Serhiy Bukovsky: V.Silvestrov

Acclaimed Ukranian director Serhiy Bukovsky has made a film that invites me – and an audience – to meet the composer Valentyn Silvestrov. I knew the name but not the person and just a little about his quite impressive work. When I saw that the film was to be premiered in Kiev during the DocuDays festival, I contacted Dar’ya Averchenko, who on FB had posted a text about a press screening of the film. She was so kind to send me a link. As the DocuDays festival is postponed, I guess the film has not yet had its official premiere. Until then and until I can see – and hear ! – the film in a cinema, these words of recommendation:

 

The film is divided into three chapters/films of each around 40 minutes, entitled: “The Virus of Expression », « Memory Corner » and « Alleluia » : First I thought « why » but watching, it is quite clear. To simplify, the first one is about creation following recordings of his works, the second is a conversation the director has with the composer in his home, the third one is a performance of one of his choir works.

A clear division and yet from chapter to chapter there is a progression, where you get to know Silvestrov and his look at music. A composer, as he says, is successful when his work is performed as it was meant to be. In the beginning you see him at a recording being unhappy with what he hears, making corrections to be conveyed by the recorder to the conductor, it takes time, you think wow, he is a stubborn old man but in the middle chapter, in the interesting conversation in his home, you feel the dedication and you hear about his problems with the Soviet authorities because of his avantgarde music, as it was condidered. 

Through the whole film Bukovsky goes away from sequences – keeping the music most of the time – to let images from the beautiful ice-winter landscapes in and outside the city emerge ; often with trains passing by ; there is a sense for the detail and I did never feel it as « an illustration ». We are also in his humble flat, in a wonderful scene Silvestrov is looking at a Bruegel 2019 calendar, page by page, he is into art as he is into poetry with several sequences with music that he has composed to poems of the national poet Sevchenko (1814-1961). His poems are like psalms, he says, they can be song and recited. Patriotic psalms.

What is your favorite sound, Bukovsky asks Silvestrov. « When Dante describes music, he says « dolce », a tone taken with care and ease ».

Bukovsky tells the audience that Silvestrov completed his 9th symphony in 2019, he began working on it in 1996, the year when his wife died. Discreetly the camera travels along photos of the wife, never going into biographical details. At least not directly.

The last part – the choir singing « Allluia » – introduces again the urge for perfection in performance by Silvestrov. The choir that includes first of all young girls with braids – and its conductor – is interrupted again and again by the composer, « more tempo » etc. and at a moment a girl faints and the composer feels guilty because of all the breaks, he has made. They finish and Silvestrov turns to Bukovsky saying, « you can edit it right ? »…

Lovely film. Lovely man. Made « with care and ease”.

Ukraine, 2020, 2 hours and 23 minutes.

Mikala Krogh: Scandinavian Star, episode 2

Det her er en voldsom stigning i intensitet, det er så spændende at hele virkeligheden omkring mig forsvinder sammen med min fulde opmærksomhed ind i tv-skærmen. Episoden handler om og udfolder og bearbejder i fire afgrænsede afsnit mærker jeg, rædslen, brutaliteten, sabotagen og modet på skibet den nat. Der er først og tror jeg også fremmest vidnerne og så de dybt virkende rekonstruktioner til at berette det første afsnit om branden, så er der i nogle af vidnernes fortællinger og forklaringer skurke, nogle brutale bagved og andre saboterende på scenen. Til sidst kommer de modige reddere og episoden bliver langsommere og mere tænkende og vækker min vrede og mine mistanker så jeg spændes op til opklaringerne som nok begynder i den følgende episode.

Nu i episode 2 er der således først rædslen. Det begynder med de uskyldiges angst. De opdager at ingen ved noget om redningsbådene, ingen overhovedet i den før den fatale rejse så hastigt sammensatte besætning. Der har ikke været brandøvelser og evakueringsøvelser. Trommeslageren fra det band som underholdt i restauranten må minde dem som i panik og uorden forsøger at entre redningsbådene om at de skal huske bundproppen som altid er skruet af så regnvand kan løbe fra. Det ved han fra øvelser på andre krydstogtskibe. Besætningsmedlemmerne forsøger at spørge kaptajnen, men han er tilsyneladende lammet af rædsel. Vi ser nu senere nærbilleder af detaljer ved bådene, motorer virker ikke, åregafler og årer falder fra hinanden i opløsning. Ingen har brugt, endsige tilset redningsbådene i årevis.

