CPH:DOX 2012 ENGLISh CATALOGUE by CPH Filmfestivals

INFO & TICKETS

VENUES

Information Desk The Danish Film Institute/Cinematheque Gothersgade 55, 1123 Copenhagen

BREMEN NYROPSGADE 39-41 1602 KØBENHAVN K TEL. 33139090

Opening hours: Weekdays: 09.30 - 20:00 (open from 9:15 on November 7 – 9) Weekends: 12:30 - 20:00

CHARLOTTENBORG NYHAVN 2 1051 KØBENHAVN K

Delegates can pick up their Industry Pass as well as the 2012 catalogues at the info desk at Cinematheque. CPH:DOX staff are always available at the info desk to assist you with any questions you might have. Accreditation / Industry Pass The CPH:DOX Industry Pass allows delegates to obtain a single ticket for each festival screening. The Industry Pass must be presented along with the ticket upon entrance to the cinema. Tickets are subject to availability and has to be picked up at the at the screening venue. Seminars and Conference Programmes Seminars, master classes and industry conference programs will be held throughout the festival days. Most seminars are conducted at The Danish Film Institute/Cinematheque. CPH:MARKET CPH:MARKET is a digital screening market with over 250 titles on demand. The Market is open to all festival delegates with Industry Accreditations. However, priority is given to buyers, sales agents, festival programmers and online representatives. CPH:MARKET is open from Friday November 1 through Sunday November 11, and is located on the 4th floor of the Danish Film Institute/ Cinematheque. CPH:FORUM CPH:FORUM is a an exclusive three day financing forum and conference running in conjunction with CPH:DOX from 7-9 November. CPH:FORUM presents a tightly packed programme of work-inprogress presentations, seminars, case stories, one-on-one meetings, and matchmaking events. A limited amount of observer seats are available. If all seats are not taken the Forum will be open for other interested Industry Pass holders. Events, Exhibitions, Concerts and Gala Events Due to limited seat availability, all non-film screening events, exhibitions, concerts and award ceremonies are not included in the Industry and CPH:FORUM Pass option. Invitations for different industry gatherings, award ceremonies and special events will be handed out to the festival delegates during the festival. Tickets for concerts, exhibitions and other events must be bought at the venue.

CINEMATEKET GOTHERSGADE 55 1123 KØBENHAVN K TEL. 33743412 CINEMATEKET.DK CPH SKATEPARK ENGHAVEVEJ 80 KØBENHAVN V COPENHAGENSKATEPARK.DK DAGMAR TEATRET JERNBANEGADE 2 1608 KØBENHAVN V TEL. 70131211 KINO.DK DIN NYE VEN SANKT PEDERS STRÆDE 34 1453 KØBENHAVN K DOX:CLUB I TEATER GROB NØRREBROGADE 37 2200 KØBENHAVN N TEL. 35300500 GROB.DK EMPIRE BIO GULDBERGSGADE 29F 2200 KØBENHAVN N TEL. 35360036 EMPIREBIO.DK

KONCERTHUSET I DR BYEN EMIL HOLMS KANAL 20 ØRESTADEN LOPPEN SYDOMRÅDET 4 B 1.SAL 1440 CHRISTIANIA TEL. 35578422 LOPPEN.DK MADKLUBBEN TIVOLI VESTERBROGADE 3 1630 KØBENHAVN V MAYHEM RAGNHILDGADE 1 2200 KØBENHAVN NV METRO: KGS. NYTORV KONGENS NYTORV KØBENHAVN K PALADS BIOGRAFERNE AXELTORV 9 1612 KØBENHAVN V TEL. 70131211 KINO.DK PLANETEN MAGSTRÆDE 14 1466 KØBENHAVN K PUMPEHUSET STUDIESTRÆDE 52 1554 KØBENHAVN V PUMPEHUSET.DK SLOTTET TIVOLI H.C.ANDERSENS BOULEVARD 22 1553 KØBENHAVN V

FORTUNEN VED STRANDEN 18 1061 KØBENHAVN K

STATENS MUSEUM FOR KUNST SØLVGADE 48-50 1307 KØBENHAVN K SMK.DK

GLORIA RÅDHUSPLADSEN 59 1550 KØBENHAVN V TEL. 33124292 GLORIA.DK

VEGA ENGHAVEVEJ 40 1674 KØBENHAVN V TEL. 33257011 VEGA.DK

GRAND TEATRET MIKKEL BRYGGERSGADE 8 1460 KØBENHAVN K TEL. 33151611 GRANDTEATRET.DK

VESTER VOV VOV ABSALONSGADE 5 1658 KØBENHAVN V TEL. 33244200 VESTERVOVVOV.DK

HUSETS BIOGRAF MAGSTRÆDE 14 1466 KØBENHAVN K

ZOO ROSKILDEVEJ 32 2000 FREDERIKSBERG

IMPERIAL VED VESTERPORT 4 1612 KØBENHAVN V TEL. 70131211 KINO.DK

AARHUS ØST FOR PARADIS PARADISGADE 7-9 8000 AARHUS C TEL. 86193122

JAZZHOUSE NIELS HEMMINGSENS GADE 10 1714 KØBENHAVN K

JOLENE FLÆSKETORVET 81, 1711 KØBENHAVN V TV2 TEGLHOLMS ALLÉ 16, 2450 KØBENHAVN SV

INDEX INFO & SPECIAL SCREENINGS

COMPETITIONS

CREDITS............................................................. 4 MAP & VENUES................................................. 6 WELCOME........................................................... 7 JURIES................................................................. 8 SPECIAL SCREENINGS..................................... 17 CONTACTS.......................................................... 314 INDEX................................................................... 320

DOX:AWARD........................................................29 NEW VISION AWARD........................................ 45 NORDIC:DOX AWARD........................................ 471 SOUND & VISION AWARD................................87 AMNESTY AWARD............................................. 113 DOC ALLIANCE AWARD.................................... 133 SONIC:DOX AWARD.......................................... 137

CURATED BY & ARTIST IN FOCUS

SIDEBARS

CURATED BY DOUGLAS GORDON.................. 141 ARTIS IN FOCUS: WILLIE DOHERTY................ 151

MAXIMALISM.......................................................155 EMPIRE.................................................................167 INDIA UNREAL....................................................185

DOX:REGULARS

INDUSTRY

DANISH:DYNAMITE.......................................... 201 TOP DOX.............................................................. 217 FOOD ON FILM................................................... 231 DOX:LAB.............................................................. 237 AUDIO VISUALS................................................. 247 EVENTS & PARTIES........................................... 257

SEMINARER........................................................ 269 CPH:FORUM........................................................ 279 ART:FILM.............................................................. 281 DOX:LAB.............................................................. 283 CPH:MARKET...................................................... 285 MALMÖ KONSTHALL........................................ 291

CREDITS Festival Director: Tine Fischer

Translation: Andrew Blackwell

Programmers: Tine Fischer (responsible), Niklas K. Engstrøm, Mads Mikkelsen

Print coordinator: Casper Andersen (responsible), Cassie Wu

Programme assistants: Marta Mleczek, Kate Kroschell, Alice Bo Killemose, Cecilie Debell, Kristine Lykke Roed, Pernille Lystlund Matzen, Cecilie Jørck, Lise Thygesen

Producers: Susanne Thygaard (responsible), Thomas Persson, Kirstine Barfod, Giovanna Ottolini, Giovanni Marini, Daniel Vestergaard, Anders Borre Mathiesen, Frederik Barfod

Programme consultant: Benjamin Mirguet Preview group: Mads Mikkelsen (responsible), Tine Fischer, Niklas K. Engstrøm, Adam Thorsmark, Casper Andersen, Marta Mleczek, Kate Kroschell

Press:Lena Bøgild Willard (responsible), Malwa Grabowska, Letitia Despina, Nanna Rebekka Jensen, Anne-Lill Bøndergaard Brok, Fredrik Bondesen, Jacob Yoon Egeskov Nossell, Sacha Sennov

CPH:FORUM & CPH:MARKET: Daniella Eversby (responsible), Kim Christiansen (responsible), Sophie Kirchschlager, Mette Bjerregaard, Agnieszka Musialska, Casper Andersen

International PR and communication: Daniella Eversby (responsible)

DOX:LAB: Tine Fischer (responsible), Patricia Drati Rønde (responsible), Marie Groth Kruse, Julie Buur Trærup

Food on Film: Niklas Engstrøm (responsible), Tine Jespersen, Alice Bo Killemose,

AUDIO:VISUALS: Adam Thorsmark (responsible), Søren Laumand

DOX:CLUB/Teater Grob & Bremen Teater: Anne Sofie Kluge Hedegaard, Tine Jespersen

ART:FILM: Tine Fischer, Daniella Eversby

Doc Alliance: Tine Fischer, Daniella Eversby

Seminars: Tine Fischer (responsible), Niklas Engstrøm, Daniella Eversby, Mads Mikkelsen

CPH:DOX & DR Talent Award: Daniella Eversby (responsible), Mette Bjerregaard

Events & debates: Niklas Engstrøm (responsible), Alice Bo Killemose (event coordinator), Kirstine Lykke Roed (debate coordinator), Anne Sofie Kluge Hedegaard, Cecilie Jørck, Lise Thygesen, Pernille Lystlund Matzen, Cecilie Debell

Festival trailer: Rasmus Møller (animator), Chimneypot (post-production), Chimneysound (sound), Rough Days For Diamond Trade: ’Okay’ (music)

Marketing: Lisbeth Nordahl (responsible), Stine Fiskbæk, Julio Cesar Llanes, Kirstine Torp Pedersen Advertisement sales: Lisbeth Nordahl (responsible), Mette Bjerregaard Outreach: Cecilie Debell, Stine Fiskbæk Fundraising & Sponsorships: Susanne Thygaard (responsible), Kristoffer Skorstengaard Tjalve Web: Jakob Christoffersen, Andreas Steinmann Graphics: Line Gry Hørup, Karen Fink, Asmus Lauridsen, Jakob Christoffersen Catalogue editor: Mads Mikkelsen Catalogue, design & layout: Line Gry Hørup Programme notes: Mads Mikkelsen (responsible), Tine Fischer, Niklas K. Engstrøm, Adam Thorsmark, Søren Laumand, Marta Mleczek, Kristine Lykke Roed, Cecilie Debell, Alice Bo Killmose, Pernille Lystlund Matzen, Casper Andersen, Jesper Mikkelsen, Kim Ambrosius, Lise Thygesen Catalogue editor CPH:FORUM: Rebecca Bro Hosting & guest coordinators: Cecilie Waltz Søborg (responsible), Simone Lone (responsible), Anna Nørager, Louise Davidsen, Chloe Inventor, Camilla Rotheisen Volunteer coordinators: Rikke Braderup, Sophie Kampmann

UNG:DOX: Marta Mleczek, Kirstine Kolling Hansen

Festival poster: Line Gry Hørup Sats & production: Andreas Steinmann CPH:DOX’s main sponsors: Det obelske familiefond, Det Danske Filminstitut, Københavns Kommune, Kulturministeriet, KulturMetropolØresund, Politiken, DR, Media Mundus, Media, Mercedes-Benz, India Today, Interreg, EU. CPH:DOX’s official sponsors & partners: Diesel, Fritz Hansen, Tuborg, Producentforeningen, Arnfred advokater, Amnesty International, International Filmfestival Rotterdam, LUX, HAF, BAL, Screen Institute Beirut, Dubai Film Market, Swedish Film Institute, Maisha, Nipkow, Doc Alliance, UBOD, Wilhelm HAnsen Fonden, Kunststyrelsen, Statens Kunstråd, Københavns kommune - musikudvalget, Nordisk Film & TV Fond, Danida, CKU, IMS, Nordisk Film, Tuborgfondet, Koda, Dansk Journalistforbund, Nørrebro Lokaludvalg. Print: Politiken, Erritsø, 2012, 1000 copies. Reprinting permitted on condition of mention of source CPH:DOX - Festival secretariat: Tagensvej 85 F DK 2200 København N Tel. +45 339 307 34 Fax: +45 331 275 05 CPH:DOX is a part of the Copenhagen Film Festival Foundation CEO: Lars Hermann Board: Søren E. Jakobsen, Jens Gehl, Jon Stephensen, Nina Crone, John A. Tønnes, Erik Stephensen

CPH:DOX IS SUPPORTED BY

OFFICIAL PARTNERS KulturMetropolØresund

MEDIA PARTNERS

SPONSORS

EU PARTNERS

AWARD SPONSORS

INTERNATIONAL PARTNERS

REMAINING CONTRIBUTORS

MUSIKUDVALGET

SPONSORS AND PARTNERS

WELCOME WELCOME TO THE 10TH EDITION OF CPH:DOX. CPH:DOX is 10! And we are celebrating our birthday with a programme that we would travel far to experience ourselves. You are invited to the party, and we hope you will take the chance to join us. In the tradition of supporting a free thinking cinema we have again this year been on a crazy journey of discovery, finding unexpected treasures and meeting what we believe are the real auteurs of tomorrow. As in previous years we have been looking for films in the margins of the undefined. To be curious in spirit and then be surprised by heart is a match-made-in-heaven. So thank you to the artists and filmmakers who trusted their films to us. Thanks to you we believe in a cinema of the future and we promise to do the best we can to support it.

GUEST CURATOR:DOUGLAS GORDON This year we are more than happy to announce our personal art-film hero Douglas Gordon has accepted our invitation to join us as guest curator sharing his favorite films. From Gus van Sant’s desert meditation ‘Gerry’ via de Antonio’s rarely screened ‘Painters Painting’ to classics such as ‘Hiroshima mon amour’ and ‘F for Fake’. Gordon is also bringing a selection of work by young artists from the internationally acclaimed art academy Städelschule in Frankfurt, where he is currently teaching as a professor. Take a look into the crystal ball: the artists presented here might turn out to be the art stars of tomorrow. During the last twenty years, Douglas Gordon has worked in various fields that span narrative video and film, sound, photographic objects, and texts. But in a documentary context a specific work by Gordon has to be mentioned. ‘What you want me to say’ (1998) consists of a group of black loudspeakers placed randomly over the floor, while they emit a weird ’I love you. I love you. I love you.’ The work refers to the film ’Brighton Rock’, directed by John Boulting. In its last scene, the protagonist records a telephonic message to a girl named Rose, which says: ’What you want me to say is that I love you, but I really hate you’. The message is accidentally cut, and what the girl hears is a continuous ’I love you. I love you. I love you’. Illusion is the first of all pleasures!

DOX:LAB Three years ago CPH:DOX launched DOX:LAB – a film laboratory where a selected number of international filmmakers and artists are invited to develop and direct films in teams of two. The idea is to create a space where unauthorized cinematic forms can be explored and developed, and where differences in artistic backgrounds and methodology will stimulate a dialogue around the cinema of the future. Everything in this programme is a challenge: two filmmakers, one film, a micro-budget frame, restricted time, no limits. And the films are now having a life outside the lab, with ‘Resistente’ (Renate Costa & Salla Sorri) premiering during the Venice Film Festival earlier this year. We are proud – but most importantly we are happy to see that what started out as a concept works in real life. We wish the new participants all the best and cannot wait to see what the next year will bring.

CPH:FORUM Two years ago we re-launched CPH:FORUM as a financing and co-production forum with specific focus on hybrid projects in the ever growing landscape between fiction and non-fiction, as well as between film and contemporary art. It is a field with immense potentiality and with highly talented filmmakers and artist but also a field which calls for new partnerships and new ways of financing and exhibiting. We have again this year invited a line-up of funders and institutions from fiction, non-fiction and visual art and we hope that these meetings will give birth to brand new partnerships and fresh approaches to the entire cinema cycle.

ART:FILM Since the early years of the festival we have been specifically attentive to the borderland between film and visual art. Last year we launched the ART:FILM symposium, a new initiative dedicated to the actual production of new work in this field, and to the exchange of knowledge and contacts between the two worlds. And this year we are moving even further into this field with a new partner, International Film Festival Rotterdam. We are very curious to see what will happen when bringing together the art and film institutions asking them to test new unexplored ways of working together. We cross our fingers and hope to see lots of unexpected alliances. Welcome to CPH:DOX 2012. Tine Fischer Festival Director

DOX:AWARD JURY DENIS CÔTÈ Denis Côté is a filmmaker based in Montreal, Canada. His features as well as his documentaries and short films have been screening in numerous film festivals around the world, and his debut features ‘Les états nordiques’ (2005) was awarded the Golden Leopard at the Locarno film festival.

EDWIN Edwin is a filmmaker born in Surabaya, Indonesia. His acclaimed feature films such as ‘Blind Pig Who Wants to Fly’ (2008) and ‘Postcards from the Zoo’ (2012), as well as his short films, have been screening at the world’s largest film festivals from Busan, Berlin and BAFICI to Rotterdam. Edwin is DOX:LAB 2011/2012 participant.

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CARLO CHATRIAN Carlo Chatrian is the newly appointed Artistic Director at Festival del film Locarno where he has been working since 2002. He has a background in film criticism, writing and teaching cinema, and has been involved as a programmer in festivals such as Cinéma du Réel, Visions du Réel, and Alba Film Festival.

JOANNA LAPINSKA Joanna Lapinska is the Artistic Director of the T-Mobile New Horizons International Film Festival in Poland, where she has been involved since 2002. Lapinska is in charge of the distribution branch of the New Horizons Association, where she is responsible for acquiring new films.

BIRGITTE STÆRMOSE Birgitte Stærmose is a Copenhagenbased filmmaker. Among her many awardwinning short films, ’Out of Love’ (2009) was screened in Rotterdam and Berlin, and her feature debut ’Room 304’ was released internationally following its award-winning premiere at Karlovy Vary IFF. Stærmose is currently in development on her next feature ’Beauties’, a hybrid film with Albanian pop singers in the leading roles.

JURY

NEW VISION JURY STUART COMER Stuart Comer is the curator of film at Tate Modern, London, where he has been involved since 2002. Besides having curated a long line of screenings, exhibitions and lectures, Comer is also a prolific writer for Frieze Magazine, ArtForum, and Art Review, among others, and has contributed to a wide range of anthologies, as is the author of ’Film and Video Art’ (2008). Comer has an MA degree in curatorial studies from the Royal College of Art in London.

ANDERS KOLD Anders Kold is a curator and Head of Acquisitions at Louisiana Museum of Modern Art. Among his recent commitments are Yael Bartana’s solo show at Louisiana, ’And Europe Will be Stunned’ (2011), Rosa Barba’s ’The Long Road’ (2010), and Yorgos Sapountzis’ ’SOMSOK-KEY’ (2007) and ’Gold’ (2005).

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MARIE LOSIER Marie Losier is a French-born filmmaker and curator working in New York City. Her feature documentary ’The Ballad of Genesis and Lady Jaye’ (2011) has screened in festivals everywhere in the world, and has had wide cinema release. Her extensive filmography of short works has likewise been screening at festivals, biennales, museums and galleries from Tate Modern and MoMA to PS1, the Whitney Biennale and at Centre Pompidou. She is currently working on a new project with Peaches.

FLORENCE PAROT Florence Parot is a French curator based in Paris. She is in charge of the video collection of the Musée national d’art moderne in Centre Pompidou. She recently co-curated the exhibition ’Vidéo Vintage’ in Centre Pompidou, Paris, and currently in ZKM, Karlsruhe. She is co-programmer of ’Vidéo et après’, a cycle of screenings devoted to artists in Centre Pompidou. Parot is also a consultant for several festivals, among them Hors Pistes and Cinéma du Réel.

JURY

NORDIC:DOX JURY GONZALO DE PEDRO AMATRIA Gonzalo de Pedro Amatria is the programming coordinator in the Punto de Vista International Documentary Film Festival, and works also as professor of Image Analysis at Villanueva University Center / University Complutense de Madrid, and associate professor of the University of Navarra. He is a part of the editorial board of Spanish Cahiers du Cinéma, and works as a cinema critic for various magazines.

MAURO ANDRIZZI Mauro Andrizzi is a filmmaker based in Buenos Aires, Argentina. He has a background as a film programmer for the Mar del Plata Film Festival, and made his debut with ‘Iraqi Short Films’ (2008), which toured a number of festivals including CPH:DOX and was followed by ‘In the Future’ (2010). Andrizzi was a participant in the 2010/2011 edition of DOX:LAB, where his and Marcus Lindeen’s film ‘Accidentes Gloriosos’ was awarded the Orrizonti Award in Venice.

PAMELA PIANEZZA Pamela Pianezza is a programmer for the Cannes Critic’s Week. As a journalist and film critic she writes for Première, Le Monde des ados, Sequences (Canada) – frequently about Scandinavian and Eastern cinema – and is the founder of Tess Magazine, a feminine cultural review on the web. She has a postgraduate diploma in Film studies, in Journalism and teaches History and Theory of film criticism at the University of Tallinn - Baltic Film School.

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SOUND & VISION JURY KIRIL SOROKIN Kirill Sorokin is the programme director of the Beat Film Festival in Moscow, and has been working as a music critic and contributing editor for Russian editions of GQ, Rolling Stone, and Esquire for the past eight years.

KRISTIAN LETH Kristian Leth has been an influental radio and television host in various music programmes. He is a member of the band The William Blakes whose latest record was awarded to Danish Music Awards. He has published two poetry anthologies and is educated from Forfatterskolen, a renowned literary school in Copenhagen.

EVA MARIE RØDBRO Eva Marie Rødbro is a filmmaker and photographer based in Copenhagen. She is educated from the Danish Film School, from Gerrit Rietveld Academie in Amsterdam and from FAMU in Prague. Her short films ‘I Touched Her Legs’ (2010) and ‘Fuck You Kiss Me’ (2009) were screened at CPH:DOX and at various other film festivals and galleries around the world.

JURY

AMNESTY JURY PETR LOM Petr Lom is Czech-born filmmaker based in Norway. A former academic with a Ph.D. in political philosophy from Harvard, he gave up his university career in 2003 to become a fulltime documentary director and producer specializing in human rights subjects. His award-winning films have been broadcast in over thirty countries and screened at the most prestigious international film festivals such as Sundance, Berlinale and Rotterdam.

CAMILLA NIELSSON Camilla Nielsson is a filmmaker based in Copenhagen. She has directed a line of short films, and her midlength film ‘Mumbai Disconnected’ was screened at CPH:DOX 2009. Her debut feature ‘Democrats’ is bound to premiere in 2013.

ORWA NYRABIA Orwa Nyrabia is an independent Syrian documentary film producer, filmmaker, actor, writer and co-founder of DOX BOX International Documentary Film Festival. He has been active in creating a platform for Arab and international documentary filmmakers, and is a regular on the international film festival circuit.

