Baltic Sea Forum: New Talent/2

Alina Rudnitskaya has previously been praised on this site – for her fine films ”Civil Status” and ”Bitch Academy” that have travelled the world festival circuit with success making her name mentioned as a big talent. Last year she pitched a project about people at both ends of the blood donation business in the St. Petersburg region; it is now being developed with German producer Heino Deckert. This year the director was represented by producer Anastasia Lobanova and script writer Mila Kudryashova who told the panelists that they wanted to make a follow-up of the ”Bitch Academy” to see how life is for the girls 3 years after they were trained to seduce. They pitched with humour and stressed that the film will not point fingers at the girls but treat them with respect.

Another couple was convincing in their presentation – the Ukranian Ramon Bondarchuk and Dar’ya Averchenko. Their subject was the rock singer Igor, who is making a career in Moscow fighting not to lose his roots in the Ukranian town of Kerson. The Ukranian filmmakers were supported by experienced Latvian producer Uldis Cekulis, who met them during the preparation of the project ”15 Young by Young” (mentioned on this site), where they are to make a film about chldren playing Dixie music.

Estonian Jaak Kilmi is at the Forum every year. This is where he presented ”Disco and the Atomic War” (mentioned on this site) that selles well internationally. This year he had just come back from research in Siberia on a film named ”Jesus of Siberia” on the notorious guru, Vissarion. Observational, he says that the film will be, but it would be a surprise me if the humourous touch of Kilmi will not be visible and hearable!

Humour there was in a film project from Georgia, that does not deal with war or Sakashvili! ”Auto-Tour” is the title of the project that – presented by producer Tinatin Kajrishvili –  follows the life of a couple of Georgian men who travel to Germany to find, buy and take back cars to their country – to try to sell them. It is a life style for them, they don’t get a lot out of it, financially speaking!

Antra Cilinska: Is it Easy…?

The Latvians write history with their films. Below a description of the ambition of Ivars Seleckis to make the third part of the epic about the Crossroad Street in Riga. A work that will cover more than 20 years of life in the street when it is finished.

Antra Cilinska has already done it through the sequels to the masterpiece of Juris Podnieks (photo) from 1986, ”is it easy to be Young?” from 1986. 10 years after she made ”is it easy to be?” and now title simply is asking whether it is easy…

… to live when you are around 40 and live in a country that is going through hard times? It is not, the protagonists, most of them, have lost illusions, several of them have divorced, some have career, some are in balance, some suffer from having taken part in the Afghan war on the Soviet side, in their youth, captured very well in the second film.

It is not easy to make a film with so many characters over a span of 25 years. You can not avoid the ”and the next one, and then the next one” but Cilinska manages to make it into a collective portrait of a generation that revolted against the Soviet system – with tough consequences for some of them – and they got the freedom but could they profit, were the dreams fulfilled. There is power and energy in the film that combines the shootings of today with short clips of the characters as they were 10 and 25 years ago. Igors, Raimonds (where are you?), Aivars, Sonita, Janis, Andris… and Juris and Juris G… And Juris Podnieks who died in 1992 and who Antra Cilinska starts and ends her film with, touching clips with him behind the camera, film history, moving for someone who had the privilige to meet him. A name in political documentary filmmaking, a master, don’t forget him!

Latvia, 2010, 80 mins.

Baltic Sea Forum: Ivars Seleckis

There is a street in Riga. A quite extraordinary street inhabited by ordinary people like you and me. I know them very well. Through films, of course. Actually I have known them for more than 20 years. Skersiela is the Latvian name for the street. Crossroad Street it is called in English. Grand old man in Latvian documentary film, Ivars Seleckis, and his script writer Talivaldis Margevics, who lives in the street, have made it and its inhabitants world famous. In 1988 they made the first film, in the late 90’es they made number two, titled ”New Times at Crossroad Street” and now they seek funding to make ”Capitalism at Crossroad Street”. Seleckis and Margevics pitched the project at the Baltic Sea Forum in Riga with a wonderful teaser that demonstrated that the old master had not lost his human and humourous observational touch for magical moments. The clip introduced one of the characters, Oris, who ten years ago lived with his mother, who died but lies at the cemetery where ”there is also a place waiting for me”. A little group of  Forum guests went to the street, took a walk around, saw the house of the gypsy on the corner and the unifinished tower house of Alvis, who wants to build high so he can see the centre of Riga. Never mind that he through that will shadow for the house of Daiga, one of the darlings of the first films! The generous sightseeing ended at Margevics place with vodka and salted cucumbers and small snacks on the wonderful black bread of Latvia.