Kamrene hvor passagererne og de lavere rangerende besætningsmedlemmer sover ligger tæt i tre dæk. Gange og trapper er en labyrint og uoverskuelige når lyset går ud og røg fylder alt og ilden breder sig. De overlevende fortæller stadigvæk traumeramte at de måtte gå hen over de døende og de døde for at komme op og ud.

En vældig stor gennemgående rekonstruktion skildrer netop denne brand og dens karakteristika, det er gribende, det kan læses som en skrivemåde, men er helt sandt: jeg oplever i minutter disse filmscener som at være der dengang, i min egen angst og klaustrofobi.

Brutaliteten hos rederiledelsen og ejerne bag findes først i drypvise oplysninger: Skandinavian Star var Bahama indregistreret, altså ingen myndighedskrav, ingen reguleringer, ingen brandøvelser. Oplysninger sås i mig og min forargelse og vrede vokser som min indsigt i forretningsfolkenes interesser øges, og så konfronteres jeg med maskinchefen og chefelektrikeren, ejernes hjælpere og medskyldige vil jeg tro. De to ankommer i helikopter og fires ned på det brændende skib hvor slukningsarbejdet er i gang. De siger det er for at hjælpe røgdykkerne som kom først, også med helikopter, og de øvrige brandfolk fra Göteborg.

Men det viser sig at de forsvinder ned i maskinrummet, der skal de udføre sabotagen, afbryde pumperne, så de meget vand fra brandslukningen får Scandinavian Star i en mere og mere truende slagside som vil få båden til at kæntre og hurtigt synke så alle spor slettes. Dette er de skyldiges og de medskyldiges plan. Vel fra begyndelsen. Jeg får se.

De uskyldige er passagererne og de underordnede besætningsmedlemmer. Deres redningsmænd er først styrmanden på færgen Stena Saga og hans trænede og samarbejdede besætning, som kan sætte en båd i vandet og evakuere overlevende. Så er der brandfolkene med det lille røgdykkerhold i spidsen, de trænger direkte ind i og ned i katastrofeområdet med overlevende isoleret i brandfrie, røgfrie lommer og så de omkomne alle vegne. En røgdykker udbryder i radioen tilbage til sin leder, at findes der et helvede på jorden er det her. Brandchefen, på samme måde fyldt af erfaringens mod deler til mig den fortælling og så også sit lavmælte skarpe vidneudsagn om maskinchefen og chefelektrikeren som lukkede vandtætte døre som brandfolkene med nøje tilsavede træstykker holdt åbne for at give deres slanger frit løb. Og denne rolige mand konkluderer: sabotører.

Først nu efter denne episodetimes følelsesskrue trækker jeg vejret og tænker: hvad var nu det? Tidligere hed filmklipningen montage, altså sammensætning af alle disse enkeltdele, manuskript, fotografi, instruktion, vidneudsagn… Jeg har nu oplevet alt dette hver for sig fremragende arbejde i Mikala Kroghs værk samlet i en moderne montage, et mesterværk i den dokumentariske montages kunst.

Danmark 2020, 2. episode af en tv-serie på i alt 6 episoder. Mandag 16. marts 2020 20:00 på DR 1. Kan også ses på DR TV. 

Agnès Varda: Varda by Agnès

It’s not even a year ago Agnès Varda passed away after a long and productive film-life. This film, from 2019, has been called her swan song and indeed it is a beautiful hommage to the director and what she has left behind of short documentaries, short fiction, long fiction, installations, visual art… what an oeuvre and what a fine piece of film history, it represents. Made by herself.

There she sits in her chair in a theatre with an audience of young people talking Cinema, showing clips from her films, giving comments or a better word encouragement to those in the audience, who want to make films. She starts by saying that for her there are three important words connected to her filmmaking: ”Inspiration, Creation and Partager” – the last one in English ”sharing”, ”you don’t make films for yourself”.