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www.DAFilms.com

YOUR ONLINE DOCUMENTARY CINEMA Permanent online access to outstanding documentaries selected by the six partner festivals // Over 700 films to stream or download // Up to 20 new films every month // Submit your own film online // DOC ALLIANCE

FINANCIAL PARTNERS

SPECIAL SCREENINGS We are delighted to bid you welcome to a series of special screenings: some new, some sneak previews of work-in-progress, and some highlights from the past year. Two of the new films from our own international production programme DOX:LAB are screened in near-finished states. ’The Killing of Strangers’ by Nicolás Pereda and Jacob Secher Schulsinger, and ’AB’ by Iván Fund and Andreas Koefoed – a film partly in 3D. Danish veteran documentarist Jon Bang Carlsen has allowed for a preview of his new film-in-the-making with the enticing title ’Just the Right Amount of Violence’, which he will be present to introduce himself. ’Lost Rivers’ and ’Silent Visitors’ are examples of urban, underground filmmaking at its best – but just not in the usual sense of the words. And while ’Village at the End of the World’ cannot claim to be neither of the two, it is a compelling visit to a smalltown of no more than 59 inhabitants somewhere in Greenland. Last, but certainly not least, ’The Imposter’ has made headlines around the world for a reason. And so has Werner Herzog, who is back with the serial ’Death Row’ – a treat for the fans of the German genius.

THE IMPOSTER DIR. BART LAYTON

ORIGINAL TITLE:THE IMPOSTER YEAR:2011 RUNNING TIME:95M. PRODUCTION:A&E INDIEFILMS, FILM4, MORE4 PRODUCER:DIMITRI DOGANIS WORLD SALES/CONTACT:RED BOX FILMS, UK

The deeply shocking, but no less true story about real life imposter Frédéric Bourdin is rolled out masterfully in this year’s Sundance docu-thriller sensation. In 1994, 13-year-old Nicholas Barclay disappeared without a trace from his home in Texas. His family had given up all hope of ever seeing their son again, when they received a phone call three years later: Nicholas had been found in Spain. The whole family accepted the prodigal son with open arms - in spite of the fact that the person who returned and moved in was

seven years older than Nicholas would have been, talked English with an accent, and was not blond or fair-haired, but had dark hair and brown eyes. Far out? The story has only just begun. “The Imposter” does not make do with just reconstructing the story - it also arouses the uncomfortable suspicion that somebody in the family possibly knew more about the son’s disappearance than can bear the light of day. Could both Interpol, the FBI and his own family really be wrong? The docu-thriller of the year.

BREMEN: SATURDAY 13/10 AT 20:00 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY LOCKED UP ABROAD (2007, TV), 16 FOR A DAY (2007, TV), BANGED UP ABROAD (2006, TV), BECOMING ALEXANDER (2005, TV), THE TROUBLE WITH BLACK MEN (2004, TV).

18 SPECIAL SCREENINGS

THE KILLING OF STRANGERS (WORK IN PROGRESS) DIR. JACOB SCHULSINGER & NICOLAS PEREDA

ORIGINAL TITLE:MATAR EXTRAÑOS COUNTRY:DENMARK/MEXICO YEAR:2012 RUNNING TIME:80M. PRODUCTION:DOX:LAB, INTERIOR13 CINE, SECHER & SCHULSINGER PRODUCER:TINE FISCHER, SANDRA GOMEZ, JACOB SCHULSINGER WORLD SALES/CONTACT: SECHER & SCHULSINGER

Through a series of casting sessions, reconstructions and improvised scenes, ‘The Killing of Strangers’ tells the story of three young men who in vain try to join the Mexican revolution in 1910, and get lost in the desert north of Mexico. On their journey, they face each other’s fears, their unrealistic dreams and hopes, and, not least, today’s stereotypical depiction of Mexico’s revolutionary past. The rules of the game gradually become apparent in Nicolás Pereda and Jacob Schulsinger’s conceptually tight, yet imaginative film, which ventures out to where history becomes myth and myth

becomes truth. In other words, ‘The Killing of Strangers’ charts how the glorious creation myths that all nations tell about themselves are created and reproduced in a process that involves the imagination of its citizens. However, the question remains whether revolutions also have a beginning, middle and an end? And even if a legend has long been declared ‘fact’, can we still get away with printing it? A playful and meta-revolutionary post-Western, which deftly deconstructs the modern nation state’s narrative foundation.

CINEMATEKET: SATURDAY 3/11 AT 19:15 HRS. GRAND TEATRET: FRIDAY 9/11 AT 12:00 HRS.

DIRECTOR FILMOGRAPHY NICOLAS PEREDA: THE GREATEST HITS (2012), SUMMER OF GOLIATH (2010), FINALLY ALL THINGS WERE OVERTAKEN BY SILENCE (2009), PERPETUUM MOBILE (2009), TOGETHER (2009), INTERVIEW WITH THE EARTH (2008). JACOB SECHER SCHULSINGER: FINI (2010, CPH:DOX - AWARDED THE DANISH:DOX AWARD).

SPECIAL SCREENINGS

AB (WORK-IN-PROGRESS) DIR. ANDREAS KOEFOED & IVAN FUND

ORIGINAL TITLE:AB (WORK-IN-PROGRESS) COUNTRY:DENMARK/ARGENTINA YEAR:2012 RUNNING TIME:80M. PRODUCTION:DOX:LAB FRUTACINE PRODUCER:TINE FISCHER, IVAN EIBUSZYC, IVAN FUND, ANDREAS KOEFOED WORLD SALES/CONTACT: FRUTACINE

A sensual and philosophical film in two parts about friendship and farewell - partly in 3D. Yes, the third dimension can actually be used for something other than explosions and spaceships. For example to be present in a situation or a moment, while the summer sun sets over the city and a single voice confesses her doubts and dreams to us. ‘AB’ is shot over three days in a small town somewhere in Argentina. Here we meet Arita and Balencha, two young girls and close friends who are like sisters to each other. Most of their friends have moved to Buenos Aires, but even if the boyfriend is trying to tug you along, it takes courage (and money in your pocket) to say farewell to each other and the place you

have grown up in. But time passes and changes happen, no matter if you want it or not - and maybe even Arita and Belencha will one day grow apart. But until then the days are spent talking, dreaming and finding a new home for a cardboard box full of puppies among friends and neighbours. Ivan Fund and Andreas Koefoed share a great talent for capturing the intimate scenes between family and close friends where many years of compassion and trust are expressed in single gestures. Together, they have made a film where the inner and outer world - with a nod to Terence Malick come together to form a higher, yet unceremonious unity.

CINEMATEKET: SATURDAY 3/11 AT 21:45 HRS.

DIRECTOR FILMOGRAPHY IVAN FUND: TODAY I FELT NO FEAR (2011), THE LIPS (2010), THE LAUGH (2009), CICLOPE (2008). ANDREAS KOEFOED: ALBERT’S WINTER (CPH:DOX 2009 - DANISH:DOX AWARD WINNER), A DAY IN THE SMOKE (2008), 12 TONER NED (2008), BEG, BORROW OR STEAL (2006), STOREBROR ALBERT (2005).

20 SPECIAL SCREENINGS

JUST THE RIGHT AMOUNT OF VIOLENCE (WORK IN PROGRESS) DIR. JON BANG CARLSEN

ORIGINAL TITLE:JUST THE RIGHT AMOUNT OF VIOLENCE COUNTRY:DENMARK YEAR:2013 RUNNING TIME:83M. PRODUCTION:KAMOLI FILMS PRODUCER:HELLE ULSTEEN WORLD SALES/CONTACT:KAMOLI FILMS, DENMARK

In the endless suburbs of Los Angeles the middle class has created a comfortable existence for itself, where the streets are laid out in quadratic formations as far as the eye reaches. Everything is quiet and peaceful - at least on the surface. For under the idyllic facade lurks a teenage rebellion which sometimes spins completely out of control. And the parents who have given up the battle with their unruly children have allied themselves with companies that have specialised in fetching the youths in the middle of the night and against their will (and often with a measured dose of physical violence), and bringing them to special

‘boot camps’ in the Mormon state of Utah to teach them some discipline. This is both well-meant and shockingly brutal, but maybe there is also a hidden point in the fact that the heavy-handed abductions most of all resemble something from an American action film? One is given a rare opportunity to look over the shoulder of the Danish documentary veteran Jon Bang Carlsen, when he himself introduces a ‘work in progress’ cut of his new film with the promising title ‘Just the Right Amount of Violence’, which will have its official premiere next year.

CINEMATEKET: SATURDAY 3/11 AT 16:45 HRS. GRAND TEATRET: SATURDAY 10/11 AT 12:00 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: MIN IRSKE DAGBOG (1996), ADDICTED TO SOLITUDE (1999), PORTRÆT OF GUD (2000), PURITY BEATS EVERYTHING (2007), BLINDED ANGELS (2007).

SPECIAL SCREENINGS

LOST RIVERS DIR. CAROLINE BÂCLE WORLD PREMIERE

ORIGINAL TITLE:LOST RIVERS COUNTRY:CANADA YEAR:2012 RUNNING TIME:72M. PRODUCTION:CATBIRD FILMS, INC. PRODUCER:KATARINA SOUKUP WORLD SALES/CONTACT:CATBIRD FIMS, INC., CANADA

Once upon a time, rivers ran freely through every industrial city as an integrated part of the city’s infrastructure. Houses were built alongside the banks. The stream provided energy to mills and factories. But as the cities grew, the rivers became so polluted that they turned into carriers of deadly diseases, from the plague to cholera. The solution back then was to bury the rivers under the cities and merge them with the sewer systems where they have been forgotten - until now! ‘Lost Rivers’ takes us

on an adventure into and through a city’s interior, and tracks the history of the lost urban rivers by leading us on a journey guided by underground ‘urban explorers’. We are taken down to the dark underground depths of both Toronto, London and New York, and are given an introduction to why so many activists, urban planners and artists are so obsessed with reuniting us with the city’s original lifeblood.

CINEMATEKET: MONDAY 5/11 AT 19:30 HRS. GRAND TEATRET: THURSDAY 8/11 AT 17:00 HRS. Q&A WITH DIRECTOR DAGMAR TEATRET: SATURDAY 10/11 AT 16:40 HRS. DIRECTOR FILMOGRAPHY DAKAR À BANDIAGARA (2011, TV), MOVE (2009, SHORT), LA QUÊTE (2007, TV), JUDITH (2007, SHORT).

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SILENT VISITORS DIR. JEROEN VAN DER STOCK WORLD PREMIERE

ORIGINAL TITLE:SILENT VISITORS COUNTRY:BELGIUM YEAR:2012 RUNNING TIME:64M. PRODUCTION:SAVAGE FILM PRODUCER:BART VAN LANGENDONCK WORLD SALES/CONTACT:SAVAGE FILM, BELGIUM

‘Haikyo’ is a Japanese expression for abandoned and derelict buildings that are slowly being reclaimed by nature. Deserted, forgotten by the world and filled with the ghosts of the past. ‘Silent Visitors’ takes us to a Japan that is still struggling to get back into its old shape again after the devastation of the tsunami in March 2011. A disaster that has since left several areas deserted, but which has opened up a new world for a small group of adventurous ‘haikyoists’ - or ‘urban explorers’, as the phenomenon is called in the West. Three of them are called

Mike, Yumi and Doitehu, and they share a curious passion for embarking on trips into the modern ruins. A world of buildings in natural decay, but which is alive with history and which bring back memories of the life that once took place there. Three unique characters with highly personal stories to tell, which the director Jeroen Van der Stock conveys in impressive images of the empty buildings and the lonely figures that bring life back to them and redraw the world’s maps.

EMPIRE BIO: MONDAY 5/11 AT 22:30 HRS. EMPIRE BIO: THURSDAY 8/11 AT 20:45 HRS.

DIRECTOR FILMOGRAPHY WILD BEAST (2008)

SPECIAL SCREENINGS

DEATH ROW DIR. WERNER HERZOG

ORIGINAL TITLE:DEATH ROW COUNTRY:US/AUSTRIA/UK YEAR:2012 RUNNING TIME:188M. PRODUCTION:CREATIVE DIFFERENCES, SPRING FILMS, WERNER HERZOG FILMPRODUKTION PRODUCER:ERIK NELSON WORLD SALES/ CONTACT:ZDF ENTERPRISES GMBH, GERMANY

James Barnes, George Rivas, Joseph Garcia, Hank Skinner and Linda Carty have one thing in common: all five of them are in prison sentenced to death for crimes they may or may not have committed. In ‘Death Row’, master director Werner Herzog follows the five lifetime inmates in Texas and Florida. In this new series, which is a sequel to the feature documentary ‘Into the Abyss’, Herzog focuses more on interviews with the inmates than on evidence and the motives

behind their crimes. With the same cinematic expression present in ‘Into the Abyss’, Herzog once again reveals a fascinating depiction of human beings who find themselves in completely unimaginable situations and leave audiences wondering whether we are witnessing retaliation, revenge or punishment, as they discuss their crimes - or when some of them swear that they are innocent.

BREMEN: THURSDAY 8/11 AT 18:00 HRS. PART 1+2 BREMEN: THURSDAY 8/11 AT 18:00 HRS. PART 1+2+3+4 BREMEN: THURSDAY 8/11 AT 19:45 HRS. PART 3+4 DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: CAVE OF FORGOTTEN DREAMS (CPH:DOX 2011), ENCOUNTERS AT THE END OF THE WORLD (CPH:DOX 2008), THE WHITE DIAMOND (CPH:DOX 2005, DOX:AWARD WINNER), GRIZZLY MAN (CPH:DOX 2005).

24 SPECIAL SCREENINGS

VILLAGE AT THE END OF THE WORLD DIR. SARAH GAVRON & DAVID KATZNELSON

ORIGINAL TITLE:VILLAGE AT THE END OF THE WORLD COUNTRY:UK YEAR:2012 RUNNING TIME:80M. PRODUCTION:MET FILM, MADE IN COPENHAGEN PRODUCER:AL MORROW, CO-PRODUCER: HELLE FABER WORLD SALES/CONTACT:MET FILM, UK

The small North-West Greenland settlement Niaqornat is home to 59 people. If the population falls below 50, the settlement will be closed by the Greenlandic government. So its inhabitants are doing all they can to make people stay, and this among other things involves some quite creative measures when it comes to creating job opportunities. One of those who is dreaming of travelling far away is the place’s only teenager, the 16-year-old Lars. He has 381 friends on Facebook whom he has never met, and he dreams of experiencing the streets of New York live and not just on Google Earth. Lars has never dreamed of becoming a whaler like his father, who is

the head of the village and whaler number one, since he could simply not dream of killing animals. Instead he dreams of the world outside, and especially of girls, while the small village around him continues to find new ways to survive. With Lars’s father at the head, the settlement tries to buy the small fishing factory which Royal Greenland has closed down, to create real jobs and prevent people from going away. And the place’s only newcomer suddenly sees an opportunity in tourism when a Danish cruise ship one day passes by the small community unannounced.

DAGMAR TEATRET: SATURDAY 3/11 AT 16:40 HRS. PALADS BIOGRAFERNE: SATURDAY 10/11 AT 16:30 HRS. DIRECTOR FILMOGRAPHY SARAH GAVRON: LOSING TOUCH (2000), THE GIRL IN THE LAY BY (2000), THIS LITTLE LIFE (2003, TV), BRICK LANE (2007).

SPECIAL SCREENINGS

COMPETITIONS DOX:AWARD NEW:VISION AWARD NORDIC:DOX AWARD SOUND & VISION AWARD AMNESTY AWARD DOC ALLIANCE AWARD

DOX:AWARD 14 films have been chosen to compete for this year’s DOX:AWARD. The nominated films are our selection of this year’s outstanding, international documentaries. They stand out thanks to their strong personal vision, their cinematic qualities, and by insisting on the rightful place of documentaries on the cinema screen. Since the first edition of the festival, CPH:DOX has been comitted to documentaries that constantly challenge the genre and our understanding of the idea of what could be called the documentary project. Exploring the hybrid field between documentary and fiction has been a constant part of this project since the beginning, and has been essential in shaping the profile of CPH:DOX in parallel with being the defining tendency in contemporary auteur filmmaking over the last decade. This year, we are excited to present a selection of magnificent films that in very different ways explore the potential of cinema. With a cinematic reference to the elusive ‘real’ as their common point of departure, the films nominated for this year’s DOX:AWARD walk the line between fact and fiction, the poetic and the personal, the political and the (thought) provoking. 14 films that in our view represent the state of cinema at its best and brightest. DOX:AWARD is a prize of 5,000 Euros.

THE ACT OF KILLING

DIR. JOSHUA OPPENHEIMER, CHRISTINE CYNN & ANONYMOUS

ORIGINAL TITLE:THE ACT OF KILLING COUNTRY:NORWAY/DENMARK/INDONESIA/UNITED KINGDOM YEAR:2012 RUNNING TIME:159M. PRODUCTION:FINAL CUT FOR REAL APS PRODUCER:SIGNE BYRGE SØRENSEN WORLD SALES/CONTACT:FINAL CUT FOR REAL, DENMARK

Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. Today, Anwar is revered as a

founding father of a right-wing paramilitary organization that grew out of the death squads. In ‘The Act of Killing’, Anwar and his friends agree to tell the story of the killings. But their idea of being in a movie is not to provide testimony for a documentary: they want to star in the kind of films they most love from their days scalping tickets at the cinemas. The filmmakers challenge Anwar and his friends to develop fiction scenes about their experience of the killings, adapted to their favorite film genres - gangster, western, musical. They write the scripts. They play themselves. And they play their victims. The filmmaking process catalyzes an unexpected emotional journey for Anwar, from arrogance to regret.

KONCERTHUSET I DR BYEN: TUESDAY 30/10 AT 19:00 HRS. OPENING GALA 115 MIN. VERSION GRAND TEATRET: SATURDAY 3/11 AT 13:30 HRS. 159 MIN. VERSION GRAND TEATRET: WEDNESDAY 7/11 AT 09:00 HRS. 159 MIN. VERSION GRAND TEATRET: WEDNESDAY 7/11 AT 19:00 HRS. 115 MIN. VERSION GRAND TEATRET: THURSDAY 8/11 AT 21:30 HRS. 159 MIN. VERSION GRAND TEATRET: FRIDAY 9/11 AT 10:00 HRS. 115 MIN. VERSION DIRECTOR FILMOGRAPHY JOSHUA OPPENHEIMER: SHOW OF FORCE (2007, SHORT), THE GLOBALIZATION TAPES (2003, CO-DIR. WITH CHRISTINE CYNN), LAND OF ENCHANTMENT (2001, CO-DIR. WITH CHRISTINE CYNN, SHORT), THE ENTIRE HISTORY OF THE LOUISIANA PURCHASE (1997, SHORT), THESE PLACES WE LEARNED TO CALL HOME (1997, SHORT). CHRISTINE CYNN: THE GLOBALIZATION TAPES (CO-DIR.), LAND OF ENCHANTMENT (CO-DIR.).

30 DOX:AWARD

THE EXPEDITION TO THE END OF THE WORLD DIR. DANIEL DENCIK

ORIGINAL TITLE:EKSPEDITIONEN TIL VERDENS ENDE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:88M. PRODUCTION:HASLUND FILM, GARAGEFILM INTERNATIONAL AB PRODUCER:MICHAEL HASLUND WORLD SALES/CONTACT: HASLUND FILM,

A real adventure film - but in a very modern sense. On a three-mast schooner aboard with artists, scientists and ambitions worthy of Noah or Columbus, we set off towards the end of the world: in this case, the rapidly melting ice massifs in North-East Greenland. An epic journey where the brave sailors get acquainted with imaginary tent pitches, polar bear nightmares and entirely new species. But in their encounter with the new, unknown parts of our world, the crew - which ranges from the artists Tal R and Daniel Richter to the geologist Minik

Rosing - addresses a number of questions of a fundamental, existential nature. Curiosity, great pathos and a liberating splash of humour come together in a film that is superbly orchestrated by the cinematic talent Daniel Dencik, who in one iconic image after another seduces us both far beyond and deep into the historical footnote that is humanity. A film that is both conceived and brought into life on a large scale, just like an old childhood dream realised in adult company.

DAGMAR TEATRET: THURSDAY 8/11 AT 10:00 HRS. BREMEN: FRIDAY 9/11 AT 21:00 HRS. BREMEN: SATURDAY 10/11 AT 17:00 HRS. DIRECTOR FILMOGRAPHY MOON RIDER (CPH:DOX 2012), OUT (2006, SHORT).

DOX:AWARD

EVERYONE IS OLDER THAN I AM DIR. MARTIN WIDERBERG WORLD PREMIERE

ORIGINAL TITLE:ALLA ÄR ÄLDRE ÄN JAG COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:75M. PRODUCTION:WIDERBERG FILM PRODUCER:CHRISTINA ERMAN WIDERBERG WORLD SALES/CONTACT:WIDERBERG FILM, SWEDEN

The director’s father, master filmmaker Bo Widerberg, began making a documentary in the late 1970s about his own father, who was a painter. But the film was never completed, and you sense why in ‘Everyone is Older than I am’ which continues where the Swedish director gave up back in the day. The film-within-the-film therefore bears witness to a dramatic, yet respectful meeting between two artistic temperaments, father and son, for whom art is equal to honesty - and honesty is everything. It is a genuine privilege to watch Widerberg junior and senior in an incited debate about the means and ends of art. The big question, which is always approached but never formulated, however, is whether the artist is his own most important critic - or if this role

befalls his father? At the same time, you sense a deep understanding between the two, as when the father in a random comment acknowledges that ‘Elvira Madigan’ was in fact a really good film. In the Widerbergian signature style of bright and impressionistic imagery, an unsentimental story is gradually unfolded across four generations of a family where the artistic vein clearly runs deeply. And even though honesty has a price and all families have their skeletons in the closet, there are no ‘Rosebuds’ in Martin Widerberg’s film, which might subscribe to the Scandinavian tradition of relentlessly studying close, familial relations, but which - entirely in the spirit of the family it portrays - insists on living in the moment.

CINEMATEKET: THURSDAY 1/11 AT 19:15 HRS. GRAND TEATRET: TUESDAY 6/11 AT 17:00 HRS. DAGMAR TEATRET: FRIDAY 9/11 AT 12:00 HRS. GRAND TEATRET: SATURDAY 10/11 AT 14:20 HRS. DIRECTOR FILMOGRAPHY FÖR FET FÖR TYSKLAND (2008), HUMAN PERFORMANCE AND LIMITATIONS (2006), SUPER-SENSITIVE (2005).

