Boris Bertram: The Human Shelter

MoMA Magazine’s streaming of Boris Bertram’s The Human Shelter 14-20 september, free & worldwide:

https://www.moma.org/magazine/articles/422 

From the Press release by Boris B. Bertram / Creative Alliance:

“The Danish documentary The Human Shelter by Boris B. Bertram, a universal examination of what our home means to us, will be presented in a free online screening by The Museum of Modern Art from September 14-20.

What does our home mean to us? The topic is as relevant as ever. After most of us have been confined to stay at home for the past many months as the global pandemic has swept around the world radically changing our everyday life, now is a good time to reflect on the universal idea of home.

In 2016 the Danish filmmaker Boris B. Bertram documented the exhibition Insecurities: Tracing Displacement and Shelter at The Museum of Modern Art in New York for his film The Human Shelter, curious to examine the question of how we create a home. This was to be the beginning of a longer expedition to four continents visiting the hot spots of a changing world challenged by climate change, migration and growing urbanization.

From September 14-20 MoMA Magazine is streaming The Human Shelterfollowed by the recorded live Q/A with curator Sean Anderson and director Boris B. Bertram, making both the film and the talk available to a broad audience worldwide for free.

Poetically man dwells on this Earth (Friedrich Hölderlin)

 The Human Shelter is a poetic and cinematic examination of what defines a home, told through personal stories from different parts of the world, reflecting both on diversity and what we all have in common. The chapters of the film takes us on an expedition from the snowy white landscape of the northern Norway, home of the nomadic Sami people, to a refugee shelter in Iraq, from the waterfront community of the Nigerian megacity Lagos to an Icelandic family living near a melting glacier, life in tiny apartments in Tokyo and the vision of what a home on Mars might look and feel like.”

The Human Shelter, Denmark 2018, 58 min. 

Trailer:https://vimeo.com/275253763 

 

FILMKOMMENTARENS ANMELDELSE

ved filmens premiere 2. maj 2018 i Grand Teatret, København

1

Kantokainen, Norge. Jeg bestemmer for mig selv med det samme at følge den unge kvindes forklaring på tid, et diktum som både er hendes opvækst og hendes beslutning. Tiden går ikke, den kommer. Det vante ur er her dyrenes selvfølgelige liv og landskabets skiftende lys. Jeg tror, det er hvad hendes smukke sang handler om. Denne alvorlige skønhed i rensdyr-nomadens fire hjem til de fire årstider.

2

New York City, USA. Kan den omhyggelige arkitektidé fra MoMA’s velordnede, perfekt ventilerede kontorer, tegnestuer og udstillingssale virkelig gennemføres i flygtningelejrenes kaotiske, overophedede og dybtfrysende vold?

3

Arabat, Irak. Ja, de kan, for han har penge, han har i sit hus en dyr pose til hvert af sine tøjsæt, som han husker prisen på. Kvinderne udsmykker arkitektektens og ingeniørens og udstillingsredaktørens shelters smukkere end deres drømme. De har vand og el og er undsluppet den visse død. Og de vil bo i digteriske hjem i UNHCR lejren. Og forfatteren på 13 år læser sin tekst op for mig.

4

Manha Loa, Hawaii. NASA, Hi-Seas, Mars habitat. Jeg er flyttet ind i Ridley Scotts film med Matt Damon som dyrker kartofler for at overleve til han bliver hentet igen, nu efter rumekspeditionen har måttet efterlade ham alene på Mars. Den dyrkede grønne plante i drivhuset smager af at være hjemme. De er en gruppe på seks, eller er det otte. Det er dag 223 på forsøgsstationens Marsbosættelse, men der er jo en asfalteret vej hjem, nemlig. Og kan jeg så tro på eksperimentet? Jeg er hos arkitekten som tegner det kommende hus på Mars, jeg er hos hans elektriske blyantspidser og hos hans overbevisning om tegningers skabende evne. Hvor er jeg altså skeptisk, selv astronautens violins country melodi finder jeg for optimistisk. Dog er jeg charmeret.

