Christoffer Guldbrandsen: Præsidenten

Det er så ikke, som man ellers efter pressebilledet kunne tro, Romano Prodi, der fortæller historien. Det er Guldbrandsen selv, som er fortælleren, i hvert fald af den journalistiske, handlingsbaserede historie, som er bundet i hans speak. Det er nok de fire klippere, som står for musikken, for rytmen og selve spændingen. Og spændende er det, det er bestemt en god film, en flot film, en underholdende film. Men jeg er ikke sikker på, det er en klog film. Jeg er ikke overbevist om, at Guldbrandsens historiefortælling når dybere end skolebogens oversigt, teksten har ligesom ikke litterær værkhøjde, og kun enkelte steder får klippet lov at fortælle selv, så filmisk når den heller ikke vingefang. Og så savnede jeg sådan tid til Prodis analyse, til Fischers. Nok deres især. Men, hvor er det dog netop spændende og flot med alle disse super-egoer i præcise klip fra alle de mange kampe. Imidlertid, den store film med den samlende skildring af hele kampen og selve kampen om det politiske projekt, Europas forfatning og Europas præsident, er det ikke.   

Christoffer Guldbrandsen: Præsidenten, Danmark 2011, 52 min. DR2 Dokumania 12. april 21:00. Guldbrandsens filmografi: Fogh bag facaden (2003), Rødvinsgenerationen (2004), Lykketoft finale (2005), Den hemmelige krig (2006), Dagbog fra midten (2009).

Lozinski: Father and Son

I met Pawel Lozinski at DocsBarcelona, I have known him for many years, appreciating the films he has made (in Barcelona was shown “Sisters” and “Chemo”). He told me about the film project he and his father, Marcel, is working on. Do I need to write that Marcel Lozinski is one of the masters of documentary cinema, with – for me at least and many others, I am sure – “Anything Can Happen” as the crown jewel in his production. Among many other works. The Polish Film Institute has published dvd boxes of the works of father and son – with English subtitles. But back to the film project, maybe to be edited and finished this year. Here is a description, written by Pawel:

My father and I get into an old camper and head for Paris where, 23 years ago, he dispersed his mother’s ashes in the Luxembourg Garden. Our trip will take two weeks. We’re both documentary filmmakers so we’ve decided to make a film recording the journey. We stop at camper parks or gas stations for the night. We each have a camera to keep the conditions fair and so we’re both the directors and protagonists at the same time. My father is 70, I am 44. We discuss various things – family history, difficult past, my father’s divorces. Any question is allowed. The journey is a pretext to get to know each other a little better. A cinematic-psychological experiment about the father-son relationship. Once in the editing room, will we be able to create a single version that would be acceptable to both?

http://www.filmneweurope.com/

http://www.pisf.pl/en/about/structure  (ask here about where to get the dvd-boxes)

Carsten Foldbæk: Med døden som makker

Jeg synes, det er uheldigt, at DR2 og Carsten Foldbæk leverer os dokumentarisk sjusk og blot i slutteksterne indrømmer, at billederne ikke passer til det, som fortælles. Det er så synd at billeddække Helge Hansens fornemme fortælling med et arkivmateriale så genbrugt og genbrugt eller misvisende eller direkte utroværdigt, så den forvirrende aflæsning af det næsten overskygger hans reelle og autentiske tilstedeværelse i billedet, en medvirkende-præstation, som fortjener at stå alene uden forstyrrelse, med mindre arkivmaterialet er udsøgt sjældent og hundrede procent dækkende. Man var altså blevet klar over svagheden, der var et skilt, som undskyldende fortalte at dækbillederne ikke nødvendigvis havde med de begivenheder at gøre, som Helge Hansen fortalte om. Jeg vil opfordre DR2 til at få den dokumentar rettet eller klippet om og sendt igen i den historisk og topografisk korrekte ramme og billeddækning, den fortjener.

Helge Hansen er tidligere modstandsmand og overlevede tortur, dødsdom og Neuengamme-ophold. Han er en præcis og klar og usentimental fortæller, og han er selvfølgelig den egentlige autor til det trods alvorlige fejl, han ikke er skyld i, gribende og seværdige fortælling.  

Carsten Foldbæk: Med døden som makker, Danmark, 54 min. DR2 dokumentar, kan ses på 

http://www.dr.dk/NU/playerrett/#/med-doeden-som-makker/7536  

Alexandru Solomon: Capitalism. Our Improved Formul

20 years after the change – in Romania after the end of the Ceaucescu regime. How would he, Ceaucescu, look upon/see his country today, if he came down from the skies? Solomon, experienced Romanian director, lets the dictator come back through the use of some archive material, come back to meet the new leaders of the country, businessmen and politicians, who made it from – for several of them – positions in the Securitate to the top. Very often with battles with Justice, accusations of money laundring, general corruption – in surroundings where commercials cover the houses of the streets in Bucharest and the People’s Palace is open for market economy events and the parliament.

