Sundance Film Festival 2020

…announced yesterday: 118 feature-length films, representing 27 countries and 44 first-time feature filmmakers. Of the 65 directors in all four competition categories, comprising 56 films, 46% are women, 38% are people of color, and 12% are LGBTQ+. In the U.S. Dramatic Competition, 47% of the directors are women; 53% are people of color; 5% are LGBTQ+. In this year’s U.S. Documentary Competition, 45% are women; 23% are people of color; 23% are LGBTQ+.

44%, or 52, of all films announced today were directed by one or more women; 34%, or 40, were directed by one or more filmmaker of color; 15% or 18 by one or more people who are LGBTQ+. 23 films announced today were supported by Sundance Institute in development, whether through direct granting or residency Labs. 107 of the Festival’s feature films, or 91% of the lineup announced today, will be world premieres.

These films were selected from a record high of 15,100 submissions including 3,853 feature-length films. Of the feature film submissions, 1,698 were from the U.S. and 2,155 were international; 29% were directed by one or more women; 40% were directed by one or more filmmaker of color; 15% by one or more people who identify as LGBTQ+.

https://www.sundance.org/blogs/news/2020-sundance-features-announced

Sergei Loznitsa: State Funeral

March 1953. Joseph Vissarionovich Stalin dies. The great leader is to be mourned all over the Soviet Union. For five full days. Cameramen are sent to all republics to catch the well orchestrated mise-en-scène of the State Funeral. Loads of film material is shot, since then some of it has been shown in official films, most of it was archived. And of course not only visuals but also radio broadcasts transmitting officlal homages to the Genius, the Immortal, the one who will, even if he has died, lead the communist workers all over the world to victory in the spirit of Lenin and Stalin. Speeches, poems, music…

Sergei Loznitsa and his editor, Lithuanian Danielius Kokanauskis, have been in the archives to invite the viewer into a fascinating grandiose visual tour that has a beginning and an end: The announcement of the death on radio and through loudspeakers, the coffin that goes so everyone can pay respect by defiling past the dead leader – till the coffin goes into the mausoleum on the Red Square. Masses of people everywhere, in cities, in villages, at the sea on the ships.

In an interview at the NY Lincoln Centre Loznitsa (find it on Youtube) explains that having decided upon this simple chronological structure, it was his job to decide, what should be between start and end. The decisions were probably difficult but what comes out is fascinating because of the method of repitition the director and his editor has chosen:

People in the streets queuing to buy newspapers, all these different newspapers with the same photo and the same text… not only a couple of buyers but Soviet citizens one after the other buying their paper. Face after face, many with tears in their eyes, and from them

The film is in colour and black&white. Did you colourize, he was asked at the screening in New York. No, when we got the positive film material it was in black&white but when we went to the negatives. we found out that a lot was in colours. So I was not the one, the laughing director said. The same with music, a lot was already there in the radio broadcasts. But of course we did a lot of sound in the studio. The steps in the streets and on the stairs, the crying, the coughing etc.

It’s amazing to watch a winter dressed nation defiling, queuing, carrying the flowers – and it is amazing to watch the elegant editing, where you have faces turning in one direction in sequence after sequence, and then a change of turn to the other direction, constant movements, masses after masses, with accompanying words and music. What a sense of rythm!

Sometimes, however, it becomes a bit comic, of course, especially at the veery loong sequences of the communist leaders arriving in their propeller aircrafts, going down the stairs, getting a handshake welcome and then into black cars, one after the other. Including people like Ulbricht and Ceaușescu and Chou en Lai.

Not to forget – towards the end of the film and at the beginning of a new (post-stalinist) era – where – the location is well known – the mourning speeches on the Red Square with Nikita Khrushchev as the one presenting the people he soon after would get rid off to take over the power, first Malenkov who would succeed Stalin as first secretary of the Central Committee of the Communist Party, and later the powerful beast Lavrentiy Beria.

So what do you take from this visual documentation of 5 days of mourning, a state funeral interpreted by a director, whose fascination of people in love with their leaders, in deep sorrow it is clear to see, with the entourage of the military people, the politicians taking everything much more cool, waiting for their turn, we think as viewers –

because we look at this film with the knowledge that Joseph Vissarionovich Stalin is one of the worst murderers in world history (a text at the end of the film says it: 7 million were murdered and 15 million starved to death).

