Alina Rudnitskaya: Civil Status

I am in Riga for the Baltic Sea Forum (BSF) for new documentary projects to be pitched this coming weekend.  The BSF, however, includes a hig quality film programme for the general public at the Cinema K. Suns in Riga.

One of the films to be shown is ”Civil Status” by Alina Rudnitskaya, a brilliant observational documentary filmed at the Civil Registry office in St. Petersburg, where people come to have births, marriages, divorces and deaths registered. ”It’s like a theatre here”, one says in the beginning of the film, and it indeed is, the Theatre of Life. This has obviously been the aim of the director – to catch these emotional moments, where people come to have their divorces registered or to get married. The young women working in the office have a job that shifts from being verbally attacked and called idiots, to situations where they are subject to flirt, or where they master the happy ceremony of marriage. Faces, joy, sorrow, fun, despair… the camera stays sometimes at a distance and sometimes it goes very close.  That close that we are watching a couple having a dialogue of reconciliation, or to be more precise, she tells him ”that there was nothing between us”, and begs him not to sign but walk home and give it another chance. Dramatic scenes like this are in the film.

It’s all very well composed, rythmical, with atmosphere conveyed,  and lives up to what a documentary should be: multilayered and universal. And about Life.

Russia, St. Petersburg Documentary Film Studio, 29 mins., 2005

Protest at the Toronto International Film Fest

This clip from an article in Realscreen makes you think… is he right or wrong:

“Filmmaker John Greyson is taking his boycott of Israel to the Toronto International Film Festival. Greyson, who withdrew his film Fig Trees (photo) from the Tel Aviv International LGBT Film Festival in April, has written to Toronto festival organizers to take his short documentary Covered out of the September event’s Short Cuts Canada sidebar. Greyson, who is also a film professor at Toronto’s York University, said the action was done in protest over TIFF’s inaugural City to City program because it spotlights Tel Aviv, not over the Israeli directors showing their work in Toronto.

In his letter Greyson complained the Tel Aviv sidebar does not include Palestinian artists or filmmakers…” Of course the organisers of the festival thinks Greyson does wrong and should have kept his film in the programme and taken initiative to debate. Should he – I am not convinced.

http://www.realscreen.com/articles/news/20090831/greysontiff.html

http://www.indiewire.com/article/war_of_words/

Niall McKay: The Bass Player – A Song for Dad

It is one of those films where you wonder if this is going to be private OR personal = something that would have been better to keep in the family circle OR a film with a universal appeal. The latter is absolutely the case and the reason is obvious – Irish director Niall McKay is a skilled storyteller and the character he brings to us, the bass player, his father, appears to be charming and charismatic in a very relaxed and reflective way.

The narrative is quite simple. Niall, the director and son, goes to Zürich to help his father pack his things for a return to Ireland after the death of the woman with whom he lived. Jim, the father, tells wonderfully how he met her, and in general these conversations on the journey, between father and son, are quite light hearted and warm. It is very often a son who asks his father to give him some tricks on Life. The father says, he can’t, but he does so anyway to a son, who is just about to get married, and who makes his proposing to his dear Marissa, on camera. The same goes for the wedding. The two also go back in time to talk about the mother, who took her own life. Yes, there are dramatic events in this family story but they are always presented in a decent manner that makes you able to reflect and make parallels to your own life. And in this way the film becomes moving through a tone that is never aggressive but always full of respect.

Irish can be difficult to understand, and I was happy that the director provided me with a subtitled version.

Ireland, 62 mins., 2008/9, taster and director-interview on sites below

http://www.asongfordad.net/

http://mediafactory.tv/

http://www.filmireland.net/2009/07/31/niall-mckay-director-of-a-song-for-dad/

The Danish Roos Award

The award, named after the documentary film pioneer Jørgen Roos, was established in 1995 for the purpose of rewarding outstanding efforts in Danish documentary filmmaking – went this year to director Anders Østergaard and producer Lise Lense-Møller, the duo behind ‘Burma VJ — Reporting from a Closed Country’”. The award ceremony took place yesterday at the European Film College in Ebeltoft, Denmark.

The motivation went as follows: They have created a moving film that evokes sympathetic insight, even though the audience does not see the leading person who remains anonymous for security reasons. They have created a film with visual strength, an authentic historical document from thousands of small clips — out of focus, incoherent, and shot by different individuals under chaotic conditions. They have persisted in sticking to their ambition of making ‘a documentary film that mattered’, even though it would have been easier and less expensive to produce an efficient news version of the film, which there was a demand for. They have taken chances; the film had to be made, even before an unsigned contract and even though necessary finances were yet to be met. And they have persisted long after the completion of the film — followed it around the world —with their engagement in those who took part in the film and with their interest in the themes dwelt on in the film.

May I add a big bravo that Lise Lense-Møller in this way is being praised for her fine work in Danish documentary for decades. For those who don’t know her: She is a fim producer and CEO and founder of Magic Hour Films. She has produced films, co-written scripts and been a consultant on the development and production of feature films, short fiction, documentaries, and TV-series. She is also one of the experts at EU’s EAVE (European Audiovisual Entrepreneurs).