5

Kampala, Uganda. Huset i træet. Min barndoms evige drøm. Musikerens gennem 15 år. Men så også et færdigt hus inde i kronen og en trappe med repos og gelænder at gå ned ad i festtøj så der kan danses med en smuk kvinde på en veranda med betongulv. Og så tilbage, selvfølgelig, tænker jeg, op ad trappen, som bestemt ikke er en stige, op til Chesterfieldstolen og den brede seng. Et liv i musik og farver, mest grønne. Jeg er altid lykkelig i mit shelter, siger han.

6

Tokyo, Japan. Hun er gadefotograf, en nutidig og japansk Vivian Maier. Hun lever i sit badeværelse som er hendes mørkekammer og værksted og skærm og helle midt i storbyens larmende uoverskuelighed, som hun også her højt oppe fra i sit fotografis poesi skildrer som landskab af skønhed i tyst ro i en uendelig gråtoneskala må det være. Han derimod lever i et kollektiv med andre ligesindede unge undsluppet forældrenes hjem af snæverhed for med vennerne at kaste sig ud i bylivet nede på gaderne og deres støj og lyd og indtryk og nye møder for nu hjemme i kollektivet at spise og sove.

7

Lagos, Nigeria. At bo på havet. Gaderne er kanaler mellem husene på pæle, bilerne er kanoer. Hårkunsten er af særlige grunde vigtig i det så våde offentlige rum. Hjemmet er af bræddevægge. Opslagstavlen er minder fra familielivet i andre hjem tidligere i huse, vel på pæle som svømmede de i havet.

8

Jökulheimar, Island. Udflugt fra parcelhusets plæneklipper til geologernes gamle hus på øen med det øde landskab foran den vigende bræ. Geologen har børnene med. De åbner den gamle gæstebog og finder notatet fra farmorens og farfarens besøg engang for længe siden, da bræen var ganske nær forskningsstationen. De var unge og de byggede sig en dobbeltseng, læser børnene og faren som nu sidder på køjerne med bordet med gæstebogen mellem sig. Der står at de byggede sengen som vel huset før den på den stærkeste fundering. Barnet undrer sig: ville den måske brase sammen?

CITAT

Voll Verdienst, doch dichterisch, / wohnet der Mensch auf dieser Erde… (Friedrich Hölderlin: In lieblicher Bläue, 1808)

Citatets strofe lyder:

Ist unbekannt Gott? Ist er offenbar wie die Himmel?

dieses glaub’ ich eher. Des Menschen Maaß ist’s.

Voll Verdienst, doch dichterisch,

wohnet der Mensch auf dieser Erde. Doch reiner

ist nicht der Schatten der Nacht mit den Sternen,

wenn ich so sagen könnte,

als der Mensch, der heißet ein Bild der Gottheit.

VALG

Jeg vælger mig, skulle jeg genbosætte mig, de fire årstiders fire huse hos rensdyrene i Lapland. Eller jeg vælger mig en bræddehytte i et træ i Uganda med den vidunderlige musiker i nabotræet. Måske er der også en som vil danse med mig på verandaen i en dejlig film som den her, som jeg lige har set. (abn)

Danmark, 2018, 57 min. Havde oprindelig premiere under arkitektfestivalen CAFx’s åbning det år i Grand Teatret i København. 

Beldocs in Progress Awards

The Beldocs festival – in Belgrade – ended yesterday, having run since September 3. I have copy-pasted the following press release regarding awards handed out for documentaries that will be finished this year or in 2021:

During Beldocs in Progress pitching sessions, taking place on 9 September 2020 as a part of Beldocs Industry events, 8 documentary film projects from Croatia, Georgia, Moldova,  Ukraine and Slovenia were presented to a panel of international decision makers – TV broadcasters, sales and distribution companies, festivals, industry platforms and potential co-producers.

