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The 20th edition of the St. Petersburg International Film Festival ended with an award ceremony yesterday night in the Dom Kino. There were a large number of prizes to be given, I will limit this posting to include those in the documentary categories.

The prize for the best long documentary (US$ 2000) was given to the director Yossi Aviran from Israel for the multilayered description of the reflections and lives of an Israeli and an Italian man living together for three decades in Paris. The Israeli man doubts whether to go back to Israel for the rest of his life, the Italian, a bit younger, is the constant optimist, and enjoyer of life. A beautiful film about life and death coming nearer, title ”Paris Return”. The short documentary prize (US$ 2000) was given to the Slovak documentary, ”Arsy versy” (photo), by Miro Remo, original and fresh in its approach to the theme of mother and son, the latter being obsessed with bats. It has rythm and passion.

The Grand Prix (US$ 5000), the jury (that I was chairing) had chosen was ”Draft” by Timofey Zhalnin, young Russian director, who had managed to make a light and yet deep film about the drama of a woman who is recording herself on camera in order to compete for a role in a theatre play. She is, however, constantly being disturbed by the ”intrusion” of reality – family, friends in the small appartment. Documentary and fiction.

The national competition for short documentaries decided not to give a first prize for quality reasons, and the critics chose ”David Wants to Fly” by David Sieveking.

www.m2m.iffc.ru

Torkil Funder: Tiden i Ribe

Det her er en udstilling, som blandt dokumentarister og dokumentarfilm-interesserede må gøre indtryk, som den gør i museumskredse, hvor Torkil Funder er berømt. Hans museumsudstillinger er minderige: Middelalderen i Ribe, 1972, Nybyggerne ved Gal Oya floden, 1974. Middelalderen i Randers, 1976, Rejse i Oman, 1977, hvor han for alvor brød igennem med sin særlige udstillings-essayistik. Ingen, der så den udstilling, glemte den igen. Senere kom blandt andre Skolen i Ribe, 1995 og nyere tids udstillings-afsnittet på museet i Aars i 1999.

Sideløbende med udstillingerne udviklede Torkil Funder på hundredvis af møder, kurser og i sin daglige undervisning lysbilledforedraget til en kunstform, et personligt essay, som han selv kalder fortælling. Hans fotografi er nøgternt og følsomt, aldrig søgt, aldrig sentimentalt, men næsten altid vemodigt som også udstillingernes tone, som foredragenes og udstillingsteksternes grundstemning.

Med lysbilledforedragene er Funder tæt på dokumentarfilmen, og nu med udstillingen Tiden i Ribe, som er én lang række juxtapositioner af fotografier og tekster, har han på en måde lavet en film på væggen i biblioteket i Esbjerg. En film i lille format, men af overvældende indhold i den store biografisk-topografiske tradition som (ja, sådan ser jeg den) i filmens verden Ruttmann med Berlin, Kestner med København og i bøgernes verden, Seeberg med Viborg, Magris med Trieste, Pamukmed Istanbul. Jeg er meget bevidst om de navne, det er i den række, Funders arbejde for mig at se hører hjemme, der, hans fortælling om byen ved åen og dens tid og hans egen tid med den by har sin plads.

Foto: Ribe Å ved Petersholm, januar 2001.

Sådan fungerer så udstillingsfilmen, scene, tekst, scene tekst, i alt 62 med hver sin overskrift:

 

HISTORIKERNE

De som i byens lange liv i gamle huse, nær vinduet for dagslysets skyld, og ved små flammer i mørket, søger i tiden og meddeler gammelt og nyt.

De som i ensomhed hører gadens råb med dagens tilbud og samler blikket om bøgernes beretninger.

De som holder rede på det, som skal være og forblive samlet, for at også de næste kan møde lærdom, betvivle den, forøge den og give den videre.

De som bygger byen bag byen.

(Aage Andersen i sit kontor. Quedens Gaard. November 1996)

 

TIDENS BLIK

Fra Domkirkens tårn ser vi i dag et billede af 1/100 sekund af året 1968. Og vi er både dengang og nu. Der er 17 år til man bygger vandrerhjemmet i baggrunden helt om. Og 5 år til galeasen ”Meretha” bliver begravet i Hovedengens tørv. Den er fra 1865 og et af de sidste Ribebyggede skibe. Men den rådner, inden man finder en rimelig brug af den.