I enjoyed the many clips, some being from « Daguerretopies » from 1976, a documentary with the people in Rue Daguerre in the 14th arrondissement in Paris, where Varda was living. A true documentary and one she talks about with love. We let the scenes develop our of respect for the people being filmed. I have many times used this film when teaching : « look around you, find something/someone close to you », « everything is interesting if you have the curiosity ». Varda had it in documentary after documentary, for instance in the 2000 documentary « Les glaneurs et la glaneuse », from which she in the film shows a clip with a man, she often met picking up left over fruit at the market. A man with is own dignity. In that film and many others she makes references to art history, she breaks all academic narrative rules ; inspiring it is to hear her talk about the small digital cameras and how it changed her film carreer. “I became a visual artist”. 

My most famous film, however, she says (PHOTO) is « Cléo from 5 to 7 » from 1962. Legendary American critic Roger Ebert wrote about the film in 2012 : … Varda is sometimes referred to as the godmother of the French New Wave. I have been guilty of that myself. Nothing could be more unfair. Varda is its very soul, and only the fact that she is a woman, I fear, prevented her from being routinely included with Godard, Truffaut, Resnais, Chabrol, Rivette, Rohmer and for that matter her husband Jacques Demy. The passage of time has been kinder to her films than some of theirs, and “Cléo from 5 to 7” plays today as startlingly modern. Released in 1962, it seems as innovative and influential as any New Wave film…

She talks about being a woman in a man’s world in this cinematic autobiography, « I am a feminist », she says in a rich documentary that is full of humour and unpretentious from A to Z.

We have on this site written several texts about Agnès Varda – you might want to read them before or after having watched one of the 17 films by the director available on http://dafilms.com/

”Varda by Agnès” is available on dvd and blueray. 

France, 2019, 115 mins.

Mikala Krogh: Scandinavian Star, episode 1

Jeg ser nu i dag Mikala Kroghs Scandinavian Star, den første episode, som DR 1 i morgen aften vil vise som premiere på en opsigtsvækkende tv-serie på i alt seks 1 times episoder. På den samme måde vil jeg nu som et lommebogsnotat skrive en foreløbig anmeldelse, men det skal dog ikke være en hemmelighed: det er en forventningsfuld anmeldelse. Efter dette store oplæg jeg oplever i afsnit 1, venter jeg mig nemlig intet mindre end den endelige opklaring af kriminalgåden, disse gennem mange år i en stadig uro arkiverede kendsgerninger gemt under etiketten Scandinavian Star. Men rigtigheden i dem skal som i en retssag omsider bevises efter lovens skarptskrevne regler. Det har Mikala Krogh åbenlyst påtaget sig ved at benytte journalistikkens og tv-dokumentarens tilsvarende fagligt krævende lovbud om sandhed og evidens.

Det er en fabel med billeder af levende mennesker, ikke af dyr, om de rige ualmindelige og de nøjsomme almindelige. Om at de rige snupper de nøjsommes penge og derefter kvæler dem, myrder dem i brande. Fablen er således en undersøgende tv-dokumentar som endevender arkivmateriale, vidneudsagn og rekonstruktioner og ved dokumentarens gennemførte æstetik overbeviser mig – i den grad overbeviser mig – om at fablen er dækkende for hvad der i sandhed skete dengang for tredive år siden med Scandinavian Star en kold mørk nat på Kattegat. Altså er det en moralsk historie om rige og magtfulde mænd med skumle hensigter om mere og mere afkast over for fattige og magtesløse familier med kærlighedsfulde hensigter om at mødes til dåbsfester ved borde dækket af engle. Skyld over for uskyld.

Jeg tror jeg vil se og forstå hele tv-serien som en konfrontation mellem disse to verdener, forretningsfolkene som er skildret i serien (en for mig ukendt almindelighed) og familierne skildret i serien (en for mig kendt almindelighed) i en fabel vendt om, så mennesker bytter plads med Æsops dyr, om de rige og de fattige, de kynisk udspekulerede og de sandt naive.

En moralsk historie bygget af detalje efter detalje som Mikala Krogh med sit hold gennem år har gravet frem, renset af og sat i sammenhæng så deres klarhed og evidens kan ses og de kan sættes ind i fortællingens faktuelle videngrundlag. Her dukker dokumentarens indholdselementer op som et, til at begynde med, uoverskueligt forløb af hændelser, men det samler sig for mig ved vidneudsagnene som i rolige optagelser, i korte præcise klip limer brudstykkerne på plads i et forklarende billede af en brutal kultur over for en ømheds virkelighed, disse mænds over for mine heltinders, disse skurke kan ikke se og fatte denne dokumentar, jeg kan se den, min forfærdelse er en anden end deres nervøsitet.