The jury consisting of Patrizia Mancini (Sunny Side of the Doc, France) Marek Hovorka (Jihlava IDFF, Czech Republic), Yorgos Krassakopoulos (Thessaloniki IFF/Thessaloniki IDFF, Greece) and Dragan Nikolic (film director, Serbia) decided to give Beldocs Best Project Award for Beldocs in Progress (1000 EUR cash award) to the project Sunny (dir. Keti Machavariani, Georgia). In its motivation for the main prize the jury wrote:

“A quietly affecting portrait not just of its main character, a woman conducting interviews for social research organizations, but also that of a society in flux and it’s changing attitudes and views, Sunny offers a look both inwards and outwards with distinct cinematic style and plenty of humanity.”

The jury also decided to give a Special Mention the documentary film project Funk Yu (director Franko Dujmić, Croatia). The jury was impressed by the the work of the first-time director and in its motivation said:

“Not just an inspired and lively exploration of a niche music subculture that of Yugo-funk, but also a tale of (mild) obsession that also works as a comment on our relationship with material things, told in a distinct visual style, with wit and energy to spare.”

The jury awarded VOD free visibility award by CinesquareVoD platform for movies from the South-eastern European countries to the project The Elf’s Tower (director Polina Kelm, Ukraine). The jury’s motivation for awarding the project says:

“Finding poetry, beauty and tenderness in a rather inhospitable place -that of a mental hospital- The Elf’s Tower creates a highly cinematic view of a facet of the real world and forces us to look into the “other” without prejudice or preconceptions.”

The Institute of Documentary Film (IDF, Czech Republic), one of the Beldocs IDFF partners gave an East Silver Caravan Awardto the project The Elf’s Tower (director Polina Kelm, Ukraine). In its motivation IDF wrote:

“We decided to support the project, which is a very sensitive story destroying all tabus about mental health. A story is uncovering not only the personal life of the main protagonist but it also introduces us to a specific situation and public status of the clients of the mental health institution. We appreciate the director asks difficult questions, seeks understanding and presents it in a very cinematic way.”

https://www.beldocs.rs/en/

Baltic Sea Docs News

 

 

 

 

With that headline Cineuropa sums up the Baltic Sea Docs 2020 mentioning, what has happened at the pitching sessions, that has also been covered on this site, plus brings a resumé of the two conversations with Audrius Stonys and Uldis Cekulis – on top of that Cineuropa has also collected the reviews of the films shown at BSD that the magazine has published, including the interviews made with some of the directors.

The photo shows Antra Gaile, project coordinator of BSD and the project manager Zane Balcus at the award ceremony friday night. Photo taken by Agnese Zeltina.

Read it all on:

https://cineuropa.org/en/nl/did/3668/

Baltic Sea Docs Pitch Day 2

Latvian Masters

One is no longer here, another is alive and kicking: Juris Podnieks and Ivars Seleckis. Names in Latvian and world documentary history. Directors and cameramen who have formed my understanding of what a good documentary is.

“Podnieks on Podnieks” was the first film project to be presented on the second day of the Baltic Sea Docs in Riga. September 4. To be produced by Juris Podnieks Studio, of course, with Juris long time creative collaborator and editor Antra Cilinska as the producer, who has asked feature film director Anna Viduleja to be the director. The couple showed a trailer with photos and footage of the director, with the focus on what most film lovers remember him from, his films depicting the fall of the Empire – and with the shocking scene, where his cameraman Andris Slapins was killed in Riga during a Soviet sniper coup in 1991.

Later that day Ivars Seleckis pitched – together with the Mistrus Media that 

also produced his wonderful “To Be Continued” about Latvian children – “The Land”. Seleckis has already made three films from the countryside, he himself lived his first 10 years in the countryside, and his trailer starts with footage from the previous films followed by material from the new film about farmers in nowadays Latvia. The film is shot, editing is going on. “Is it going to be critical”, one of the panelists asked the director. “No, my film is about Life”!