Under os stimler husene sammen. Det er slippekvarteret. Dets smalle passager gik i århundreder fra den travle åhavn til købmændenes lagre oppe i land. Mange tror i 1968, at det ældste Ribe ligger under slipperne. Men først om 4 år dukker det op. Ved Kunstmuseet – højt og tørskoet på den anden side af ådalen. Og om tre måneder er det sommer.

(Fra Borgertårnet, Ribe Domkirke. Mod NØ. 11. marts 1968)

 

Det er imidlertid ikke en film, det er en udstilling, den er flygtig, om tre uger er den væk. Men Tiden i Ribe burde fastholdes, skal simpelthen fastholdes. Oplagt i en bog, som så også tager højkantformatet, kan noget andet. En bog til at ligge fremme, opslag for opslag, til at stå i reolen til en senere tid.

(Overdammen. Ribe. November 1994)

Torkil Funder: Tiden i Ribe, fotografier og tekster. Oprindelig i Ribe Kunstmuseum nu på Phototek Esbjerg, Hovedbiblioteket, Nørregade 19, Esbjerg til 14. august.

http://www.esbbib.dk/det_sker/udstillinger/tiden_i_ribe 

Torkil Funder har én gang lavet film: The Pitt Rivers Museum, Oxford, 1993 (sammen med Bodil Grue-Sørensen)  

http://www.dfi.dk/faktaomfilm/nationalfilmografien/nffilm.aspx?id=57132

Litt.: Torkil Funder: Museum 1+2, 1996 og 2000. “Torkil Funder behersker det, der er blevet en kunst, at skrive et naturligt, fuldtonende dansk, mættet af refleksion og nærvær…”

http://www.information.dk/62949

Golden Apricot Awards

The Golden Apricot film festival in Yerevan in Armenia (July 11-18) ended as a triumph for Russian director Pavel Kostomarov, whose  fine film ”Together” (reviewed on this site) got the first prize, the Golden Apricot, for the Best Documentary Film in the international section

In the Armenian Panorama Competition the Golden Apricot was given to, as the best Armenian film, was given to ”The Last Tightrope Dancer” by Arman Yeritsyan and Inna Sahakyan, also reviewed and commented upon on this site.

Special prize in the feature film competition was given to the first feature film by well known documentarian Sergey Loznitsa, ”My Joy”.

http://www.gaiff.am/en/

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The international competition included yesterday the film ”17th of August” by Alexander Gutman, reviewed and commented several times in this site. Here is a reprint of the review:

This fine Russian director has, apart from the masterpiece ”Frescoes” from Armenia, made a couple of very strong documentaries shot in prisons, ”Three Days and Never Again” and ”Blatnoi Mir” (directed by Finnish Jouni Hiltunen, Gutman was production manager), and here comes another that I do not hesitate to call masterly done as well.

One day in the life of a prisoner, sentenced to lifetime for murders, a man in a small cell, watched through the small window in the dark cell door, walking from one end to the other, exercising, making a cup of tea, praying with his head towards an icon of the bleading Jesus hanging on the wall, getting some food… and a small walk to a strongly fenced and guarded courtyard, filmed from above to achieve the impression of a man in a cage, A close-up study that works because of the brilliant combination of pictures with the monologue of the prisoner. On Life, on the conditions in the isolated prison, on being alone and away from it all, on being close to guards who are there all the time and in a way sharing his destiny.

Sometimes with some shots from the courtyard outside. A horse stands there, an old man comes and makes it ready for transport, they leave the prison, and the camera stays – later on they come back with a coffin to pick up the corpse that we have seen in a previous scene. Or a window with a cat. Did I say that it was black and white. And slow. And extremely well edited. Not a moment too much. Sympathy for the murderer? No, not really, but respect for a human being, curiosity.

Russia, Poland, 2009, 62 mins.

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… but there has been time to visit the Hermitage museum and fight one’s way to study the great collection of Rembrandt works (oh, documentarians, go and study how he caught the magical moments when he did his portraits)  and the two ”Madonna with Child” by Leonardo da Vinci – as well as an exhibition of Picasso set up due to the French-Russian cultural year.

