Cinéma du Réel Report 3

Saturday morning in the café. The sun is shining in Paris today. In 90 minutes we have booked the videotheque to catch up with some films in the international competition. And then a couple of films later this day. Here are some words from yesterday…

… which was not that easy a day to be visitor at Cinéma du Réel. It made me think of the late Danish cinema owner of the Grand in Copenhagen, still the most important Danish cinema for art films, his name was Peter Refn and he always said – with a smile – that you had to suffer for the art! He was referring to bad projection or lack of comfort.

We “suffered” yesterday. We had to stand in queus for a long time to get in to the Cinéma 2. The people like us who have an accreditation have the second priority after the paying audience, which is absolutely ok but the balance between sold tickets and badges have to be established in a way so the guests of the festival, coming from far away continents, can get a seat. Many who don’t know the system – like we do – were rejected entrance.

This is one of the problems that the festival has: It has one big hall, where you can almost always get a seat, and then two smaller that lack seats and comfort (=oxygene). There should be one in between big and small.

On the other hand, no more complaints, because it is nice to be to a festival that is a pitching free zone, where the focus is totally on the films that have been made. Yesterday the entertaining Swiss film “Glorious Exit” by Kevin Merz was followed by a short film programme by Danish/Polish Jacob Dammas (“Kredens”), which had some charm, Oksana Buraja (“Kretos Sala”), a new Lithuanian talent, and American “Minot, North Dakota” by Madansky and Brudniak, which there is no reason at all to say something about.

The last film we saw, however, first film by Polish Jacek Naglowski and Andrzej Dybczak, “Gugara”, was a beautiful visit to the Evenki people in far away taiga in Russia. Classical and as usual well crafted cinematography.

www.cinereel.org Still: Naglowski og Dybczak: Gugara

Cinéma du Réel Report 2

It is raining cats and stones in Paris. No spring feeling yet. Nevertheless the cafés are full outside as all the smokers are situated there now. No smoking inside. 

Full houses at the festival for the two screenings in the Cinéma 1 that I attended. The series “Americana” draws a lot of people. Not only people who experienced the happy 60’es but also a young generation, who wants to know what it was all about. Ed Pincus “One Step Away” and “Pictures from Life’s Other Side” by Jim McBride. The first one far the most interesting about the totally stoned long haired hippies, who live in a commune in the year of 1967. Harru wants to leave for New York with child and girl friend but it takes a looong time before he realises his intention. Funny to look. Nostalgia? Not for me even if the main character reminds me of a good friend, who also had big difficulties in moving.
And then “Holunderblüte” by our old friend Volker Koepp, this time from Kaliningrad with a complete children cast. Allan will review this later in this place.
Full houses but a lot of audience leaving the cinema before the films are over. Why this disrespect for the film? It disturbs the rest of us and it is seldom that I experience this. French arrogance?
Joaquin Jorda, the late Catalan documentarian, said that “you only sleep at good films, for the bad ones you stay awake”. Volker Koepp does not make bad films. Grand old man in (East)German documentary, wonderful memories from his films that we showed on Baltic Film/TV Festival on Bornholm in the 90’es. 
Neil Young is played in the café where this is written. The 60’es never end. 
www.cinereel.org Still: Ed Pincus to-day.

Cinema du Réel Report 1

I am sitting in the niveau -1 in the Centre Pompidou. This is where the acceuil for the Cinema du Réel is situated. As always in the Centre during the festival, it is difficult to create anything just close to be called a joyful or cosy atmosphere. I love the Centre Pompidou, as an old librarian, I am so happy to see all the people who go to read books, or seek information online, or watch films in the library – but for a festival it has never been a good place. It is difficult to meet the filmmakers, people come here to get their papers, go to the cinemas (there are three of them), watch films, this is how it is and always has been. And it’s ok like that. Of course it is. Coffee drinking and talking can be done elsewhere in the small cafés around Beaubourg.

We got the catalogue, we made our day plan, I wanted to go to the videotheque to watch some films, that have already passed, but all booths were occupied.

Impressions… the wall of news clips are full. The festival has got its mention in le Monde and Libération, there is a lot of focus on the series “Americana”, Shirley Clarke and Jim McBride, an interesting series that other festivals could pick up.

The director of the festival Marrie-Pierre Duhamel-Müller tells that she received 2300 films for the international and French competition. To end up by selecting 40.

www.cinereel.org Still: Centre Pompidou, nat.

Cinéma du Réel

Yes, for those who do not read Danish, “we” (Allan Berg Nielsen and me, Tue Steen Müller) leave for Paris tomorrow to follow the 30th edition of Cinéma du Réel, which took off with the subtitle “antropological and ethnographic films”. It has always for me been the place for watching films about the world we live in. Interpreted by, seen through the eyes of filmmakers like Joris Ivens (his last film “Histoire du Vent” I saw there), Jean Rouch, even if this founder of cinéma vérité  has never really meant something to me, Helga Reidemeister, Sergey Dvortsevoy, Volker Koepp – and all the retrospectives that the former director Suzette Glenadel put together against any kind of what was “a la mode” at that time: The czekoslovak documentaries, where I met Dusan Hanak, and the Baltics where we had the pleasure of meeting them all, these great filmmakers like Herz Frank, Ivas Seleckis, Arunas Matelis, Navasaitis, Stonys, Mark Soosaar and so on.