Ukrainian Talents

Awards were given at the end of the Baltic Sea Docs. Two out of four went to Ukranian young female directors. “Diary of a Bride of Christ” is directed by Marta Smerechynska, who started filming “when her sister, at 13, decided to become a nun…”. She, the director, tried to stop her. In vain. Now she is filming her in the monestary, and other smiling and engaged nuns. The trailer shown was full of joy and emotions, and it helped the young director to have experienced Natalia Libet at her side as the producer and promoter of the film.

The second Ukrainian talent awarded was Taisilia Kutuzova, whose “Shut the Fuck Up!” I met years ago in Kiev. A short film was made but the director cleverly continued to follow the teenager Serheyi, who lives in Hatne near Kiev, where he is fighting against corruption in the local community. He is asked to, the title, to shut up, is physically attacked by a politician – and has now, 20 year old, decided to run for office, i.e. a seat in the local council. To happen, the local elections, in October. French producer and journalist Stephane Siohan, likving in Ukraine, helps the director and made a clever introduction at the verbal pitch by letting us understand that the new president of the country, Zelinski, is totally running away from his promises when elected, to fight corruption. 

There is a lot of good things happening in Ukrainian documentary…

…and in Georgia

… where the project „Sunny“ comes from, a warm and interesting insight to (a part of) Georgian society through Sunny, „a 59 year old sociologist“ who knocks on doors to come into people’s homes to ask questions. About materialistic things (do you have a washing machine, internet etc.) but also politics, faith, homosexuality… The film to be has a joyful atmosphere – written by Tsiana Khundadze and directed by Keti Machavariani. Together with Nato Sikharulidze they formed an equally joyful trio on the zoom screen. It helps when a film project is presented with a smile!

“Atonal Glow” was presented by Alexander Koridze, who I as the moderator took the liberty to say looks like the American actor who played the main role in Mad Men. The film he pitched is the amazing story about a 10 year old boy Tsotne, who composes music and plays on the stage – a new Mozart? His grandmother is his musical mentor, herself a well-known piano teacher, he lives with her and his sister, their mother died young, but now the father wants the children to live with him – a court case is coming up that “radically might change Tsotne’s future if the court rules in favour of the father”. Koridze is the director and producer of the film.

Belarus…

“Courage”, “For 15 years an underground theatre in Minsk has been proving that artistic freedom in authoritarian regime is possible. But at what cost?” is how the catalogue description is on the site of Baltic Sea Docs. Since then the situation in Minsk has turned into one big demonstration against Lukashenko, a cry for freedom also from the side of the actors of the theatre group. The director of the film. Aliaksei Paluyan was during the week in Minsk for two of the demonstrations to film, bringing back material to Germany to his German producer Jörn Möllenkamp. I am sure that talented Paluyan will make a good and timely documentary.

 Precisely the reason for Current Time TV – with the always supporting Kenan Aliyev and Natalia Arshavskaya gave their 2000$ award to “Courage”.

Russian Militarism

Finally to mention is “The Trans Syrian Express » by Alina Rudnitskaya, who has been to the Forum several times with her documentaries. The militarism in the Russian society caught through the bizarre exhibition of the Russian “success” in Syria: “Organised by the Ministry of Defence and by the personal order of the President of the Russian Federation, Vladimir Putin, the train exhibition “Syrian Breakthrough” transports the spoils of war from Syria around the country. The train stopped at all the major cities in Russia from Moscow to Vladivostok, from Vladivostok to Murmansk and then back again to Moscow. 62 cities in all.” Finnish producer Pertti Veijalainen and Polish Dorota Roszkowska will find the funding for the film, that was presented with an excellent trailer. The film was awarded with post-production facilities from Latvian BB Post House.

