The Sound of Insects

The European Film Academy proudly announces that the award EUROPEAN FILM ACADEMY DOCUMENTARY 2009 – Prix ARTE goes to the film THE SOUND OF INSECTS – Record of a Mummy by Peter Liechti, Switzerland.

The incredible story of how the mummified corpse of a 40-year-old man was discovered by a hunter in one of the most remote parts of the country. The dead man’s detailed notes reveal that he actually committed suicide through self-imposed starvation only the summer before. Liechti’s film is a stunning rapprochement of a fictional text, which itself is based upon a true event: a cinematic manifesto for life, challenged by the main character’s radical renunciation of life itself.

2009, 88 mins.

For the nominated films, see below.

www.docuinter.net

Serbia – Moments of Beauty and Joy

The Popovics (Svetlana and Zoran), the organisers of the festival Magnificent7, that takes place every year in January in Belgrade, and has done so for five years, with my privileged post as co-selector of the seven films (you can read a lot more about it on this site, go to ”search”) arranged the most beautiful four day (almost) film-free tour for me and my wife at the end of September. I want to share some visual moments with you and can only warmly recommend you to go to the Serbia south of Belgrade to experience landscapes of green mountains, fields, rivers, lakes, monasteries and churches – and food and wine and slivovitj and rakija.

Have a look at the Angel and read what Wikipedia says about it:  

White Angel is a detail of a fresco from the Mileševa monastery circa 1230 AD in Serbia, Mironosnice na Hristovom grobu (Myrrhbearers on Christ’s Grave). It is also one of the most famous frescoes in Serbian culture. It depicts an angel sitting in front of the tomb of Christ. This monastery belongs to a Latin period in Byzantine art. The first satellite broadcast in 1963 between Europe and North America sent a picture of White Angel from Mileševa in first broadcasting frames to salute American people from Europeans… a true and unique message of overall peace.

Serbia – Moments of Beauty and Joy 2

There is a golden rule when you are on the road and get hungry – go where the truck drivers go. In combination with the knowledge of our hosts, including Misko, the driver, who take film crews around in his van, we ended up in fine local lunch restaurants, and had meat and water and good bread, and soup, and the Montenegrin wine Vranac. Lunch times are a bit more flexible than we are used to in Northern Europe – could easily be around 3pm.

Photo: Still life with Nokia.

Serbia – Moments of Beauty and Joy 3

Yugoslavia, a country that once was. At a time that was  much easier for many people. It is absurd when you get to talk to people in Serbia and ask them where they come from… well, my mother was born in Croatia and my father is from Montenegro and my grandmother… and they all speak the same language with tiny differences.

Memories from Yugo-time are to be found everywhere. Look at the photo of our driver Misko next to the small car. This is what Zoran Popovic told me about the car: the little car is called FICA (and C hase the same additional dash as French é – and it’s pronounced like in Italian Ciao)…. But how could big strong Serbian males fit into it.

Serbia – Moments of Beauty and Joy 4

Two images came constantly to my eyes when we travelled the amazing landscapes of Serbia – reminded us in many places again and again of Tuscany. One was all the unfinished houses, the reason for which we were told to be a combination of vanity (”we must have a two-store house as the neighbour”) and the fact that when your house is still under construction you dont have to pay tax. So many move into the basement floor and never finish the floor above.

The other image was of the sculptures in the landscape, according to the Popovics: the hay sculpture is called STOG. It is often said STOG SENA (translation: STOG of hay.

Turn your head – sorry I don’t know how to make it en face – and watch the man on the top of a stog, two of them is food for one cow during winter time.

Serbia – Moments of Beauty and Joy 5

And what has Maradona to do with Serbia… a lot since Emir Kusturica made a film about him that I saw in the Stanly Kubrick Cinema in Kustendorf, a village on a hill top set up by the same Kusturica with typical Serbian houses, a perfect weekend holiday place with fine rooms, restaurants and small streets named after Bergman, Fellini, Ivo Andric and many others from cinema and culture.

The Maradona film is not what Kusturica was aiming for, the film about Maradona, but it is probably the best one so far. And he is a fantastic character for a film, Maradona, with his dramatic career of ups and downs, his (naive) political point of views, his family life and his football skills. Now a coach for Argentina’s national team, still not qualified for the World Cup next year as Denmark and Serbia!

Prizes for Deconstruction of an Artist

Latvian director Peteris Krilovs’ documentary about legendary artist Gustav Klucis took several prizes at the National award ceremony in Riga a week ago: best director, best editor (Danish Julie Vinten), best script (Pauls Bankovskis) and best sound mix (Andris Barons). A big triumph for the company Vides Film Studio and its energetic leader Uldis Cekulis, who could also find joy in the fact that Maris Maskalans was given the prize as Best Cameraman for his work in “Three Men and a Fish Pond”, another production of the studio.

To our Danish and Swedish readers: The film about Klucis (one hour version) was shown on Swedish television (SVT2) yesterday and will be repeated October 11 13.30 and October 14 23.05.

http://svt.se/2.109829/1.1715907/gustav_klucis 

http://www.vfs.lv/?lang=2

Frederick Wiseman

Respect – the idfa has sent out this press release:

In honour of his 80th birthday, this year’s IDFA will be devoting special attention to the work of Frederick Wiseman. Wiseman has directed and produced dozens of documentaries, which often focussed on social relations within American institutions. He is regarded as one of the major exponents of Direct Cinema. Alongside a retrospective programme compiled by himself, screening of his latest film and a masterclass, the festival will also be looking at Wiseman’s work as a theatre director.
 