Scandinavian Star er et meget stort og meget alvorligt anklageskrift: mordbrand med 159 døde, skade på mange derudover, livsvarig lidelse for de fleste af de overlevende.

Mikala Kroghs tv-serie er med et minutiøst omhyggeligt samlet bevismateriale og en række rystende vidneudsagn hvor hver fældende del af udsagnet er omhyggeligt valgt og klippet helt rent (der er jo ingen fortællestemme, for første gang i meget lang tid savner jeg den ikke) og kunstfærdigt redigeret til en smertende og uafrystelig fortælling – så realistisk uhyggelig og vildt spændende at mit sind og min krop ikke forlader skærmen ét sekund af den time et afsnit varer.

Danmark 2020, 1. episode af en tv-serie på i alt 6 episoder. Premiere mandag 9. marts 2020 20:00 på DR 1. Kan også ses på DR TV.

Tamara Stepanyan: Village of Women

Tamara Stepanyan films her characters with warmth, asks questions with respect and out of curiosity… words picked from the review of ”Embers” written more than 6 years ago on this site, link below. A true documentarian she is.

Her latest film, premiered at DOK Leipzig 2019, can be characterised by the same words. She has gained the trust of the women in the film… as well as the old men, who live in the village while their sons, the husbands of the women, the fathers of the children we meet in the film, work in Russia to come home only for the winter.

It is so obvious, why she has gained that trust. She has been there (the village is Lichk) for a long time: All seasons are in the film. But time is not enough, you also have to be caring and attentive – and a good filmmaker, to frame in the right way, to make the pauses when needed, and to let us viewers into a world of hard work for the women, in the fields, at home, in the kitchen baking bread.

Yes, there is sadness in the film, when the talk is about the poor living conditions, but there are also joyful moments around tables with food and drinks and songs that reflect the lives they lead. 

Characters, there are many with a focus on… the often crying woman, whose husband has not been home for years, he stays in Russia with their son and grandson. Maybe he will come home to stay? There is the woman – in a wonderful scene – who suggests  that her husband has affairs, while he is in Moscow. There is the woman, who sits there in the sofa with her husband, a shining couple, while he is at home. The husband who is also a boxing trainer when he is at home. All women live in arranged marriages if I got it right.

… and there is dancing, full of grace and elegance, in front of the television set – they all have television, the outside world – do you mind that I dance, she says to Tamara Stepanyan in front of a music program, in the room where two kids are already asleep.

Thank you Tamara for coming here to show the world, how we live, one of the old men say. I can only second that; I am happy to have visited a village through an open-minded and skilled director/cinematographer. And happy to see the director thanking the village women at the end of the film – for their generosity and openness.

Armenia/France, 2019, 92 mins.

http://www.filmkommentaren.dk/blog/blogpost/2510/

Docudays Ukraine 2020/2

A follow-up copy paste from the site of the festival in Kiev:

The RIGHTS NOW! award is given to creative documentary films which explore the contemporary world and make a significant contribution to the discussion of human dignity, freedom and equality. Ten films from all the film programmes of Docudays UA are nominated for it. 

The winners in the RIGHTS NOW! nomination will be determined by the Ukrainian filmmaker and writer Oleh Sentsov; Olena Rozvadovska, a specialist in children’s rights advocacy; and Enver Djuliman, an education activist and writer.

Moreover, the television platform Current Time TV will reward its favourite with a $3,000 prize.

Here is the list of films nominated for RIGHTS NOW! Award:

  • War Note, dir. Roman Liubyi
  • What You Gonna Do When the World’s on Fire?, dir. Roberto Minervini
  • One Child Nation, dir. Nanfu Wang, Jialing Zhang
  • Overseas, dir. Sung-A Yoon
  • Midnight Traveler, dir. Hassan Fazili
  • Buddha in Africa, dir. Nicole Schafer
  • Angels on Diamond Street, dir. Petr Lom
  • La Causa, dir. Andres Figueredo
  • Eye to Eye, dir. John Webster
  • Collective, dir. Alexander Nanau (Photo)
  • https://docudays.ua/eng/