So what do you take: Well, apart from the obvious overall theme of manipulation of the masses and the demonstration of an extraordinary skill to worship a leader beyond any doubt and reason, knowing that opponents were not filmed, I find it a gift to see the faces of the military, the faces of civilians, them often looking in the direction of the camera but turning their heads because of the ceremonial circumstances, the constant taking off hats in respect, the women with their head scarfs, the beautiful sceneries – at the sea, is it the Black Sea? – Loznitsa and his crew have cleaned the archive material to an almost perfect look; as he said in New York, some of it is so good that it could have been shot yesterday. It is very fine that the end credits name all the cinematographers, whose material has been used in the film.

They made Cinema, yes propaganda it was, but they knew the skills of filmmaking and Loznitsa knows how to put another original and also scary perspective to history, at the same time as it is a tribute to filmmaking. He did it again after ”The Event” and ”The Trails”. What’s next?   

Netherlands, Lithuania, 2019, 135 mins.

IDFA Audience Award 2019

Of course it is something special to win an audience award. At IDFA, that is indeed (also) an audience festival apart from being the place, where documentary professionals meet every year. Here is how the award is decided, from the press release of the festival:

The winner of the VPRO IDFA Audience Award is determined by festival visitors who, after an IDFA film screening, rank their appreciation for the film by way of a voting card. Now in its fourth year, the VPRO IDFA Audience Award is made possible by VPRO…

This year 166 films were in the race for the Audience Award. In total 27.812 people voted. And the winner was:

“For Sama” (Waad al-Kateab, Edward Watts, United Kingdom, 2019. 95 min., Best of Fests) has won the VPRO IDFA Audience Award (€ 5.000), the grand public prize of the International Documentary Film Festival Amsterdam. The news was announced on Friday evening before screening the winning film in Pathé Tuschinski.

“For Sama” is the first documentary by 26-year-old citizen journalist Waad al-Kateab. In the film, she dedicates the film to her newborn daughter: “I need you to understand why your father and I made the choices we did, what we were fighting for.”

With a simple digital camera, al-Kateab documents the Syrian uprising against Assad in the rebel stronghold of Aleppo, from the first moments of the uprising through to the forced evacuation at the end of 2016.

This year 166 films were in the race for the Audience Award. In total 27.812 people voted…

The film was reviewed on this site: http://www.filmkommentaren.dk/blog/blogpost/4626/

Among the five first on the audience favourite list were also another masterpiece shot in Syria, “The Cave” by Feras Fayyad – the film will be reviewed when it has its Danish premiere. And Alexander Nanau’s “Collective” – http://www.filmkommentaren.dk/blog/blogpost/4662/ – and again again “Honeyland” by Tamara Kotevska and Ljubomir Stefanov – http://www.filmkommentaren.dk/blog/blogpost/4449/ 

IDFA: Love Child

Eva Mulvads Love Child kan ses som et studium af det politiske systems produktion af ventetid ind i den enkelte families virkelighed, ind i det enkelte menneskes liv. Her har vi et barn, en mor og en far på flugt og landet i Istanbul og vi har tiden som går. Først mærker jeg det blot ved årstallene som skrives ind i billedet, i eftertanken tvinges jeg til at prøve at huske hvad jeg har set, for jeg må da have set efter, detaljerne, forskydningerne, dramaets tydeligheder.

Ja, de var der, de er der i Eva Mulvads nye værk, men alt dette er ligesom tonet ned i lavmælthed, ned i et smukt halvanden times billede af den menneskelige værdighed som er det politiske systems fjerne opgave, en opgave som vi ofte tror glemmes.

Jeg ser en almindelig familie. Barnet er i begyndelsen forstyrret og urimelig til det irriterende, forstår ikke rejsens karakter af flugt og uafvendelighed, faderen er angst for straffen, pisk på gaden, måske til døden, jeg ser en kort reportage af dette modbydelige på hans telefon, moderen er skrækslagen ved tanken om steningen som ville vente hende.

