Docs & Talks 2020 /2

”Today truth is being more and more frequently questioned when it comes to news and the constant stream of information. This makes the dissemination of research-based knowledge more important than ever in order to separate the wheat from the chaff, fake news from facts.”

Docs & Talks is a unique festival that carries the subtitle « Film and Research Days”. From Sara Thelle, who together with Tobias Havmand from DIIS (The Danish Institute for International Studies) and Rasmus Brendstrup from Cinemateket stand behind the festival, Filmkommentaren has received a press release that includes English descriptions of the films that are screened January 30 – February 5 at the Film house in Copenhagen. The quote above is from the release. READ MORE

7 docs followed by talks. Internationally acclaimed films like the one, that opens the festival, “Born in Evin” by Iranian/German Maryam Zaree, who will be there to take part in a Talk about “Torture & Trauma”. Like the shocking “Samouni Road” by Italian Stefano Savona followed by a talk about the devastating life conditions in Gaza – the film was reviewed on this site by Latvian Zane Balčus http://www.filmkommentaren.dk/blog/blogpost/4516/

Like Vitaly Mansky’s festival awarded “Putin’s Witnesses” – that leads to a Talk about what has happened in Russia since then, quite a lot, I would say – I reported on the film when it was screened at DOKLeipzig in 2018 http://www.filmkommentaren.dk/blog/blogpost/4390/

Like the wonderful “Cachada – The Opportunity” by Salvadoran Marlén Viñayo, who was awarded at DocsBarcelona festival, I write “wonderful” because of the women in the film, who in the therapeutic theatre play with passion and humour convey their suffering. The talk is called “Gender and Violence” – I wrote about the film when in Barcelona http://www.filmkommentaren.dk/blog/blogpost/4540/

And three more that I have not seen: “Your Turn” by Eliza Capai, Talk about Brazil, “The Brink”, a very much talked about documentary with Steve Bannon as protagonist, “Is Steve Bannon a dangerous demagogue, a brilliant strategist or a megalomaniac loser? The American filmmaker Alison Klayman leaves it up to us to make the judgement…”. The New Right is the theme of the Talk. And “System K” by French Renaud Barret, presented like this: “Join us for an intense trip through the streets of Kinshasa where a vibrating art scene lives in the midst of the crowd and urban chaos of the capital of DR Congo. Here reigns the system K for Kinshasa, the law of ‘la débrouille’. If you want to survive you have to be smart and figure out solutions for yourself.”

The festival also invites the audience to listen to and/or take part in a Special Event with the title THE ANTHROPOCENE / RADIOACTIVE RUINS. I quote from the description of an exciting and scary Talk to come:

“Researchers from DIIS Rens Van Munster, Lis Kayser and Magdalena Stawkowski have all recently returned from doing fieldwork at the ‘ground zero’s’ of the Nuclear Age: The Marshall Islands, French Polynesia and Kazakhstan, where nuclear powers USA, France and the Soviet Union carried out their nuclear tests. They will tell us about how they work with the research project ‘Radioactive Ruins: Security in the Age of the Anthropocene’. The project examines how the local populations live with the radioactive ruins left behind by the Cold War. We will hear about the Atomic Age from a historical, a colonial and a cultural perspective, have a look at some of the iconic images and film clips that define the period and consider how the technological developments has influenced the popular culture up until today, and finally, we will dare to throw a look into the future…

Films are with English subtitles, most Talks are in English.

https://www.dfi.dk/cinemateket/biograf/filmserier/serie/docs-talks-30-januar-5-februar-2020

Oscar Doc Nominations 2020

Sooo, here they are the five nominated in the category for long documentaries, director(s) and producer(s) mentioned. The links will bring you to the reviews on the filmkommentaren site:

American Factory (Steven Bognar, Julia Reichert and and Jeff Reichert)have not reviewed it, saw it on Netflix, absolutely a fine documentary

The Cave (Feras Fayyad, Kirstine Barfoed and Sigrid Dyekjær) – http://www.filmkommentaren.dk/blog/blogpost/4687/