Wiseman (USA, 1930) made his debut as a documentary maker in 1967 with Titicut Follies, about a psychiatric clinic for convicted criminals. The film paints a shocking picture of the humiliating way the detainees were treated, which led to Wiseman being sued many times by the authorities. Many of his later films, including High School, Hospital and Near Death, are also studies of social relations in a variety of – usually American – institutions.
Although he himself would disagree, Wiseman’s work is often included in the category Direct Cinema, the documentary movement, which

strove for the representation of objective reality. In the early 1960s, the introduction of portable cameras and sound recording equipment made it possible for filmmakers to follow their subjects up close, like a ‘fly on the wall’. Wiseman, however, never asserted that his observational style was an attempt to film an objective reality, as he believes film to be by definition a personal and subjective medium.
 
Wiseman has been a faithful IDFA attendee from the very beginning of the festival. He chaired the first jury in 1988, thereby lending tremendous support to a then small festival. 2004 saw the big IDFA Direct Cinema debate, attended by the movement’s foremost representatives: Robert Drew, Albert and David Maysles, Richard Leacock, D.A. Pennebaker and Frederick Wiseman.
To mark his 80th birthday in January 2010, at IDFA’s request Wiseman has selected nine of his old films to be screened at this year’s festival. In addition, Wiseman will give a masterclass, in which he will discuss his work and working method.   
The Frederick Wiseman Retrospective will include Titicut Follies (1967), High School (1968), Hospital (1969), Basic Training (1971), Welfare (1975), Model (1980), Missile (1987), Near Death (1989), Belfast, Maine (1999). His latest film, La Danse – le Ballet de l’Opera de Paris (2009), about the famous ballet company in Paris, also screens in the Reflecting Images: Masters programme.
 
Alongside making documentaries, Wiseman has also directed a number of plays. In late 2005, for example, he directed Happy Days by Samuel Beckett for the Comédie Française in Paris. Together with French actress Catherine Samie, who played the lead, Wiseman will elucidate on his version of this theatre classic at IDFA 2009 by means of live performance, lectures and fragments of recordings of the play.

Best European Documentary Film

A press release from The European Film Academy announces the nominations in the category EUROPEAN FILM ACADEMY DOCUMENTARY 2009 – PRIX ARTE. There is a total of ten documentary films nominated, and the jury is Nino Kirtadzé, documentary filmmaker, France/Georgia & Franz Grabner, producer / editor ORF, Austria & Viktor Kossakovsky, documentary filmmaker, Russia. Prize to be announced by December 12. The films are:

THE BEACHES OF AGNES (Les Plages d’Agnès)
Agnès Varda, France (reviewed on this site)
BELOW SEA LEVEL
Gianfranco Rosi, Italy / USA
BURMA VJ
Anders Østergaard, Denmark (reviewed on this site)
COOKING HISTORY (Ako Sa Varia Dejiny)
Peter Kerekes, Slovakia / Austria / Czech Republic (reviewed on this site) (photo)
THE DAMNED OF THE SEA (Les Damnés de la Mer)
Jawad Rhalib, Belgium
DEFAMATION
Yoav Shamir, Denmark / Austria / Israel / USA
THE HEART OF JENIN (Das Herz von Jenin)
Leon Geller & Marcus Vetter, Germany
PIANOMANIA
Lilian Franck & Robert Cibis, Germany / Austria
THE SOUND OF INSECTS – RECORD OF A MUMMY
(Das Summen der Insekten – Bericht einer Mumie)
Peter Liechti, Switzerland
THE WOMAN WITH THE 5 ELEPHANTS (Die Frau mit den 5 Elefanten)
Vadim Jendreyko, Switzerland / Germany

http://www.europeanfilmacademy.org/2009/10/08/efa-documentary-2009-prix-arte-nominations-and-jury-members/

Steen Møller Rasmussen: Tjener for en bydreng

Peter Laugesen sagde engang (jeg husker det – er sikker – men jeg kan ikke finde stedet), at en bog skal indeholde det hele. Jeg har nok ikke forstået, hvad han mente, men jeg har hele tiden siden vidst det. AT det er sådan. Al ting er i bogen. Hele tanken, alle digtene, samtlige billeder. Den samlede eksistens og virkelighed.

Sådan er det også, hvis der tilsyneladende er et emne, et tema. En afgrænsning, en ramme. Eller udtrykkeligt en titel på bogen (som Retro, som Den hellige Hieronymus’ damekreds, som Tjener for en bydreng). Temaet eller titlen er indgangen. Indeni er det hele. Hver gang. I alle bøger – af den slags.

Sådan er det også med film af den slags. Steen Møller Rasmussens film er alle den slags, i hvert fald dem, han selv har bestemt over. (Han har ofte været, er ofte, bydreng, præcis og loyal). Samlingen i denne dvd-udgivelse (lagt ind i en bog) er helt hans egen og i den grad den slags. Og alle delene er egensindige, ubestikkelige, hensynsløse. Samlingen har ligget længe på mit bord, næsten anklagende i tillokkelsen. Jeg har tøvet, for det er stort. Filmene og bogen er det hele. Jeg kunne ikke ønske mig mere. jeg kunne ikke ønske det anderledes. Jeg forstår det ikke, men det er sådan.. 

Steen Møller Rasmussen: Tjener for en bydreng – Richard Winther og mig, 2009, dvd med tre film, Richard Winther – en undersøgelse, 1999, 21 min., Wie, 2005, 16 min. og Richard Winthers hus, 2008, 78 min. + bog, 160 sider med biografisk essay af fotografier og tekster. Forlaget Plagiat, 2009 www.kunsteen.dk