Docudays Ukraine 2020

I was invited to come back to Kiev to one of the festivals that I have loved to attend – but I can’t make it this year. I will miss the atmosphere created by a team of committed and knowledgeable film lovers. I will miss the opening ceremony that differs from the ones at other festivals, where speech follows speech before an opening film. At the opening of Docudays an unexpected festive show is performed – followed by a speech by a representative from the Swedish Embassy. Chapeau for the Swedish support to a festival that carries ”the subtitle”: International Human Rights Documentary Film Festival, a festival with a social and political aim that has screenings all over the country and makes a strong international promotion of Ukrainian documentaries. And I will miss to say hello to the lovely girls of Dar’ya Averchenko and Roman Bondarchuk…

Before getting too sentimental I will give the floor to the proud Programme Director, Viktoria Leshchenko:  

“It won’t be an exaggeration to say that our team has done an enormous amount of work: of the 1,034 films submitted for the DOCU/WORLD programme and the 281 submissions for the DOCU/SHORT programme, we chose 25 incredible films. These documentaries combine professional excellence with a unique director’s perspective. We dare say that this is the strongest part of this year’s programme. Another victory is that DOCU/WORLD includes two Ukrainian films which simultaneously compete in the national competition. These are Iryna Tsilyk’s feature debut The Earth Is Blue as an Orange and Oksana Karpovych’s feature debut Don’t Worry, the Doors Will Open.”

Let me stay a moment with the selection for the Docu/World, where you also find Romanian Alexander Nanau’s masterpiece “Collective”, Alison Klayman’s “The Brink” with Steve Bannon – like “The Earth is Blue as an Orange” these two films are reviewed on this site, as well as Petr Lom’s beautiful American epos “Angels on Diamond Street”, shot in Philadelphia with three wonderful women “fighting for social justice”. And a new film by Finnish veteran John Webster, “Eye to Eye” and Georgian “A Tunnel” by Nino Orjonikidze, Vano Arsenishvili that I will watch in Tbilisi end of April. The jury includes prominent French director Claire Simon, of course accompanied by a retrospective of her films.  

And there is so much more to say about Docudays that also has developed a strong Industry Section – headed by Darya Bassel and Viktoria Khomenko – click below and get much more information.

The photo is from the French film „Black Hole“, in the competition programme.

https://docudays.ua/eng/

ZagrebDox 2020

It’s become a nice tradition that I praise the ZagrebDox for its programme put together, as always, with Nenad Puhovski as director. Having seen the selection for the 16th edition, 112 films to be shown between the 15th and 22nd of March, announced a couple of days ago, I can only say that the documentary lovers and professionals in Croatia also this year have the chance to see the best of the best. ZagrebDox does not work with rules of exclusivity – world or international premieres – meaning that award winning films and gems like Finnish Reetta Huhtanen’s ”God of Molenbeek”, Rachel Leah Jones and Phillipe Bellaiche’s ”Advocate”, Ksenia Okhapina’s ”Immortal”, Feras Fayyad’s ”The Cave”, Mehrdad Oskouei’s ”Sunless Shadows”, Waad Al-Khateab and Edward Watts ”For Sama”, Michael Bielawski’s ”The Wind”, Audrius Mickevicius and Nerijus Milerius ”Exemplary Behaviour”, Susanne Kovacs’ ”It takes a Family” are in the international competition section. 9 out of 17 films, all seen and written about on this site – to compete with 8 films, also coming from all over the world. Won’t be an easy choice for the jury…

In the Regional competition I see new films by Srdan Sarenac, Jasmila Zbanic and Damir Cucic to compete with the masterpiece of Alexander Nanau, ”Collective”.

… and if you don’t find what you want in the competition programme, there are Biographies, Music documentaries, Masters (our Danish hero Jørgen Leth is there with ”I Walk”), Eco docs and a section called ”State of Affairs”, where Swedish Fredrik Gertten is with his important ”Push”… and more.

Click link below and you will also be able to read good descriptions and trailers for the films.

Not to forget the ZagrebDoxPro that involves 12 projects, new talents and experienced directors. Link below.

http://zagrebdox.net/en/2020/home

http://zagrebdox.net/en/2020/zagrebdox_pro/zagrebdox_pro_news

Dragon of Dragons Award to Péter Forgács

Absolutely no objctions to this choice of the Krakow Film Festival that will take place on May 31 – June 7, 2020:

“Every year, the Krakow Film Foundation Programme Council grants the Dragon of Dragons award for the exceptional contribution to the development of the international cinema. During the anniversary 60th Krakow Film Festival, the award will go to Péter Forgács – the outstanding Hungarian documentary filmmaker and a world-famous multimedia artist.