Deres forbrydelser er affæren, forelskelsen, kærlighedsforholdet, den dobbelte utroskab. Og de er begge mærkeligt skamfulde, for deres moral og deres handlinger er bundet i deres familiers syn på den slags og i deres samfunds, det iranske stats brutale lovgivning og grusomme straffe.

Men det afstår Eva Mulvad fra at lade sin film skildre og tage stilling til. Sammen med Adam Nielsen som har klippet og sin række af assisterende fotografer skildrer hun ventetiden, som FN flygtningeorganisationen producerer. Faderen forklarer og forsvarer over for moderen, manden over for kvinden: de har titusinder ansøgninger at tage stilling til.

Eva Mulvads Love Child er en vibrerende, fint sansende film om ventetid – og filmen er i sin tyste tankerigdom ganske meget mere…

IDFA: Life Achievement Award to Jørgen Leth

… to be given tonight at the Amsterdam festival, where his new film, ”I Walk”, has its world premiere. In an interview on the IDFA website –

https://www.idfa.nl/en/article/130885/finding-a-new-balance

the director says:

“In observing life, I’ve always been very frank in dealing only with the things I’m interested in, not what anyone else told me was interesting. I always tell film students they should make personal films, and I’ve done that all my life. I’ve always been egocentric in that way—all my stories are my own stories. I’ve always been part poet and part journalist. I’m very interested in that connection. I don’t much enjoy films that are just information, devoid of sensuality. Sensuality is the main thing; that’s the driving force for me. There should always be a dialogue between the two. Journalism brings a framework of real curiosity, which is then treated with the sensuality of poetry.”

http://www.filmkommentaren.dk/blog/blogpost/2198/

IDFA: I Walk

Når det gælder Jørgen Leth er det altid, og i høj grad i denne meget store og aldeles vigtige film, umuligt at skille manden fra værket. Og jeg, som i min ungdom var opdraget i det autonome værks ånd, jeg som dog trods dette har læst biografier og selvbiografier med begejstring, men vist som underholdning, ikke som nøgler til værkerne, jeg anbringer nu tryg I Walk på hylden med verdenslitteratur, de uomgængelige film og bøger: Godards framinger (Asger Leths bemærkning et sted), Herzogs vilde bjergbestigning (synopsens association et sted), Rilkes elegier og Inger Christensens sonetter (mine private tanker undervejs i mit møde med Jørgen Leths nye storværk). 

LILLE FESTTALE

Kære Jørgen, hele tiden mens jeg ser din film og hører din ustandselige, smukke og kloge stemme tænker jeg på Rembrandts tror jeg nok sene selvportrætter, hensynsløst fortvivlede, og skridt for skridt dybere erkendende det som ikke bliver væk, dette vigtige, du skriver til sidst i din seneste bog:

Det bliver ikke væk jeg har skrevet det ned det bliver / ikke væk Jeg skriver det ned så det er der / Så står det der Det behøver ikke være en blank side / Det forsvinder hele tiden / Det skal bare puttes på plads / Det må ikke blive væk / Og det er vigtigt at huske / Tankerne er gode men de forsvinder / De skal indfanges under glas, ligesom insekter / Pilles fra hinanden ligesom insekter

Nej, Jørgen. Du har ret, det bliver ikke væk, for det ligger længere fremme og venter. Din digterkollega Lea Marie Løppenthin kommer dig nemlig til undsætning: “Det var først for nylig, at jeg undersøgte etymologien for det korte, skrappe ord ”væk”: Fra middelaldertysk wech, afledt af weg ’vej’, jævnfør norrønt á veg ’på vej, bort, væk’ beslægtet med vej.

Det lykkelige ved opdagelsen sidder stadig i mig – / Det der er væk, er altså bare nede ad vejen. / Det, der er væk, er bare et andet sted end her.”

Løft højre fod og tag med din vilje et skridt frem og løft venstre fod og tag med vilje et skridt frem. Du Går…

I Walk har verdenspremiere i Amsterdam i aften, på IDFA festivalen. Det bliver din fest i aften. Tillykke Jørgen!

IDFA: Talks. Advice. And a Film Called Faith!