I asked Current Time TV’s Kenan how much they would give to the film… Nothing he said, Alina Rudnitskaya starts as a commissioner in our team in Prague. No conflict of interest wanted! Of course not and good luck to Alina – but finish your film, please!

http://balticseadocs.lv/industry/selected-projects-2020/ 

Baltic Sea Docs Pitch Day 1

First day of pitching. 12 projects were presented. From Belarus, Poland, Estonia, Ukraine, Latvia, Sweden, Russia, Finland, Lithuania. All countries around the Baltic Sea – apart from Belarus and Ukraine.

16-20 panelists on the screen, most of the filmmakers equally on the screen, pitching their documentary projects from their homes – could be a sitting room or a kitchen or an office. 

And Latvians and Estonians pitching from the stage of the studio set up by the organisers. All very well planned and organised by the team of BSD headed by Zane Balcus.

On stage to moderate Danish Mikael Opstrup and me. 8 projects for Opstrup, 4 for me, will be the other way around today friday.

Of course we all hope for a change to happen so we can skip the zoom and meet face to face at the 25th Baltic Sea Docs (!) next year. On the other hand it works, the zoom meetings that has become the normal at all industry events connected to festivals.

You can read about the projects on the site of the Baltic Sea Docs, link below, but I want to mention one project connected to the two gentlemen you see on the photo – taken by Agnese Zeltina:

Marko Raat, director, and Ivo Felt, producer from All Films in Estonia, were on stage to present ”Underling in Bird Kingdom”, a film from a remote island close to the Swedish coast, a paradise for birds and horses, as you could see from the magic scenes in the trailer, a place where the writer Tõnu Õnnepalu, also biologist, has moved, a place full of stories/legends. Marko Raat, a true auteur, plans to film there for years – to find his story so to say. What is it going to be panelists asked him. Summing up the presentation, I did the same: Is it going to be a film about nature, a philosophical film, a film about tourist hunting… I don’t know, the director answered. Loved that answer… if you know what kind of documentary you should make, why make it?

http://balticseadocs.lv

Erlend E. Mo: Rejsen til Utopia

Rejsen til Utopia / Journey to Utopia, blev tidligere i år sendt på CPH:DOX’s streamingprogram og får nu dansk biografpremiere. CPH:DOX skrev i kataloget om filmens indhold:

“… a Danish-Norwegian family gambles everything and decides to join the fight for the climate, but the choice of a new life in a sustainable agricultural collective is not without its challenges. Everyone is talking about the climate, fewer people are acting on it. But Erlend Mo’s family does. In the shadow of climate change, they move from their idyllic country house in Norway to the new, sustainable agricultural community Permatopia in Denmark. But when they arrive en Permatopia is still under construction and the completion is dragging out. From the outset, the family’s idealism is put to the test several times, and things do not get easier when they can finally move in. Dreams and visions are one thing, another is the reality of the new ecological everyday life. Is an agricultural community also a sustainable solution for a family of five stubborn individualists? One crisis follows another, but the willingness to face them turns out to come from an unexpected place. ‘Journey to Utopia’ is a warm and humane film for a time that puts our own choices in a new light, and gives us plenty to think about and act upon.” 

Erlend Mo fortæller selv historien fra begyndelsen og hele vejen, hans fortællestemme har smertende og lindrende litterære kvaliteter, jeg får lyst til at pille den ud som tekst og læse den omhyggeligt. Han og hans families (hustruen Ingeborg og tre børn, alle medvirkende, alle fremragende spillere, både i de dokumentariske og i de iscenesatte afsnit, som ikke uden videre er til at skelne fra hinanden, deres replikker er dramatisk litteratur, ægte nutidige; og de fem i familien er alle præcise og ægte spillere, som gør dialogen til musik. Klipperen Åsa Mossberg har fundet replikkerne i optagelserne og anbragt dem som de skal være i dramaet og jeg rystes og vil læse dem, altså se filmen igen, alene for sprogets og spillets og de utallige nuancers skyld.

