Around 20 minutes into this staged documentary I started to get impatient. Come on, make the story move, we got the message, the neighbours dont like each others, they dont talk, it is a silent war, where they will not fight or terrorise each other as in subjectwise similar films like the classic of Norman Maclaren. But then it takes a turn. The filmmaker asks his father, one of the neighbours, what was the biggest moment in his life. Difficult question to answer for a man, who has difficulties to express emotions, but he gives the answer. And the filmmaker goes to the neighbour to give us a positive impression of him.

We will never sit down and have coffee and pastries, says the father of the filmmaker about the conflict. More than a decade ago something happened that created a total split up between the two families. The result was that a fence grew up, a kind of no-mans land, a Berlin wall, in otherwise peaceful Western Jutland of Denmark in a town called Tarm. Where they speak a strong dialect and express a certain kind of stubbornness. Because nobody really recalls what happened, nobody knows who owes an apology.

The film is brilliant to look at, the mise-en-scène  style is carried through, a promising debut, that reminds me of the early films of Jon Bang Carlsen.

Denmark, 2008, 47 mins.

http://www.cphdox.dk/d1/front.lasso

Trefeurig is the name of a small village community in Wales. This is where director and cameraman Gideon Koppel takes us – on a stunningly beautiful, wonderfully slow, and editing-like surprising voyage that I have difficulties in forgetting after two viewings at the markets at DOCLisboa and now at cph:dox.

I long to watch it on a big screen, I want to dwelve into the landscape paintings, to a rythm of Life that is disappearing. But it is also a documentary about the people, who live there and as a librarian educated in the last century, it creates a sweet memory in me to see a library bus arrive and the old people come to get their books and have a chat with the librarian. Who worries because ”they” want him to install a computer to make his work easier! ”How are you”, ”keeping going” is a dialogue often performed in the film. Many, many banal daily life scenes, but in the film lifted up to something different, a confirmation of the value of Life.

It is season after season, it is gorgeous when you see a whole image full of a scenery with sheep going down slooowly, absolutely outstanding, episodical, f… all modern claims for ”story”, nostalgic, yes, a hymn to nature, with a precise sound design and music by Aphex Twin. A quote at the end of the film, dont know from whom: It´s only when I see the end of things, I get the courage to speak, the courage, but not the words.

Wales, 2007, 94 mins.

http://www.bbc.co.uk/dna/filmnetwork/A39788239

http://www.walesonline.co.uk/whats-on/whats-on-news/2007/12/03/library-van-inspires-film-of-changing-community-91466-20194101/

http://www.cphdox.dk/d1/front.lasso

We met him years ago, this Hungarian director, who stood behind the much discussed, but great film ”Children of Kosovo”. We, meaning colleague Allan Berg and I, who defended the director’s right to use extremely aesthetical cinematographic means to describe the tragedy in Kosovo.

His focus was the children, as it is in this new film where Moldoványi has filmed in four continents, again with a stunning visual result, where you sometimes end up in a breathless state, at the same time as you look at and listen to the stories from children, who are suffering in their daily life. No commentary, no information about where we are, it is not what I want, the uncompromising director seems to say. I want you to come with me on a tour round this wonderful world, where many children live in total misery. The child soldier, the shoeshine boy, the child prostitute who was raped when she was 8 (!), the girl who sells chewing gum in the street, the scavenger. And so on. They give us their dreams. They give us their daily life. We watch it, feel ashamed, depressed, at the same time as we feel that we must believe that a change could happen. If the energy of these fine children could be transformed into something positive. If…

The title comes from Aldous Huxley: Maybe this world is another planet’s Hell. Moldoványi, one of the most ambitious documentary directors that I know about, has made another unique film.

Hungary, 2008, 95 mins.

http://www.engram.hu/Main.nof?nyelvid=2

http://www.another-planet.eu/moldovanyi-uk.html

http://www.cphdox.dk/d1/front.lasso

Jakob Skovgaard Petersen, his wife and their two children  were in Cairo for some years. Petersen was appointed Head of the Danish-Egyptian Dialogue Institute and he was there during the cartoon crisis. A brilliant and knowledgeable man, not only a man with diplomatic skills and strong in dialogue but also a man, who was able oppose prominent religious and political leaders. The man is fine and is awarded when he gets home. The director decided to make a point out of this as the film starts and ends with Petersen being greeted by Her Majesty the Queen. That was a wrong decision, it is completely irrelevant for a film that could have focused much more on the dialogue and not on the family side of Petersen’s stay in Cairo. The wife plays tennis and feels insecure about the children in such a big city. They have parties, take Danish ministers around to meetings, and yes, a little bit of this and a little bit of that, no focus, superficial. There is, however, one very good scene in the film where Petersen sits in a soukh, drinks tea and discusses with some journalists from al-ahram. More of that could have made it interesting.