After Thursday’s film-watching, friday was the day to meet documentary friends, catching up on what they are working on and saying sorry “can’t make it for your screening, I am back in Copenhagen at that time“. I said so several times. “Can I have a link”?

Had a good talk with Adriek van Nieuwenhuyzen, head of the IDFA Forum,

which gets a new shape this year. She has been with IDFA since 1993 and is still totally passionate about Documentary Cinema. We talked about the opening film, “Sunless Shadows”, and the courage of the director, Iranian Mehrdad Oskouei, whose film can be seen as quite critical to the regime: a young girl who formerly was in the rehabilitation centre – the location of the film – says it: It’s much better here behind bars than outside… We also touched upon the sad situation for the EDN (European Documentary Network) that holds its General Assembly tomorrow.

Otherwise – also at the festival (de Jaren) Café, where everyone meets – I met talented Russian Tatiana Soboleva, who has two projects running, one to be completed soon and another that needs more development. Soboleva showed me and Italian Claudia Tosi around Moscow in connection with the Doker Festival. And I met with Latvian Zane Balcus, who is in the Fipresci jury watching films from the First Appearance Competition and who together with Uldis Cekulis follow the copy restoration and digitization of the newly found director’s cut of 235.000.000 by Uldis Brauns from Latvia.

Off to talks with IDFA Academy participants at the very cold Zeuderkerk. 2 hours, four good meetings with two Norwegian filmmakers, plus one from Mali and one from Colombia. Gender parity. Important at festivals nowadays. It’s always nice to be presented to projects that you know nothing about, asking questions, trying to understand what the filmmakers want to do, hopefully giving them “food for thought”. Left with what is now a cold, down the canals to de Jaren and from there to the cinema.

To watch the film of a former Zelig student, Valentina Pedicini, “Faith”, a film that actually was already in preparation, when she was in the school in Bolzano. She made a short film at that time, 11 years ago. “I was young at that time, 11 years later I felt mature enough to go deeper, stay longer at the place-“ And she did together with cameraperson Bastian Esser and his assistent Lucia Alessi – both of them also Zelig students.

The equally 11 year older teacher, who still remembers Valentina as the obvious documentary talent during the school time, has at a distance followed the carreer of the filmmaker, who has made a couple of fiction films and the documentary “Dal Profondo” in 2013. This one, “Faith”, shows that she can go close to people, who trust her. “Were there any ethical questions during the shooting”, the moderator asked Valentina Pedicini. “Every day”, was the answer from the very dedicated director, who with the amazing camerawork by Bastian Esser depicts both the violent training scenes with the master and his pupils and the quiet sensible scenes with couples in bed. You can’t avoid to feel claustrophobia watching the film, luckily you as a viewer are let out in the light once in a while… but seldom.

The IDFA website writes the following:  

“Warrior Monks” and “Guardian Mothers” they call themselves, the martial arts champions who are members of an Italian sect living together in a monastery. Led by a Kung Fu master, they are like Shaolin monks but with a Catholic twist. Utterly devoted to their faith, they train constantly so they are able to combat evil in the name of the Father. Director Valentina Pedicini was granted access to a way of life defined by discipline, and the resulting black-and-white film is surprisingly intimate.

The shaven-headed warriors (men, women and children) rarely step beyond the walls of the monastery. In fact, we’re already half an hour into the film when the camera enters daylight for the first time—and even then the acolytes remain on the monastery grounds. This close-knit group has replaced its members’ own families. They are warm and open towards one another, but tough as nails when it comes to training.

It’s truly astonishing that Pedicini has managed to get so close to such an isolated sect. These people have no secrets for each other or for the camera. Everything revolves around blind devotion, and Faith invites us to be part of that.

Valentina Pedicini: Faith. Italy, 2019, 94 mins.

www.idfa.nl 

IDFA: Y in Vyborg

Film History. And History. Vyborg, once Finnish, now Russian. Next time I am in St. Petersburg I must go to the city. Thanks to Patricio Guzman, who picked Pia Andell’s wonderful archive-based love story as one of his favourites to be screened at IDFA. It had only one screening, yesterday, but it must be possible to get to it online somewhere? I chose to watch it because of my interest in Russia and Pieter and found a documentary classic even if it is only 15 years old, so well mastered, to be enjoyed, what a life they had Y and Mirri. Here is the IDFA description:  

”In 1938, a young Finnish couple, both of them architects, bought an 8mm camera. A year after this purchase, Finland was attacked by the Soviet Union. The husband, given the name “Y,” was appointed as the architect of the city of Vyborg, and he worked closely together with his wife, nicknamed Mirri. The story is told from the perspective of their daughter, whose first memory was of marching soldiers. Her observations are voiced sometimes by a child and sometimes by an adult.