Det vigtige er at jeg holder med min helt, nostalgikeren Erlend, deler hans tilbagelængsel og filmen igennem først håber på at familien bliver boende i de fine træhuse der på den stejle fjeldside. Senere beder jeg til at de fem flytter tilbage til denne smukke gamle gård i det dejlige landskab og netop der lever så miljøorienteret som det er muligt for dem. Kernen i filmen er Erlends tvivl i afgørelsens, i valgets time. Han sidder som Grubleren med hånden under en kind i forgrunden i en guldalderoptagelse med sin dal i mellemgrunden og sine fjelde disede i baggrunden. Han slører og understreger landskabet med sit mismod, sin angst, sin dårlige samvittighed.

Mo’s og i høj grad også klipperen Åsa Mossbergs film er en thriller. Jeg sad i uafbrudt stadig spænding halvanden time i går. Rejsen til Utopia er et rystende, hjertesskærende Ibsendrama: Et Drømmehjem eller Erlend flytter ind…

Danmark / Norge, 2020, 90 min. Filmen har forpremiere i Grand Teatret i København den 1. september kl. 18.00 med efterfølgende paneldebat, og der er almindelig biografpremiere den 3. september.

MakeDox 2020 The Winners

Onion Award for Best Film in the Main Competition:

Epicentro (Austria, France)
Directed by Hubert Sauper

Young Onion Award for Best Film by First or Second Time Director:

A Tunnel (Georgia, Germany)
Directed by Nino Orjjnikide, Vano Arsenishvili

Onion Seed Award for Best Student Film:

The Rex Will Sail In (Croatia)
Directed by Josip Lukić

Sliced Onion Award for Best Short Film:

The Fantastic (Finland)
Directed by Maija Blåfield 

Moral Approach Award for Best Moral Approach in Film:

Acasă, My Home (Romania, Finland, Germany)
Directed by Radu Ciorniciuc

Special Mention:

Speak so I Can See You (Serbia, Croatia, Qatar)
Directed by Marija Stojnić

Welcome to CinéDOC-Tbilisi 2020

Hybrid Edition… 

How can film festivals survive? How can we adapt to the new reality of 2020? How can we re-define film festivals without crowded cinemas, without vibrant Q&A sessions with international guests, without the dialogue between filmmakers and the audience or without masterclasses and networking events where large groups of creative people enjoyed each other’s presence? 

This year is different for all of us. The impact of the COVID-19 pandemic was extremely high on cultural public events, such as festivals, most of them getting cancelled or postponed. 

Since January until mid-March 2020, we had worked intensively for the preparation of the eight edition of CinéDOC-Tbilisi (initially scheduled for 23 – 27 April 2020). By mid-March all films were selected, all jury members and international guests invited; almost all venues and cinemas reserved, and all festival events planned. Everything was almost ready… 

However, our plans where changed suddenly, disrupting our final preparation 

 

activities. We had to react very quickly. for public health and safety reasons, we postponed the festival. It was not easy… not easy for our team, not easy for the filmmakers who were eager to travel to Georgia or for the Georgian filmmakers who had worked many years on their documentaries and were looking forward to their national premiere… but safety came first. 

Nevertheless, we have soon started thinking of online solutions and alternative ways of continuing our work. We have adapted to an unprecedented situation and we have found a solution: our festival will take place in a hybrid format this year. Some of the selected films will be screened in open-air settings: for example, in the CAVEA drive-in cinema close to the Lisi Lake or in the inner yard of the Caucasian House, in Tbilisi. These screenings allow for social distancing and safety. If you miss any of these screenings, you still have the chance to watch wonderful documentaries online (directly on our website via the platform DAFilms) or on the Georgian Public Broadcaster (in August 2020). 