32 DOX:AWARD

TCHOUPITOULAS DIR. BILL ROSS & TURNER ROSS INTERNATIONAL PREMIERE

ORIGINAL TITLE:TCHOUPITOULAS COUNTRY:US YEAR:2012 RUNNING TIME:80M. PRODUCER:MICHAEL GOTTWALD, JOSH PENN WORLD SALES/CONTACT:MICHAEL GOTTWALD, USA

The world is large when you are small. And if you are as curious as the three Zanders brothers, Tchoupitoulas Street in the French neighbourhood of New Orleans can be a whole world of its own - a world inhabited by street musicians, drunkards and cabaret dancers, which the three lively brothers set out to explore. When they miss the ferry home, the result is a long night that could have been a freely improvised Tom Waits song, but which instead has become one of the most imaginative and vital films between unfiltered reality and careful staging. Bill & Turner Ross are

two of the new American film scene’s most promising talents, and they demonstrate a phenomenal sensitivity for simply allowing reality into the cinematic framework they themselves have set - and for the special sensitivity that comes with the age between childhood and the young teenage years. John Cassavetes, Charles Burnett and the documentary vérité pioneers of the 1960s may be the inspiration for the Turner brothers’ elegant and impressionistic style, but the tone is both modern and entirely their own.

DAGMAR TEATRET: TUESDAY 6/11 AT 14:20 HRS. GRAND TEATRET: THURSDAY 8/11 AT 21:30 HRS. EMPIRE BIO: SUNDAY 11/11 AT 15:00 HRS. DIRECTOR FILMOGRAPHY INDEPENDENT LENS (2010, TV), 45365 (2009).

DOX:AWARD

CITY WORLD DIR. BRENT CHESANEK INTERNATIONAL PREMIERE

ORIGINAL TITLE:CITY WORLD COUNTRY:USA YEAR:2012 RUNNING TIME:70M. PRODUCTION:AUXERRINE PRODUCER:BRENT CHESANEK, YVETTE GRANATA, JUSTIN STRAWHAND WORLD SALES/CONTACT:AUXERRINE, USA

‘One day I just finally went outside.’ And this is where an imaginative journey of discovery begins, told on the soundtrack by a young boy, who leaves the at once idyllic and strangely menacing setting of his suburban home in favour of the alligators of Florida’s dense swamps, and robots that decorate the earth’s interior with cave paintings. We never see him, though, and the calm and deserted stream of images merely suggest glimpses of the fact that reality is constantly up for negotiation. The dream of founding a new world from nothing fills the void between what we see and what we hear. But on the edge of the image, we sense both a biblical apocalypse

VESTER VOV VOV: SATURDAY 3/11 AT 17:00 HRS. DAGMAR TEATRET: TUESDAY 6/11 AT 21:30 HRS. GLORIA: FRIDAY 9/11 AT 22:00 HRS. DIRECTOR FILMOGRAPHY BRETHREN ARISE (2009, SHORT).

34 DOX:AWARD

and a family breaking apart, where the excursion to the world outside is also an escape from a terrifying father who wants to isolate his children in his empty house. In any case, ‘City World’ is probably the closest you will get to ‘hearing visions’. A dazzling and disturbing hybrid work, which shares its fascinating natural mysticism with a number of contemporary filmmaking’s most innovative names - just in an even more radical synthesis of images and sound. Brent Chesanek gives us an exemplary demonstration of the fact that a film can relate to both the real and the possible. Neither documentary nor fiction, but simply a film.

OTTO

DIR. CAO GUIMARAES INTERNATIONAL PREMIERE

ORIGINAL TITLE:OTTO COUNTRY:BRAZIL YEAR:2012 RUNNING TIME:71M. PRODUCTION:STUDIO CAO GUIMARÃES PRODUCER: CAO GUIMARÃES WORLD SALES/CONTACT: STUDIO CAO GUIMARÃES

A nut in the palm of a hand seems to contain a little bit of the mystery of life in Brazilian filmmaker Cao Guimaraes’s up-close and gracious pictorial poem to his girlfriend, whom he met when she was the only spectator of his film ‘Drifter’ in an obscure arthouse cinema. This, we are told; the rest of the film is mostly conveyed in an impressionistic stream of images, whose symbolic and real layers are imperceptibly woven in and out of each other. First they were two, now they are three. Cao, Flor and now Otto, who spends most of the film inside his mother’s growing belly while she is waiting for him to arrive. One can almost

smell the damp earth under the leaves, as the cool autumn images surround her and succeed one another in unexpected constellations that are poetic in an almost elementary sense. Cao Guimaraes has created his dark, romantic and entirely self-produced film as a modest philosopher who expresses himself in pictures instead of words - and without placing a full stop anywhere in his stream of thoughts. A film with influences from Terence Malick and Stan Brakhage to Sergei Paradjanov, but with a confidence and elegance as unique as the handwriting of a poet.

MALMÖ KONSTHALL: FRIDAY 2/11 AT 14:30 HRS. CINEMATEKET: SUNDAY 4/11 AT 19:45 HRS. DAGMAR TEATRET: WEDNESDAY 7/11 AT 16:40 HRS. MALMÖ KONSTHALL: THURSDAY 8/11 AT 12:00 HRS. GRAND TEATRET: FRIDAY 9/11 AT 14:20 HRS. DIRECTOR FILMOGRAPHY O SONHO DA CASA PRÓPRIA (2009, SHORT), ACCIDENT (2007), DRIFTER (2007), A ALMA DO OSSO (2004), FROM THE WINDOW OF MY ROOM (2004, SHORT), THE END OF ENDLESS (2000).

DOX:AWARD

THE LAST TIME I SAW MACAO DIR. JOÃO PEDRO RODRIGUES & JOÃO RUI GUERRA DA MATA

ORIGINAL TITLE:A ÚLTIMA VEZ QUE VI MACAU COUNTRY:PORTUGAL YEAR:2012 RUNNING TIME:82M. PRODUCTION:BLACKMARIA, EPICENTRE FILMS PRODUCER:DANIEL CHABANNES DE SARS, JOÃO FIGUEIRAS WORLD SALES/CONTACT:FILMS BOUTIQUE, GERMANY

... and the prize for this year’s most stylish opening scene goes to: ‘The Last Time I Saw Macao’, where a sexy drag queen in a close-fitting silk dress mimes through the B-movie icon Jane Russell’s ‘You Kill Me’ in front of a cage full of tigers. This is only the beginnging of a semi-documentary metanoir, whose labyrinthine story unfolds in the neon-lit underworld of the former Portuguese colony Macao. Here, Joao Rui Guerra da Mata grew up, and he now returns to the city on a double mission: to save his transgender friend Cindy, who has become embroiled in a mysterious and deadly affair, and to make one of the most distinctive and innovative essay films of recent times together with his

partner Joao Pedro Rodrigues. A film that reflects on Macao’s colonial past as both a real place, and as a mythical canvas on which the West - with the film medium as an intermediary - has projected its fantasies about the temptations and dangers of the exotic East. And the director duo’s joint project is just that: a film in the stylised tradition of Jacques Tourneur and Josef von Sternberg, whose B-movie ‘Macao’ (1952) provides the source of inspiration - and a melancholy loss of illusion. Docu-purists looking for the ‘real’ Macao are kindly referred to Rodrigues and da Matas’s short film ‘Alvorada Vermelha’, which could be seen at last year’s CPH:DOX.

CINEMATEKET: THURSDAY 1/11 AT 19:00 HRS. GRAND TEATRET: MONDAY 5/11 AT 19:00 HRS. GRAND TEATRET: SUNDAY 11/11 AT 21:30 HRS. DIRECTOR FILMOGRAPHY JOÃO PEDRO RODRIGUES: ALVORADA VERMELHA (CPH:DOX 2011, CO-DIR., SHORT), TO DIE LIKE MAN (2009), CHINA CHINA (2007, SHORT, CO-DIR.), TWO DRIFTERS (2005), O FANTASMA (2000), VIAGEM À EXPO (1998). JOÃO RUI GUERRA DA MATA: AS THE FLAMES ROSE (2012, SHORT), ALOVRADA VERMELHA (2011, CO-DIR.), CHINA CHINA (2007, SHORT, CO-DIR.).

36 DOX:AWARD

THE LAST STATION DIR. CRISTIAN SOTO & CATALINA VERGARA INTERNATIONAL PREMIERE

ORIGINAL TITLE:LA ULTIMA ESTACIÓN COUNTRY:CHILE YEAR:2012 RUNNING TIME:90M. PRODUCTION:GLOBO ROJO PRODUCCIONES PRODUCER:CATALINA VERGARA

The dusty rays of the afternoon sun shine in between the massive trees in a garden where a small group of old people are sitting silently in each other’s company. We are in an old people’s home, which itself is not so young any more, but which is nonetheless - just like the five residents we here become acquainted with - still standing. Their names are Dorian, Sarita, Luis, Morena and Juan, and they have all reached the ‘last station’ on the road of life. However, it is thanks to the Chilean directing duo Christian Soto & Catalina Vergaras that you learn more about life than about death in a film, where every image could have been painted by Hammershøi, and where the mere passing of time achieves an

almost material form through the simple, but subtle camera movements. When did a film last have this almost sculptural level of gravity? One imperceptibly thinks of masters such as Tarkovksy and Angelopoulos, but without being overshadowed by the past - and this can be seen as a point - ‘The Last Station’ simply lets us register the calm passing of the seasons, while the golden light in the living rooms fade out from dawn to chiaroscuro. Funny, heartbreaking and deeply human in equal measures; they have their own radio channel at the home, and the phenomenal final image of its host at work inspires a belief that life is not something that is quite so easy to extinguish.

DAGMAR TEATRET: THURSDAY 8/11 AT 14:20 HRS. GRAND TEATRET: FRIDAY 9/11 AT 19:00 HRS. DAGMAR TEATRET: SUNDAY 11/11 AT 14:20 HRS. DIRECTOR FILMOGRAPHY THE LAST STATION (2012).

DOX:AWARD

I HAVE ALWAYS BEEN A DREAMER DIR. SABINE GRUFFAT INTERNATIONAL PREMIERE

ORIGINAL TITLE:I HAVE ALWAYS BEEN A DREAMER COUNTRY:US YEAR:2012 RUNNING TIME:78M. PRODUCER:SABINE GRUFFAT WORLD SALES/CONTACT:SABINE GRUFFAT, USA

From the ghost town of Detroit to the scaffolding work in Dubai. Abandoned streets, empty houses and broken windows versus hopeful, Arabic million dollar smiles, glistening swimming pools and a skyline, which flashes like a mirage in the desert sun. Sabine Gruffatâ&#x20AC;&#x2122;s precise sociological observations are not expressed in words but in pictures. A visual portrait of two urban wildernesses at opposite ends of the planet, with each one at a different stage of uncontrolled change. Dubai is galloping, exploding and expanding as an independent universe, isolated from the rest of reality. A towering, postmodern city shaped by a

growing tourism industry and business strategies that never converge in a single vision. The former car city Detroit, on the other hand, has become a symbol for a post-industrial society in free fall, and a magnet of hip artists and designers on the lookout for cheap square meters. With the forever travelling film alchemist Ben Russell behind the camera (and with herself at the editing table), Sabine Gruffat ultimately places a great question mark behind what is considered as decay and as progress. A cool and laid-back film in the beat tradition from Jim Jarmusch and Robert Frank, but buzzing with ideas and observations of its own.

GRAND TEATRET: WEDNESDAY 7/11 AT 14:20 HRS. CINEMATEKET: FRIDAY 9/11 AT 19:00 HRS. GRAND TEATRET: SUNDAY 11/11 AT 16:40 HRS. DIRECTOR FILMOGRAPHY HEADLINES: HYBRID FILM TRILOGY (2007, SHORT), THE EXPEDITIONISTS (2007, SHORT), IN THE SHADOW OF YOUR DIAMOND CASTLE (2006, SHORT), BATTLE IMPRESSIONS (2005, SHORT), TO THE SOUTH WAS 72 (2005, SHORT), THE ATARAXIANS (2004, SHORT), A PUPPET WITH NO STRINGS (1998, SHORT).

38 DOX:AWARD

ROLAND HASSEL DIR. MÅNS MÅNSSON WORLD PREMIERE

ORIGINAL TITLE:HASSEL: PRIVATSPANARNA COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:74M. WORLD SALES/CONTACT:SWEDISH FILM INSTITUTE, SWEDEN

How can a film deal with the unsolved murder of Olof Palme in a documentary way? An event, about which we mostly know what we don’t know? The answer is: Hassel! The now retired detective Roland Hassel is still involved in the investigation of Sweden’s biggest murder mystery. But it is not only Hassel’s many wrinkles that bear witness to how far back in time the murder is. The despondency of the ageing detective’s eyes also remind us that the murder of the prime minister in 1986 is still an open wound in the Swedish collective consciousness. A murder, which Hassel now makes one final attempt to solve with the help of

his not always equally competent assistants. Each detail is turned upside down, each possibility reconsidered. By introducing a “real” but fictional (!) character known from TV in the reconstruction of a very real murder, Månsson’s film is just as much a reflection about the methods and limitations of documentarism. And with its washed-out VHS look, ‘Roland Hassel’ emphasises just how far the recent past really is. A both serious and very funny take on an extended form of reflexive, historical documentarism by one of Swedish film’s greatest young talents.

GRAND TEATRET: TUESDAY 6/11 AT 19:00 HRS. CINEMATEKET: FRIDAY 9/11 AT 21:45 HRS.

DIRECTOR FILMOGRAPHY MR. GUVERNOR (CPH:DOX 2009), DOCTOR GLAS (2009), KINCHEN (2005, SHORT), STOCKHOLM STREET (2003, SHORT), CLYDE (2002, SHORT).

DOX:AWARD

I AM FICTION DIR. MAX KESTNER WORLD PREMIERE

ORIGINAL TITLE:IDENTITETSTYVERIET COUNTRY:DENMARK YEAR:2012 RUNNING TIME:82M. PRODUCTION:GLOBUS FILM APS PRODUCER:CARSTEN HOLST WORLD SALES/CONTACT:GLOBUS FILM APS, DENMARK

Art project, reality or a publicity stunt scam? Few people could make head or tails of the lawsuit that Thomas Skade-Rasmussen Strøbech raised against the artist colleague Das Beckwerk and the Gyldendal publishing house in 2009 for, without notice, having published the novel ‘The Sovereign’, which described his private life in meticulous detail. But on the initiative of the director Max Kestner, Støbech started to film himself during the two-year trial that followed. And there was no doubt in his mind: he had been robbed of his identity! But the trial is only the beginning of a struggle for control of a reality that progresses in new and unexpected directions, as the case progresses. The concept artist

Das Beckwerk, formerly known as Claus Beck-Nielsen, who in 2001 declared himself dead and let a doll of himself be buried under pomp and circumstance, seems to be constantly controlling the diabolical game from a distance. Not even when Strøbech tries to ‘coup’ the book and sell it under his own name in the United States, do things end up in his favour, and a failed confrontation at the Academy of Arts, an army of changing lawyers and a trail of empty vodka bottles do not exactly make things easier. But the judgment awaits, and it can have some real consequences for what one can allow oneself in the name of art. A courtroom drama, which mostly takes place in the head of the prosecutor.

GRAND TEATRET: SUNDAY 4/11 AT 21:30 HRS. PALADS BIOGRAFERNE: WEDNESDAY 7/11 AT 21:30 HRS. GRAND TEATRET: THURSDAY 8/11 AT 12:00 HRS. GRAND TEATRET: SATURDAY 10/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY DREAMS IN COPENHAGEN (CPH:DOX 2009), DESMÅSKRIG (CPH:DOX 2007, SHORT), THE WORLD IN DENMARK (CPH:DOX 2007, SHORT), MAX BY CHANCE (2004), BLUE COLLAR WHITE CHRISTMAS (2002), HOMO SAPIENS (1997).

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THE LEBANESE ROCKET SOCIETY DIR. JOANA HADJITHOMAS & KHALIL JOREIGE EUROPEAN PREMIERE

ORIGINAL TITLE:THE LEBANESE ROCKET SOCIETY COUNTRY:FRANCE/LEBANON/UNITED ARAB EMIRATES/QATAR YEAR:2012 RUNNING TIME:93M. PRODUCTION:ABBOUT PRODUCTIONS, MILLE ET UNE PRODUCTIONS PRODUCER:EDOUARD MAURIAT, GEORGES SCHOUCAIR WORLD SALES/CONTACT:URBAN DISTRIBUTION INTERNATIONAL, FRANCE

A forgotten episode in the great ‘space race’ of the 1960s between the United States and the Soviet Union has been uncovered again in ‘The Lebanese Rocket Society’, a serious film with a cheerful tone, which, starting from scratch and an almost archeological thoroughness, pieces together the story of what actually happened when the dream of a Lebanese flag on the moon burst - and how it happened. The artist duo Joana Hadjithomas and Khalil Joreige take us back to the university in Beirut in 1961, where a group of mathematicians, physicists and engineers first founded the company that has given this film its title. Helped along by their eager students, they started

to build rockets, which soon came all sorts of things to all people. Was the Lebanese rocket project a reflection of the new Arab world’s modernity and independence? Or did it spring simply from a curiosity to conquer outer space? New interviews and old photographs, archive footage and newspaper cuttings speak for themselves, albeit in an ambiguous way, but all end with the fatal war against Israel in 1967. At the same time, Hadjithomas and Joreige start building a sculpture in the shape of the first Lebanese rocket as a memorial to the ideals that for a while were set back with the Lebanese rocket company’s demise.

EMPIRE BIO: SATURDAY 3/11 AT 15:00 HRS. MALMÖ KONSTHALL: TUESDAY 6/11 AT 12:00 HRS. GLORIA: WEDNESDAY 7/11 AT 22:00 HRS. DAGMAR TEATRET: FRIDAY 9/11 AT 21:30 HRS. MALMÖ KONSTHALL: SUNDAY 11/11 AT 12:00 HRS. DIRECTOR FILMOGRAPHY I WANT TO SEE (2008), OPEN THE DOOR (2007), A PERFECT DAY (2005), RAMAD (2003), AROUND THE PINK HOUSE (1999).

DOX:AWARD

THE END OF TIME DIR. PETER METTLER

ORIGINAL TITLE:THE END OF TIME COUNTRY:SWITZERLAND/CANADA YEAR:2012 RUNNING TIME:109M. PRODUCTION:MAXIMAGE GMBH PRODUCER:CORNELIA SEITLER WORLD SALES/CONTACT:MAXIMAGE, SWITZERLAND

‘Time is nature’s way of preventing everything from happening at once,’ Einstein once said. But is time really as simple as we think when we count the hours and minutes? Peter Mettler is never afraid of letting his films strive for the impossible. With ‘The End of Time’, he has created his most neck-breakingly ambitious film to date, where quantum physics, buddhism and speculative philosophy are just some of the components in the overall equation. And then it is about something as basic as time. Basic, at least until we in the very first scene are invited all the way into the infamous, 27 km long particle accelerator in Switzerland,

which many feared would create a black hole - an overwhelming monument, which most of all looks like something out of ‘Star Trek’. From here, the ‘time travel’ continues to a volcano on Hawaii, where the red-hot lava has solidified over time into sculptural formations, and on to the ghost town of Detroit, where time has stood still in more than one sense since the end of the 20th century. But even if the scope is intergalactic and its philosophical resonance is staggering, ‘The End of Time’ is also a very human reminder of the fact that time will probably continue without us - but that it nevertheless ends with ourselves.

CINEMATEKET: FRIDAY 2/11 AT 19:00 HRS. CINEMATEKET: SUNDAY 4/11 AT 16:30 HRS. CINEMATEKET: TUESDAY 6/11 AT 10:10 HRS. CINEMATEKET: SUNDAY 11/11 AT 21:30 HRS. DIRECTOR FILMOGRAPHY PETROPOLIS: AERIAL PERSPECTIVES ON THE ALBERTA TAR SANDS (CPH:DOX 2009), MEMORIZER (2009, INSTALLATION), GAMBLING, GODS AND LSD (CPH:DOX 2003), PICTURE OF LIGHT (1994), TECTONIC PLATES (1992), THE TOP OF HIS HEAD (1989), EASTERN AVENUE (1985), SCISSERE (1982).

42 DOX:AWARD

CAESAR MUST DIE DIR. VITTORIO TAVIANI & PAOLO TAVIANI

ORIGINAL TITLE:CESARE DEVE MORIRE COUNTRY:ITALY YEAR:2011 RUNNING TIME:76M. PRODUCTION:KAOS CINEMATOGRAFICA PRODUCER:GRAZIA VOLPI WORLD SALES/CONTACT:KAOS CINEMATOGRAFICA, ITALY

The premise for the Golden Bear winner ‘Caesar Must Die’ by the Italian director veterans Paolo and Vittorio Taviani is simple: the tough inmates in the notorious Rebibbia prison in Rome are set to put on Shakespeare’s ‘Julius Caesar’. A classic tragedy about unity, power and treason, which reaches entirely new and unexpected heights, as the boundaries between Shakespeare’s lines and the personal stories of the prisoners are gradually broken down. With their own, Italian dialects, the inmates - who are serving time for everything from murder to mafia connections - are rattling

off poetic quotations from the text, and in a moving way their own strongly personal stories are mixed into the plot, and the boundaries between documentary and fiction become blurred, as doubts grow as to which story is actually unfolding. Is it Shakespeare’s story or the story of life as a prisoner? Is it theatre or harsh reality? With the prison walls as a backdrop, the inmates become actors who for a period of time are drawn into the world of art. A discovery that can be extremely painful - especially when it is taken away from you again.

GRAND TEATRET: MONDAY 5/11 AT 21:45 HRS. BREMEN: SUNDAY 11/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY THE LARK FARM (2007), YOU LAUGH (1998), FIORILE (1993), GOOR MORNING, BABYLON (1987), THE NIGHT OF THE SHOOTING STARS (1982), PADRE PADRONE (1977).

DOX:AWARD

NEW VISION AWARD NEW:VISION AWARD is the competition programme for cinematic experiments from the laboratory between documentary and artistic reflection. Provocative and challenging, radical and borderline, poetic and abstract – and always with the courage to explore. The programme consists of works from both the world of visual art and of film. From the short, poetic moments via the cinematic essay to philosophical genre excursions beyond the limits of reality. These are works that will rather strive for the impossible than make do with the average, and works that critically investigate the status of images in our time. The nominated works for the NEW:VISION AWARD all insist on the documentary as a form of artistic expression and share a formal and methodological curiousity, which is of paramount importance for the continued development of the documentary film. This year we are collaborating with renowned galleries and exhibition spaces for parts of the programme. At the National Gallery we are presenting a retrospective with Artist in Focus Willie Doherty, including an installation with his latest work. Kunsthal Charlottenborg is hosting two of our AUDIO:VISUALS events, dedicated to the creative collaboration between visual artists and musicians. And Malmö Konsthall is hosting daily screenings of selected films throughout the festival period. Make sure also to attend our ART:FILM symposium (see the Industry pages), an intiative dedicated to the production of artists’ films between the world of cinema and visual art. The film language of the future is created here, and there is enough food for both fresh inspiration and critical thought in the widely diverse artistic expressions in this series. NEW:VISION AWARD is a cash prize of 3,000 Euros.