The Edge of Democracy (Petra Costa and Joanna Natasegara, Shane Boris and Tiago Pavan) – http://www.filmkommentaren.dk/blog/blogpost/4638/

For Sama (Waad al-Kateab & Edward Watts) – http://www.filmkommentaren.dk/blog/blogpost/4626/

Honeyland – (Tamara Kotevska, Ljubomir Stefanov and Atanas Georgiev) http://www.filmkommentaren.dk/blog/blogpost/4449/

The latter – AMAZING – is also nominated in the category International Feature Film together with Parasite…

That’s why I chose a still from Honeyland, featuring Hatidze, for this post.

https://www.oscars.org/oscars/ceremonies/2020

Red Carpet for Docs…

and Nordic films, is the headline for an interview brought by the Nordisk Film & TV Fond, link for the whole text below. Kim Foss, director of the art house cinema Grand in Copenhagen since 2006, AND through the associated Camera Film distributor. I quote some of the comments Foss brings forward concerning documentaries:

”Other genres that have been winning bets in the past few years for Camera Film are documentaries. In 2019, the company distributed seven documentaries (out of 18 titles), including Norway’s The Men’s Room and the Danish docs Cold Case Hammarskjöld by Mads Brügger (6,228 admissions), Fall of Kings by Mads Kamp Thulstrup (6,793 admissions) and Photographer of War by Boris B. Bertram, second biggest Danish documentary in a decade with 13,643 admissions, according to Foss. 

“We believe strongly in Danish documentaries and this is where we will put a greater emphasis in the future,” he says. “Danish docs allow us to create in-depth marketing campaigns in conjunction with directors, local production companies, backed by the Danish Film Institute and documentary is where I come from,” said Foss who co-founded CPH:DOX in 2003. 

That’s very good news at the beginning of a new year, where Camera is taking care of the distribution of the Oscar short-listed film The Cave by Feras Fayyad, premiered two days ago. 

http://www.nordiskfilmogtvfond.com/news/stories/camera-film-rolls-out-red-carpet-for-docs-and-nordic-films?utm_campaign=newsletter&utm_medium=email&utm_source=newsletter#newsletter-link

Feras Fayyad: The Cave

Filmens åbning er formidabel. Intet mindre. For øjne og øre. Fra krigens helvede på jord, fra billedet af den ene ødelæggende bombe-eksplosion efter den anden i syriske Ghouta. Til kameraet bringer tilskueren ned og atter ned i én glidende bevægelse, ned til det underjordiske hospital, ned til sårede børn og voksne, som trænger til hjælp. Blødninger skal standses, splinter skal tages ud af kroppene, der er brug for medicin, for ilt – for omsorg, for trøst.

Som fantastiske Dr. Amani Ballour og hendes medarbejdere, ligeså fantastiske, giver. Smukke mennesker i en forrygende film, som ryster sin tilskuer, også bogstaveligt talt, ned i den mindste detalje – i billederne, i klipningen, i lyden, i det humanistiske budskab – hold op hvor er der arbejdet på denne kunstneriske vision fra den 36-årige syriske instruktør Feras Fayyad. Som skrevet et eller andet sted: ”It’s a film about war and terror but also about the beauty of humanity”… LÆS VIDERE

Et eller andet sted… Ja, jeg har hørt og læst om denne film i flere måneder. Og set den nogle gange. Den har været rost i alskens medier verden over siden sin premiere ved Toronto Film Festival i september 2018. Den figurerer som én af de film, som bejler til en Oscar nominering. Jeg har læst et flot interview med Peter Albrechtsen, manden bag the soundscape og hørt filmen på ny, og jeg læste Politikens Bo Søndergaards interview med Dr. Amani, som nu er i Tyrkiet. Hun fortæller at hun har fundet kærligheden og ønsker sig at få et barn…

Tilbage til en vidunderlig scene, 36 minutter inde i filmen. Dr. Amani holder sig for ørerne. Regimets eller det russiske krigsfly er skræmmende tæt på. Hun kigger frem for sig. Klip. Hun står med en stor pige. Hun krammer hende. Pigen græder. ”Er du bange”. ”Må jeg se dine hænder? Henna-farvede! Dine hænder er meget smukkere end mine”. ”Hvad laver din far?”. ”Han er her ikke mere”, siger pigen. ”Blev han dræbt af en bombe”. Pigen nikker. ”Han er et bedre sted nu”. ”Hvad skal du være når du bliver stor?” Hun ved det ikke. ”Doktor? Skolelærer? Det er bedre.” En vidunderlig, kærtegnende scene. ”Ved du hvordan man laver en fletning?” Dr. Amani laver en fletning på hende.