Our regional coordinators had to adapt to the new situation too: some of them organized online film screenings, others outdoor screenings. Luckily many of our regional coordinators were so innovative that they have screened on walls of buildings or in open-air wrestling arenas. Mini festivals in the regions of Georgia will also take place this year, in spite of the pandemic: in Dusheti, Gori, Sagarejo Chkhorotsku and Marneuli. 

“We do emotions” is the slogan of our festival! And we really hope that all the wonderful documentaries of this year’s festival selection will be the source of strong emotions in each one of you! We want to reach you with all films… be it in a beautiful open-air setting during a warm September evening or, at home, with family and friends. 

Creative documentaries should be more and more accessible, despite everything and this is what we try to do in this different year. 

Enjoy CinéDOC-Tbilisi 2020!

Ileana Stanculescu & Artchil Khetagouri 

Dokufest Prizren 2020

It is a post-festum post this one. I was in the jury at the Sarajevo FF, I was writing a bit about the lovely MakeDox in Skopje so I had no time to follow DokuFest in Prizren, a festival I visited in 2016 and has followed and written about from distance since 2010 : The festival ended August 25.

„I was at the DokuFest(ival) in Prizren in 2016. Great experience with good films and an atmosphere of generosity in a beautiful place. », I wrote on this site in 2016.

I met the generosity again this year as Eroll Bilibani gave me online access to watch films. I did so for a couple of days and was very much impressed by the winner of the competitive section „Balkan Docs“:

 

„Once Upon  A Youth“ by Croatian Ivan Ramljak. It is very seldom you see a feature length documentary debut told in first person so excellently balanced between archive footage and the brilliant b/w photos taken by the protagonist, Marko Caklovic, an artistically multi-talented young man, who was hanging out with the director and other close friends, having affairs, better said: falling in love with beautiful women, drifting from place to place, falling into a depression, taking drugs, dying from an overdosis. What happened, why did it have to go that way, you never get the answer; the friends who tell the story were sort of seduced by the charismatic Marko, apparently impossible not to be attracted to, but also a loner who never really opened up. It’s a film that depicts an outsider generation in the 90’es, who stayed in Marko’s mother’s appartment as she was travelling a lot or in other places of the friends, partying, getting drunk and/or high, watching films, listening to music – and Marko took pictures most of the time. The tone of the film – there is a melancholy driving the story but it is never sentimental and you never see the friends telling the story of Marko, you hear their voices. „Ah, you read Baudelaire“, Marko says to one of the girls, when he sees that she has „Fleurs du Mal“ in her bag, they find each other – for a period of time.

I tried to watch Rithy Panh’s „Irradiated”. The Cambodian filmmaker is a master, no doubt, and he has brought us so many personal films from his country that are of high artistic quality as well as they have informed us about the horrors of Pol Pot and his regime. His new film was for me impossible to watch. He is using archive from Hiroshima, Nagasaki, the Nazi concentration camps, the atrocities in Cambodia etc. through the whole film. Why? – in an interview made by Variety – link below, and in the adjoint text he “…reflected on the work of Claude Lanzmann, who chose not to use gruesome archival footage in his iconic documentary “Shoah,” and Alain Resnais, who did in “Night and Fog,” excerpts of which appear in “Irradiated.” In the end, he decided to make use of such imagery because it helped him delve deeper into his understanding of his own dark past, and the broader question of human evil. “I watched a lot of images and decided to use only those that had an echo on me, that I came to [having had] the same experience,” he said.” Aesthetically the film is superbly built using a three screen format. He was asked why, the answer was “… I wanted the audience to pay attention to what they watched“!

In a way I felt like Alex in «A Clockwork’s Orange”, who is forced to watch material like the mentioned. The film “Kubrick on Kubrick” that was also shown in Prizren, is interesting because of the interview it is based upon – a taped interview by French film critic Michel Ciment and of course it is fascinating to hear Jack Nicholson talk about Kubrick as the totally crazy director he was, who often asked for tens of takes to be taken for a scene. The film is full of clips from his work, and you want to see his films again!