The extraordinary works of Forgács are based on the original technique of making films from ready-made materials, shot by other authors. The artist devoted many years to collecting, archiving, reconstructing and editing old, damaged, amateur film tapes, giving them new meanings. The images set in the realities of the dramatic fates of Hungary and Europe of the 20th century, seem to remind that the history of the world is a collection of ordinary people’s personal stories.

The official award ceremony of the Dragon of Dragons is held on the 2nd of June, 2020, at the 60th Krakow Film Festival. In the programme of the Festival, within the frames of the retrospective, there will be many special works by the artist, among others, “The Danube Exodus,” (PHOTO), “Hunky Blues. The American Dream,” and “Miss Universe 1929 – Lisl Goldarbeiter. A Queen in Wien.” The viewers will also have the unusual opportunity to watch fragments of the audiovisual installation “Letters to Afar,” which Forgács prepared specially for the opening of the Museum of the History of Polish Jews POLIN in Warsaw in 2013. Traditionally, the award-winner of the Dragon of Dragons will also give a master class open to filmmakers, but also to all fans of documentary cinema.“

https://www.krakowfilmfestival.pl/en/

One World Festival Prague

Some of the best new documentaries are in competition at the big One World Festival in Prague, that has this subtitle “international human rights film festival” and takes place March 5-14.

Let me mention Alexander Nanau’s ”Collective » (PHOTO) and « The Earth is Blue as an Orange » by Iryna Tsylik, both reviewed on this site:

http://www.filmkommentaren.dk/blog/blogpost/4662/

http://www.filmkommentaren.dk/blog/blogpost/4702/

The main competition includes 13 films. From the North of Europe you find works by veterans like Finnish John Webster (“Eye to Eye») and Swedish Peter Tornbjörnsson (“Ninosca”), who has returned to Nicaragua – “For forty years, Peter Torbjörnsson has  been filming life in the village of San Fernando/ Nicaragua. What began as a portrait of a village became the story 

 

of Ninosca. Her struggle for independence requires her to face her past in the machismo culture of  Central America.” The director presented the film project at DocsBarcelona 2019 together with the producer Stina Gardell.

Also interesting – from looking at the trailer – looks Norwegian “The Painter and the Thief” by Benjamin Ree and “The Self Portrait” with experienced Margreth Olin as one of the directors. “The Self Portrait is a film about choice – choosing life. This is a choice no one can make for you, you will have to make it yourself. The Norwegian artist Lene Marie Fossen (32) is an up and coming, unique talent in the world of photography, facing an international breakthrough. Critics claim she is among the best still photographers in our present time. At the same time she appears to be dying from anorexia. Lene Marie stopped eating when she was ten years old…”. Heartbreaking trailer.

Heartbreaking are also many of the photos by Danish Jan Grarup, who will be in Prague with an exhibition and to discuss with the audience after Boris Benjamin Bertram’s film with and on him, “War Photographer” – http://www.filmkommentaren.dk/blog/blogpost/4618/

Apart from the competition program the audience is offered « The Best of the Best”, films like “The Cave”, “For Sama”, “When Tomatoes Met Wagner”…

The One World shows films in 35 cities around Czech Republic, organised by People in Need, some words about this organisation: “People in Need was established in 1992 by a group of war correspondents and foreign correspondents who were no longer satisfied with simply bringing back information to the Czech Republic and therefore began sending out aid. People in Need has gradually established itself as a humanitarian organisation that aims to help in troubled regions and to support the observance of human rights around the world.

In the 28 years it has been in existence, it has become one of the biggest non-profit organisations in Central Europe. It also began devoting itself to education and helping people living in social exclusion.

If you don’t want to see finished films… you could visit the EDP, East Doc Platform, which is for “industry professionals and documentary film lovers with discussions, masterclasses, screenings, presentations”. Pitching of course. 120 filmmakers and more than 100  key decision makers attend, the organisers say. IDF stands behind the event, Institute for Documentary Films, which has been written about  and praised numerous times.

https://www.oneworld.cz/2020/

https://dokweb.net/activities/east-doc-platform/2019/about