I write ”fight one’s way” as the Hermitage – apart from being one of the most wonderful art museums in the world – also is a battlefield where tourist groups from all over, led by sometimes very loud-speaking militant guides, who want their group to have the best views. And the best place to take photographs. Why is it not possible to see, just see, without gazing through a camera?

Film-wise the visit made me want to re-view Alexander Sokurov`s ”Russian Ark” (photo), a one-shot feature length film interpreting the museum magnificently, made to celebrate the 300 years of St. Petersburg. I remember the head-shaking commissioning editors when the film was pitched at the idfa forum. Not possible, and why a one shot, they said, led by BBC’s Nick Fraser – they were very much wrong the rating hunting tv executives. The film is available through many dvd outlets.

www.m2m.iffc.ru

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Don’t say that films are not being made… the selection committee of the festival watched 2853 films from 83 countries. 73 were selected for the international competition (documentaries, animation, short fiction) and 24 for the National Documentary Competition, ”Gateway to Russia”. Looking back at the Grand Prix list of the festival’s 20 years one finds new classics like ”The Belovs” of Viktor Kossakovsky (in 1993) and ”Bread Day” of Sergey Dvortsevoy (in 1998).

The documentary profile of the festival is definitely social as readers of this site will be able to know by reading about ”Victor” (photo) by Andris Gauja from Latvia and ”17 August” by Alexander Gutman from Russia. Finnish director Jukka Kärkkainen introduces his favourite character Tero (the main protagonist in his masterpiece ”The Living Room of a Nation”, reviewed and noticed several times on this site) in ”Do you still remember Hilma Limperi”, and Bulgarian international producer Martichka Bozhilova presented the impressive ”Paradise Hotel” about a gypsy residential area that in socialist times was meant to be ”a paradise”, which it is absolutely not nowadays.

No complaints, watching films is a privilige, 3 two hour programmes per day, that is how it goes in a sauna-like hot hall that yesterday night (saturday) had a good audience, whereas earlier screenings had a limited attendance.

www.m2m.iffc.ru

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Mikhail Litvyakov is the director of the festival in beautiful St. Petersburg. He has passed the seven decades of age but there was no sign of lack of energy when he was on stage to welcome guests and audience in the Dom Kino, to the 20th edition of a festival that includes an international competition, a national competition plus several side programmes. He and the president of the festival, film director Alexey Uchitel, and the rest of us, were pleasantly suffering the heat of St Petersburg when the opening ceremony took place ending with an honorary prize of the festival given to Agnès Varda, who was there to introduce her fine last film, ”Les Plages d’Agnès”, a film with many layers, young in spirit, and also a fine piece of film history presenting clips from her own films such as ”Cléo from 5 to 7” and ”Le bonheur” with constant references to the love of her life, late Jacques Demy.

I am here to chair the international jury for a programme that includes documentaries, animation and short fiction – and to hold a small project development seminar with Ludmila Nazaruk from DoxPro, a continuation of the November 2009 meeting that has been reported on this site.

www.miradox.ru

www.m2m.iffc.ru

Nagham Mohanna: Back to Gaza from Corfu

Young Palestinian filmmaker Nagham Mohanna, who took part in the mediterranean/middle east documentary training program Storydoc (see below) sends this report on her journey back to her home via Egypt. I have made some small edits and language corrections:

Hello everybody, I hope everything is ok and not so horrible as I am feeling now. Let me tell you about my travelling because it is really amazing. I left Corfu at 7:25 am and arrived in Athens at 8: 20 am on Saturday. Stayed in Athens airport around 5 hours.

Left Athens at 2:30 pm and arrived in Cairo at 4:30 pm.

And here we begin. The opening of a torture journey. When an Egyptian officer saw that I am Palestinian the procedures were started, to know if they can let me enter Egypt or not.

While waiting in the airport and seeing how other people with other nationalities entered Cairo without any problems, they called me to investigate about my job and the workshop that I attended in Corfu. They told

me that maybe they will take me immediately to the border and not let me enter Cairo again.

I asked them how could that happen as I am a journalist and a girl and you have to show for me some respect! At 10pm they called me back and told me that I can enter Egypt, but that another Gaza filmmaker who attended the workshop will be expelled. I thought that I did not want to miss a big opportunity to discover the way and procedures of expelling, so I asked them to expel me with other people.