Cinéma du Réel has always been excellent in making clever and thoughtful side programmes, next to the international programme.

This year there is themes like Americana, In South-East Asia, Images / Prison: visions from inside, Figures of tourism : for a history of the “view” , special screenings of for instance Bernardo Bertolucci’s “La Via del petrolio”.

I am there to watch the international programme and write an article and make interviews for DOX – www.edn.dk – but there will also be some English words from me and many Danish from Allan.

www.cinereel.org Still: Former director Suzette Glenadel.

Werner Herzogs poetik 5

Jeg må gøre Herzog-genfortællingen færdig. (Før jeg i morgen er på Cinéma du réel festivalen i Paris. I fjendens lejr.) Tue Steen Müller bragte det forleden frem til til Minnesota-erklæringens punkt 5, om de dybere lag i filmkunsten.

5. Herzog slår fast at de findes der i den filmiske konstruktion. I modsætning til den journalistiske reportage, hvor de ville forstyrre. Men det må ikke få os til at det samme gælder film, hvor der findes sådan noget som poetisk og henreven sandhed. Den er mystisk og flygtig og kan kun nås ved digtning, fantasi og stilisering.

6. Cinémá verité folk ligner turister som tager billeder midt iblandt kendsgerningers ældgamle ruiner, erklærer han bekymret. Jeg tror han tænker på om hans egne reportager slår til, om de mange fluen på væggen film nu virkelig tænkes færdige. Jo, ok, mestrenes gør, Dvortsevoys gør. Franks, men Wisemans? Altid? Bang Carlsens? Wivels? Aldrig turismens lethed? Jo, da, som vi andre. Dog, Leth digter, fantaserer og stiliserer hele tiden.

7. Men tordner den evigt kontinent-vandrende Herzog: turisme er synd, fodrejse er dyd!

8. Og så fortæller han en historie om de snesevis på snescootere som i det smeltende forår braser igennem isen på søerne i Minnesota. Presset på guvernøren er stort for at få ham til at lovgive om det. Men denne forhenværende bryder og bodyguard har svaret: man kan ikke lave love imod dumhed.

9. Så er handsken kastet, noterer Herzog. Dette er modstanderen. Og det bliver hovedtema i speaken til Grizzly Man, naiviteten over for naturens virkelighed set gennem mange erkendelseslag i et filmværk.

10. For månen er mat, moder natur kalder ikke, taler ikke til dig, lige meget hvor meget gletscheren giver lyd fra sig. Og lad være med at lytte til livets sang. Bedrøvede råd til Amie Huguenard og Timothy Threadwell, som forførte af et naivt natursyn leverede den ultimative reportage.

11. Så vi skal være taknemmelige for, at universet derude ikke kender noget smil.

12. Werner Herzog konkluderer sin erklæring og filmkunstneriske program: Livet i oceanerne må være et rent helvede. Et umådeligt, nådeløst helvede af permanent og direkte fare. Så meget helvede, at nogle arter, herunder mennesket, under evolutionen kravlede og flød op på nogle små stykker fastland, hvor mørkets lære fortsætter.

Movin og Møller Rasmussen: Words of Advice

Filmen har også en undertitel og det er en uskik, og det udstiller dens problem. Den hedder både Words of Advice og William S. Burroughs on the Road. Der peges i to retninger. Burroughs i teksten, i ordene, et filmessay nærmest. Og så Burroughs på tur, eller på tur efter Burroughs, en road-movie, tilnærmet.

Det første er langt det sjoveste. Og det klogeste. Undskyld Lars, undskyld Steen. Men jeres scoop i jeres journalistik er oplæsningen i Saltlageret. Og så arkivmaterialet. Ikke alle de møjsommeligt indsamlede vidner, slet ikke den pinlige scene med Turèll. Burroughs bærer som medvirkende selv det hele, og så er der Steen Møller Rasmussens kompetente billeder og Lars Movins ordenlige indsamling og viden og flid.

Der er bare ikke plads til det hele. Og enkeltdelene klæder ikke hinanden. Værre endnu, belyser ikke hinanden. Burroughs søges reduceret til illustration af venners og eksperters træt kedelige oplevelse af biografien. Men han spræller så gevaltigt, at han slipper fri af det litteraturhistorisk-pædagogisk-journalistiske net.

Og han er filmen værd, så han får seks points posthumt for sin indsats og Steen Møller Rasmussen får fem for billederne og for at han gemte dem og Lars Movin får fire for sin flid og vilje til, at vi andre må få del i alt det meget han ved. Men at sætte sig mellem to stole og annoncere det i en tvedelt titel trækker fra!