Detaljerne. De menneskelige. De mange. Der er mange smukke scener. Som karakteriserer Dr. Amani og hendes arbejde. Hendes kærlighed til andre mennesker, store som små. De utallige scener hvor hun er sammen med sine piger, som hun kalder dem. Hvor hun taler om at få løftet kinderne, få nye tænder… Det er en kvinde, som er chefen for hospitalet. Og det er karismatiske Dr. Salim, som opererer til musik fra sin mobiltelefon og det er ham, som bryder hulkende sammen på Dr. Amanis kontor, hun i samme situation: Vi kan ikke hjælpe dem. Men det er jo hvad de gør øjeblikket efter!

Og så er der Samaher, som er her og der og alle vegne. Den smilende. Den altid hjælpende, det er hende, som står for maden, ”hun er som vores mor”; der er ikke de store muligheder for en afvekslende menu. Samaher er den, der har det dårligt, får vi at se, når bomberne falder og flyene tordner henover husene: Der er en lang scene med hende, hvor hun sidder alene og har det dårligt. Intet bliver sagt, ikke nødvendigt. Kameraet fanger det hele. Og man frygter de traumer, som alle involverede skal igennem, når de nu er ude af Syrien – eller bliver der i Bashars helvede.

Der er i det hele taget en fin rytme i filmen, pauser til refleksion og sekvenser som formidler det kaos, der opstår, når lidende mennesker – efter nok et luftangreb på civile – bæres ind på bårer og der er behov for hjælp her og nu.

Og så er der alle de andre i filmen… og de prægtige syriske filmfolk bag kameraet, fotograferne Muhammed Khair Al Shami, Ammar Sulaiman, Mohammed Eyad og deres instruktør Feras Fayyad, som også skrev manuskiptet sammen med Alisar Hasan.

Photo: National Geographic.

Danmark, 2019, 106 mins.

 

Best Documentaries 2019 Intro

On this last day of 2019, and of a decade, Filmkommentaren wishes you all the best in the new year.

It’s been a pleasure for us to give you news and opinions about the (mostly) documentary world. We intend to continue in the same way in 2020.

To close 2019, below you will find a list of 16 documentaries that was seen and highly appreciated by us.

Like last year we ended up with 16, that follow in a random order.

If you wonder… where are “Aquarela”, “Bridges of Time”, “Putin’s Witnesses”… – they were on the 2018 list, the year they premiered.

If you think… why not this or that one… the reason could be that we have not seen the film! Or we did not like it! Or we had to make the limit by 16.

Filmkommentaren is run by Allan Berg and Tue Steen Müller, our policy with this con amore blog is to first of all write about what we like.

Hope you enjoy the list, and the links that will bring you to the reviews.

Photo – from the MakeDox festival in Skopje – of director Artemio Benki, who won an award at the festival, and whose “Solo” is on our list.

Best Documentaries 2019

Thomas Heise: Heimat is a Space in Time

http://www.filmkommentaren.dk/blog/blogpost/4628/

http://www.filmkommentaren.dk/blog/blogpost/4631/

Alexander Nanau: Collective

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

Tamara Kotevska & Ljubomir Stefanov: Honeyland

http://www.filmkommentaren.dk/blog/blogpost/4449/

Artemio Benki: Solo

http://www.filmkommentaren.dk/blog/blogpost/4542/

Sergey Loznitsa: A State Funeral

http://www.filmkommentaren.dk/blog/blogpost/4671/

Feras Fayyad: The Cave

Review with top marks will follow – in Danish – in connection with the cinema release in Denmark in a few days