This creative documentary is constructed entirely from amateur films—some of them in color—shot by the couple between 1938 and 1949. Initially, the footage paints a picture of life as usual, with people swimming and new children being born. Increasingly, however, the war starts to intrude on their existence. Then comes the moment that Y gets separated from his family for a long period of time. The couple’s correspondence and the films of this period offer some intimate insight into the lives of normal citizens affected by the war, and the unique perspective of an architect who must rebuild his ruined city adds a telling layer.”

Pia Andell: Y in Vyborg, Finland, 2005, 51 mins.

www.idfa.nl

IDFA: That Which Does Not Kill

The English title of this superbly staged French language documentary is a bit complicated, I prefer the simple original „Sans Frapper“. Below you find the IDFA website description ending with „listen carefully“; yes do so, the stories are amazing, but this is a Film that includes perfectly composed images: Woman after woman, young and younger, and a couple of men, filmed in their homes, most of them smoking cigarettes, talking to the director, who sometimes asks a question or two, „are you ok“ or words to that effect. The director makes it easy for the viewer to stay with the beauty that contrasts the stories the beautiful characters in the beautiful images tell us. This is an example of how to deal with a film with talking faces, how to make pauses, to let the image stand alone after a story. It is obvious that the director has rehearsed with the involved to have the stories come out with a strong intensity and precision. Reminds me of Pawel Lozinski’s „You Have No Idea How Much I Love You“.  

„He was someone she knew, and she didn’t resist. And then it happened twice more that week. Ada was 19. Her testimony is central to this film, but many share her history: people of all ages, black and white, men and women.

Director Alexe Poukine finds a sensitive way to make it possible to talk about the consequences of rape: the pain, the coping mechanisms, or indeed the lack of them. Ada’s story is interwoven with the experiences of others, from different perspectives, but in essence barely different. The result is a collective introspection that connects compellingly with us – which are the questions that come to our minds, and which are the ones that we forget to ask?

Although the narrative style often misleads us, it also creates space for the universality of the story. It’s one that’s neither simple to express nor easy to hear. The best you can do is listen carefully.”

Alexe Poukine: That Which Does Not Kill (Belgium/France, 2019, 85 mins.)

www.idfa.nl

IDFA: Collective

This is definitely a film that I want to watch again. A must-see film for busy IDFA visitors. And notice that on tuesday there will be a meeting with the director and protagonists. Would have loved to be there, maybe it will be recorded?

Shocking, touching, a Romanian Watergate-story with brave journalists (from a daily Sport’s newspaper!), balanced between the investigation and the digging out of terrible facts of corruption, cynicism and surviving victims and the suffering of relatives of victims, who did not survive. With a character focus on the journalists and – towards the end – a minister of Health who tries his best to change a rotten hospital system framed by an equal rotten political system. Romania! Here is, taken from the IDFA website, the story:

“On October 30, 2015, a serious fire broke out at the Colectiv nightclub in Bucharest. It was one of the worst disasters in recent Romanian history, with an initial 27 people killed and 180 injured. Within a few days, fierce protests erupted, leading to the resignation of the Social Democratic government.

Director Alexander Nanau follows a number of key figures in the aftermath of the disaster, from the point where we learn that 37 of the injured died of bacterial infections in local hospitals. We hear from newspaper journalists who discover that the hospitals use diluted disinfectants, the minister of health in the temporary technocratic government, and the victims of a corrupt health care system in a dysfunctional state.

Nanau avoids sensation and remains detached from the powerful emotions that surround the story, exposing the grim face of the corruption that plagues his country all the more.”

Alexander Nanau: Collective (Romania, 2019, 109 mins.)

www.idfa.nl