Men tak for dejlige stykker film i de store bidder. Men altså Turèllafsnittet måtte jeg vende ryggen til ved andet gennemsyn, musealiseringen af de to hjem er pinefuld og kustodernes omvisninger frygtelige, Men Steen Møller Rasmussens smukke, smukke still-leben scener fra bunkeren i New York er til gengæld umistelige. Ja, vi kan godt se selv, vi herude.. Og musikken er på vores side..

Men, men køb den film! De gode bidder er det hele og mere værd..

Lars Movin og Steen Møller Rasmussen: Words of Advice, 2007. Produktion: Plagiat Film, København plagi@get2net.dk  Distribution/Sales: Pan Vision  http://corporate.panvision.com/management.html 

Men hvor kan den mon købes på DVD? Kort&Dok? Nej. Lånes? Bibliotek.dk kender den ikke. DFI kataloget og filmstriben.dk heller ikke. Den er ellers oplagt på biblioteket og i skolen, langtidsholdbar. Hvad her er set som svagheden, vil nok der være styrken.

Werner Herzogs poetik 4

Tue, jeg tror altså ikke, at Herzog er oppe mod filmhistorien og dens anerkendte helte, han er oppe mod overfladiskhed, naivitet og dumhed i tænkningen med kameraet og i klipperummet. Oppe mod sig selv for så vidt. Så er man modløs, må man tage sig sammen.

En myte fortæller, at han tilfældigt mødte et kamerahold i lufthavnen i Wien. Det skulle til Kuwait, det var lige efter krigen. De var modløse, havde ikke rigtigt greb om opgaven. Derfor ikke lyst til reportagen, som ventedes af dem. Herzog foreslog, at han tog med og instruerede. Det ville være en ære, sagde de, ordnede det med deres tv-station og deres tv-reportage blev til “Lessons of Darkness”.

Det afgørende ved den historie er jo ikke, om det faktisk er foregået, det der i Wien og så videre, men om den er sand i sin fortælling om fortælling.

Og sådan er det for mig at se med Herzogs punkter. De er ikke politiske, de er poetiske.

Herzog Footnote 2

Allan refers to the point 5 in the Minnesota Declaration of Werner Herzog:

“5. There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.”

Noone will object to that this is what Herzog at his best has achieved, at least in his “Lessons of Darkness” – it is mysterious and elusive.

But I could mention several “mysterious and elusive” magical moments in films that have been made from the observational approach that Herzog’s whole Declaration was made to oppose.

It reminds me about la nouvelle vague in France (Godard, Truffaut et co.), who rejected the qualities of Jean Renoir and Marcel Carne when they launched their programmme.. Or, in a much friendlier way, our own Danish Jon Bang Carlsen, who had to fight for his “staged documentary” style for many years before it was accepted by hard core documentarians. But that was 20 years ago, long time ago, now we can value both Albert Maysles and Werner Herzog and Jon Bang Carlsen and Joergen Leth and Anne Wivel.

Werner Herzogs poetik 3

Jamen Tue, han var da ikke, og er, i sine filmpoetikpunkter, da ikke ude efter disse fine folk, du nævner. Slet ikke personligt. Derfor undskyldningen, vil jeg tro. Fordi, han fornemmede eller fik at vide, at de følte sig personligt stødt. Og han har jo naturligvis heller ikke slettet denne pamflet fra sin hjemmeside. For den handler nemlig om noget inden i ham selv. Og tilbydes os andre som udfordring til vores tanke, som Perse siger om havet hver morgen. Hvordan er det med forholdet mellem sandhed og virkelighed på film?

Om lidt sidder vi på festivalen med det provokerende navn: Cinéma du réel.. vi må nu lige tilbage til Herzog, som i filmen om de to, der bliver spist af bjørnen, udreder, hvordan deres filmmateriale er enestående med hensyn til virkelighed, men naivt i analysen, falskt..

Vi må lige tage nogle flere punkter fra Minnesotaerklæringen.. Punkt 5 stiller virkelig krav til dokumentarfilmens selvopfattelse. Herzog finder der under den filmede reportage, samtale, intervieu i filmen er dybere lag med egenskaber som poetisk, ekstatisk sandhed. (fortsættes)

Mikhail Vartanov: Parajanov: The Last Spring

This documentary from 1992 tells about Sergei Parajanov (1924-1990), considered to be one of the masters of cinema, far too little known compared to his importance as it is said on the website

www.parajanov.com

that honours him, brings quotes about his greatness from Fellini, Godard and the one that could be said to resemble him in film language, also a master: Andrey Tarkovsky.

The film by Vartanov is a breathtaking hommage to Parajanov, who due to his long emprisonment during the Soviet times ended up having a consequent limited filmography, complemented by an extensive collection of paintings, drawings and collages. In most of the film the camera puts the focus on the beautiful old man with the white beard, he moves badly, he is completely introvert, he is moving towards the end of his life. Contrary to how he was, as shows the archive material from his shootings and the clips from his films firmly grounded in Armenian reality and culture and poetry. The film is chaptered with long sequences without words, only image and music. Pure beauty.

I have never seen a film by Parajanov… I want to do so in the near future. His films are available on Amazon, and for Danish readers – go to Laserdisken and iMusic.