Waad al-Kateab & Edward Watts: For Sama

http://www.filmkommentaren.dk/blog/blogpost/4626/

Jørgen Leth: I Walk

http://www.filmkommentaren.dk/blog/blogpost/4667/

Ksenia Okhapkina: Immortal

http://www.filmkommentaren.dk/blog/blogpost/4572/

Rachel Leah Jones & Philippe Bellaiche : Advocate

http://www.filmkommentaren.dk/blog/blogpost/4553/

Audrius Mickevicius & Nerijus Milerius: Exemplary Behaviour

http://www.filmkommentaren.dk/blog/blogpost/4648/

Alex Brendea: Teach

http://www.filmkommentaren.dk/blog/blogpost/4646/

Enrico Cerasuolo: The Passion of Anna Magnani

http://www.filmkommentaren.dk/blog/blogpost/4644/

Ellen Fiske & Ellinor Hallin: Scheme Birds

http://www.filmkommentaren.dk/blog/blogpost/4624/

Anna Eborn: Transnistra

http://www.filmkommentaren.dk/blog/blogpost/4475/

Arthur Sukiasyan: Wound

http://www.filmkommentaren.dk/blog/blogpost/4534/

Docs & Talks 2020 /1

Den fine lille festival Docs & Talks atter med alvorlige og smukke film om frygtelige emner som undertrykkelse, politisk vold, krig, byers udslettelse og de langtrækkende følger af dette begynder 30. januar sin 2020 udgave i Cinemateket i København. Den arrangeres hvert år af DIIS (Dansk Institut for Internationale Studier) i samarbejde med Cinemateket. Filmkommentaren.dk har hvert år fulgt denne begivenhed med særlig opmærksomhed. Det vil vi også gøre i år.

Her skriver festivalens redaktør, Sara Thelle således om åbningsfilmen og samtalen efter filmen:

“Festivalen Docs & Talks åbner med den iransk-tyske instruktør Maryam Zarees meget personlige fortælling om at vokse op som barn af forældre med en fortid som politiske fanger i Iran.

Maryam finder som voksen ud af, at hun er født i det berygtede Evin-fængsel i Teheran. Hendes mor flygtede til Tyskland med hende, da hun var lille, og har aldrig siden ønsket at tale om tiden før. Da Maryam begynder at opleve angstanfald, prøver hun at få sin mor til at bryde tavsheden for at få svar på de mange spørgsmål, der plager hende.

Den dybt bevægende film blev modtaget med stående klapsalver efter premieren på Berlinalen sidste år og modtog efterfølgende prisen som festivalens bedste tyske film.

Efter filmen vil instruktør Maryam Zaree tale om nogle af de mekanismer og mønstre, der er forbundet med kollektiv vold og dens eftervirkninger. Det sker i samtale med seniorforsker ved DIIS Robin May Schott, og psykolog ved Læger uden grænser Mozhdeh Ghasemiyani. Bliv klogere på, hvordan traume bevæger sig videre til den næste generation, og hvad der sker, når man bryder tavsheden – både på det individuelle plan, i familien, og mere overordnet i samfundet i form af sandhedskommissioner.

Debatten foregår på engelsk og varer cirka 50 minutter. Billetpris: 95/65 kr. Efter filmen byder den Østrigske Ambassade på et glas vin til festivalens åbningsreception i Asta Bar. Arrangementet præsenteres i samarbejde med Goethe-Institut Dänemark og den Østrigske Ambassade. 

https://www.dfi.dk/cinemateket/biograf/filmserier/serie/docs-talks-30-januar-5-februar-2020 

Oscar Thoughts

The other day I read that Ingmar Bergman had returned his Oscar Nomination Certificate for ”Smultronsstället”. He apparently did not like the competitive circus. Nor did Francois Truffaut when he expressed no interest in sitting in film juries. To judge colleagues, to compete in arts…

You may have many opinions about this but these days, when we are – as the Americans call it – in the middle of the award season, statuettes and diplomas are given out to films and filmmakers, and pictures of happy people flourish on the internet. Who will win, who has won in all the competitions that lead up to the Oscar. Of course it is a circus and money is so much involved and even if it will always be an American film that wins, in the documentary section, that I am following, a shortlist and/or a nomination help good films to be seen by a big audience?