LEVIATHAN

DIR. LUCIEN CASTAING-TAYLOR & VÉRÉNA PARAVEL

ORIGINAL TITLE:LEVIATHAN COUNTRY:FRANCE/UK/US YEAR:2012 RUNNING TIME:87M. PRODUCTION:ARRÊTE TON CINEMA, HARBOR PICTURE COMPANY PRODUCER:LUCIEN CASTAING-TAYLOR, VÉRÉNA PARAVEL WORLD SALES/ CONTACT:THE CINEMA GUILD, USA

‘Leviathan’ is a documentary horror film painted in expressive primary colours on a black canvas. As brutal as a black metal concert, as dramatic as Melville’s novel, and as grotesque as all the biblical plagues served in one go - and yet it’s merely about a nocturnal excursion on a fishing trawler. The boat creaks and rattles, while the black-green water lashes its sides and the seagulls are fighting over the severed fishheads that are rolling around its floor, while yet another net-load is heaved aboard. The directing duo Lucien Castaing-Taylor

and Véréna Paravel have installed small cameras everywhere on the boat, and they paint the drama of life and death with impasto layers. But they do not use abstraction for abstraction’s sake. ‘Leviathan’ is also an anthropological study in man’s relationship to nature and the confrontation with “raw life”, towards a realisation that we may only have access to through the basic elements of the film medium: light, colour, sound, darkness. A highly physical but nonetheless transcendental total experience.

CINEMATEKET: SUNDAY 4/11 AT 21:30 HRS. EMPIRE BIO: THURSDAY 8/11 AT 17:30 HRS.

DIRECTOR FILMOGRAPHY LUCIEN CASTAING-TAYLOR: THE HIGH TRAIL (2010, SHORT), SWEETGRASS (CPH:DOX 2009), IN AND OUT OF AFRICA (1992), MADE IN USA (1990). VÉRÉNA PARAVEL: FOREIGN PARTS (2010, CO-DIR. WITH J.P. SNIADECKI), INTERFACE SERIES (2009, SHORT), 7 QUEENS (2008, SHORT). EVENST VISION AWARD 46 NEW

PUBLIC HEARING DIR. JAMES N. KIENITZ WILKINS WORLD PREMIERE

ORIGINAL TITLE:PUBLIC HEARING COUNTRY:US YEAR:2012 RUNNING TIME:110M. PRODUCTION:THE AUTOMATIC MOVING CO. PRODUCER:JAMES N. KIENITZ WILKINS WORLD SALES/CONTACT:JAMES N. KIENITZ WILKINS, USA

An American provincial town’s public consultation about the expansion of the WalMart supermarket, recreated in minute detail as a stylish and formally conscious feature film shot in black-and-white 16mm. Is this meant to be funny? Yes! And instructive too. The transcript from the real life public hearing is serving as the actors’ manuscript - complete with a five minute break in the middle! - while power-point presentations from the meeting are serving as backdrop. By synthesising the feature film’s form with a factual document, the public consultation is revealed as a kind of comic, absurd theatre that reveals the Kafkaesque dimension of local democracy. Ballpoint pens are chewed on in large

numbers, eyes wander, a glass of Coca-Cola fizzes aggressively, and microphones howl as if they were involuntarily registering the tension in the room. ‘Public Hearing’ is exclusively filmed in close-ups, literally zooms in on its characters, but also on one of democracy’s oldest and most important pillars: citizen participation. A public hearing is meant to give citizens the opportunity to have a direct influence on the local community - but does it have any real effect on the decisions of the decision makers? The rules of the game are gradually revealed in James N. Kienitz Wilkins’s sophisticated and rhetorically exceptional satire, whose disturbing conclusion is bitingly clear: everything is under control.

KØBENHAVNS RÅDHUS: MONDAY 5/11 AT 19:00 HRS. MALMÖ KONSTHALL: TUESDAY 6/11 AT 14:30 HRS. GRAND TEATRET: WEDNESDAY 7/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY HOME ALONE 2 (2012, SHORT), DARE DOUBLE (2010, CO-DIR.), THE BIG BLACK GIRL (2010), NATURE MATURE (2007, SHORT), SPRINGTIME (2007, SHORT), COACH OF THE YEAR (2005, SHORT).

NEW VISION AWARD

OUT

DIR. PABLO CAYUELA & XAN GÓMEZ VIÑAS WORLD PREMIERE

ORIGINAL TITLE:FÓRA COUNTRY:SPAIN YEAR:2012 RUNNING TIME:95M. PRODUCER:PABLO CAYUELA WORLD SALES/CONTACT:GRUPO DE VÍDEO DE CONXO, SPAIN

Thanks to academic ice-breakers such a Foucault, Felix Guattari and Gilles Deleuze, the interest in 1970s anti-psychiatric theory and practice has experienced a renaissance, which in ‘Out’ is manifested in a formally rigorous ‘case study’, focusing on a sanatorium in Conxo, Spain. A synthesis of documents - newspaper cuttings, slides, Super 8 footage and new interviews - retell the story of madness as a prism for society’s ‘irrational’ repressions in a basic form: text, image, speech. An employee compares the time before and after the reforms of the 1970s, and a former patient verbalises the same experiences as seen from within, in readings of his underground journal ‘Black

CINEMATEKET: THURSDAY 1/11 AT 21:15 HRS. MALMÖ KONSTHALL: FRIDAY 2/11 AT 12:00 HRS. MALMÖ KONSTHALL: FRIDAY 9/11 AT 12:00 HRS. CINEMATEKET: SATURDAY 10/11 AT 14:30 HRS. DIRECTOR FILMOGRAPHY OUT (2012).

48 NEW VISION AWARD

Meat’. Newspaper cuttings at the same time talk about a ‘disaster’ at Conxo, while footage from a festival held on the premises bears witness to a radical (and romanticising?) attempt to break down the structural differences between ‘normal’ and ‘deviant’ - nota bene at a time when Franco still dictated both. But the directing duo Pablo Cayuela and Xan Gómez Viñas at the same time allow their own work to creak in the joints, with an expressive xylophone / percussion score seemingly warning against the ever-present mistake: that the privileged historical distance enables us to once and for all appraise the actions and decisions of the past.

SWANDOWN DIR. ANDREW KÖTTING INTERNATIONAL PREMIERE

ORIGINAL TITLE:SWANDOWN COUNTRY:UK YEAR:2012 RUNNING TIME:94M. PRODUCTION:FLY FILM PRODUCER:LISA MARIE RUSSO WORLD SALES/CONTACT:WAVELENGTH PICTURES, UK

A wonderfully eccentric and enjoyable film that could easily be a product of too many hours of children’s television back in the 1970s, which has since mutated in the minds of the its two adventurers. The artist Andrew Kötting and his companion, the author Iain Sinclair, “borrow” a swanshaped pedalo one night from an amusement park and set off on a 160 mile trip from Hastings in South England to Hackney in London. Partly in protest against the Olympics, partly in the spirit of Monty Python as a protest against the narrow logic of normality. Along the way, they among other people encounter the (oc)cult author Alan Moore and the comedian Stewart Lee,

who are both allowed to tramp the pedals. Werner Herzog is only present on the soundtrack (and with his “Fitzcarraldo” as an epic role model for the two travellers), and gives his well-known take on the true order of nature. And when they occasionally go ashore, they encounter some arch-British characters you never dreamed existed. ‘Swandown’ is an imaginative, quasi-mythological and (for people with a taste for British humour) incredibly funny excursion from reality to the far-out corners of the middle of nowhere. And last but no least, the film insists on the freedom to follow ones whims just as far.

PUMPEHUSET: THURSDAY 8/11 AT 19:00 HRS. CINEMATEKET: SUNDAY 11/11 AT 19:00 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORKS: GALLIVANT (1996), THIS FILTHY EARTH (2001), NUCLEUS AMBIGUOUS (2002), IVUL (2009), THIS OUR STILL LIFE (2011)

NEW VISION AWARD

WALKER

DIR. TSAI MING-LIANG

ORIGINAL TITLE:WALKER COUNTRY:HONG KONG YEAR:2012 RUNNING TIME:25M. PRODUCTION:YOUKU ORIGINAL PRODUCER:CHEN KUAN YING WORLD SALES/CONTACT:HONG KONG INTERNATIONAL FILM FESTIVAL SOCIETY, HONG KONG

Several different points in time meet within the same picture in the Taiwanese auteur Tsai Ming-Liang’s aesthetic “Walker”, where a monk in a red robe walks through Hong Kong with one step per minute in a kind of natural “slow motion”, which bewilders the passersby - if they don’t fail to notice him completely. Surrounded by the city’s bustling street life, his resolute walk with an intensely bowed head - and with bread in one hand an a plastic bag in the

other - comes across as a simple, dramatic gesture (and possibly protest), which creates a temporal vacuum and a paradoxical antithesis to urban surroundings. The pictures are tightly framed tableaux of an almost sculptural character. In between his feature films, Tsai Ming-Liang goes full-out with his uncompromisingly minimalist style in his shorter works that are easy to watch and will stay with you for a long time. ´Walker´ is screening with ´Mekong Hotel´.

CINEMATEKET: SUNDAY 4/11 AT 19:00 HRS. CINEMATEKET: SATURDAY 10/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORKS: NO FORM (2012, SHORT), MADAME BUTTERFLY (CPH:DOX 2009), VISAGE (2009), I DON’T WANT TO SLEEP ALONE (2006), THE WAYWARD CLOUD, 2005), GOODBYE, DRAGON INN (2003), THE SKYWALK IS GONE (2002, SHORT), WHAT TIME IS IT THERE? (2001), THE HOLE (1998), THE RIVER (1997), VIVE L’AMOUR (1994), REBELS OF THE NEON GOD (1992).

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SAKDA

DIR. APICHATPONG WEERASETHAKUL

ORIGINAL TITLE:SAKDA COUNTRY:SWITZERLAND/THAILAND YEAR:2012 RUNNING TIME:6M. WORLD SALES/CONTACT:RITA PRODUCTIONS, SWITZERLAND

As a short entr’acte between Tsai Ming-Liang’s ‘Walker’ and Apichatpong Weerasethakul’s ‘Mekong Hotel’, we are happy to screen a new short film from the latter as a companion piece to the film that follows, commissioned on the occasion of the 300th birthday of Jean-Jacques Rousseau as a part of a project initiated by the cinéaste Pierre Maillard. Rousseau, the romantic philosopher with whom the Thai artist may well share a refined sensibility

towards those moments of transient ‘being’ that characterise at least his later films. The Mekong river bank is lending its atmospheric setting to ‘Sakda’, in which we find ourselves in front of an improvised musical (anti)performance, in which a man is whispering into a microphone while another is quietly strumming a guitar. A tape recorder lends its ear to the events, as a container of secret wishes and dreams.

CINEMATEKET: SUNDAY 4/11 AT 19:00 HRS. CINEMATEKET: SATURDAY 10/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORKS: UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (2010), PHANTOMS OF NABUA (CPH:DOX 2009, SHORT), SYNDROMES AND A CENTURY (2006), TROPICAL MALADY (2004), WORLDLY DESIRES (2004, SHORT), BLISSFULLY YOURS (2002), MYSTERIOUS OBJECT AT NOON (1999, CPH:DOX 2007).

NEW VISION AWARD

MEKONG HOTEL DIR. APICHATPONG WEERASETHAKUL

ORIGINAL TITLE:MEKONG HOTEL COUNTRY:THAILAND/UK/FRANCE YEAR:2012 RUNNING TIME:61M. WORLD SALES/CONTACT:THE MATCH FACTORY, GERMANY

Like those of Tsai Ming-Liang, Apichatpong Weerasethakul’s video works are variations of many of the themes and visual tropes that are known from his features. With ‘Mekong Hotel’, the Thai artist and Palme d’Or winner has created an atmospheric part-documentary, part-horror film, which shares both its political undertones and meditative atmosphere with his features. At a haunted hotel along the Mekong River, which separates Thailand from Laos, a loving couple is interrupted by a terrifying ghost that feeds on human flesh.

But as always, the strangest things happen with a sense of naturalness in the films of ‘Joe’, who is perhaps one of the directors in the history of cinemas to show the greatest confidence in his spectators. And who himself takes part in a small role as the director of a guitarist, whose quiet play accompanies the film throughout. ‘Mekong Hotel’ is the first part of a planned new project, which is being developed over the coming years. ´Mekong Hotel´ is screening with ´Walker´.

CINEMATEKET: SUNDAY 4/11 AT 19:00 HRS. CINEMATEKET: SATURDAY 10/11 AT 16:30 HRS.

52 NEW VISION AWARD

BLACK DROP DIR. SIMON STARLING WORLD PREMIERE

ORIGINAL TITLE:BLACK DROP COUNTRY:UK YEAR:2012 RUNNING TIME:28M. PRODUCTION:STUDIO SIMON STARLING PRODUCER:ANNETTE UEBERLEIN WORLD SALES/CONTACT:STUDIO SIMON STARLING, UK

Simon Starling’s ‘Black Drop’ is a film about the beginning (and end) of the film medium. A medium, which was really a bi-product of the scientific experiments of the 1870s to map outer space, as we learn from a man who is sitting at the editing table and trying to bring coherence into some 35mm footage shot in Hawaii and Tahiti in connection with the planet Venus’s transit phase in June 2012 - a phenomenon that was filmed for the first time by the French astronomer Jules Janssen, and which will only take place again in 2117, at a point when celluloid-based film will have been passé for about 100 years. Janssen’s

‘chronophotographic’ technique grew from a desire to eliminate human fallibility in the objective representation of reality, and had a great influence on Étienne Jules-Marey and the Lumière brothers’ further development of the film medium. With the shadow of Venus as a black drop on the white circle of the sun, Starling has found a beautiful and simple motif, which is just as enigmatic as the complex narrative that he binds together over half an hour to an infinitely fascinating and timeless whole. ´Black Drop´ is screening with ´The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott´.

VESTER VOV VOV: THURSDAY 1/11 AT 17:00 HRS. MALMÖ KONSTHALL: THURSDAY 8/11 AT 14:30 HRS. CINEMATEKET: SATURDAY 10/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY SELECTED WORKS: PROJECT FOR A MASQUERADE (HIROSHIMA), (2010).

NEW VISION AWARD

THE POOR STOCKINGER, THE LUDDITE CROPPER AND THE DELUDED FOLLOWERS OF JOANNA SOUTHCOTT DIR. LUKE FOWLER EUROPEAN PREMIERE

ORIGINAL TITLE:THE POOR STOCKINGER, THE LUDDITE CROPPER AND THE DELUDED FOLLOWERS OF JOANNA SOUTHCOTT COUNTRY:UK YEAR:2012 RUNNING TIME:61M. WORLD SALES/CONTACT:LUX, UK

The paradigm shift from an authoritarian to a (self-)critical educational policy in post-war Europe takes shape in the form of the Marxist British historian and scholar Edward Palmer Thompson, who in post-war England became a public figure in his fight for reforms. Luke Fowler makes Thompson’s discursive method his own, and the man himself the subject of an archive-based institutional analysis of the period’s revolutionary ideals in an archeological synthesis of materials from a time when TV still took the democratic objective seriously. At the age of just 24, Thompson was employed by The Workers’ Education Association to teach industrial workers literature and history - a social class, that

previously had not had access to university education. His Marxist programme also became the platform for the new, interdisciplinary ‘Cultural Studies’ tradition, which especially revolutionised academic practice after 1968. Is William Blake’s poem ‘London’, for example, a poetic elegy of a soulless metropolis’s blackened sadness? Or is it an analysis of the concrete social reality in the English capital of the 18th century, after the French but before the industrial revolution? Fowler here develops his interest for forgotten personalities that shaped modern culture, and who have stood for the most radical cultural revolutions of the recent past. Screening with ´Black Drop´.

VESTER VOV VOV: THURSDAY 1/11 AT 17:00 HRS. MALMÖ KONSTHALL: THURSDAY 8/11 AT 14:30 HRS. CINEMATEKET: SATURDAY 10/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY SELECTED WORKS: WHAT YOU SEE IS WHERE YOU’RE AT (2001), THE WAY OUT (2003), PILGRIMAGE FROM SCATTERED POINTS (2006), PADDINGTON COLLABORATION (2007), GEORGE (2008), AN ABBEYVIEW FILM(2008), ALL DIVIDED SELVES(2011).

54 NEW VISION AWARD

TAKE #2

DIR. THOMAS ØSTBYE INTERNATIONAL PREMIERE

ORIGINAL TITLE:TAKE #2 COUNTRY:NORWAY YEAR:2012 RUNNING TIME:8M. WORLD SALES/CONTACT:PLYMSERAFIN, NORWAY

A simple setup: two women sit in a room in front of a camera. One is young, the other middle-aged. But what his happening in the scene, and how are the two women related? ‘When I step into a role, I imagine that every individual has a core with the same potential, emotional life’, the young woman says in a monologue, while the other one remains silent. Thomas Østbye’s conceptual short consciously plays with the conventions of drama and the viewer’s

expectations through hints and clues, which allow us to guess, but never completely grasp the film’s premise. And by pointing to its own status of being a construction, ‘Take #2’ subtly sows doubts about the clear distinction between reality and staging, and between common humanity and individuality. ´Take #2´ is screening with ´Starring Sigmund Freud´ and ´Vengeance Episode 1-3´.

CINEMATEKET: THURSDAY 1/11 AT 18:45 HRS. CINEMATEKET: THURSDAY 8/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY 17.000 ISLANDS (CPH:DOX 2012, INTERACTIVE DOCUMENTARY, CO-DIR. WITH EDWIN), IMAGINING EMANUEL (CPH:DOX 2011, NORDIX:DOX AWARD).

NEW VISION AWARD

STARRING SIGMUND FREUD DIR. JOHN MENICK WORLD PREMIERE

ORIGINAL TITLE:STARRING SIGMUND FREUD COUNTRY:US YEAR:2012 RUNNING TIME:30M. PRODUCTION:KADIST FOUNDATION WORLD SALES/CONTACT:JOHN MENICK, USA

The founder of psychoanalysis plays many key roles in John Menick’s conceptual film, which consists exclusively of material of the side career as an actor, which Freud began long after his death, and after medical prescriptions in the 1950s replaced dream interpretation as the medical profession’s preferred remedy for neurotic disorders. The figure ‘Freud’ has appeared in many different outfits in films and on television, where he attracts attention as a genius who has seen through the inscrutable mechanisms of the human psyche. From ‘Star Trek’, where he is beamed in as a hologram to analyse Data’s dreams, via classic period films to David Cronenberg’s detailed portrait of Victorian Vienna on the

eve of a mental revolution. Freud’s manifestations as a film star are not just a study in how his theories have found a new home in the midst of popular culture over the decades. By acting as his own doppelgänger (admittedly against his own will; the historical person Freud despised cinema), he illustrates several of his own points, while highlighting the irony of the idolising fascination with ‘the mind behind’. Freud, or the idea about him? Representations ultimately take shape as a house of mirrors in Menick’s understated ‘found footage’ work which is based on an article he wrote for Frieze Magazine. ´Starring Sigmund Freud´ is screening with ´Take #2´and Vengeance Episode 1-3´

CINEMATEKET: THURSDAY 1/11 AT 18:45 HRS. CINEMATEKET: THURSDAY 8/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORK: HEARSAY (2009, 2010), PARIS SYNDROME (2010)

56 NEW VISION AWARD

VENGEANCE EPISODE 1 - 3 DIR. KEREN CYTTER WORLD PREMIERE

ORIGINAL TITLE:VENGEANCE EPISODE 1 - 3 COUNTRY:GERMANY YEAR:2012 RUNNING TIME:45M. WORLD SALES/CONTACT:KEREN CYTTER, GERMANY

Keren Cytter’s new ‘TV series’ takes the melodramatic and in principle endless soap format up for review in a playful and deconstructivist story about passion, revenge, love, lust and desire. ‘Vengeance’ is based on the soap concept of ‘friendenemies’, a self-explanatory term for two women who used to be friends, but are now rivals. The two-dimensional characters are

all stereotypes, the dialogue is trivial, and the result is a bitingly ironic satire about the influence of TV on our behaviour and relationship with others. Unlike Cytter’s earlier, intimate interior films, her production apparatus has been extended to include over 50 different actors and 15 different settings in the rich neighbourhoods of Staten Island and New Jersey.

CINEMATEKET: THURSDAY 1/11 AT 18:45 HRS. CINEMATEKET: THURSDAY 8/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY SELECTED VIDEOGRAPHY: VIDEO ART MANUAL (2011), KONSTRUKTION (2010), THE HOTTEST DAY OF THE YEAR (2010), PEACOCKS (2009), FOUR SEASONS (2009), LES RUISSELLEMENTS DU DIABLE (2007), DER SPIEGEL (2006, CPH:DOX 2010).

NEW VISION AWARD

ABSTRACT DIR. HITO STEYERL WORLD PREMIERE

ORIGINAL TITLE:ABSTRACT COUNTRY:GERMANY YEAR:2012 RUNNING TIME:7M. WORLD SALES/CONTACT:NEUER BERLINER KUNSTVEREIN, GERMANY

‘Abstract’ is the last part of a trilogy about the artist Hito Steyerl’s youth friend Andrea Wolf, who was a member of the Kurd leftist-socialist group PKK (Parti Karkerani Kurdistan), until she was killed by the Turkish police in Iraq in 1998. Through the use of split screens, an analogy is created between two types of ‘shot’: a film shot and a gun shot, and Steyerl in this way constructs a scenario, where the violence of war and the film medium as symbolic violence (or form of combat) clearly overlap: ‘The grammar of cinema follows the grammar of battle,’ as is explained in a theorem, which is immediately tested as Steyerl visits the loca-

tion of Andrea’s death in Iraq and juxtaposes her documentary clips with scenes from Pariser Platz in Berlin, ‘shot’ on an iPhone. In the condensed intersection between media technology, emotional investment and political and cinematic violence, ‘Abstract’ takes just 8 minutes to raise a string of topical questions about the ethical and political implications of representation, and about the exchange between the filmmaker as a subject and the documented object. Ábstract´ is screening with óne, two, many´, ´There Will Be ____´ and Á Brief History of Collapses´.