Seleckis and his wife Maya, editor of most of her husband’s films, as well as editor for Juris Podnieks and Herz Frank, published last year a book, ”100 Yeras of Film” – referring to their being in the film business, each of them, for 50 years. I cant read the Latvian language book but the illustrations of loads of masterpieces confirm to me that Latvia was the documentary capital in the USSR… and with a lot lower volume due to crisis, still has a strong role to play today in this genre. The first of the films can be watched online – see below.

http://www.onlinefilm.org/-/film/31017

http://latviansonline.com/reviews/article/2098/

http://www.latfilma.lv/c/seleckis/indexLAT.html

Bjørn Lomborg: Cool It!

Today the audiovisual trade magazine Realscreen brings an article that informs about a new documentary coming out about Danish environmentalist Bjørn Lomborg, a controversial character in Denmark – though one of former prime minister Anders Fogh’s experts – but a man, who seems to be taken seriously outside his own country. The film, premiered at the Toronto International Film Festival, is directed by Ondi Timoner (photo), who in the article constantly refers to “An inconvenient Truth” with and by Al Gore.

Lomborg: This is not about the idea of the world being doomed; we can actually fix global warming,” says Lomborg. “Global warming is a real problem but we can fix it and that’s the main difference, if you will, between the Gore version of global warming and what we’re trying to present with Cool It.

Timoner:  Initially, Lomborg was hesitant to open up, but eventually trusted the director’s instincts. Cool It begins with a short bio, delving into the media controversy surrounding his first book The Skeptical Environmentalist, his trial before a Danish panel on scientific dishonesty and his eventual exoneration, as well as a few personal tidbits, such as his relationship with his mother who suffers for Alzheimers.

“I have very poor taste,” says Lomborg. “I can see if I like stuff but I’m not able to put on clothes and see if they look well or buy a sofa and see whether it’ll fit into my apartment. I happily leave that to other people – people that I trust. So in that sense, I [thought], ‘Yeah, OK, if Ondi and everybody else is saying we need to hear about [me], we need to hear about me.”

…Timoner admits she probably would’ve used a similar approach if she had helmed An Inconvenient Truth, but says that now it’s time for the public attention to move on from that film and on to more realistic solutions. “We’re like the follow-up more than the anti-Inconvenient Truth,” she says. “It’s time for the next step.”

http://www.realscreen.com/articles/news/20100913/coolit.html?__b=yes&

Torben Glarbo: Decoding

… with the subtitle: Tim Rushton’s Enigma… is a making-of-film, a fascinating observation of the process of setting up of a contemporary dance performance conceived and conducted by Tim Rushton.

When the producer of the film – Ole John – passed the dvd to me, his comment was, ”well, ballet is not your strong side”. Right he is but taking the viewer into a new world and environment is precisely what a good documentary can do. You learn something and you actually discover the similarities between a documentary director and a choreographer like Rushton, who works without any script constantly ”editing” the performance, trying something new, rehearsing with the dancers, finding the right rythm and balance adding light and music to get the right sensual expression.

Torben Glarbo has followed the process for seven months and conveys brilliantly the different moods of doubt, the collaboration and the experimentation. Movements in a rehearsal room are as born for the camera of Glarbo.

Some background info on the film which can be bought through the site below: Enigma’s choreography is inspired by Bach, with his six unaccompanied cello suites as its musical base. Jakob Kullberg plays the cello, and the accompanying electronic soundscape is composed by Mathias Friis-Hansen… Tim Rushton is originally from Birmingham, England and educated at the The Royal Ballet School in London. He has spent the past 15 years in Denmark as a dancer and choreographer, among others at the Royal Danish Ballet. Rushton has been nominated for the Reumert Prize 10 times and received it 5 times: in 1999, 2005, 2006 and 2008 and in 2010 for Danish Dance Theatre.