The procedures are: They called me into a special room where they put the Palestinians inside. It is not allowed for anybody to get out, actually it is not a room it is more like a prison. I sat with people and started to chat with them. It was really horrible what I heard and saw, from women, children and men in the same room, sharing the same toilet. There were people who had spent 4 days with their children – one of the children got sick and he spent time suffering the fever without seeing a doctor. Another spent a month inside this room without getting out. People are waiting for their flight and for visa to go to other countries like Saudi Arabia. Some young people prefer to spend many days in this room instead of going back to Gaza. I met lovely people there. I spoke with them a lot – the child Mahmoud who suffers from Autism, he was with his father and brother without his mother, who couldn’t travel with them because she does not have Palestinian ID so she couldn’t be with her children. I loved these kids, who kept coming to hug me.

At 1 in the morning they took us to another area at the old Cairo airport and put us in a room underground. This is really like a cell (3m x 5m)  and does not allow us to get out. The difficult thing was that I was so sleepy because I did not sleep well the last night, so I needed to sleep but the uncomfortable chair did not give me the chance to sleep. I am writing this section sitting in the room that I am talking about.

At 7pm in the morning they told us that they will take us to the bus, and now I am sitting in the bus going to the border. We are moving with the traffic of Cairo. I spent like 6 hours in the bus, slept around 2 and reached the border at 1:45pm. The good thing that I left the border at 3pm to Gaza I did not spend lots of time in the border, now I am going home, I miss my home, my bedroom and my bed for sure, home sweet home.

What I am really furious about is that the massage I made in the hotel in Corfu was gone, and really, I need extremely now 2 hour of massage to recover my bones again!        

So I am in Gaza  after travelling for two days, I am sure that each one of you took like hours to reach your home and sweet bed, but every thing has a different way when it reaches Gaza.

Janus Metz: Armadillo/10

The Danish documentary “Armadillo”, directed by Janus Metz and filmed by Lars Skree,  about Danish  soldiers in Afghanistan has been running in Danish cinemas for 6 weeks. More than 100.000 tickets have been sold, and the film is still running. The following are text clips from the Danish press release from the distribution company

ARMADILLO er nu blevet set af over 100.000, og det er sket i løbet af bare seks uger. På trods af hård konkurrence fra bl.a. VM i Fodbold, ”Sex and The City”, ”Twilight: Eclipse” og den danske sommer, har den danske ARMADILLO præsteret over alle forventninger i de danske biografer. Allerede i åbningsweekenden trak filmen 25.000 danskere i biografen til den intense historie om danske soldater udstationeret i Afghanistans urolige Helmand-provins. I den forgangne week-end ramte publikumstallet 100.225.

ARMADILLO kører fortsat i mange biografer landet over

http://www.youtube.com/watch?v=08j61c-d_Uo

www.dfi.dk

Karlovy Vary Awards

What a wonderful and well deserved piece of news. The Best Documentary film (category: under 30 mins.) at the Karlovy Vary International Film Festival was yesterday given to the Lithuanian documentary ”The River” by Lithuanian filmmaking duo Julija Gruodienė and Rimantas Gruodis. Described at the IDF (International Dcoumentary Institute) site in the following way: An introduction  to life in a remote village. Via eloquent, visually striking footage and the villagers’ humorous commentary, the directors acquaint us with a local way of life whose rhythm is set by a river. Prize 5000$.

I have just been to Lithuania to view the annual production 2009-2010. Still quality but a very remarkable effect from the financial crisis of the country. So much more great the Gruodiene and Gruodis win, a veteran couple in Lithuanian documentary, I can say, having met Gruodis several times during the Baltic Film & TV Festival on Bornholm 1990-2000. I remember strong works like the perestroika masterpiece ”Ona and Mykolas”, ”The Pain”, ”The Bathhouse” and ”The Territory”.

The Best long documentary was won by Mikael Wiström, Alberto Herskovits for ”Familia”.

http://www.documentary.lt/Default.aspx?Element=I_Manager2&TopicID=70&Lang=EN&IMAction=ViewArticles

http://www.dokweb.net/cs/

www.kviff.com