I want to be seen, says one them. I want to be conventional, says the other. Both of them took a very unconventional decision, to change from being a man to being a woman. The title says that they have regretted that decision. The film tell their stories, with all the pain they have suffered, but also with warmth and humour. They are very different and that gives the film an extra dimension. You listen attentively every single minute, carried as the narrative is by dialogue. And that is where the decision of the filmmaker comes in with a strike of genius:

They walk into a studio, the two of them, they sit down, and they talk to each other, or to the camera, with small private and public archive material presented to show, how they looked in their childhood, in school, in their marriage (Isadora alias Orlando), all the way through accompanied by their own commentaries. Orlando has gone back to being a man again (got a penis and breast operation), Mikael (alias Mikaela) is waiting for the same operation.

Their stories have been told as a theatre play but when Mikael after hesitation agreed to take part, it was luckily made into this documentary that profits succesfully from the preciseness in the dialogue. Why do you want to have that penis operation back, says Orlando, can’t you just be you, you are a man. Orlando was married for 11 years, her husband knew nothing about her male past, it ended dramatically, now he is on his own, an extravagant feminine exhibitionist with clever remarks to Mikael, who also cleverly insists on being an orderly, ordinary citizen.

Talking faces are boring in documentary films… no they are not, look at these two brave human beings with all their experiences and wisdom. They walk out of the studio, a theatre of life has been performed.  

Sweden, 58 mins. 2010

www.krakowfilmfestival.pl

From a filmic point of view it has everything, it is so well done: strong characters, who are developed, as a similar strong story is being unfolded, with conflicts, dramas, emotions, intimacy, closeness. The style is aggressive, the camera goes everywhere and is excellently performed, the voice-off text is sometimes a bit heavy but the dialogue in many scenes is amazingly good…

Yes, I have double feelings with this film that is so rich in his hybrid form between fiction and documentary. Is it exploiting its characters, I thought while watching, no, they know they are in a film, and they (re)act maybe stronger for that reason, was the next impression… they, Ilan, the Israeli who ended up in the capital of Cambodia, a tragic character, who fights for some kind of decency for the child he has with a young alchoholic cambodian woman, who have several other children placed here and there. They work in the street, Ilan as a fortune-teller, in the nights of Phnom Penh, among drug distribution and prostitution, in deep shit. What is the future for the children we see?

There are some editing problems in the film, especially when there are cuts from the small family being in a bus, then in a boat, then in the street, the structure is a bit confusing and the music far too bombastic for my taste, but having said so, this film stays in your mind for a long time, also because of its evident absurd humour. Boom-boom, they say in Phnom Penh, the same as bunga-bunga in Berlusconi’s Italy.

Poland, 2011, 86 mins.

www.krakowfilmfestival.pl

It is so natural that Krakow has been a Cultural Capital of Europe. It has history, beautiful buildings, an active outside life with loads of cafés – yes, we are many visitors in this city and the Main Market Square should be visited early morning or late night when we are not so many – and there are cinemas, that have a high quality repertory, Lars von Trier’s Melancholy opened on the same day as in Copenhagen – and it is a university city with students sitting on benches in the many green areas in the good weather preparing for exams.

And a city with a sad background as so excellently conveyed in the Historical Museum that has been installed at the former enamel factory of Oskar Schindler on the other side of the river, at Lipowa 4. About the daily life of the Jews in the ghetto, about Schindler and his saving of a thousand Jews in his factory, the story we know from Steven Spielberg’s film, shot in Krakow, about the German occupation and the occupiers upperclass life. About the Plaszow concentration camp nearby. Interviews with survivors, Polish and Jews, all is subtitled in English for the foreign visitor, documents, including letters written by the 8 year old Roman Polanski, year by year, visual and oral, an exemplary museum. High quality documentation.

www.mhk.pl

Vera and Marcel, brother and sister. Marcel, film director. They sit together around a table. They do so to recollect and remember Tonia, the mother of the siblings, a woman who was in jail and a woman who was filmed by Marcel when he was at film school. The mother was arrested in 1949 for spying against the communist regime, performing bourgeois behaviour, with relations to the notorious American spy Noel Field. She was in jail for more than 5 years, leaving her children to be in children homes.