What else to say other than DokuFest – documentary-wise – had all the good ones like the Romanian hits „Acasa.My Home“ and „Collective“, the Ukrainian „The Earth is Blue as an Orange“, the Iranian „Sunless Shadows“, „State Funeral“ and so on. Take a look, link below.

https://dokufest.com

https://variety.com/2020/film/news/rithy-panh-irradiated-sarajevo-film-festival-2-1234747539/

Statement of BSD on the events in Belarus

BSD – Baltic Sea Docs

“We express the support for the people of Belarus, who are witnessing the brutality of the failing regime. We stand for the freedom of expression, human rights, and democratic governing of the state – all of which are being violated in Belarus in the aftermath of the 9 August presidential ‘elections’. 

We stand by the filmmakers of Belarus, who are among those being targeted now, and who have seen the oppression of free speech long before it already.

On the behalf of participants and organizers of the Baltic Sea Forum for Documentaries:

Virginija Vareikyte, director, Lithuania

Dagne Vildziunaite, producer, Lithuania

Maria Gavrilova, producer, Russia

Yevgeny Gindilis, producer, Russian Federation

Emma Davie, filmmaker, Scotland

Phil Jandaly, filmmaker, Sweden

Vlad Ketkovich, producer, Russian Federation

Audrius Stonys, film maker, Lithuania 

Taisiia Kutuzova, Ukrainian filmmaker

Sona Margaryan, Armenian filmmaker 

Lilit Movsisyan, Armenian Filmmaker 

Inesa Mkrtchyan, Film producer from Armenia 

Nino Orjonikidze, filmmaker, Georgia

Agnieszka Rostropowicz-Rutkowska, film producer Poland

Marta Dużbabel, Film Producer Poland

More Raça, Writer and director, Kosovo

Zane Balčus, project manager, Baltic Sea Forum for Documentaries

Margarita Rimkus, project assistant, Baltic Sea Forum for Documentaries

Matīss Kaa, director & producer, Latvia

Una Celma, director & producer, Latvia

Alexander Koridze, filmmaker, Georgia

Max Tuula, producer, Estonia 

Antra Cilinska, producer, Latvia                                                     

Aliaksei Paluyan, film director, Belarus

Natalia Libet, film producer, Ukraine

Mikael Opstrup, Doc Developer, Denmark

Tue Steen Müller, film consultant and critic, Denmark

Ivo Felt, film producer, Estonia

Stasys Baltakis, producer, Lithuania

Malgorzata Prociak, film producer, Poland

Gitte Hansen, distributor, Switzerland

Peter Kerekes, film director, Slovakia

Juha Löppönen, producer, Finland

Elli Toivoniemi, producer, director, Finland

Elīna Gediņa – Ducena, producer

Marina-Evelina Cracana, producer, Sweden

Oscar Hedin, producer & director, Sweden

Vesa Kuosmanen, film director, Finland

Saila Kivelä, film director, Finland

Ieva Ūbele, producer, Latvia

Renato Borrayo Serrano, filmmaker, Guatemala

Diana El Jeiroudi, filmmaker, Syria / Germany

Pertti Veijalainen, producer, Finland

Lelda Ozola, Creative Europe Desk Latvia, Media Office, Latvia

Pāvels Terentjevs, film programme coordinator, Baltic Sea Forum for Documentaries, Latvia

Antra Gaile, project coordinator, Baltic Sea Forum for Documentaries, Latvia

Ieva Lange, information officer, Baltic Sea Forum for Documentaries, Latvia

PHOTO above is taken from a FB post of Belarussian documentary colleague, Anastasiya Miroshnichenko (“Debut”) from yesterday. She writes “Overflowing with delight, pride and love! Thanks to each of us! Together we will win!