CINEMATEKET: TUESDAY 6/11 AT 21:15 HRS. CINEMATEKET: FRIDAY 9/11 AT 18:45 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORK: GUARDS (2012, INSTALLATION), ADORNO’S GREY (2012, INSTALLATION), THE KISS (2012, INSTALLATION), IN FREE FALL (CPH:DOX 2012, NEW VISION AWARD), LOVELY ANDREA (2007, SHORT), JOURNAL NO. 1 (2005, SHORT), NOVEMBER (2004, SHORT).

58 NEW VISION AWARD

A BRIEF HISTORY OF COLLAPSES DIR. MARIAM GHANI WORLD PREMIERE

ORIGINAL TITLE:A BRIEF HISTORY OF COLLAPSES COUNTRY:US YEAR:2012 RUNNING TIME:22M. PRODUCTION:DOCUMENTA (13) WORLD SALES/CONTACT:MARIAM GHANI, USA

Architecture becomes a palimpsest of history’s erosions, as alternating men of power, institutions and wars have left their indelible mark in Mariam Ghani’s ‘A Brief History of Collapses’ - an installation work which is here shown in a single-channel version. Footage of Kabul’s partially ruined Dar ul-Aman palace (builtin 1929) and the restored Fridericianum (1779 in Kassel) create shifts and aesthetic overlaps between the two buildings’ completely different architectural spaces, while the narrator’s mesmerising voice crosses and weaves together the stories of the buildings. In this way, Ghani’s work creates a temporal collapse, where the past, future and present

of history simultaneously occupy the same filmic space: a documentation of how histories, places, identities and societies are continuously (re)constructed. As so often in Ghani’s work, the spectator is engaged in an intimate dialogue about the specificity of a location, collective memory and history, where Ghani as the eager and thorough observer presents her ‘evidence’ to us in a practice across disciplines: architecture, dance, history, literature and film, tightly woven together into a whole, which rewards your attention abundantly. Á Brief History of Collapsesís screening with óne, two, many´, ´There Will Be ____´ and Ábstract´.

CINEMATEKET: TUESDAY 6/11 AT 21:15 HRS. CINEMATEKET: FRIDAY 9/11 AT 18:45 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORK: THE TRESPASSSERS (2011), LANDSCAPE STUDIES: NEW MEXICO (STRANGERS IN A STRANGE LAND) (2010, SHORT), SMILE, YOU’RE ON SHARJAH (2009, SHORT), VARIATIONS (ON A HAUNTED WOOD) (2009, SHORT), GOING, GOING, GONE (2009, SHORT), POINTS OF PROOF: BUFFALO (2009, SHORT), KABUL 2, 3, 4 (2007, INSTALLATION), THREE SURRENDERS (2007, SHORT).

NEW VISION AWARD

ONE, TWO, MANY DIR. MANON DE BOER OUT OF COMPETITION

ORIGINAL TITLE:ONE, TWO, MANY COUNTRY:NETHERLANDS YEAR:2012 RUNNING TIME:22M. PRODUCTION:AUGUSTE ORTS PRODUCER:AUGUSTE ORTS WORLD SALES/CONTACT:AUGUSTE ORTS, BELGIUM

‘one, two, many’ is a film in three parts that through the title indicate a dialectical relationship which does not define the unity of the total work. Quite the contrary: Manon de Boer’s latest work takes place in the moment where the sound of the voice is articulated as speech and in tonalities. A fragile moment, the strength of which lies exactly in its hesitation between form and pure ‘being’. In the first part the breath and gestures of a flutist becomes one with the piece by Istvan Matus he is performing, while his facial musculature and the whistling of the flute rise towards a dramatic crescendo. In the middle part, a voice whose

body we never see analyses Roland Barthes’ essay on togetherness - a text that may be read as the key to the enigmatic title of the film itself. And in the last part, a choir of four is rehearsing an abstract and moderne composition for guttural sounds and cries. The interest in the voice before its sounds claim significance is expressed in quite different ways in ‘one, two, many’, but its material quality is equally striking. Easy to view, hard to forget: a film, the resonance of which is intellectual and corporal in equal measures. óne, two, many´ is screening with Ábstract´, ´There Will Be ____ánd À Brief History of Collapses´.

CINEMATEKET: TUESDAY 6/11 AT 21:15 HRS. CINEMATEKET: FRIDAY 9/11 AT 18:45 HRS.

DIRECTOR FILMOGRAPHY SILVIA KRISTEL PARIS (2003), RESONATING SURFACES (2005), THINK ABOUT WOOD, THINK ABOUT METAL (2010)

60 NEW VISION AWARD

THE INVISIBLE WORLD DIR. JESSE MCLEAN WORLD PREMIERE

ORIGINAL TITLE:THE INVISIBLE WORLD COUNTRY:US YEAR:2012 RUNNING TIME:18M. WORLD SALES/CONTACT:JESSE MCLEAN, USA

Everything is under control. If the objects we surround ourselves with in our everyday lives could speak, this would be the reassuring message. But the silent presence and shiny surfaces of lifeless things can just as easily turn into a menacing threat to the promise of comfort and ease. And in American artist Jesse McLean’s most recent work, a retro-futuristic pop setting sets the decorative stage for a film, which by the end of the day is about death and about what happens to all our beloved stuff when we are gone ourselves. A lesson transmitted to us by a phantom narrator from beyond the

grave, as we are invited into a veritable Wunderkammer of souvenirs from a past life. Fetichism as a fantasy of immortality, or just a materialist modern home like any other? ‘The Invisible World’ is not just that of an empty room - it is an ever-expanding universe that continues beyond time itself, into a 70’s action/sci fi adventure where a scientist is confronting the inevitable passing of time and triggers a disaster. A seductive and disqueting film that raises an unexpected but highly topical question: can Maximalism be melancholy?

CINEMATEKET: SATURDAY 3/11 AT 21:30 HRS. CINEMATEKET: FRIDAY 9/11 AT 17:00 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORK: TRUST FALLS (2011, SHORT), REMOTE (2011, SHORT), LOSE YOURSELF (REMIX) (2011, SHORT), MAGIC FOR BEGINNERS (CPH:DOX 2010, SHORT).

NEW VISION AWARD

WINTER / MIRACLE DIR. GUSTAVO BECK & ZELJKA SUKOVÁ WORLD PREMIERE

ORIGINAL TITLE:WINTER / MIRACLE COUNTRY:CROATIA/BRAZIL/DENMARK YEAR:2012 RUNNING TIME:60M. PRODUCTION:DOX:LAB, IF YOU HOLD A STONE, UDRUKUS FILMS PRODUCER:TINE FISCHER, ALES SUK, GUSTAVO BECK WORLD SALES/ CONTACT:IF YOU HOLD A STONE, BRAZIL

A silent, black-and-white train journey through Eastern European winter landscapes takes a man, whom we see only later, to a Croatian village. An arrival in the cinematic tradition of the 1920s avantgarde, with the railway and industrial modernity as a favourite graphical motif, which takes him past a fish market and a strange procession, and finally home to a small family, where the grannies are drinking tea, smoking cigarettes and chatting cheerfully. The image of a young woman burns itself onto the celluloid - and into the filmmaker’s consciousness. From the ascetic first part, ‘Winter / Miracle’ makes a maximal move to Rio, where a wild beach party / brawl

kicks off a trippy excursion around the city in the heels of the mysterious woman and her gang of friends. The woman (Zeljka Sukova) and the filmmaker (Gustavo Beck) revolve around each other in their joint film. Two artistic temperaments from opposite ends of the world meet each other in a work, which varies in its two different interpretations of the relationship between film and dream: 20s/30s poetic realism and 60s/70s pop-arty anarchistic surrealism. The only thing that Rio and Rijeka have in common on the surface is a deep-rooted Catholicism and a carnival, which is paradoxically pagan in origin. But the result is a liberatingly vital and infinitely imaginative film.

CINEMATEKET: SATURDAY 3/11 AT 21:30 HRS. CINEMATEKET: FRIDAY 9/11 AT 17:00 HRS. DIRECTOR FILMOGRAPHY GUSTAVO BECK: CHANTAL AKERMAN, FROM HERE (2010), SANDRO’S HOME (2009), ISMAR (2007, SHORT), HERA (2005, SHORT). ZELJKA SUKOVA: MARIJA’S OWN (CPH:DOX 2011).

62 NEW VISION AWARD

SECRETION DIR. WILLIE DOHERTY WORLD PREMIERE

ORIGINAL TITLE:SECRETION COUNTRY:IRELAND YEAR:2012 RUNNING TIME:20M. WORLD SALES/CONTACT:WILLIE DOHERTY / KERLIN GALLERY, IRELAND

It ends with an image we never see, but are not likely to forget. A man in a work uniform, lying on the floor of his house in a state of early decomposition. However, ‘Secretion’ begins with small signs: trees wither and die. Infected by mysterious fungal spores, which soon spread across the entire forest. The infection spreads in a pattern along the area’s waterways, and soon also infects the research station where scientists are desperately trying to find out what is happening - before they give up, seal the base and go home. But it doesn’t stop there. In an attempt to contain the disease-bearing water, the disaster is only

brought closer. The Irish artist Willie Doherty, who in collaboration with the National Gallery (Statens Museum for Kunst) is the Artist in Focus at this year’s CPH:DOX, sums up several themes of his artistic practice in his latest work, which in deserted and hesitant tracking shots observes mere existence with an almost phenomenological clarity, while a deep voice objectively explains the disturbing events that remain ‘off-screen’. ‘Secretion’ is among many other things a film about the fear of the invisible, and thus for everything that is beyond our control. ´Secretion´ is screening with ´The Weather War´.

CINEMATEKET: THURSDAY 8/11 AT 19:00 HRS. CINEMATEKET: SUNDAY 11/11 AT 18:45 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORKS: NON SPECIFIC THREAT (2005), GHOST STORY (2007)

NEW VISION AWARD

THE WEATHER WAR DIR. MATS BIGERT & LARS BERGSTRÖM WORLD PREMIERE

ORIGINAL TITLE:THE WEATHER WAR COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:57M. PRODUCTION:GINESTRA FILM PRODUCER:ANTONIO RUSSO MERENDA WORLD SALES/CONTACT:GINESTRA FILM, SWEDEN

In a world where everything is slowly under human control, there is one thing we still have not gotten to grips with: the weather. Based on the Russian scientist Vladimir Pudov’s theory of tornados, Swedish artist duo Mats Bigert and Lars Bergström have built a 100,000 volt anti-tornado machine which according to the plan is meant to tame the increasingly disastrous weather, which is an incalculable consequence of climate change. With their invention tied to a trailer, they set off towards the American Midwest where massive storms are raging and hundreds of people have been killed in recent years. An increasing number of natural disasters

have made what once was wishful thinking an indispensable necessity. The weather has to be tamed, preferably now! In China, it was possible to regulate the rain clouds over Beijing during the Olympics in 2008, and weather manipulation is well on its way to becoming a hot new field of both research and business. The question is just, if it in the long view is no more than a mere treatment of symptoms, or a real solution to the problems? But we can be sure about one thing: the shelters in Minneapolis, Kansas, will survive us all and may one day remain as the 21st century’s discount answer to the pyramids. ´The Weather War´ is screening with ´Secretion´.

CINEMATEKET: THURSDAY 8/11 AT 19:00 HRS. CINEMATEKET: SUNDAY 11/11 AT 18:45 HRS.

DIRECTOR FILMOGRAPHY SELECTED WORKS: THE BIG FEED (1999), LAST SUPPER (2005), IF YOU DON’T LIKE THE WEATHER CHANGE IT (2007), TUNNEL VISION (2008), LIFE EXTENDED (2009), THE MOUSE (2012)

64 NEW VISION AWARD

THE SOUND FROM THE HALLWAY DIR. LASSE LAU WORLD PREMIERE

ORIGINAL TITLE:THE SOUND FROM THE HALLWAY COUNTRY:DENMARK/EGYPT YEAR:2012 RUNNING TIME:25M. PRODUCTION:KRAN FILM DENMARK / SEEN FILM PORTUGAL PRODUCER:LASSE LAU WORLD SALES/CONTACT:KRAN FILM, BELGIUM

Time takes place in long, floating camera movements through the Egyptian Museum in Cairo, where the country’s history is on display in glass cases and along protracted corridors. Mummies, sphinxes and curious tourists gathered in one space, where the notion of a unique, official History is challenged by competing ‘histories’, as the camera approaches one of the open windows and the sounds from the street outside enter the space as an insistent rumble of many voices. The past is confronted with the present in the museum’s vast archive, in a clash between two different perceptions of the passage of time - from the early 20th century, when history was

still seen as being universal, to the present, where continuity is broken and history is open to interpretation. Lasse Lau often works with art as a mediator for the changes that occur in a specific space, when various elements come together. ‘The Sound from the Hallway’ is also a constructive criticism of museological practice and a love letter to the buildings that are designed to preserve the physical remains of the past. Alain Resnais and Aleksandr Sokurov are the spiritual godfathers of Lau’s wordless reflection on a topical, political reality, that is beginning to change. ´The Sound From the Hallway´ is screening with ´Logical Revolts´.

CINEMATEKET: FRIDAY 2/11 AT 18:30 HRS. MALMÖ KONSTHALL: SUNDAY 4/11 AT 12:00 HRS. DAGMAR TEATRET: THURSDAY 8/11 AT 16:30 HRS. MALMÖ KONSTHALL: FRIDAY 9/11 AT 14:30 HRS. DIRECTOR FILMOGRAPHY PINE NUTS (2008, SHORT), ART OF METONOMY, METONOMY OF ART (2007, SHORT), CORPORATE PRIDE (2006, SHORT), THE WILD DOGS OF SARAJEVO (2004, SHORT), SWEET THINGS (2003, SHORT), TRANSPARENT (2002, SHORT), THE MEAL (2000, SHORT), HYSTERIA (2000, SHORT), MANDEN & MUSEN (1999, SHORT), FROM SHADOW TO DUST (1998, SHORT).

NEW VISION AWARD

LOGICAL REVOLTS DIR. LOUIS HENDERSON WORLD PREMIERE

ORIGINAL TITLE:LOGICAL REVOLTS COUNTRY:UK YEAR:2012 RUNNING TIME:44M. PRODUCTION:LE FRESNOY STUDIO NATIONAL DES ARTS CONTEMPORAINS PRODUCER:FRANÇOIS BONENFANT WORLD SALES/CONTACT:LE FRESNOY - STUDIO NATIONAL DES ARTS CONTEMPORAINS, FRANCE

Chris Marker and Edward Saïd are the spiritual influences of ‘Logical Revolts’, which is introduced by and named after a furious poem by Rimbaud. After having found an old, never realised film script about the Suez crisis in 1956, the filmmaker Henderson travels to Cairo with the film script as his guide. All of this, however, is told through a friend, who receives his increasingly disillusioned travel diary by mail in the form of film clips, revolutionary slogans and old postcards (whose coloured motifs, as the intangible Henderson puts it, is the most real picture we can have of a place). He feels like a stranger, and he finds

it difficult to penetrate what he sees. The gestures and angry looks of the locals are addressed to both his little pocket camera and to us as viewers - but what kind of crime is it that we and the pictures are committing? ‘Logical Revolts’ is a political, philosophical and literary embrace of history’s relationship to post-revolutionary reality in today’s Egypt. A disappearing act and a labyrinthine meta-narrative, which with feverish clarity draws the lines between the points to create a single, self-critical image. And on top of it all, it’s quite funny. ´Logical Revolts´ is screening with ´The Sound From the Hallways´

66 NEW VISION AWARD

THE STORY OF ONES DIR. PHAM NGOC LAN OUT OF COMPETITION

ORIGINAL TITLE:CHUYEN MOI NHA COUNTRY:VIETNAM YEAR:2012 RUNNING TIME:9M. PRODUCTION:HANOI DOCLAB PRODUCER:NGUYEN TRINH THI WORLD SALES/CONTACT:PHAM NGOC LAN, VIETNAM

The medium of radio can be authoritarian like no other. Not necessarily in a direct, political sense, but as a transmitter of values and viewpoints articulated by a voice without a face from an immeasurable distance. Filmmaker Pham Ngoc Lan utilizes the banality of Vietnamese state radio broadcasts - such as call-in shows, radio dramas and sentimental pop songs - as a counterpoint to the tumultous, recent past

of the country. In everyday situations and in the presence of mostly elderly listeners, the promise of a certain kind of happiness is surfing the airwaves as we move through a soothing, auditive soundscape from one space to the next. By separating sound and image, the filmmaker constructs not a simple contrast, but an intermediary space where a critical and independent reasoning becomes possible.

CINEMATEKET: SATURDAY 3/11 AT 21:15 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 19:30 HRS.

DIRECTOR FILMOGRAPHY SABRE DANCE UPON MONITOR (2011, SHORT).

NEW VISION AWARD

HALF THE NIGHT

DIR. VANESSA NICA MUELLER INTERNATIONAL PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:HALBE NACHT COUNTRY:GERMANY YEAR:2012 RUNNING TIME:20M. PRODUCER:VANESSA NICA MUELLER WORLD SALES/CONTACT:VANESSA NICA MUELLER, GERMANY

“Half the Night” follows in the footsteps of a sleepwalker into a permanent dream state in the twilights between night and day, and through deserted streets, which are reminiscent of Edward Hopper’s melancholy urban landscapes. We hear, but never see, Joseph M. A voice without a body, whose real fear of losing control during his restless nocturnal wanderings is the film’s core - illustrated like a trance-inducing, documentary film noir, which shares German

expressionism’s romantic fascination with the sleepwalker motif, but does so in reverse. Vanessa Nica Mueller’s camera slowly moves forward through the urban space, like a body, when consciousness is suspended and the body still wanders thanks to a restless, subconscious energy. A dark and mysterious film about a phenomenon, which continues to fascinate our imagination.

CINEMATEKET: SATURDAY 3/11 AT 21:15 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 19:30 HRS.

DIRECTOR FILMOGRAPHY TRACES OF AN ELEPHANT (2011, SHORT), MEMORIES OF A HOUSELESS MAN (2010, INSTALLATION), HOUSE IS HOME (2009, INSTALLATION), DON’T SLEEP (2007, INSTALLATION), LIGHTS (2007, SHORT), RUNNING (2006, INSTALLATION), PHANTOM (2006, INSTALLATION), A STORY (2005, INSTALLATION), OPHELIA (2003, SHORT).

68 NEW VISION AWARD

START FROM ZERO DIR. FLORA WAN MAN LAU WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:START FROM ZERO COUNTRY:HONG KONG/FINLAND/DENMARK YEAR:2012 RUNNING TIME:55M. PRODUCTION:DOX:LAB, SHADOW PUPPET PRODUCTIONS PRODUCER:TINE FISCHER, KEN HUI WORLD SALES/CONTACT: FLORA WAN MAN LAU

‘Start From Zero’ is a commemorative journey through Hong Kong’s modern history - or in fact through several different versions of it. Flora Wan Man Lau’s film, which was developed in collaboration with the Finnish Elina Talvensaari, is seen and told through a (possibly semi-fictionalised) prism of different voices and viewpoints, which gather in a single story about growing up under colonial rule, where the English Queen’s face adorns stamps and coins, and the TV programme ‘English One Minute’ educates viewers in useful concepts such as ‘propaganda’ and ‘mild swearing’. The relationship between sound and image

suggests connections which are never definitely established. People and places pass by the camera’s calm gaze in bright, clear images, while dramatic first-hand accounts of the cultural revolution and bittersweet childhood memories mix with the sound of Chinese fireworks on the soundtrack. The uncertainty of growing up under colonial rule is established as an aesthetic principle throughout ‘Start From Zero’, which subtly casts doubt on the relationship between image and language in the creation of personal and national narratives about who you are and where you come from.

CINEMATEKET: SATURDAY 3/11 AT 21:15 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 19:30 HRS.

DIRECTOR FILMOGRAPHY DRY RAIN (2009), 12:30 (2008).

NEW VISION AWARD

NORDIC:DOX AWARD The best and brightest in non-fiction filmmaking from the nordic countries are nominated for the NORDIC:DOX Award. The selection reflects the diversity and level of ambition on the nordic documentary film scene right now. Not least artistically, in films with a clear vision and a personal touch. And it is exactly by insisting on the creative take on contemporary reality that the nordic documentaries mark their mark on the international film scene. The nominated films are made both by establised filmmakers and by young directors. What they share is the courage to take chances. And it is this courage that we wish to reward. If there is a common lesson to be learned from the films it is that things are not always the way they seem at first glance. A valuable lesson that is served with great ingenuity. NORDIC:DOX Award is a cash prize of 5,000 Euros.

SHE MALE SNAILS DIR. ESTER MARTIN BERGSMARK

ORIGINAL TITLE:POJKTANTEN COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:75M. PRODUCTION:UPFRONT FILMS PRODUCER:ANNA-MARIA KANTARIUS WORLD SALES/CONTACT:SWEDISH FILM INSTITUTE, SWEDEN

Ester Martin Bergsman’s personal, poetic and unmistakably Nordic film is based on the experience of standing outside the two official gender categories. ‘She Male Snails’ started as a documentary portrait of the transgender author Eli Leven, but developed into a wild, visual fantasy, which blends intimate bathing scenes between the author and the director, dream scenes in Swedish nature, detached fragments and freely imagined sequences - all of it executed in crystal-clear images, which are as close to photography as they are to film. Leven and Bergsmark share memories of the violence and brutality they experienced in their

childhood and teenage years as a result of not fitting in, and the film revolves around the desire for sexual identity, the transition from childhood to adulthood, solitude and the retreat that being able to express oneself through art offers. The film’s Swedish title ‘Pojktanten’ is a self-invented concept from Eli Leven’s critically acclaimed novel ‘You Are the Roots That Sleep Beneath my Feet and Hold the Earth in Place’, which portrays a third gender, which is neither male nor female. Ethereal and fragile, but top-modern and with a superb eye for imagery.

PALADS BIOGRAFERNE: SATURDAY 3/11 AT 21:30 HRS. CINEMATEKET: MONDAY 5/11 AT 21:30 HRS. DOX:CLUB I TEATER GROB: THURSDAY 8/11 AT 19:30 HRS. DIRECTOR FILMOGRAPHY MAGGIE IN WONDERLAND (CPH:DOX 2008), SVÄLJ (2007, SHORT).

