februar 1999 skrev om Randers’ image, interviewede borgmesteren om hans by, som var det stadigvæk denne overskuelige, middelalderlige købstad, de talte om, og i en spalte efter artiklen listede en række punkter op: Cerberus’ handlinger, det kommunale personalekontors handlinger, Lillebjørnbestyrelsens handlinger, Brusgårdbestyrelsens handlinger, Rytterskoleledelsens handlinger, Randers Jazzfonds handlinger, Jyllands Postens hanlinger med sine artikler om Randers Kommunes ledelse og endelig en bestemt handling på Randers Kunstmuseum. Ja, der var meget de dage at føle sig ansvarlig for. Alt dette skadede Randers’ image stod der. Strukturen Randers klart opfattet som et stort kommercielt firma bærende dette navn, hvor formanden for bestyrelsen netop var blevet interviewet.

 FOTOBOG

Jeg havde næsten glemt disse møder om morgenen mellem de øverste chefer på Laksetorvet og fuldstædig fortrængt de meget voldsomme begivenheder under et ekstraordinært byrådsmøde den 10. marts 1999.

 Men så kom forleden dag Mogens Brejnholm Nielsens smukke fotobog, Faktatjek, 48 fornemt tykke sider, liggende A3 format, en lille suite sort/hvide helsides fotografier i en uklippet montage direkte fra negativstriben og en større suite fotografier i farve og som alle er omhyggeligt kontrollerede snapshots.

Mogens Brejnholm Nielsen skriver i sit forord om sin holdning til sine fotografiers objekt Randers: “Jeg holder af min by, og har hjemve så snart jeg forlader den. Har i det meste af mit voksenliv fulgt med i samfunddsdebatten og via fotografiet kommet i kontakt med mange forskellige miljøer og mennesker. min yngste datter, der bor i Århus, har er indkøbsnet, hvorpå der der står: “Alt, hvad de siger om Randers, passer”…”  

Alle optagelser i fotobogen er fra en begivenhedsrig aften på Randers Rådhus den 10. april 1999, og fotografierne skildrer et reelt drama med et ekstraordinært byrådsmøde, med formøder og mindre møder og korridorsamtaler undervejs. Dramaet var afslutning på en svært overskuelig og langsomt afdækket periode af dybe modsætninger i personalegrupper, embedsmandskreds og byråd.

 FOTOGRAFIER

Mogens Brejnholm har optaget de sorthvide fotografier i nøgtern ærlig reportagestil, klassisk indiskutabel som billedjournalistik, hvad det ikke er. Det er pointefri redegørelser for det sete under en konstant tilstedeværelse.

Finn Larsen har fotograferet i farver. Hans billedtæppe er i nervøs bevægelse som af en forårsvind fra et par åbne vinduer. Og det gør selvfølgelig min tillærte tydning af detaljer og enkeltfortællinger vanskelig, men flytter jeg min forventning fra det repeterende, fra det mimiske greb med kameraet ser jeg Finn Larsens poetiske vilje: se dette som flimrende teater, som en shakespearisk erfaring, ikke til at glemme.

Det er således prosaisk fotografi og lyrisk fotografi i samme fotobog.

 ESSAY

Billedsuiterne er omgivet af et stort essay hentet fra en journalistisk videnskabelig overvejelse af den løbende magtudredning disse år omkring århundredskiftet, Magtens Bog, 2002) hvor ”Randersskandalen” fik sit eget kapitel. Og om dette essay hed det i en anmeldelse:

”Var Farum-sagen kommet frem tidligere, ville den have en selvskrevet plads i fremstillingen. Nu må vi nøjes med Randers-sagen, som er beskrevet af Henrik Særmark-Thomsen. Bortset fra, at pengene er færre i personalesagerne i Randers, lader skandalerne om forvaltningen af personalesager ikke meget tilbage at ønske. De var ikke blot kendetegnet ved juridiske mangler og magtfuldkommenhed. Konsekvenserne af et uantastet socialdemokratisk styre gennem næsten 100 år var tillige, at oppositionen – med en enkelt undtagelse – ikke var mange kopper te værd, at Randers-afdelingen af Forbundet af Offentligt Ansatte var halvvejs i lommen på den arbejdsgiver, kommunen, som var dens modpart, og at en psykiater brød sin tavshedspligt, når kommunaldirektøren skulle have slibrigheder om en uønsket ansat. Artigt.” (Fra Informations anmeldelse omtale af “Magtens Bog”)

 LITT.:

Erik Valeur: Magtens Bog, 2002

 https://www.information.dk/2002/04/bogens-magt 

Mette Lunden og Allan Berg Nielsen: Randersbiografi, 2005

 https://randersbiografien.wordpress.com/randersbiografi-1-2/ (Scroll til 1999 / Billedet af byen)

 FAKTATJEK

af Mogens Brejnholm Nielsen, 2021

Fotografier: Mogens Brejnholm Nielsen, 1999 og Finn Larsen, 1999

Essay: Henrik Særmark-Thomsen, 2002

Layout: Hans Grundsøe

Forlag: Mogens Brejnholt Nielsen

Salg: hosmbn5@gmail.com 

ISBN nr. 978-87-982279-5-3 

Magnificent7 2021 Belgrade

”My headline is ordinary people”. Director Marc Isaacs is behind the camera skype-talking with his producer, who gives him the information that the broadcasters of today only want to give money for more commercial/sensational stories. Not ordinary people stories.

For me being involved in the extraordinary festival Magnificent7 I have always been drawn by extraordinary films about ordinarypeople. ”Filmmaker’s House” by Isaacs is a film like that, including warmth and love and respect for its characters. Ahh, I don’t like the word ”characters”… better is human beings caught by the camera in a film that is intelligent, playful, fun to watch, lovely human beings, who are who they are – on the stage of the Real and Extraordinary Life.

Absolutely the same you can say about “Merry Christmas, Yiwu” by Mladen Kovačević: Intelligent, playful, respectful… I don’t recall to get so close to  

Chinese people in a film made by a film team that is not Chinese. Festival directors Svetlana and Zoran Popovic approached me cautiously asking if this Serbian documentary was good enough for the festival. It’s a masterpiece, was my answer, we must have it. Later on I had the pleasure to be on the jury of the Sarajevo Film Festival, where there was no doubt, when the main award was to be given. The film is available on different platforms but the magnificent cinematography and narrative rythm demands the great screen and a full cinema in Belgrade!

The Popovic couple did not push for the Serbian film from China and I – as a Dane – did not for „President” by Danish Camilla Nielsson but I hoped they would like the sequel to „Democrats” that already was at Magnificent7. Oh my God, they did and I was happy as I consider Nielsson as one of the (if not the) best documentary directors in Denmark right now. Even if the film has the focus on a country and its politics, again Nielsson lives up to what she said to me in an interview long time ago: ”You’ve got to have love for your characters and do everything you can to give them confidence in the job you’ve been assigned”.

Also „Holy Father” by Andrei Dăscălescu was awarded at the Sarajevo Film Festival for its intimacy, for crossing the border between what is private to personal in the narrative approach making it an extraordinary film about an ordinary theme, father and son. Dăscălescu risks, his father risks, the monk from Mount Athos; it becomes philosophical and existential and there are many points of identification in this so well constructed, emotionally balanced film. Lovely that it can be shown on a big screen even if the main sponsor is HBO, the broadcaster. No blocking.

Family is indeed also the theme of the French “The Man Who Paints Water Drops”. Kim Tschang-Yeul is the name of the artist, Korean, director is Oan Kim, his son, who wants to know (more about) his father, who does not talk a lot; no need for that as the audience is given superb access to a fascinating world artist and the word charisma seems to be an understatement to be in company with Kim!