Solomon’s film is an intelligent interpretative presentation of a reality that could go for many former Eastern European countries who got their freedom but is still pretty poor. It includes a fine piece of journalistic research – amazing that Solomon could get all these semi-criminals to take part, they must have known that he was there to promote them!? – combined with ”childish” animation sequences and funny camera placements and effects. Much more than a reportage or a investigative documentary, entertaining as well, playful.

Today you can’t be succesful unless you steal, as says one of the filthy rich Romanians in the film.

Romania, 76 mins., 2010

http://www.alexandrusolomon.ro/

Hugues le Paige: The Prince

The director of this film used to be a strong and passionate commissioning editor at RTBF, the French language Belgian public broadcaster. He left when the channel decided to be less active in the commitment to the creative documentary. Le Paige wrote articles and a book about the overall decline of the public broadcasters involvement – as a colleague said to me some days ago: he predicted the crisis as it unfolds right now. For this blogger, in the early days of the EDN (European Documentary Network), it was always a pleasure to have le Paige in a pitching panel with his commitment and critical constructive encouragement to the filmmakers to fight on for quality against mainstream sensationalistic tabloid.

As this film shows, le Paige masters the personal reflection, in this case, on the relation between those who film and those who are being filmed. Who is in power, who is in control, and how is the power performed. le Paige goes back to the material he shot with Francois Mitterrand towards the end of his presidency. The President had given him carte blanche to film during meetings, when he was working at his desk, on visits to his childhood home or to the potential voters in the countryside. We observe the superb controller charmingly conveying what he wants to convey, at the first glance innocent and spontaneous, but you discover his fine way of manipulation, he knows exactly what kind of questions he wants to be put, he is very much conscious about his ”image”. What is seen is a very charismatic man who is in total control with the media.

le Paige wonders what he could say to ”find the truth” and still be free. You might say that the director is a bit naive in retrospect… but great it is to watch the charismatic Mitterrand explode in front of the camera and at the same time, as written, be in total, charming control.

Belgium, 2011, 52 mins.

http://www.arturomio.com/

Erika Hníkova: Matchmaking Mayor

It is not the first time a film about a village with unmarried singles is being made these years. Seems to be a trend! And as the Greek one (”Sugartown”) and the Serbian one (”Village Without Women”) this one from Czech Republic, taking place in Slovakia, is warm and sweet to experience. At the same time as it is describing a provincial community, where daughters often stay with their mums and sons with their mothers as well. The older generation claims that they would love to see their children married, at the same time as they want the grown-up kids to stay at home, simply for their own sake, to avoid loneliness. The mayor, a former general, does what he can, but is not very succesful neither with his attempt to matchmake through a party planned for months, nor with his speeches that reaches the population via loudspeakers on every street corner.  

The director’s voice is heard, when she goes around to make first hand research. She asks questions on our behalf, she enjoys the confidence of the characters and gets good material to bring home. Something happens to the characters during the film, we get closer to them, but real close, no, there are still a natural lot of shyness when it comes to Love. And there should be, this blogger thinks. Zemplinske Hamre is the name of the village, probably the one and only time you hear about it!

80 mins., Czech Republic & Slovak Republic.

http://www.dokweb.net/en/

Nahid Sarvestani: The Queen and I

Ja, selv om jeg var ved at segne af træthed hang jeg på. Jeg havde jo regnet ud, hvordan det ville udvikle sig mellem de to kvinder… (jeg kunne have læst det på Dokumanias hjemmeside ser jeg nu bagefter), men det var på en eller anden måde helt ok med den forudsigelighed. På en eller anden måde…

Det er en god film, den vokser og vokser, begge karakterer vokser og vokser, bliver mere og mere interessante, og vel at mærke i en konstant balance. De fylder lige meget, både i billedet og i historien, som viser sig ikke at være to, men én fortælling, elegant og nænsomt vævet sammen af Farah Pahlavis og Nahid Sarvestanis biografier, deres synspunkter og refleksioner.

Farah Pahlavi har senere bemærket, at det ville have været bedre for filmen, hvis hun også som Sarvestani havde indre monologer off-screen. Skarpt! Hun har fuldstændig ret. Balancen i værket er så vigtig, og dette er en ubalance…  

Filmen kan nu og formodentlig nogle dage ses på Dokumanias hjemmeside.