72 NORDIC:DOX AWARD

WHEN BUBBLES BURST DIR. HANS PETTER MOLAND

ORIGINAL TITLE:NÅR BOBLENE BRISTER COUNTRY:NORWAY YEAR:2012 RUNNING TIME:90M. PRODUCTION:EYEWORKS DINAMO AS PRODUCER:ODD ARVID STRØMSTAD WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY

“Inside Job” explained the financial crisis in a way that one could understand it. “When Bubbles Burst” goes one step further and looks at the burst financial bubble from a true global perspective namely from a bankrupt Norwegian mountain village! Here, one has lived for over 1000 years believing in each other and the common good, until the small community lost everything in a speculative investment. From here, the journey continues - in the company of the two guilt-ridden politicians responsible - to both Wall Street and Las Vegas in search

of the fatal, economic “butterfly effect”. In his first documentary, the award-winning Norwegian director Hans Petter Moland (“A Somewhat Gentle Man”) gives us an alternatingly fascinating and terrifying glimpse at the current state of the global economy, where the possibly most frightening lesson is also the most obvious one: money is about trust. But “When Bubbles Burst” also looks at the future. Can business ethics, green growth and innovation create the bulwark against further financial meltdowns? Or is this yet another illusion? View and be wiser.

CINEMATEKET: MONDAY 5/11 AT 19:00 HRS. CINEMATEKET: FRIDAY 9/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY THE LAST LIEUTENANT (1993), ZERO KELVIN (1995), ABERDEEN (2000), THE BEAUTIFUL COUNTRY (2004), A SOMEWHAT GENTLE MAN (2010).

NORDIC:DOX AWARD

TZVETANKA DIR. YOULIAN TABAKOV INTERNATIONAL PREMIERE

ORIGINAL TITLE:TZVETANKA YEAR:2012 RUNNING TIME:66M. PRODUCTION:GNU FILM, CO-PRODUCTION OF AGITPROP, BULGARIA; SVT PRODUCER:ANNA BYVALD; MÅRTEN NILSSON, CO-PRODUCERS MARTICHKA BOZHILOVA, WORLD SALES/CONTACT:SWEDISH FILM INSTITUTE, SWEDEN

She has lived a long life, almost seen it all and tried a bit of everything. The director’s Bulgarian grandmother Tzvetanka is a lady with grit. And from that an up-close and poetic film has sprung. For two reasons: she happily shares stories of her experiences in Bulgaria during a century of upheaval - and her grandchild is a creative and inventive narrator, who on top of it all is trained as a production designer. And it shows. From the living room of her apartment with a view, elevated far above the metropolis, Tzvetanka keeps an eye on life outside, while she

DAGMAR TEATRET: THURSDAY 1/11 AT 21:30 HRS. DAGMAR TEATRET: WEDNESDAY 7/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY TZVETANKA (2012).

74 NORDIC:DOX AWARD

involves us in her unique, own view of things. The personal and political story run side by side in ‘Tzvetanka’, where memory plays a trick or two on both our protagonist and on us. Does our life take shape as stories of memory? As fictions? Or maybe as a play, with oneself as the main character? Unexplained (and inexplicable) scenes from an indoor flower garden might suggest this. And yet… An affectionate, playful and wonderfully warped film about topics that are too important to take too seriously.

PUSHWAGNER

DIR. EVEN G. BENESTAD & AUGUST BAUGSTØ HANSSEN EUROPEAN PREMIERE

ORIGINAL TITLE:PUSHWAGNER COUNTRY:NORWAY YEAR:2012 RUNNING TIME:73M. WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY

A skinny and toothless man with round owl glasses follows the making of a film from a control tower. The film is about himself, and from then on the lines of the conflict between director and subject have been drawn. For the 71-year-old Pushwagner, total chaos is a life-style which has brought him from a drug-addled life on the streets to the white walls of the galleries. Impulsive and unpredictable in a gonzo-like way, but also in constant conflict with the world around him. So when he is suddenly confronted with over 2000 of his works

being at stake in a bitter lawsuit against a former partner, self-staging and vulnerability suddenly all come together. Pushwagner’s nightmarish and highly detailed drawings of modern society as the ultimate alienating assembly line universe is sharply contrasted by his uncompromising struggle for total creative freedom - also in the film about himself! A conflict between chaos and control, which is precisely why it is an unembellished portrait of an outsider who has chosen to confront the rest of the world through his art.

PALADS BIOGRAFERNE: FRIDAY 2/11 AT 21:30 HRS. DAGMAR TEATRET: WEDNESDAY 7/11 AT 14:20 HRS. GLORIA: SUNDAY 11/11 AT 22:00 HRS. DIRECTOR FILMOGRAPHY EVEN G. BENESTAD: NATURAL BORN STAR (2007), ALL ABOUT MY FATHER (2002). AUGUST BAUGSTØ HANSSEN: PUSHWAGNER (2012).

NORDIC:DOX AWARD

PETEY AND GINGER DIR. ADA BLIGAARD SØBY WORLD PREMIERE

ORIGINAL TITLE:PETEY AND GINGER COUNTRY:DENMARK YEAR:2012 RUNNING TIME:60M. PRODUCTION:BEOFILM PRODUCTION PRODUCER:MORTEN KJEMS JUHL WORLD SALES/CONTACT:BEOFILM / DDR-FILM KOPENHAGEN, DENMARK

A cinematic postcard from the other side of the American dream. Petey Dammit works in a porn shop and plays in the garage rock band The Oh Sees. Ginger Partington is a former stripper and is now struggling to make a living doing tarot readings. They do not know each other, but both live the lives of rootless outsiders in a USA on the brink of collapse, and they are both descendants of the bohemians and beatniks of former times. When Petey says

that he has never owned anything, he speaks for both of them. With her collage format of impressionist snapshots and jazzy sensitivity, Ada Bligaard Søby is back on home territory in the America that she has previously visited in ‘Black Heart’ and ‘American Losers’ (CPH:DOX 2008 and 2006). A place where everything can happen and where freedom is the only thing that cannot be bought for money.

GRAND TEATRET: THURSDAY 1/11 AT 19:00 HRS. GLORIA: TUESDAY 6/11 AT 22:00 HRS. VESTER VOV VOV: SATURDAY 10/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY MASTER CHEN LIVES ON 88 LUCKY STREET (DOX:LAB/CPH:DOX 2010, SHORT), THE NAKED OF ST. PETERSBURG (2010, SHORT, DANISH:DOX AWARD), COMPLAINTS CHOIR (CPH:DOX 2009), BLACK HEART (CPH:DOX 2008, SHORT), MEET ME IN BERLIN (2007, SHORT), AMERICAN LOSERS (CPH:DOX 2007), ROME NY (2003, SHORT).

76 NORDIC:DOX AWARD

SHE’S STAGING IT DIR. FIA-STINA SANDLUND WORLD PREMIERE

ORIGINAL TITLE:SHE’S STAGING IT COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:100M. PRODUCTION:SKOGEN PRODUKTION PRODUCER:MARIUS DYBWAD BRANDRUD WORLD SALES/CONTACT:NEGOKS (SKOGEN) PRODUKTION HB, SWEDEN

Three young actresses meet somewhere in the United States to perform Strindberg’s classic tragedy ‘Miss Julie’. And they have a mission: to prevent the main character from committing suicide. Directed by Fia-Stina Sandlund (whom we only hear but never see), the three very different personalities embark on a collective role play under the guidance of, among others, a Strindberg expert, a psychiatrist and an S&M dominatrix in a dank basement. But is patriarchy in the year 2012 still too massive to save Miss Julie? And can something that starts as a

feminist experiment spin out of the participants’ control? ‘She’s Staging It’ is the second and independent part of a trilogy, which started with ‘She’s Blonde Like Me’ (CPH:DOX 2011) and according to the plan is meant to be concluded with next year’s ‘She’s Wild Again Tonight’. A trilogy that explores women’s roles in a performative dissection of standards and limits, where identity is never a unique concept. If Strindberg was a radical feminist is open to debate. But that he is still relevant and controversial is beyond discussion.

DOX:CLUB I TEATER GROB: WEDNESDAY 7/11 AT 20:15 HRS. CINEMATEKET: SATURDAY 10/11 AT 21:15 HRS.

DIRECTOR FILMOGRAPHY SHE’S BLONDE LIKE ME (2011, CPH:DOX).

NORDIC:DOX AWARD

FUTURE MY LOVE DIR. MAJA BORG INTERNATIONAL PREMIERE

ORIGINAL TITLE:FUTURE MY LOVE COUNTRY:SWEDEN/SCOTLAND YEAR:2012 RUNNING TIME:93M. WORLD SALES/CONTACT:SCOTTISH DOCUMENTARY INSTITUTE, UK

A young Swedish director sets out on a poetic road trip to Florida to visit a 95-yearold inventor and futurist, who lives with his wife in a phenomenal, homemade domed house deep inside a forest. The director’s name is Maja Borg, and the margins of her film is haunted by a failed love affair with a mysterious friend. The inventor’s name is Jacque Fresco, and since the 1940s he has pursued his own ideal of improving the world through industrial design. Past and future utopias meet and collide in “Future

My Love”, where two generations compete with each other. Borg is an uncompromising idealist fighting the cause of impossible love. And the multi-intelligent Fresco is committed to a theory of a money-less and sustainable society, while he fights for the right to stay in the house he has built himself. Both have plenty of ideas to spare and there sights set squarely on the future, in a stylish and ambitious film about and for people who dare to think differently.

FALKONER BIOGRAFEN: FRIDAY 2/11 AT 21:45 HRS. CINEMATEKET: TUESDAY 6/11 AT 19:00 HRS. VESTER VOV VOV: SUNDAY 11/11 AT 17:00 HRS. DIRECTOR FILMOGRAPHY LA PARTE DELL’ ANGELO (2009, SHORT), DENSEN (2009, SHORT), STADEN (THE CITY) (2008, SHORT), HARG! (A SOUNDSCAPE FOR HOME COMERS) (2008, SHORT), OTTICA ZERO (2007, SHORT), HAPPY BIRTHDAY YOU’RE DEAD. (2007, SHORT), CONSTRUCT -TWO MOMENTS IN BEAUTY (2007, SHORT), AL HUDUD (THE BORDER) (2006, SHORT), SE PA LUCIA (LOOK AT LUCIA)(2006, SHORT), TO SHE IN ME (2005, SHORT), GILENGO LON (THE SALT OF YOUR SONG) (2001, SHORT).

78 NORDIC:DOX AWARD

SEARCHING FOR BILL DIR. JONAS POHER RASMUSSEN WORLD PREMIERE

ORIGINAL TITLE:SEARCHING FOR BILL COUNTRY:DENMARK YEAR:2012 RUNNING TIME:75M. PRODUCTION:DHARMAFILM PRODUCER:DAVID B. SØRENSEN WORLD SALES/CONTACT:DHARMA FILM, DENMARK

America is an open book in Jonas Poher Rasmussen’s semi-documentary road movie, where reality and fiction sway in a sensual pas de deux down the mythological highways. Bob Mason is a retired gentleman, who leaves the trailer park where he lives with his wife to go to Detroit, where his stolen car has just been found. In the glove compartment is a notebook, which becomes a highly intricate clue in the hunt for the mysterious fraudster and car thief, Bill - and for the meaning of life at the

bottom of modern American society. “Searching for Bill” is a Danish take on a hybrid film, where the reality behind the images is enhanced by the contrasting minimal narrative, which is here simply summed up by the title. But it also joins a proud narrative tradition, which is fascinating thanks to its impressionistic depiction of America - not least as seen through the open eyes of a visitor. A sensitive, subtle and human film with its very own cinematic signature.

GRAND TEATRET: THURSDAY 1/11 AT 19:00 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 21:45 HRS. GRAND TEATRET: THURSDAY 8/11 AT 14:20 HRS. DIRECTOR FILMOGRAPHY HOUSE OF GLASS (2010, SHORT), THE DAY AFTER (2009, SHORT), BEHIND CLOSED DOORS (2008, SHORT), MARIE & OLIVER (2007, SHORT), SOMETHING ABOUT HALFDAN (2006, SHORT).

NORDIC:DOX AWARD

A NORMAL LIFE DIR. MIKALA KROGH WORLD PREMIERE

ORIGINAL TITLE:A NORMAL LIFE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:73M. PRODUCTION:DANISH DOCUMENTARY PRODUCER:SIGRID DYEKJÆR WORLD SALES/CONTACT:DANISH BROADCASTING CORPORATION DR SALES, DENMARK

Cecilie and Katrine are twin sisters. But you would not be able to see this, if you did not know it. For Cecilie has battled with life-threatening leukemia ever since she was a little girl, and has spent long periods of her childhood in hospital. And even if she has been declared healthy several times, the illness has returned every time. Mikala Krogh’s film ‘A Normal Life’ is about the family’s attempt to create a life between the uncertainty that comes with a life-threatening disease, and the evening meals, hobbies, schooling and bedtimes of a normal day. But the uncertainty is handled with respect, because if only one starts

asking the big questions of life and death, what happens then? How is the courage kept alive for parents and children, if you realise that love, the family’s constant and warm setting - norms for a safe and stable life - is not necessarily enough to survive mentally as well as physically? It is precisely this tension between uncertainty and everyday stability that is illustrated in ‘A Normal Life’, in a poignant way by openly and honestly following Cecilie and her family life through the ups and downs. The film’s soundtrack is composed by the Icelandic filmmaker Dagur Kári.

GRAND TEATRET: SATURDAY 3/11 AT 17:00 HRS. RIGSHOSPITALET: MONDAY 5/11 AT 19:00 HRS. GRAND TEATRET: WEDNESDAY 7/11 AT 12:00 HRS. FALKONER BIOGRAFEN: FRIDAY 9/11 AT 16:30 HRS. DIRECTOR FILMOGRAPHY FISH OUT OF WATER (2000), DETOUR TO FREEDOM (WITH SIDSE STAUSHOLM, 2001), MY FATHER’S CHOICE (2002), MY GRANDAD’S MURDERER (WITH SØREN FAULI, 2004), BETH’S DIARY (WITH KENT KLICH, 2006) (BEST SHORT DOCUMENTARY AT CPH:DOX), CAIRO GARBAGE (2009), ME AND MY TWIN (2011).

80 NORDIC:DOX AWARD

THE HUMAN SCALE DIR. ANDREAS M. DALSGAARD WORLD PREMIERE

ORIGINAL TITLE:THE HUMAN SCALE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:83M. PRODUCTION:FINAL CUT FOR REAL APS PRODUCER:SIGNE BYRGE SØRENSEN, MARIA KRISTENSEN WORLD SALES/CONTACT:FINAL CUT FOR REAL, DENMARK

Gigantic motorway networks, towering buildings and human beings who live in their own separate concrete boxes. How does the layout of the modern metropolis actually fit the needs and behaviour of human beings? Danish architect Jan Gehl and his collegues are on a humanistic mission. They want to reclaim the cities after the invasion of the cars and organise them at a human scale, so that they are based on quality of life, sustainability and suitable primarily for humans. And so that they suit pedestrians and cyclists rather than cars. “Reclaim public space” is the slogan. Gehl’s focus on the relationship between man-

made environment and quality of life is backed by architects and urban planners all over the world. From Copenhagen to Beijing, from Shanghai to New York, from Los Angeles to Melbourne, and from Christchurch to Dhakar - and it is precisely with the vision of the potential of the urban environment that “The Human Scale” shows Gehl’s many years of work with urban planning in a Danish and international context. And with its clean lines and aesthetically refined images, this is a documentary science fiction film from a future that is already here.

GRAND TEATRET: THURSDAY 1/11 AT 17:00 HRS. GRAND TEATRET: SUNDAY 4/11 AT 16:00 HRS. MALMÖ KONSTHALL: WEDNESDAY 7/11 AT 14:30 HRS. GRAND TEATRET: THURSDAY 8/11 AT 10:00 HRS. MALMÖ KONSTHALL: SATURDAY 10/11 AT 12:00 HRS. GRAND TEATRET: SUNDAY 11/11 AT 12:00 HRS. DIRECTOR FILMOGRAPHY TRAVELING WITH MR. T (CPH:DOX 2012), BOGOTÁ CHANGE (CPH:DOX 2009), COPENHAGEN (2009, SHORT), AFGHAN MUSCLES (2007), L’HOMME DE PARIS (2004, SHORT), ROAD HOME (2004, SHORT), GIRL TALK (2002).

NORDIC:DOX AWARD

MY AFGHANISTAN - LIFE IN THE FORBIDDEN ZONE DIR. NAGIEB KHAJA / WORLD PREMIERE

ORIGINAL TITLE:MIT AFGHANISTAN - LIVET I DEN FORBUDTE ZONE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:87M. PRODUCTION:MAGIC HOUR FILMS & GRUNNET FILM PRODUCER:LISE LENSE-MØLLER & HENRIK GRUNNET WORLD SALES/CONTACT:MAGIC HOUR FILMS APS, DENMARK

Danish/Afghan filmmaker Nagieb Khaja travels to Kabul with a sports bag full of video cameras on a mission, which at first sight looks as easy as it soon turns out to be difficult. Nagieb wants to document the ‘real’ Afghanistan. And who can do this any better than the Afghans themselves? With great difficulty, he manages to smuggle the camera’s out of the protected district, where the international journalists live shielded from the civilian population, and to the villages, where the inhabitants begin filming themselves and each other. And it must be said that his mission succeeds. The image we get here of life in the battered country is raw and harsh, but also unexpectedly poetic and cheerful. And why not? But even with the people themselves behind the cameras,

the Afghan reality has its blind spots; the men may not film their mothers or sisters, and not everyone is equally happy about the presence of the cameras. A life in constant fear has taken its toll, and one more than senses why, when the rumour arises that a suicide bomber has entered into the town. Ten years after the invasion of Afghanistan, the Middle Eastern country still remains something of a mystery for most people. The real place behind the word ‘Afghanistan’ has not become more real by being repeated over and over again in the media. Also for this reason, there are several surprises in store here. The screening on November 6 is arranged in collaboration with Magasinet Udvikling.

DOX:CLUB I TEATER GROB: FRIDAY 2/11 AT 10:00 HRS. EMPIRE BIO: SUNDAY 4/11 AT 20:00 HRS. DOX:CLUB I TEATER GROB: TUESDAY 6/11 AT 17:00 HRS. DAGMAR TEATRET: SATURDAY 10/11 AT 12:00 HRS. DIRECTOR FILMOGRAPHY THE ACCIDENTAL TERRORIST (2009, CO-DIR. WITH MIKI MISTRATI, SHORT), CONVICTED FOR TERROR (2009, CO-DIR. WITH MIKI MISTRATI & CHRISTIAN SØNDERBY JEPSEN, SHORT), MAYBE INNOCENT (2009, SHORT).

82 NORDIC:DOX AWARD

DANCE OF OUTLAWS DIR. MOHAMED EL ABOUDI

ORIGINAL TITLE:DANCE OF OUTLAWS (HÄÄTANSSI) COUNTRY:FINLAND YEAR:2012 RUNNING TIME:83M. PRODUCTION:ILLUME LTD / ROAD MOVIES LTD PRODUCER:VENLA HELLSTEDT WORLD SALES/CONTACT:ILLUME LTD, FINLAND

Hind does officially not exist. And she has not done so since, as a consequence of being raped, she lost her official identity as a member of Moroccan society. Now she is left with two options: to work as a prostitute or as a traditional wedding dancer - and she has to do both to survive. But even if she has all odds against her, she refuses to give up the fight for a reasonably human life, as a woman and as a mother for her child. And Hind is far from being the only female ‘outlaw’ in Morocco. Daughters of prostitutes, abandoned child brides and others

that have turned their backs on the patriarchal society are now living under the constant threat of being subjected to violence or even being killed. ‘Dance of Outlaws’ is a harsh and dramatic film about the injustices that are so obvious that you hardly believe your own eyes - until you are thrown into the heat of battle, where even friends and family send suspicious and angry looks at the camera, which is there all the way. A brave film about a brave but unbearably vulnerable woman.

EMPIRE BIO: SUNDAY 4/11 AT 15:00 HRS. CINEMATEKET: TUESDAY 6/11 AT 12:30 HRS.

DIRECTOR FILMOGRAPHY FIGHT OF FATE (2010), CITY FOLK HELSINKI (2007), INSIDE/OFFSIDE (2006), TWO MOTHERS (2005), RAMADAN (2004), MY FATHER THE FREEMASON (2003).

NORDIC:DOX AWARD

TRAVELING WITH MR. T DIR. ANDREAS M. DALSGAARD & SIMON LERENG WILMONT WORLD PREMIERE

ORIGINAL TITLE:TRAVELING WITH MR. T COUNTRY:DENMARK YEAR:2012 RUNNING TIME:93M. PRODUCTION:FINAL CUT FOR REAL PRODUCER:SIGNE BYRGE SØRENSEN, ANNE KÖHNCKE WORLD SALES/CONTACT:FINAL CUT FOR REAL, DENMARK

Life. Love. Words. Nothing in Troels’s life is small or simple. He drinks, feels and dreams in capital letters. Troels is approaching thirty and lives the dream of writing his life’s great novel, the autobiography ‘Travelling with Mr. T’. A stubborn dream, which in its tenth year seems increasingly unachievable. The book’s protagonist, Troels’s alter ego Mr. T, is a rock-and-roll poet, who lives for partying without fear and absorbing the world’s impressions - without anything ever really being written. Balancing on the edge between total decay and a stubborn hope of being an author, he signs a contract with two of his friends. Troels has to complete

his dream novel within one year. With Mr. T as a guide, we are dragged on a wild journey through roaring pubs, writing pains and raw video confessions. And the hunt for the perfect bar. But between the grey-grey everyday life, his mother’s cancer and chaotic trips around the world with full moon parties, drugs and alcohol, his ambitions to become an author look more and more like destructive downfall than liberation. Can the encounter with love or the friends’ deadlines bring Troels back on track in his aim to write his life’s novel? And can the novel bring Troels onto the track of life?

DAGMAR TEATRET: SUNDAY 4/11 AT 21:30 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 19:15 HRS. CINEMATEKET: THURSDAY 8/11 AT 12:00 HRS. PALADS BIOGRAFERNE: SUNDAY 11/11 AT 21:30 HRS. DIRECTOR FILMOGRAPHY ANDREAS DALSGAARD: THE HUMAN SCALE (CPH:DOX 2012), BOGOTÁ CHANGE (CPH:DOX 2009), COPENHAGEN (2009, SHORT), AFGHAN MUSCLES (2007), L’HOMME DE PARIS (2004, SHORT), ROAD HOME (2004, SHORT), GIRL TALK (2002). SIMON LERENG WILMONT: FØR FERIEN (2009, SHORT), OVER JORDEN, UNDER HIMLEN (2008, SHORT), THE GAME (2007, SHORT), LUKKEDE RUM (2005, SHORT), RAMONAS REJSE (2004, SHORT).