The set-up by Marcel Lozinski gives the viewer a very emotional journey through the childhood of Vera and Marcel. Their story is told through them reading letters from their mother, texts from investigation papers, accompanied by photos from the family and clips from the footage of Lozinski.

It is all held in a very controlled style with close-ups of the three, with the faces expressing emotions to what is being read and talked about. Was she guilty, Tonia, is not the main issue, she felt guilty and did not want to be released from the jail where she went through terrible torture, described in details in writing. She came out and the son and the daughter remember differently, how they met her. It is a painful journey in memories for the two, who also have had a complicated relationship as grown-ups.

Marcel Lozinski, it is revealed, has in many ways a similar story as the two, he mirrors himself in the story, it seems, in a film that is masterly done, tense and precise, letting emotions come out but never trying to add effects to enlarge the drama.

Poland, 2011, 58 mins. (in National Competition in Krakow Film Festival 2011)

www.krakowfilmfestival.pl

In the old festival hotel Cracovia, next door to the Kijow Cinema, where the main programme of the festival is running, there is a so-called Industry Zone, where festival people meet and talk to filmmakers in an informal atmosphere about what they are looking for, and where there are 30 video booths available for buyers and others, who look for films. It is all very well organised here in Krakow, and while praising the professionalism what a pleasure to see technically perfect screenings in the cinemas.

Small talk – I talked to two festival programmers, who entertained me with info on how they do their selection screenings (you have to remember that some festivals get thousands of entries for selectors to watch…) anyway, it shocked and amused me to hear that one was ironing at the same time as watching the screen, another was knitting, a third one watched in trains or when  the kid was doing ice-skating. Yes, there are many films in the world and there are many ways of watching, sitting, lying, in bed, on a couch, in a summer house in good weather with a good computer screen.

Just that you know if you happen to be a filmmaker!

First an introduction taken from YouTube, where the Krakow Film Foundation has posted videos and some trailers from films taking part in the 51st (!) edition of Krakow Film Festival, 23rd – 29th May 2011: KFF is one of the oldest film events dedicated to documentary, animated and short fiction films in Europe. During 7 festival days viewers have an opportunity to watch about 250 films from Poland and abroad. Films are presented in competitions and in special sections like retrospectives, thematic cycles, archive screenings. Festival is accompanied by exhibitions, concerts, open air screenings and meetings with the filmmakers. Every year KFF hosts about 750 Polish and international guests: directors, producers, film festival programmers and a numerous audience from Krakow. (Krakow Film Foundation is the main producer of the Krakow Film Festival, the Krakow Film Market and co-organizer of the Dragon Forum. Foundation also promotes Polish documentary, animated and short films abroad.)

The fine old cinema Kino Kijow, next to the communist style Hotel Cracovia, previously the festival hotel, now to be closed, was full last night at the opening ceremony. Festival director Krzysztof Gierat welcomed us all and a 3D short film produced by Ridley Scott was shown, pure technique, no content, did not get the title. After that the opening film, also produced by Ridley Scott, but directed by Kevin Macdonald, Life in a Day, was screened. The film is in the competition for international documentaries, where I am in the jury with Slovak director Dusan Hudec (whose newest film The Entire World Is a Narrow Bridge is shown at the festival), local director and cameraman Marcin Koszalka (whose The Existence I remember as a masterpiece), Kaleo la Belle (winner of main Prize at the festival 2010 with the fine film Beyond the Place) and Italian Annamaria Percavassi (director of Trieste Film Festival). 20 films are to be watched, reviews of some of the films will follow after the festival. There are also juries for short films and a national jury.

http://www.triestefilmfestival.it/

www.krakowfilmfestival.pl