Jordan Todorov: Dad Made Dirty Movies

His name was originally Stephen Apostolof, but having fled communist Bulgaria, entering the American Film Dream factory, Hollywood, he changed to an artist name, A.C. Stephen, which is not and will not become a big name in film history, apart from being a part of the sexploitation period, the softcore one before the hard core ”Deep Throat”, a short period that also included Ed Wood, the man who always gets the credit for having made the world’s worst movie… maybe that nomination should have gone to A.C. Stephen for his ”Orgy of the Dead”, where half naked women were dancing on the graves of the dead, swinging their breasts around while also trying to make original ballet steps! Quite something!

The story about A.C. is told by critics and professionals who worked with him, and first and foremost his children and last (out of 3) wives, with numerous clips from the kitsch films, quite entertainingly made and fun to watch because of its quick editing and the many anecdotes connected to the one and only A.C. Stephen, whose career suffered a lot in his last years when there was no more space for the soft pornography.

The filmmaker makes the youngest kid of A.C. take the ashes of his father – kept in a cigar humidor (!), a very appropiate reference to film producing and film producers in Hollywood with big cigars in mouth – into a car to drive him to be buried at a proper place for a man, who made the American dream come through and then fell from the heights.

Bulgaria, 2011, 58 mins.

http://www.autlookfilms.com/en/films/dad-made-dirty-movie/

http://www.agitprop.bg/#/info/home

Andrea Deaglio: Il futuro del mondo passa da qui/3

On this site we have been writing about this film a couple of times. It came out of the European training programme called DocuRegio, where I met it, and I was surprised that the festivals in Leipzig and Amsterdam did not pick the film. French Cinema du Réel did and Saturday night the film got its first recognition, the Joris Ivens Prize for Best First film. Very deserved. Here is a repeat of the review that I wrote in August last year:

… the subtitle being ”city veins”. I wrote about it in June and promised to come back with a review when the film was finished. Which is now.

Angelo, Roky, Frida, Reno, Darius, Gerardo, Jasmina… names of people, who have that in common that they are characters in a film that as location has the  outskirts of Torino, where they all live outside normal urban society trying to survive. For a limited time as the area will be turned into a golf and similar kind of recreation centre, as well as it will be object to making transport out of the city easier through new roads etc.

From this description you might expect a political correct activist film like many others – it is not. On the contrary, the focus is the human. Deaglio and his cameramen follow the individuals in their daily activities: Roky gets up, goes to the lake to get washed, goes to get some drinking water… Frida goes to the drug meeting point… Reno cooks and finishes his van Gogh painting. Washing of hair. Repairing a bicycle. Doing nothing.

The images are stunning. Making the area look beautiful. They come as tableaux, chaptering the characters stories which in words are told by themselves through audio on black images. As I don’t understand Italian, for me the words appear subtitled on black with no ”disturbing” images. Which makes the effect very strong – precise small stories of situations they have experienced, facts accompnied by emotions. The director has no intention to sentimentalise or romanticize – I sense an honest, truthful and distant view, and this is why you stay linked to the screen where you also get many interesting and surprising camera angles. In other words – welcome to a non-mainstream documentary film talent.

http://www.ilfuturodelmondopassadaqui.it/

http://www.cinemadureel.org/?lang=en

Francois Truffaut: Kvinden overfor

TDC har forsynet mig med en sort boks, som kan gemme filmene fra gamle dage, som DR K denne tid sender i gedigne serier. Det betyder gensyn efter årtier og derefter gensyn på gensyn af værker, som ellers kun havde plads i bøgerne og så i erindringen fra den ene gang i biografen dengang. Gensyn som nu i DR K’s vigtige Truffaut kavalkade Kvinden overfor fra 1981. Det er altså en stor kærlighedsfilm. Og den handler slet ikke om Bernard Coudray og Mathilde Bauchard, den handler om Gérard Depardieu og Fanny Ardant. Og den handler ikke om Gérard Depardieu og Fanny Ardant, for det handler da om Francois Truffaut og netop Fanny Ardant, men da jeg så den dengang, handlede det selvfølgelig om hende ved siden af. Og når hun ser filmen nu, handler den om? Naturligvis om Bernard Coudray og Mathilde Bauchard, for hun ved siden af elsker historier. Men hvad sker mon under fortællingen? Det er jo så vidunderligt med film, som aldrig er dengang, for det jo er umuligt, og som sjældent er historier kun, for de er jo for levende virkelighed lige nu og her. Hvad er under disse omstændigheder den virkelige historie? Jeg genlæser i eftersøgningen af et svar et smukt essay om Truffaut og finder der en konklusion: Kærlighed er ikke koldere end døden. Kærlighed er varmere end livet.

DR K genudsender Kvinden overfor i aften 23:25 og 8. april 16:45