www.dfi.dk

Sergey Dvortsevoy – Letter to the Director

Dear Sergey. Around 10 years ago you were in Copenhagen to present your film school diploma work, ”Paradise”. You declared yourself as a dedicated documentarian, and you proved to be one of the best with the films that followed: ”Bread Day”, ”Highway” and ”In the Dark”. You have been awarded for your work, you have deserved it as the brilliant filmmaker you are, who can catch the magic moments, the ones you have been waiting for to appear after long research, as you did with ”Paradise” from the steppes of the Kazakhstan with the people you love so much. Now you have returned to the same theme with your ”Tulpan”, a film that is touring the world with success. When we met last December in Copenhagen, you told me that you were happy to have switched to fiction – you have reached a bigger audience and you don’t have the ethical problem that you were told to have created for the people in ”Paradise”, who had been critizised heavily for taking part in a film that represents kazakh reality as poor and miserable. I saw ”Tulpan” yesterday and I love it – for being a continuation of your documentary work with scenes that I will never forget. The birth of a lamb, you keep the scene for a wonderful long time. The little boy running on the steppes as in ”Paradise”. The nature images. The sheep being kept as a flock… and so on. You got some of the magical documentary moments that you can not put into a script. But you also have a story and it is full of humour and warmth. It is close to the reality you know, but they act, you can see that they perform, some of them over-act. I like it but you lose something in terms of the truthfulness you have in your previous work. I can not help compare the mother in ”Paradise” with the mother in ”Tulpan”. There is a world of difference. The first is the mother, the other acts a mother, and she does that well. In the first film you wait for things to happen, in ”Tulpan” you say ”action”. Hope you understand this small reflection on documentary and fiction – there is a small fine drama in ”Tulpan” surrounded by magic images and situations that has that documentary presence that is your quality stamp! Best wishes from your true admirer Tue. Photo from “Paradise”.

Cinemateket i September

2nd message to the lucky Copenhageners about a film offer – presented in Danish:

Så kom der endelig en lejlighed til at glæde læserne med et foto af Juliette Binoche, den fremragende franske skuespiller, hvis evner kan nydes i 11 film, som Cinemateket præsenterer i september måned. ”Skjult” (Haneke), ”Blå” (Kieslowski) og ”De elskende fra Pont-Neuf” (Carax) for blot at nævne tre mesterlige film og præstationer af Binoche. Og så er der ellers Cassavetes, Capra and masser af andre godter på programmet.

www.cinemateket.dk

Mandagsdokumentar

1st message to the lucky Copenhageners about a film offer – presented in Danish:

Så er det sæson for MandagsDokumentar. Utrættelige Ebbe Preisler inviterer som sædvanlig og han insisterer vanen tro på at det er en god idé at filmskaberne møder sit publikum. Så check hjemmesiden og se hvilken herlig blanding af film og folk, der vil indfinde sig i PH Caféen på Halmtorvet 9A. Og det er ikke blot filmfolk, men også filmformidlere der optræder, således kan publikum glæde sig til den 2. November hvor Danmarks bedste i den genre, højskolelærer og filmskolelærer Niels Jensen er aftenens midtpunkt. Flere af filmene er anmeldt eller omtalt på dette sted: Den bevægede jord (Lars Becker Larsen), Cikaderne findes (Jytte Rex), Kirsten Kjær (Jørgen Vestergaard), De fem benspænd (Let og Trier), Tulpan (Sergey Dvortsevoy) og Long Bien Bridge (Steen Møller Rasmussen, foto)

www.mandagsdokumentar.dk

Karin Westerlund: God, Smell and Her

My colleague, Allan Berg, has posted two texts in Danish about the new film by Karin Westerlund, Swedish visual artist and filmmaker, based in Denmark and Cairo, Egypt. I saw the film yesterday, it is as Allan Berg writes, quite extraordinary, a bombardment of images from all over, a film about love, about what you don’t see but sense, about culture, religion, a philosophical statement. As it has been said, the film can be categorized as poetic-political if that adds anything, probably not, as this film is hard to describe due to its richness. I watched it yesterday in a completely sold out art cinema in Copenhagen (extra screening sunday at 10am in Grand Teatret Copenhagen), and write this to make film festival people and tv buyers aware of a film that does not look like anything else, an experiment someone will say, if so let’s have more of that. Go to the website of the unique filmmaker Karin Westerlund and enjoy clips from the work, she has done, including this new one. A dvd edition for public purchase is on its way. (photo from the book of KW: It started in Cairo)

http://www.kamerakairo.com/glh.html

Karin Westerlund: Gud, lugt og hende 2

Den syriske digter Adonis (Ali Ahmad Said Asbar), (still fra filmen) er en af seværdighederne, som Gunilla Röör opsøger i filmens rejseforløb. Et monument som de store og små bygningsværker, hun også besøger. Jeg tror hans tekster er vigtige dele i filmens konstruktion. Måske en arkitektur som trappen i Varanasi ned til Ganges. Jeg ved det ikke, mærker det kun. Hvordan skal jeg dog få tag i dette geniale monstrum af en film? 

“Jeg mærker de gode vibrationer”, siger hun til den vise mand, som har vist hende om i moskeen. “Det er et billede, som du henter fra fysikken”, replicerer han. “Jeg tror, det er nærvær, du mærker”.  

“The truth is a house / without people / without neighbours / without visitors…” skriver Adonis. Et sted kommer Röor – i en drøm måske, i hvert fald i en virkelighed – til en række tomme, smukt okkerkalkede rum i en bygning, hvor jeg gerne slog mig ned. Men hun er fortvivlet. Bevæger sig omkring i angstfyldte ryk, kan intet genkende. Det er ikke, som det skulle være. Er ikke, som det måske var. Engang. Til slut ser hun fra balkonen ud over landskabet. Som ikke er der mere.

Filmens juxtapositioner (som de snakker om under seminaret i Århus) kaster mig fra side til side, frem og tilbage. Jeg må se den igen..

Karin Westerlund: Gud, lugt og hende, Danmark, 2008. 93 min. Grand biografen, København. EKSTRAFORESTILLING I GRAND SØNDAG DEN 30. AUGUST KL. 10.00 (OM FORMIDDAGEN). INSTRUKTØREN KARIN WESTERLUND ER TIL STEDE. Billetter bestilles på 33151611 eller www.grandteatret.dk