Denmark, 2010, 58 mins.

http://www.torbenglarbo.dk/

http://www.decoding.dk/

Pirjo Honkasalo: My 10 best

Idfa – International Documentary Film festival Amsterdam – asks every year a prominent director to choose her/his 10 Best Film list, whihc are then screened at the festival. This year the director is Finnish Pirjo Honkasalo and her list goes like this:

The Earth, Aleksandr Dovzhenko (Russia, 1930)
The Mad Masters, Jean Rouch (France, 1955)
The Earth Trembles, Luchino Visconti (Italy, 1957)
Close-Up, Abbas Kiarostami (Iran, 1990)
Kyoto, My Mother’s Place, Nagisa Oshima (Japan, 1991)
Quince Tree of the Sun, Victor Erice (Spain, 1992)
Brass Unbound, Johan van der Keuken (Netherlands, 1993)
Tell Me What You Saw, Kiti Luostarinen (Finland, 1993)
The Smiling Man, Walter Heynowski, Gerhard Scheumann (Germany, 1996)
Blockade, Sergei Loznitsa (Russia, 2005)

Bravo is my warm greeting to the director (who will have a retrospective of her own list of masterpieces like “Tanjuska and 7 Devils” and “Three Rooms of Melancholia” (photo)), who has no English language film on the list contrary to what most critics and filmmakers, because of ignorance, normally include. I am looking forward to re-visit Luchino Visconti and Congo-Müller, the protagonist of “The Smiling Man”, not to mention the fabulous film of Victor Erice. The festival takes place November 17-28.

www.idfa.nl

Poul-Erik Heilbuth: De faldne

Helle Lyster skildrede i 2008 for DR Dokumentar tre hjemvendte militærfolk udsendt til krige i Bosnien, Kosovo og Afghanistan, De hjemvendte, del 1, del 2 og del 3. Jeg hæftede mig dengang ved min optagethed af de tre medvirkende soldater og den enes kæreste, men var også klar over, at Lysters tackling af det sentimentale aspekt slet ikke bragte dette element under kontrol, og at hendes overvejelse ikke rummede selve tvivlen om det hele. Alt havde tilsyneladende i de tre små dokumentarer en forklaring og kun én forklaring.

Helt sådan er det ikke i Poul-Erik Heilbuths film, som blev sendt i aftes. Heilbuth er tilsyneladende med dette tv-arbejde helt bevidst på vej ind i en ny folkelighed, hvor det sentimentales tårevædede og talemådeprægede udtryk fastholdes monumentalt som dækkende udtryk. I Lysters film er det en selvfølgelighed, tror jeg, i Heilbuths en bearbejdet villethed. Så der klippes ikke udenom det for mig pinlige. Han opfordrer til at læse førhen intime breve højt, til at åbne hidtil hemmelige æsker. Han overskrider i den grad min grænse mellem det personlige og det private.

Og forsigtigt, men efter min mening for forsigtigt, lukker han tvivlen ind i sin fremstilling i noget, som minder om en villet rytme og altså et bevidst element. Det begynder med Mads’ kæreste, som i sit interview som det første af de medvirkende pårørende tydeligt fortæller, at hun var og er imod, imod at han skulle af sted, måske imod i det hele taget, og til en af mødrene, som hen mod filmens slutning i en følelsesudladning, som er hendes egen personlige, vender sig mod krigen som sådan, vi lukker bare hold efter hold af unge mænd ud til løverne, det nytter ikke noget og det stopper aldrig.

Hun indser, at der i hele forløbet er én eneste ubønhørlig logik. Måske er det den, Heilbuth med sit arbejde skildrer, men i så fald nok for underdrevet. I hvert fald i forhold til, hvad jeg har brug for. Og i forhold til, hvad et land i krig har brug for.    

Danmark, 2010, 58 min. Tilrettelæggelse: Poul-Erik Heilbuth, produktion: DR Dokumentar, producer: Steen Jensen. Genudsendes 12.september 14:45 og 16. sep. 09:00

MandagsDokumentar Efterår 2010

We have written about it since the start of filmkommentaren.dk and we will continue to do so as this excellent  initiative is exportable: You find a documentary and short film addict – and connaisseur –  with a wide network and a talent for programming, and you let him or her invite films AND filmmakers to meet the audienceonce a week in a nice and cosy meeting place. Films are shown and films and subjects are being discussed. This is what Danish Ebbe Preisler has done for years. He has now opened his autumn season for Copenhageners to som and enjoy every monday. I switch to Danish to introduce a bit of the huge film offer:

Der kan bruges mange rosende gloser om det arbejde Ebbe Preisler har gjort for formidlingen af kort- og dokumentarfilm med sin MandagsDokumentar. Han er opdateret og viser ”Armadillo” med instruktøren Janus Metz og fotografen Lars Skree til stede, han har ”Bifrost” af Freddy Tornberg på programmet (begge film anmeldt her) og han har bedt Miki Mistrati komme for at vise sin tv-gyser om børnearbejde, ”Chokoladens mørke bagside”. Men for denne blogger er det ligeså herligt at se at Preisler vil gøre sit publikum opmærksom på den guldgrube af film, der ligger i Det danske Filminstituts arkiv. En meget fortjent hyldest gives således til produktionsselskabet Filmforsyningen, hvis leder Svend Johansen (foto) viser sin børneklassiker ”Aborresøen” (1978) ligesom der vil være lejlighed til at se mesterværket ”Eventyret om den vidunderlige musik” (1991) af Anders Sørensen og Liller Møllers vidunderlige tegnefilm ”Mellem to stole” (1993). Nogle uger senere har Preisler sammensat et program, han kalder ”Fattig og Rig”, hvor to af vore største dokumentarister er til stede. Lars Engels viser ”Orkanens Øje” (1991) og Jon Bang Carlsen ”En Rig Mand” (1979). Det hele foregår i PH cafeen på Halmtorvet i København.

www.mandagsdokumentar.dk 

On Being There with Richard Leacock

Richard Leacock, 90 years old in 2011, a master of cinema vérité, always energetic and inspirational… finally gets a filmic homage. It happens now at the Telluride Film Festival and it takes place in association with the first public screening of Monica Flaherty’s 1980 sound version of the 1925 film, Moana by Robert Flaherty (Leacock worked with Flaherty in 1946 on Louisiana Story). Wow, film history!

Jane Weiner is the director of the film ”On Being There” on Leacock. Here is an edited clip from the press release that came in this morning:

In the summer of 1972, Jane Weiner started filming with a prototype camera of the experimental Super 8 Sync-Sound-System that Leacock was then developing with Jon Rosenfeld and Al Mecklenberg at M.I.T. Shooting over 4 decades on a variety of ever-changing film and video technologies, Weiner doesn’t hide the image artifacts, film flutter and glitches, which were part and parcel of experimenting in small-format. She follows Leacock to his boyhood home in the Canary Islands – the location of his first oeuvre, Canary Island Bananas; she recounts his relationship with his mentor, Flaherty, and details his involvement and passion for a particular documentary aesthetic developed by Leacock, Pennebaker, and Robert Drew in the early 60’es. The title refers to the ”feel of the place” that Leacock tries to capture in the non-interventional, observational shooting style of cinema vérité… However, in On Being There with Richard Leacock, Weiner often breaks her mentor’s own rule of ”never asking questions”. Constructed as conversation that covers 70 years of his involvement in filmmaking history, the documentary lets Leacock tell his own story in his own words with few comments and/or commentary from his former protégée.

The feature-length film that is being screened in Telluride to honor Leacock, a work-in-progress it is, will be out in 2011 for theatrical and dvd release – and there will be retrospectives and other festival tributes to the master. Can’t wait to see the film! Photo: Leacock, 2009.

http://www.richardleacock.com/32943/About-RichardLeacock-com

Archidoc – Creative Archive Documentaries

Deadline on Monday, September 6, for applications for the unique European training programme Archidoc for filmmakers with archive based documentaries. I have been working with this training programme for many years and have with great pleasure seen fine films come out of it. The organisers, the French film school la fémis, tell me that they are short of sufficient applications, so this is why I want to give this small pep talk to filmmaking readers of this blog:

The workshop, in three sessions and in English language, offers you to develop your archive based documentary creatively under the supervision of the experienced international filmmaker, director and editor, Erez Laufer, and his team. You will get all the necessary market information and you will pitch the project to tv commissioning editors, but the most important is that you will get input to the creative part of the development. It is done in Paris at the film school at the second session (first session is in Leipzig during the DOKLeipzig in October) with the help of excellent editors, who help you shape your story so it passes far beyond the boring history tv documentary that we know so well. Let me mention three fine films that have profited from Archidoc:

Wiktoria Szymanska’s great tribute to the avantgarde artists ”The Themersons” (photo), Peteris Krilovs wonderful ”Klucis. The Deconstruction of an Artist” (several times written on this site) and Edmond Roch’s ”Garbo – the Man who Saved the World”, a true spy story.

http://www.edn.dk/

http://www.lafemis.fr/