Denmark, 2008, 60 mins.

http://www.cphdox.dk/d1/front.lasso ’

I was at the Film House tonight to meet Jan Troell, the 77 year old Swedish master, who right now experiences big international success with his latest feature, ”Maria Larssons evige Øjeblik”. English title is ”Everlasting Moments”. A whole evening programme was set up with Troell and his wife Agneta Ulfsäter Troell, from whose family the story about Maria comes. I was there for the first part of the evening, a well structured meeting with the director.

This first part opened with the film about Troell, ”Troell’s magic mirror” by Swedish Thomas Danielsson. Sympathetic it is – even if it sometimes feels a bit messy as it wants to have too much information conveyed within the hour it lasts. But you love every little word Troell says, this modest lyrical observer of the world we live in. Troell talked afterwards about his work, with many references to his old, late friend and inspiration source, the photographer Georg Oddner, that he made a brilliant documentary about, ”Presence”.

Playful Troell showed four of his small homemade films to the audience after ”Reflexion 2001” from the NY twin towers, a filmic requiem with music of Arvo Pärt. Joyful were the short film about ladybirds having sex and the one about a snail on a lunch table. Satirical was a film about animals getting a yellow tag according to EU rules. The absolute climax, however, came with a short film about some older men and women with rackets in their hands, but without any tennis balls, caught in their more or less silly movements and interesting facial expressions by the camera of Troell, their documenting tennis partner!

http://www.dfi.dk/english/Danish+films/Directors/DirectorFact.htm?DirID=9917
http://www.cphdox.dk/d1/front.lasso

I have been thinking a lot – why does this film not involve me? Why do I stay in a careless mood? I had high expectations, I had read about it, seen the overall praise it has got and I know that audiences have queued to buy cinema tickets. And I see that the state of Israel wants the film to be the country’s Oscar award contribution!

Is it because it is an animation film based on real conversations between the director and his fellow soldier comrades from way back when they went to the Beirut hell that ended up in the massacre on civilians in Sabra and Shatila. A story about memories. That for some of them have turned into traumas.

It is all so well made, perfect craftmanship, it is beautiful to watch, it is packed with emotional music, full of effects, sometimes as an action film… and yet, or maybe therefore, I dont care about their stories. The superbly manufactured animation makes an emotional blockade until the last couple of minutes where the director leaves the animation and invites us to watch horrible archive images of the mothers and fathers, sisters and brothers and children in deep shock and screaming grief over a massacre observed and thus accepted by Sharon and his soldiers. I have seen these sequences before. This is the story about Sabra and Shatila.

http://waltzwithbashir.com/home.html
http://www.aarhusfilmfestival.dk/index.html
http://www.cphdox.dk/d1/front.lasso

Hammarsberg, Bergmark & Andersson: “Maggie In Wonderland”. Andersson is Maggie, credited as co-director in this moving documentary about herself, a Kenyan woman, who lives in Malmö on the 15th floor with a balcony full of pigeons.

“It’s me telling you about my life”, Maggie says behind the camera when she points around in her flat that has the look of loneliness and trouble. How did she end up in Sweden – this is not told, what we get to know, we get from the scenes with Maggie behind the camera, or Maggie followed and observed by a cameraperson. She tells us that she suffers from not seeing her son, who is in Kenya. She tells us that she was with a man in this appartment, he was violent and got out. We see her in conversation with a not very understanding school teacher who tells her to stop school because she missed too many lessons. And in a late night street scene, she films while being attacked by someone. She repeats several times that many take her, a black woman, for a prostitute.

It is a film that goes in many directions and I cannot help asking if she has not been offered psychological help. I dont want to think the Swedish public system is so bad that nothing has been done to get out of the trauma. The film indicates nothing of that sort… The ending shows Maggie cleaning up, ready for a new start, a new year. Wishful thinking from the filmmakers side?

Sweden, 2008, 72 mins.

http://www.cphdox.dk/d1/front.lasso

Have to confess that I had never heard about Natasja before her death in a car accident on Jamaica summer 2007. 60+ was not her target group! But this fine documentary, that avoids to take the sentimental approach and thus succeeds in giving me proof of and reason for her artistic skills and popularity –  shows her enormous energy and appetite for Life. She was made for camera appearance as the many recordings by her friend Karen Mukupa demonstrate.

The film jumps back and forth from Denmark to Jamaica, no chronology, nothing exotic about Reggae-land, it is mostly her directly addressing the camera or an audience with her music and lyrics, written by herself. High quality all over. What a loss of a winner, who by the way was also a master jockey on a horseback.

Denmark, 2008, 60 mins.

http://www.cphdox.dk/d1/front.lasso