Children and old people. Very very often they constitute the best gallery for extraordinary films about ordinary human beings. In the selection this year for the festival we chose two films, one from the beginning of life and one from, when the end is near. Finnish film ”School of Hope” by Mohamed El Aboudi takes the viewer to the desert of Morocco, where children go to school to learn, simply. The teacher is fantastic, the children are individuals who have to support their parents and find ways to avoid classical gender roles imposed by the older generation. Full of magical moments. 

Heddy Honigmann, a true master of documentary concludes this intro. Her film “100UP” is also full of unforgettable moments that advocate for – as one of the centenarians put it – life as a miracle, said by ordinary people who have lived long enough to know!

Hope that you also will enjoy to GO TO THE CINEMA to see fascinating lives unfold on the screen – visual beauty. 

Very Best

Tue Steen Müller

PS. A special screening of the festival, film number 8, is “Taming the Garden” by Salomé Jashi from Georgia. It started its screening career at the Sundance Festival in the beginning of 2021 and has since then been praised in festival after festival. I was lucky to watch rough cuts of the film in 2020 as a true admirer of Salomé’s previous work and I was looking forward to recommend it to Svetlana and Zoran Popovic as the film is a true Magnificent7 film from all angles. They agreed with huge enthusiasm. I told this to the director. First and foremost it is a magnificent authored documentary with many layers giving me associations to Hans Christian Andersen and his “The Nightingale” watching trees in the park being watered and held with wires. Fake. It should have been one of seven selected, it became number 8 as another Serbian festival took it placing it among more than 100 films… To the dissatisfaction of the director. Read elsewhere in this catalogue why the festival directors chose to have a number 8 with a special focus.      

 

 

 

 

 

 

Mads Hedegaard: Cannon Arm and The Arcade Quest

To sit in a cinema watching documentaries! In Malmø where the 32nd Nordisk Panorama takes place. Anita Reher, my colleague from the time where EDN (European Documentary Network) was alive and kicking, invited me to be a juror in the competition for new talents called New Nordic Voice. Thanks. To sit in a cinema… have not done so for a loong time. 

The festival opened Thursday night as always at this Nordic gathering in a good atmosphere.

To be honest I considered not to go to watch a film having read that it dealt with a man, who would beat a record of playing arcade games… what is that?

I went and liked the film a lot. I did not learn anything about arcade games but I met some great personalities, “heroic outsiders”, they are called in the describtion below that I have taken from the website of the Danish Film Institute. I would add artists to characterise them. The protagonist Kim “Kanonarm” Købke who is not, to say the least, a big talker. During the film he mumbles, hmmm, strange sounds come from him while he is playing – and still the line I remember so well is “oh, some wonderful plants” said by the player, while he is out in the dark peeing in a small break from the ambition to beat the record! One of his friends (Michael) Dyst is a writer, who reads some of his fine poems in between the arcade games. Reminds me of Yahya Hassan. And Carsten (Tommy Lauridsen) who has dedicated his life to analyse the music of Johan Sebastian Bach! There are other personalities in the Bip Bip Bar on Fælledvej in Copenhagen and there is a lot beer and music. And fun. The film has a flow with energetic scenes put together in a way so there are also pauses from the sound of the arcade machines. Here is the synopsis: 

 «A film about friendship and arcade games that will put a smile on your face and tug at your heartstrings. With the help from his friends at Bip Bip Bar, Kim Cannon Arm attempts to be the first in the world to play an arcade machine from the early ’80s for 100 consecutive hours. With its collection of heroic outsiders, dreams about legendary world records, quirky hairdos and brilliant players, the documentary praises solidarity and the attempt to achieve the sublime.”

Quite a refreshing documentary!

Will come back with more small reports but not about the films from the competition – the jury still have 6 long documentaries to watch before deciding the winner.

Denmark, 2021, 97 mins.