84 NORDIC:DOX AWARD

SWIM SCANDINAVIAN WORLD OF INNOVATIVE MEDIA

Project Development New Constellations Innovation Think Tank Networks New Bizz

SWIM is Øresund’s new platform for innovative media. Come join our launch! Presentation, seminar and drinks. More information: cphdox.dk/swim

CINEMATEKET Thursday Nov 8th 16.00 THE EUROPEAN UNION The European Regional Development Fund

SOUND & VISON AWARD Music has always been a big part of CPH:DOX â&#x20AC;&#x201C; and so have music films. Our music film section Sound & Vision is one of the first of its kind in the festival world, and is first and foremost a celebration of the potential of just this: Sound and vision. Perhaps more than any other documentary genre, the music film has its own many pitfalls to avoid. But when the nail is hit on the head, the power of the music film is second to none. The idea behind the Sound & Vision Award is to show the creative diversity of the genre when it elevates itself above the talking headbased portrait. And it very much does so this year where not only the diversity of music genres is broader than ever â&#x20AC;&#x201C; so is the cinematic genres in which they are conveyed. The music film has many faces, but the ones selected here are the best and brightest of this year. Sound & Vision Award is a cash prize of 3,000 Euros.

BEWARE OF MR. BAKER DIR. JAY BULGER

ORIGINAL TITLE:BEWARE OF MR. BAKER COUNTRY:US YEAR:2012 RUNNING TIME:91M. PRODUCTION:PUGILIST AT REST PRODUCTIONS, INSURGENT MEDIA PRODUCER:ANDREW S. KARSCH, FISHER STEVENS, ERIK H. GORDON, EXECUTIVE PRODUCERS TONY PALMER, JULIE GOLDMAN WORLD SALES/CONTACT:INSURGENT MEDIA, USA

If the name Ginger Baker doesn’t ring a bell, well... he’ll beat the hell out of you! The Jazz drummer who invented the archetype of a rock drummer lives up to the motto that redheaded people have a strong temper. This is also something the documentary director Jay Bulgur gets to feel firsthand, when he decides to visit him in South Africa to hear the story of his life as a drummer for names such as Cream and Fela Kuti, but ends up with a broken nose. But fortunately he succeeds in the end. And what a story! Ginger Baker and the film about him has it all. Fascinating archive footage reveals scenes of the virtuoso

CINEMATEKET: FRIDAY 2/11 AT 21:45 HRS. GRAND TEATRET: TUESDAY 6/11 AT 21:30 HRS. DAGMAR TEATRET: SUNDAY 11/11 AT 16:40 HRS. DIRECTOR FILMOGRAPHY BEWARE OF MR. BAKER (2012)

88 SOUND & VISION AWARD

devil in top form and the drug addict in free fall, crosscut with interviews with the old man in South Africa, who is simultaneously stubborn and open as he talks about a life in the fast lane. A lane that among other things took him to Nigeria in the 1970s, a hotbed of music, revolution, violence and lawlessness, or to use Ginger Baker’s own words: ‘a wonderful place to be’. Baker has burnt bridges all over the world, but one still ends up liking this stubborn loner, who in his old age finally accepts the role of father figure and has a liking for ponies (!), but who also still knows how to pack a mean punch - and how to drum.

SHUT UP AND PLAY THE HITS DIR. DYLAN SOUTHERN & WILL LOVELACE

ORIGINAL TITLE:SHUT UP AND PLAY THE HITS COUNTRY:UK YEAR:2012 RUNNING TIME:110M. PRODUCTION:PULSE FILMS PRODUCTION, KILLER FILMS PRODUCER:LUCAS OCHOA, THOMAS BENSKI, JAMES MURPHY WORLD SALES/ CONTACT:OSCILLOSCOPE, USA

In April last year, James Murphy pulled the plug on LCD Soundsystem, and said goodbye in front of 18,000 people at a sold-out Madison Square Garden in the heart of New York. Better than ever and at the height of their career. So why stop? ‘Shut up and Play the Hits’ follows the frontman Murphy up to, during and after the farewell concert in search of an answer and an explanation to what is really going on inside his highly musical head. Between interviews and concert footage, Murphy

talks about how tour life gives him grey hair and makes him old before his time. But the courage to stop while the going is good is met with doubts when the band’s equipment is sold off and the rehearsal room is left behind empty. But as he says himself: “The idea of LCD Soundsystem was to play at parties, not concerts,” - and ended in a party all right! A highly gripping finale for a band that captured the musical spirit of its times full-on. RIP, LCD!

KONCERTHUSET I DR BYEN: SATURDAY 6/10 AT 21:00 HRS. EMPIRE BIO: FRIDAY 9/11 AT 22:30 HRS.

DIRECTOR FILMOGRAPHY NO DISTANCE LEFT TO RUN (2010).

SOUND & VISION AWARD

GAINSBOURG BY GAINSBOURG: AN INTIMATE SELF-PORTRAIT DIR. PIERRE-HENRY SALFATI

ORIGINAL TITLE:JE SUIS VENU VOUS DIRE... COUNTRY:FRANCE YEAR:2012 RUNNING TIME:99M. PRODUCTION:ZETA PRODUCTIONS, SOFICA COFICUP PRODUCER:MIRIANA BOJIC WALTER WORLD SALES/CONTACT:THE FESTIVAL AGENCY, FRANCE

‘I need to be loved, but I also need to be hated.’ Like another Dr. Jekyll/Mr. Hyde, Serge Gainsbourg stated this himself and lived full-out according to this mantra. Several marriages and affairs - and an alcohol and cigarette consumption that would make Charles Bukowski proud - tell the story of a man who rarely sought reconciliation, but often conflict. In spite of this, or maybe because of it, the story about Serge Gainsbourg is a moving story about a great songwriter and poet, where discouragement and self-destruction always lurked

beneath the surface. In spite of his great success as a singer and songwriter, one senses a deep-rooted unease with Gainsbourg, which already in his childhood caused a rift between him and his surroundings. A rift that only got wider over the years until his death at the age of 62. The film is a tale of Gainsbourg’s life, sensationally told by the protagonist himself through old interviews, sound recordings and film footage. The result is so immaculate that you feel like you are in the company of the great crooner’s ghost.

PALADS BIOGRAFERNE: THURSDAY 1/11 AT 19:00 HRS. DOX:CLUB I TEATER GROB: SUNDAY 4/11 AT 15:20 HRS. DAGMAR TEATRET: SATURDAY 10/11 AT 21:30 HRS. DIRECTOR FILMOGRAPHY THE JAZZMAN FROM THE GULAG (1999)

90 SOUND & VISION AWARD

ART WILL SAVE THE WORLD DIR. NIALL MCCANN INTERNATIONAL PREMIERE

ORIGINAL TITLE:ART WILL SAVE THE WORLD COUNTRY:IRELAND/UK YEAR:2012 RUNNING TIME:70M. PRODUCTION:HAPPY ENDING PRODUCTIONS PRODUCER:GILLIAN SMYTH WORLD SALES/CONTACT:HAPPY ENDINGS PRODUCTIONS, UK

Gloomy song titles about unsolved child murders and German terrorist groups are not what one normally associates with Brit-pop and England of the happy 90s. But The Auteurs frontman Luke Haines is not exactly your average Brit-popper either, and since the release of their first album in 1993, he has consistently distanced himself from the genre - in fact he sarcastically denies that Brit-pop ever happened. The accessible universe of Brit-pop was music for the man on the street. Luke Haines’s approach: Fuck the man on the street. ‘Art Will Save the World’ is a witty look at the person Luke Haines - a warped character who took

drugs for fun, jumped off a bridge to escape tour life and thought that it could be cool to make a funk concept album about Baader Meinhof with a level of enthusiasm not shared by many others. With Luke Haines himself in the role of the unreliable narrator, we are taken on a tour round his musical life story, full of strange projects, peppered with interviews with celebrity colleagues such as Jarvis Cocker. Dry as a bone and incredibly funny - and with a heck of a good tune. After the screening on November 8, Luke Haines will be present to perform an acoustic set. (See: Concerts.)

VESTER VOV VOV: SATURDAY 3/11 AT 19:00 HRS. DOX:CLUB I TEATER GROB: THURSDAY 8/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY AN EXILES HOME IN THE BRONX, (2012)

SOUND & VISION AWARD

CHARLES BRADLEY: SOUL OF AMERICA DIR. POULL BRIEN

ORIGINAL TITLE:CHARLES BRADLEY: SOUL OF AMERICA COUNTRY:US YEAR:2012 RUNNING TIME:74M. PRODUCTION:SUM OF US PRODUCER:ALEXANDER BROUGH WORLD SALES/CONTACT:PREFERRED CONTENT, USA

Only few musicians who live their lives in the gutters until they break through as a 62-year-old. Nonetheless, this is the essence of the story about Charles Bradley. And what a story it is. The black soul singer has experienced more personal tragedies than you would find in even the worst soap opera, but with his indomitable faith in God and music he has managed to maintain an enormous love for everything and everyone around him. He even looks after his mother, whom he barely got to know before she sent him from Florida to New York, and he lives in the slum to keep her afloat finan-

cially. ‘Charles Bradley: Soul of America’ follows the singer during the last months up to his album debut in 2011, while we look back at his turbulent life - from the time when he ran away from home as a 14-year-old until he, several years and several tragedies later, was discovered while performing a James Brown imitation. The film is at once tragic and happy, and you have to have a heart of stone not to feel a heart-felt sympathy with the ageing - but bubbling - soul singer and his pursuit of the American dream.

DOX:CLUB I TEATER GROB: SATURDAY 3/11 AT 21:30 HRS. PALADS BIOGRAFERNE: SATURDAY 10/11 AT 19:00 HRS.

DIRECTOR FILMOGRAPHY CHARLES BRADLEY: SOUL OF AMERICA (2012).

92 SOUND & VISION AWARD

THE SECRET DISCO REVOLUTION DIR. JAMIE KASTNER

ORIGINAL TITLE:THE SECRET DISCO REVOLUTION COUNTRY:CANADA YEAR:2012 RUNNING TIME:90M. PRODUCTION:CAVE 7 PRODUCTIONS PRODUCER:JAMIE KASTNER, DIANA WARME WORLD SALES/CONTACT:ENTERTAINMENT ONE TELEVISION INTERNATIONAL, CANADA

Was the disco culture of the 1970s a wild, hedonistic exploration of everything that could be screwed, sniffed and danced to? Or was it a subversive soundtrack for the liberation of women, gays and black people? ‘The Secret Disco Revolution’ examines the many competing views on disco music’s cultural significance - and does so in a highly funny and bitingly ironic way. Interviews with politically correct music experts who hail the historical importance of disco music are contrasted by legends such as Gloria Gaynor, The Village People and Kool and the Gang, who have a

somewhat more down-to-earth understanding of the whole culture. The film thus both lovingly takes the piss out of the often hated genre, while obviously also revealing a deep love for its subject matter. And as a spectator one gets both wiser and more confused, while this dizzy feeling is enhanced by great music from the glitter era, so one ends with a tremendous urge to swing ones legs, afro and moustache to the music’s funky hi-hat beats, four-on-thefloor disco beats and relaxed bass strings. Get your boogie on!

DAGMAR TEATRET: FRIDAY 2/11 AT 21:30 HRS. BREMEN: SATURDAY 10/11 AT 21:30 HRS.

DIRECTOR FILMOGRAPHY KIKE LIKE ME (2007), DJANGOMANIA! (2005)

SOUND & VISION AWARD

KIDD LIFE

DIR. ANDREAS JOHNSEN WORLD PREMIERE

ORIGINAL TITLE:KIDD LIFE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:96M. PRODUCTION:ROSFORTH, KILLIT FILMS PRODUCER:KIRSTINE BARFOD WORLD SALES/CONTACT:ROSFORTH, DENMARK

It did not take Kidd many months to go from total anonymity to being a national celebrity rapper with silly lyrics and a warped attitude, which many either loved or loved to hate. In early 2012, he suddenly appeared on Clement Kjersgaard’s talk show on Danish TV, and revealed that it was all a setup, a sarcastic attack on the established music industry, which had gotten out of hand. Director Andreas Johnsen has followed the project from day 1, when Nicholas Westwood Kidd was still called by his first name, and his debut track still only had nine hits on YouTube. With his handheld camera, he captures the many highs

and lows, the drunk nights on the town, and Kidd and his friends who shocked but excited look on as the rest of the world takes them shockingly serious. But at the same time one sees the transformation in Nicholas’s eyes, as everything starts taking off, and the Kidd identity keeps him trapped between the silly and the serious, while the hangovers of one and a half years of drinking and partying wash over him. Eighteen months of burnt bridges, joints in droves, months spent as a homeless and groupies in his bed. Yes, Kidd got his women, but he also got his cash - and it is all brought together on film.

GRAND TEATRET: SATURDAY 3/11 AT 21:30 HRS. EMPIRE BIO: WEDNESDAY 7/11 AT 22:30 HRS. EMPIRE BIO: SATURDAY 10/11 AT 22:30 HRS. DIRECTOR FILMOGRAPHY A KIND OF PARADISE (CPH:DOX 2011), MURDER (CPH:DOX 2009), MAN OOMAN (CPH:DOX 2008), NATASJA (CPH:DOX 2008), GOOD COPY BAD COPY (2007, CO-DIR.), CURTAIN RISING (2006), INSIDE OUTSIDE (CPH:DOX 2005), MR. CATRA THE FAITHFUL (2004), STOCKTOWN EPISODES 1 - 9 (2003).

94 SOUND & VISION AWARD

NYX. ARE WE THE CHILDREN OF THE NIGHT ? DIR. THOMAS RABILLON WORLD PREMIERE

ORIGINAL TITLE:NYX. SOMMES-NOUS LES ENFANTS DE LA NUIT ? COUNTRY:FRANCE YEAR:2012 RUNNING TIME:72M. PRODUCTION:KIDAM & THOMR PRODUCER:ALEXANDRE PERRIER & THOMAS RABILLON WORLD SALES/CONTACT:KIDAM, FRANCE

If Nico and Nosferatu embarked on a correspondence that would result in a post-punk, expressionist film, this would be it. Delicate, decadent and gloomy - and this year’s best bid of a modern cult film in the spaced out ‘midnight movie’ tradition. In a possibly haunted house in a forest, the female French duo Mansfield.TYA performs something that resembles an occult ritual with a piano, cello and vocals as the only remedies. The film enshrouds them with dark and dazzlingly beautiful images, shot over two years by the merely 25-year-old filmmaking debutant Thomas Rabillon. A post-punk party with masks and feathers,

and with a goth sensitivity, which will seduce you even if you aren’t into going round wearing eyeliner. If it was a poem, ‘NYX. Are We the Children of the Night?’ would be kept in verse and written with a quill in a sumptuous handwriting and with pitch-black ink. Instead, it has become a film, but the tone and the pace are still closer to Edgar Allan Poe than any other film made in 2012. Rabillon and his two musical muses have made a joint work with a rare courage to reach out for the impossible. A film for those long autumn nights.

HUSETS BIOGRAF: SATURDAY 3/11 AT 21:30 HRS. GLORIA: THURSDAY 8/11 AT 22:00 HRS.

DIRECTOR FILMOGRAPHY NYX: ARE WE THE CHILDREN OF THE NIGHT? (2012)

SOUND & VISION AWARD

THE GHOST OF PIRAMIDA DIR. ANDREAS KOEFOED WORLD PREMIERE

ORIGINAL TITLE:THE GHOST OF PIRAMIDA COUNTRY:DENMARK YEAR:2012 RUNNING TIME:65M. PRODUCTION:RUMRAKET, KOEFOED FILM PRODUCER:EFTERKLANG, ANDREAS KOEFOED WORLD SALES/CONTACT:RUMRAKET, DENMARK

One is in equal measures amazed and fascinated upon visiting Piramida, the Russian mining town on the Norwegian island of Svalbard, which remains deserted as if it was a fictional setting of the time after World War III. The human beings are gone, but the minimalist concrete apartment blocks remain and bear witness to the life that was. Here, the Danish band Efterklang goes ashore to collect the site’s melancholia and soul in the form of small soundbites, which form the framework for their latest album, ‘Piramida’. Accompanied by their taciturn and not visibly impressed Russian guide, the group goes on a treasure hunt in

the empty building, while the narrator, the Piramida-citizen Alexander, takes us back to a bygone era, when Piramida flourished and the immigrant Russian miners and their families lived in a Soviet parallel society far from the horrors of their homeland. In old-style Russian, the social pleasures of the community in this communist mini utopia are praised while Efterklang’s collected sounds take shape and beautifully accompany the enchanting tale about the place’s rise and fall. The story of this lost place is adventurous and melancholy, and leaves a deep impression long after the credits have stopped rolling. Enchanting.

GRAND TEATRET: THURSDAY 1/11 AT 21:30 HRS. Q&A WITH DIRECTOR + RASMUS STOLBERG (EFTERKLANG) GLORIA: MONDAY 5/11 AT 22:00 HRS. DAGMAR TEATRET: FRIDAY 9/11 AT 16:40 HRS. DIRECTOR FILMOGRAPHY ALBERT’S WINTER (CPH:DOX 2009 - DANISH:DOX AWARD WINNER), A DAY IN THE SMOKE (2008), 12 TONER NED (2008), BEG, BORROW OR STEAL (2006), STOREBROR ALBERT (2005).

96 SOUND & VISION AWARD

MISSION TO LARS DIR. WILLIAM SPICER & JAMES MOORE INTERNATIONAL PREMIERE

ORIGINAL TITLE:MISSION TO LARS COUNTRY:UK YEAR:2012 RUNNING TIME:78M. PRODUCTION:MISSION FILMS LTD PRODUCER:WILLIAM SPICER, JAMES MOORE WORLD SALES/CONTACT:MISSION FILMS LIMITED, UK

Tom’s greatest wish is to meet Lars Ulrich. Therefore, his siblings Will and Kate plan a road trip in the heels of Metallica’s American tour. The optimism and tenacity that characterises Will and Kate’s planning is soon greeted by harsh realities, as Tom suffers from Fragile X syndrome: a kind of autism, which makes him uncomfortable in stressed crowds, high noise levels and deviations from what was planned. In other words, he is a somewhat difficult travel partner on the Mission to Lars! Nonetheless, Tom is a diehard Metallica fan with an enormous love for the band’s Danish drum virtuoso, which he reminds everyone about

several times a day: ‘Wanna meet Lars!’. ‘Mission to Lars is filmed by his brother Will, and tells the story of two siblings who over time have grown apart from their autistic brother, but who try to rediscover the familial ties by fulfilling his greatest dream. But just getting Tom on board the flight from England turns out to be a challenge, and the two siblings’ powerlessness vis-à-vis their brother’s illness repeatedly derails their plan. Apart from having this year’s funniest pun of a title, the film is also a moving and witty story about overcoming disability with the help of music - and maybe Lars Ulrich.

GRAND TEATRET: FRIDAY 2/11 AT 21:30 HRS. EMPIRE BIO: TUESDAY 6/11 AT 20:00 HRS. EMPIRE BIO: SATURDAY 10/11 AT 20:00 HRS.

SOUND & VISION AWARD

WHATEVEREST

DIR. KRISTOFFER BORGLI WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:WHATEVEREST COUNTRY:NORWAY YEAR:2012 RUNNING TIME:15M. PRODUCTION:BACON OSL, STORYLINE STUDIOS, KAMERAMANN PRODUCER:KRISTOFFER BORGLI WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY

The internet phenomenon Inspector Norse has two great passions in life: dancing wildly and violently to electronic music, and consuming copious amounts of homemade drugs (which are apparently so uncommon that they aren’t even illegal!). Behind the pseudonym Inspector Norse hides the village idiot Marius Solem Johansen, a failed musician and slightly retarded man, who equipped with a set of headphones makes use of every possible opportunity to dance around uncontrollably. Be it in the bowling alley, at the supermarket, on the beach or around the residential

GRAND TEATRET: THURSDAY 1/11 AT 19:00 HRS. GLORIA: TUESDAY 6/11 AT 22:00 HRS. VESTER VOV VOV: SATURDAY 10/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY WHATEVEREST(2012)

98 SOUND & VISION AWARD

areas in the middle of the night, dressed in a light chain and high on his homemade substances, Inspector Norse Special. ‘Whateverest’ is - thankfully/unfortunately a mockumentary, created from the Norwegian DJ and producer Todd Terje’s electronic universe, and acts as an extended music video to his track ‘Inspector Norse’. But it is side-splittingly funny and took no less than the warped brain of the young video whizz-kid Kristoffer Borglis to be invented! One wonders what they add to the water in Norway.

THE ROCKA

DIR. ROBERT NÆSS INTERNATIONAL PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:THE ROCKA COUNTRY:NORWAY YEAR:2012 RUNNING TIME:97M. PRODUCTION:GRACELAND FILM COMPANY PRODUCER:HANS BASTIAN BORG WORLD SALES/CONTACT:GRACELAND FILM COMPANY AS, NORWAY

Who says that it’s too late to be a rock star, just because you’re in your 40s, heavily overweight, and apart from that don’t have much musical talent. This is exactly what Hans Bastian ‘Basse’ Borg seems to be thinking, when he quits his job and with his rock alias Big B. Thunder creates the band Bang Bang with a former drummer and a random neighbour on the bass. ‘The Rocka’ is a mockumentary of the best kind, and sends a loving nod to ‘the mother of all mock-docks’, ‘This is Spinal Tap’ from 1984. The tragicomic story about the unintelligent, beer-drinking, buttcrack-revealing and

always inappropriate ‘Basse’ - who constantly has trouble with his finances, women, children and the band’s somewhat dubious tour manager - is both funny and sad, and incredibly Norwegian. In spite of Basse being an utterly hopeless creature and having a quixotic view of his own and the band’s musical abilities, it is difficult not to raise a compassionate rock’n’roll hand sign into the skies, when our poor Norwegian neighbour fires up his Gibson and goes full-out in half-empty assembly halls in provincial Norway.

VESTER VOV VOV: FRIDAY 2/11 AT 19:00 HRS. DOX:CLUB I TEATER GROB: SATURDAY 10/11 AT 18:00 HRS.

DIRECTOR FILMOGRAPHY THE LAST COMMUNISTS (2004, SHORT), HI-FI DELIRIUM (2003), OFFSIDE (2003, SHORT), A SEPARATE WORLD (2002, SHORT), HAZY DAYS (1997, SHORT).