The announcement of 15 shortlisted documentaries, to mention the genre we mostly focus on at filmkommentaren, has taken place. I have seen 9 of them (Advocate, American Factory, Aquarela, The Cave, The Edge of Democracy, For Sama, The Great Hack, Honeyland, Knock Down the House), and apart from The Great Hack and Knock Down the House, the films mentioned do confirm that documentaries are very strong today. The two that to my opinion do not qualify to be among „the best of the best”, I watched on Netflix, no doubt that this label has helped the films to be shortlisted.

Which brings us back to the money. Many of the 159 films, from where the15 were selected, did not have financial resources to perform the necessary campaign to make the voting members of the Academy see the films at screenings in the USA.

Money… I was almost falling down the chair, when producer/editor of ”Honeyland”, Atanas Georgiev from North Macedonia, as it is called nowadays, gave me numbers on what it had cost to do the campaign for this wonderful documentary around the world. Yes, around the world because this film has really travelled – to festivals, to theatrical releases. ”It’s a once in a lifetime we experience”, he said when we met in Copenhagen, ”we are just going to enjoy it”. ”We” meaning the whole crew and Hatidze, the bee-keeping protagonist. It started with three awards at the Sundance Film Festival in January and now the film is close to be nominated for an Oscar. And if that does not happen, the film has had and will continue to have a fantastic life.

With many awards…     

El Clásico

”It’s exactly one week until el clásico and, like all fans, I am already counting down the days until the big date of December 18. A clásico is always a special match, and in the weeks before the game it shows in the atmosphere. 

They are things that I have experienced as a footballer. And not only when I was at Barça or Madrid. Also in Italy, Holland and Denmark. They are matches which evoke very strong feelings and the supporters make you feel that way. That you have a great responsibility…”

The words come from Michael Laudrup, the best football player Denmark has ever had. He played in both FCBarcelona and in Real Madrid and had more than or was it close to 100 matches for the national team of Denmark. On the website of FCBarcelona he writes – brilliantly – about his experiences as a player, who several times played THE match in Spain…

Which will again be played tonight at 8pm at the Camp Nou in Barcelona. If… the demonstrators allow it. And if they do so there will be a strong expression of Independencia from the 90.000, who are expected to come tot he stadium.

I will be watching on television – Messi please, show your genius again, but I will also enjoy Karim Benzema, this great centerforward from Madrid, and I will cross fingers that the man who should not be allowed to enter a football pitch, Sergio Ramos from Madrid, will behave and stay away from his normal dirty attacks on the opponent.

Here is the link to the Michael Laudrup article, read it before the match:

https://www.fcbarcelona.com/en/football/first-team/news/1526527/in-my-own-words-michael-laudrup

Richard Brody in New Yorker

To read critic Richard Brody is always a pleasure. In this article – link below – he brings forward his Best Films of the year, 35, whereas 11 of them have NOT been theatrically released, which brings him to reflect on the streaming services changing the whole situation for the artistic film: „…What’s different is that streaming is taking over, and, as a result, theatrical releases are declining—not numerically but qualitatively. We’re seeing a return to the bad old days of the nineteen-nineties, when many of the best international and independent films weren’t released at all…”

Brody starts his article in this way:

„It’s the year of apocalyptic cinema of the highest order, the year in which three of our best filmmakers have responded with vast ambition, invention, and inspiration to the crises at hand, including the threats to American democracy from a wannabe tyrant, the catastrophic menaces arising from global warming, the corrosive cruelty of ethnic hatreds and nationalist prejudices, and the poisonous overconcentration of money and power. The sheer enormity of the times has contributed to a sense of existential fury—of a challenge to modern life as a whole—in the year’s best movies…“

Agnès Varda is on the list (Photo).

https://www.newyorker.com/culture/2019-in-review/the-best-movies-of-2019