SOUND & VISION AWARD

TROPICALIA DIR. MARCELO MACHADO OUT OF COMPETITION

ORIGINAL TITLE:TROPICALIA COUNTRY:BRAZIL YEAR:2012 RUNNING TIME:87M. PRODUCTION:BOSSA NOVA FILMS, MOJO PICTURES, AMERICAS FILM CONSERVANCY PRODUCER:PAULA COSENZA, ANDREW EATON, DENISE GOMES WORLD SALES/CONTACT:BOSSA NOVA FILMS, BRAZIL

Many might think of Bob Dylan or Joan Baez, when the conversation turns to the 1960s and youth rebellion. But if you leap down to the other side of the equator to Brazil, many will instead think back to Tropicalia as the predominant sound of the 1960s and of the rebellion against the oppressive military dictatorship. The film is a story about the movement, which had its core in music, but which exactly like the hippie movement also influenced other art forms and changed young people’s perception of themselves and the world around them. Just like the hippies, the Tropicalia movement was also met with the ‘iron fist’ of the establishment, and several leading

musicians were thrown in jail or had to spend several years living in exile. In an elegant and impressionistic way, the film heaves you back in time without distracting voices from the present, to t he exotic tunes of the genre’s pioneers, including the eclectic Gilberto Gil, the psych-forefathers Os Mutantes and not least Caetano Veloso, whose musical importance has been likened by many music experts with people such as Bob Dylan and Lennon/ McCartney. ‘Tropicalia’ takes you to the South, the summer, the tropical rhythms and ear-channel-massaging melodies. And you’ll most probably want to stay.

DAGMAR TEATRET: SUNDAY 4/11 AT 16:40 HRS. CINEMATEKET: SATURDAY 10/11 AT 21:45 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: VERSE (2011, CO-DIR.), THE TRAIN WHISTLE (2009), JOURNEY TO THE ANHUI - CHINA (2008), OSCAR NIEMAYER - THE ARCHITECT OF INVENTION (2007).

100 SOUND & VISION AWARD

UNDER AFRICAN SKIES DIR. JOE BERLINGER OUT OF COMPETITION

ORIGINAL TITLE:UNDER AFRICAN SKIES COUNTRY:USA YEAR:2011 RUNNING TIME:102M. PRODUCTION:A&E INDIEFILMS, RADICAL MEDIA PRODUCER:JOE BERLINGER WORLD SALES/CONTACT:RADICAL MMEDIA, USA

We are in the midst of the 1980s and the Apartheid regime in South Africa is causing outrage all over the world. In comes Paul Simon, the legendary folk singer, who thanks to a bootleg tape has fallen in love with the sounds of black South Africa and now wants to record with the local musicians. The result was a political minefield, protests, strong friendships and one of the most memorable albums in the history of modern music. ‘Under African Skies’ is a story about a white musician, who ties close bonds with a bunch of black musicians, but who also has to put up with accusations of exploitation and of breaching the United

Nations’ cultural boycott - and thereby thwarting black South Africa’s struggle for justice. But the film also shows another reality: a sincere desire to equally unite two musical cultures. ‘Graceland’ is one of the most acclaimed albums of recent times, and it was also the beginning of the broad exposure of the world genre, and the film gives us a chance to discover/rediscover why. Here, 25 years later, Paul Simon returns to South Africa to perform the album with the original musicians and to look back with an appropriate distance at what actually happened back then.

GRAND TEATRET: FRIDAY 2/11 AT 19:00 HRS. DAGMAR TEATRET: MONDAY 5/11 AT 21:30 HRS. EMPIRE BIO: SUNDAY 11/11 AT 20:00 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: CRUDE (2009), METALLICA: SOME KIND OF MONSTER (2004), PARADISE LOST: THE CHILD MURDERS AT ROBIN HOOD HILLS (1996), BROTHER’S KEEPER (1992),

SOUND & VISION AWARD

101

SOMETHING FROM NOTHING: THE ART OF RAP DIR. ICE-T OUT OF COMPETITION

ORIGINAL TITLE:SOMETHING FROM NOTHING: THE ART OF RAP COUNTRY:UK/US YEAR:2011 RUNNING TIME:106M. PRODUCER:PAUL TOOGOOD WORLD SALES/CONTACT:UTA (UNITED TALENT AGENCY), USA

If profanity arouses your indignation, it will take about five minutes before you discover that this film is not for you. If, on the other hand, you are into hip-hop and rap, but tired of pimped Hummers, big gold chains and girls in bikinis overshadowing the music, this is very much up your street. For Ice-T’s debut as a director is just about one thing: the art of rapping.About the good rhyme, the great masters and the poetry of rap music. “Something From Nothing” is an impressive pilgrimage with the middle-aged rap-legend in the quest for the essence of rap. From East Coast to West Coast. From Grandmaster Flash’s Melle Mel to Eminem

and Run DMC to Kanye West. Star by star (by star) talk passionately about their relationship to rap, and about why it is a modern art form. But that the film really cuts to the bone when it comes to rap, is evident throughout the entire film, as each rapper “spits” out each rap - without background beats, without effects - just rap. For hardcore hip-hoppers with a NY cap and baggy jeans, this will be the most dope mothafucka of a documentary, while newcomers to rap will be given a pure and undistorted insight into the essence of the genre.

PALADS BIOGRAFERNE: MONDAY 22/10 AT 21:30 HRS. EMPIRE BIO: SATURDAY 3/11 AT 17:30 HRS. EMPIRE BIO: TUESDAY 6/11 AT 22:30 HRS. PUMPEHUSET: FRIDAY 9/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY SOMETHING FROM NOTHING: THE ART OF RAP (2012)

102 SOUND & VISION AWARD

APOCALYPSE: A BILL CALLAHAN TOUR FILM DIR. HANLY BANKS OUT OF COMPETITION

ORIGINAL TITLE:APOCALYPSE: A BILL CALLAHAN TOUR FILM COUNTRY:US YEAR:2012 RUNNING TIME:61M. PRODUCER:ANDREW GOLDMAN WORLD SALES/CONTACT:, USA

When he does not turn the world inside out with his deep baritone voice, Bill Callahan is the type of man who rarely opens his mouth. But when he does, one listens. For the first time, the usually secretive folk troubadour has allowed a camera to follow him up close. Both on stage, where he hums one well-sounding, underplayed folk hymn after another, but also on the road. For this is where Bill is in his comfort zone. Observant and in perpetual motion. ‘Movement is life’, as the 46-year-old slowly and dreamily growls. T o call the film a deep-reaching portrait would be an exaggeration. For Bill

Calahan is still an enigmatic person, who cryptically reflects on life as a whole, but who in the film is mostly a remote narrating voice. But in small fleeting glimpses, one still manages to share in his mind. And we are also there in the very fragile moments when the Smog kingpin with stoic calm and strong hands rescues a sheep that has strayed into a batch of barbed wire. ‘Apocalypse’ is a meditative and musical road trip through American diversity from poor to rich and ocean to desert which constantly forms and fascinates the influential songwriter.

GLORIA: FRIDAY 2/11 AT 22:00 HRS. DOX:CLUB I TEATER GROB: FRIDAY 9/11 AT 20:00 HRS.

DIRECTOR FILMOGRAPHY APOCALYPSE: A BILL CALLAHAN TOUR DOCUMENTARY (2012)

SOUND & VISION AWARD

103

MY FATHER AND THE MAN IN BLACK DIR. JONATHAN HOLIFF OUT OF COMPETITION

ORIGINAL TITLE:MY FATHER AND THE MAN IN BLACK COUNTRY:CANADA YEAR:2012 RUNNING TIME:90M. PRODUCTION:NEW CHAPTER PRODUCTIONS INC. PRODUCER:JONATHAN HOLIFF WORLD SALES/CONTACT:NEW CHAPTER PRODUCTIONS INC., CANADA

Since Johnny Cash’s death in 2003, interest in him has grown massively. The hit film ‘Walk the Line’ created a large new generation of Cash fans, and you might therefore be forgiven for fearing that this film was yet another retelling of the lives of Cash, Carter & Co. It isn’t. In fact, it is a film about the legend’s manager, Saul Holiff, and not the black-clad gentleman himself - and yet. For the story about the Holiff-family is like a painting, where Cash is the canvas on which all the drama unfolds. With a host of cleverly composed reenactments, which send affectionate nods to Errol Morris’s

‘The Thin Blue Line’, we follow the manager’s son Jonathan as he digs deeply into his father’s hidden treasure trove of an archive, and learns more about a father who was never there for him. A father, who was behind one of music history’s greatest personalities, but who also paid a high price for it. For Johnny Cash’s turbulent life and behaviour cast long shadows on everyone around him - and it is exactly on this point that the film stands out from the rest, with a refreshing new approach, which tells the story of the man behind the scenes. The man behind the Man in Black.

DOX:CLUB I TEATER GROB: FRIDAY 2/11 AT 22:15 HRS. PALADS BIOGRAFERNE: TUESDAY 6/11 AT 19:00 HRS. GRAND TEATRET: SATURDAY 10/11 AT 21:30 HRS. DIRECTOR FILMOGRAPHY MY FATHER AND THE MAN IN BLACK (2012).

104 SOUND & VISION AWARD

TRENTEMØLLER LIVE IN COPENHAGEN DIR. MICHAEL SCHWANENFLÜGEL WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:TRENTEMØLLER LIVE IN COPENHAGEN COUNTRY:DENMARK YEAR:2012 RUNNING TIME:80M. WORLD SALES/CONTACT:JONAS JACOBSEN, DENMARK

Following the release of the critically acclaimed album ‘Into The Great Wide Yonder’, the Danish electro virtuoso Trentemøller and his band set off on a tour. The tour started in Copenhagen at the end of 2010 and subsequently brought them to most corners of the world. After almost a hundred concerts, the tour was concluded where it all started, with two sold-out shows in Den Grå Hal in Christiania, in the middle of Copenhagen. And if it still irks you that you missed the concerts, you can now put

your disappointment to rest and experience the world premiere of the new concert film, which with delicious images, sleek sound and dynamic editing perpetuates the atmosphere of the two nights. Two nights, where the stage hosted Trentemøller and his band, who all contributed with a small portion of gunpowder to create the great musical firework. Autumn darkness electro from one of the genre’s few world stars.

BREMEN: SUNDAY 11/11 AT 20:00 HRS.

SOUND & VISION AWARD

105

R. STEVIE MOORE: TAPE TO DISC + CONCERT:DINNER DIR. NUNO MONTEIRO WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:R. STEVIE MOORE: TAPE TO DISC COUNTRY:PORTUGAL/US YEAR:2012 RUNNING TIME:38M. WORLD SALES/CONTACT:NUNO MONTEIRO, DENMARK

‘The Godfather of Home Recording’. It’s not just any old title the 60-year-old white-bearded R. Stevie Moore can boast. Since the beginning of the 1970s, the lo-fi legend has built up an archive of homemade music of Stasi-esque magnitude and created brilliant and crazy lo-fi tones, before anything was ever called ‘lo-fi’. In a jungle of tape reel salads and worn CD-R’s and VHS tapes, he sits like a mad scientist and puts together one album after another. So far, he has made no less than 400 of them, and their musical universe has been enormously inspired by a great lineup of retro-futuristic musicians such as Ariel Pink and John

Maus. Like an affectionate cut-and-paste cadeau to R. Stevie Moore, the Copenhagen-based Portuguese filmmaker Nuno Monteiro has made a collage documentary from archive materials, taped interviews and diaries, which both enlighten us about the mystery Moore, as well as draws us right into his at times bizarre and almost Daniel Johnston-eccentric, but always exciting music. Music, which recently resulted in Moore’s first world tour at the age of 60, and which brought him to an enthusiastic audience at this summer’s Roskilde Festival. The night is organised in collaboration with the blog Passive/Aggressive.

BYENS LYS: FRIDAY 2/11 AT 20:00 HRS.

DIRECTOR FILMOGRAPHY R. STEVIE MOORE: TAPE TO DISC (2012)

106 SOUND & VISION AWARD

MARLEY

DIR. KEVIN MACDONALD OUT OF COMPETITION

ORIGINAL TITLE:MARLEY COUNTRY:UK/US YEAR:2011 RUNNING TIME:144M. PRODUCTION:TUFF GONG PICTURES, COWBOY FILMS, SHANGRI-LA ENTERTAINMENT PRODUCER:STEVE BING, CHARLES STEEL WORLD SALES/CONTACT:MAGNOLIA PICTURES, USA

The Reggae and Rastafarian flagbearer of them all, Bob Marley, attained a level of influence that can be felt to this day during his 36 years on this planet. It therefore also takes the right person to tell his life story in a dignified way. One such person is the Oscar-winning director Kevin Macdonald (‘One Day in September’, ‘The Last King of Scotland’). ‘Marley’ makes an effort to tell the whole story about the football and marijuana-loving songwriter, and is supported in this project by Marley’s record label, family and friends. It is above all the unlimited access to new and rediscovered material that makes this film special. And

Bob Marley deserves this. Starting with his upbringing in poverty, the film describes his escape from hardship using music as a catalyst, his success with ‘The Wailers’ and being a confessed Rastafarian. Countless interviews with his children, his wife Rita, his lovers and old band members bring us closer to both the publicly and politically active Bob Marley, but also to his private side, where not least his twelve children with seven different women (!) are a telling feature. Add to this all the concert footage and an impressive soundtrack and the definitive story about the legend is complete.

DOX:CLUB I TEATER GROB: SUNDAY 4/11 AT 20:00 HRS. EMPIRE BIO: FRIDAY 9/11 AT 19:30 HRS. DOX:CLUB I TEATER GROB: SUNDAY 11/11 AT 20:30 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: LIFE IN A DAY (2011), STATE OF PLAY (2009), MY ENEMY’S ENEMY (2007), THE LAST KING OF SCOTLAND (2006), TOUCHING THE VOID (2003), ONE DAY IN SEPTEMBER (1999), CHAPLIN’S GOLIATH (1996)

SOUND & VISION AWARD

107

CROSSFIRE HURRICANE DIR. BRETT MORGAN WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:CROSSFIRE HURRICANE COUNTRY:UK/US YEAR:2012 RUNNING TIME:150M. PRODUCTION:MILKWOOD FILMS, TREMOLO PRODUCTIONS PRODUCER:MICK JAGGER, MORGAN NEVILLE, VICTORIA PEARMAN WORLD SALES/CONTACT:EAGLE ROCK ENTERTAINMENT INC., USA

An incomparable, new perspective on the Stones’ journey from blues-infected teenagers in the early 1960s to their status as living rock gods. This is what you get in Brett Morgen’s definitive documentary about The Rolling Stones. The long-awaited ‘Crossfire Hurricane’ gives us a first-row account of the band’s most legendary escapades, ups and downs, and the magical chemistry between its members. You are invited backstage with Jagger, Richards & co, who are the true survivors of rock music after tackling every conceivable scandal,

drug-addiction, internal strife and tragedy. All the dramas are featured in the film, including the infamous drug bust in Redlands, the death of the guitarist Brian Jones and the terrible events at the Altamont Festival in 1969 - the night when the hippie movement definitely lost its innocence. In other words, ‘Crossfire Hurricane’ is the final story about the bad boys, and contains lots of hitherto unseen archive material and unique live recordings.

IMPERIAL: THURSDAY 18/10 AT 19:15 HRS.

DIRECTOR FILMOGRAPHY CHICAGO 10 (2007), THE KID STAYS IN THE PICTURE (2002), ON THE ROPES (1999)

108 SOUND & VISION AWARD

HUNGARIAN RHAPSODY: QUEEN LIVE IN BUDAPEST ‘86 DIR. JÁNOS ZSOMBOLYAI OUT OF COMPETITION

ORIGINAL TITLE:HUNGARIAN RHAPSODY: QUEEN LIVE IN BUDAPEST ‘86 COUNTRY:HUNGARY YEAR:2012 RUNNING TIME:115M. PRODUCTION:MAFILM DIALÓG FILMSTÚDIÓ, QUEEN FILMS LTD. PRODUCER:GEORGE MIHÁLY WORLD SALES/CONTACT:EAGLE ROCK ENTERTAINMENT INC., USA

On with your spandex and let the moustache grow! On October 18, we will celebrate the royal highnesses from Queen with the monumental concert film ‘Hungarian Rhapsody: Queen live in Budapest ‘86’, which has been restored in high-definition and with fantastic 5.1 surround sound. The film opens with a brand-new 25-minute documentary, which follows the rock legends from their magnificent show at Live Aid to the concert in Budapest. Using previously unreleased archive material from their rehearsal, on the road footage

and interviews with the band, the audience is with them all the way up to the monumental concert. A concert from the last tour with Freddie Mercury, which was also the first Western rock concert in a stadium behind the Iron Curtain, which only collapsed three years later with the Berlin Wall. Queen goes all-out in front of 80.000 ecstatic fans, with favourites such as ‘Bohemian Rhapsody’, ‘Crazy Little Thing Called Love’, ‘I Want to Break Free’ and ‘We Are the Champions’. Pure gold for fans old and new!

IMPERIAL: THURSDAY 18/10 AT 22:00 HRS.

DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: PISZTÁCIA (1997), HALÁLRAÍTÉLTEK 1956 (1990), A HALÁLRAÍTÉLT (1989).

SOUND & VISION AWARD

109

BEYOND THAT WASTELAND DIR. DANIEL WIRTBERG & JENNY WILSON OUT OF COMPETITION

ORIGINAL TITLE:BEYOND THAT WASTELAND YEAR:2012 RUNNING TIME:12M. PRODUCTION:DAEMON FILM PRODUCER:DANIEL WIRTBERG

“You’ve got cancer”. When the musician Jenny Wilson got the dreaded message she reacted by delving into her creativity’s inexhaustible chamber to create this short cinematic poem together with film and music video director Daniel Wirtberg. Inspired by both Japanese and Eastern European film tradition we follow Jenny Wilson as a lone warrior in a relentless, windswept, barren but beautifully rocky landscape in Iceland. Alone, with - and against - the nature (and disease), filmed among others with magnificent scenery shots from the air. The result is an intuitive, powerful and abstract depiction of the tough battle against cancer.

FALKONER BIOGRAFEN: FRIDAY 2/11 AT 21:45 HRS. CINEMATEKET: TUESDAY 6/11 AT 19:00 HRS. VESTER VOV VOV: SUNDAY 11/11 AT 17:00 HRS.

110 SOUND & VISION AWARD

AMNESTY AWARD Amnesty Award is CPH:DOX’s competition programme for auteur films focusing on various aspects of the struggle for human rights. The ambition behind the series is to show that it is possible to tell the important stories that need to be told without losing the aesthetic focus that makes cinema a medium of artistic expression. Quite to the contrary. In the right hands cinema has an incredible capacity to place us in someone else’s shoes and to provide us with an understanding of complex issues beyond the headlines of the news. This sense of simply ‘being there’ is an underestimated capacity of film, which is none the less heightened when they are experienced in the darkness of a cinema. And it is a potential that is explored with great humanist effect in several of the nominated films. The films nominated for this year’s Amnesty Award are diverse and full of promise - if not always for the world as a whole, at least for the documentary as an art form. AMNESTY AWARD is a cash prize of 5,000 Euros. The Award will be handed out at the Amnesty Award Ceremony on November 7at 16.40 in the Grand Theatre in connection to the screening of Petr Lom’s ‘Back To The Square’.

SHARAF

DIR. DAVID ARONOWITSCH & HANNA HEILBORN WORLD PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:SHARAF COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:12M. PRODUCTION:STORY AB PRODUCER:DAVID ARONOWITSCH, HANNA HEILBORN & TOBIAS JANSON WORLD SALES/CONTACT:STORY AB, SWEDEN

The eminently beautiful and hyper-realistic, animated visuals paradoxically amplify the feeling of raw reality in ‘Sharaf’ - the director duo Hanna Heilborn and David Aronowitsch’s sequel to the widely acclaimed ‘Slaves’ and ‘Hidden’. Sharaf was lucky to survive the journey from Marocco to Gran Canaria. It felt like a dream, the now 17-year-old boy says, as he talks about the time when he and his brother escaped to Gran Canaria - away from a country with political problems and a life in poverty, and towards something they hoped would become a new and better life. A journey that several thousand others have attempted before them, but where thousands have lost their lives in the Atlantic Ocean, in a

desperate attempt to reach Europe. Each year, the EU’s border budget is increased to stem the flood of refugees. The new border system makes the migration routes more dangerous and more lives become threatened. And one of them is Sharaf’s. After having waited one week in the Sahara desert for the sea to calm down enough to sail off, the boat’s motor breaks down, and they must once again wait, this time in the middle of the open sea - without food and drink under the baking hot sun, until the border police saves them and brings them to the mainland. The film is based on an interview with Sharaf one year after his arrival on Gran Canaria.

CINEMATEKET: FRIDAY 2/11 AT 19:15 HRS. GRAND TEATRET: THURSDAY 8/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY SLAVES (2008, SHORT), HIDDEN (2002, SHORT).

114 AMNESTY AWARD

A WORLD NOT OURS DIR. MAHDI FLEIFEL

ORIGINAL TITLE:’AALAM LAYSA LANA COUNTRY:LEBANON YEAR:2012 RUNNING TIME:93M. PRODUCTION:NAKBA FILMWORKS PRODUCER:MAHDI FLEIFEL / PATRICK CAMPBELL WORLD SALES/CONTACT:NAKBA FILMWORLS, UK

Who would have thought that life in a Palestinian refugee camp could be so lively? For even though everyone lives in a permanent state of emergency without rights, life takes its warped course. Since 1948, 75,000 people have lived on two labyrinthine square kilometers in Ain el-Helweh, and among them we meet the family, friends and grumpy grandfather of the director Mahdi Fleifel. Not that life is easy here. On the contrary. The camp’s residents are not allowed to leave Lebanon, and there is hardly any work or other activity for people to busy themselves with. One of the few highlights is the

football World Cup, an event that everyone is watching with enthusiasm (and as fans of their own selected countries). Mahdi Fleifel herself spent her early years in the camp, before his family moved to Denmark, and in contrast to his best friend Abu, he enjoys the ability to travel as he pleases. There are therefore also blue shades in his portrait of the camp’s unique identity and atmosphere. But with a lively collage of 20 years of home videos (his father was also a happy shooter), he nonetheless succeeds in telling an uplifting and truly funny film about hope in a hopeless world.

CINEMATEKET: FRIDAY 2/11 AT 19:15 HRS. GRAND TEATRET: THURSDAY 8/11 AT 19:00 HRS. DIRECTOR FILMOGRAPHY SHADI IN THE BEAUTIFUL WELL (2003, SHORT), HAMOUDI & EMIL (2004, SHORT), ARAFAT & I (2008, SHORT), 4 WEEKS (2009, SHORT)

AMNESTY AWARD

115

TRUE STORY OF LOVE, LIFE, DEATH AND SOMETIMES REVOLUTION DIR. NIDAL HASSAN & LILIBETH C.RASMUSSEN WORLD PREMIERE

ORIGINAL TITLE:HEKAYAT AN ELHOB WA ALHAYAT WA ELMAWT COUNTRY:DENMARK/SYRIA YEAR:2012 RUNNING TIME:65M. PRODUCTION:DOX:LAB, KAYANI PROJECT PRODUCER:TINE FISHER, NIDAL HASSAN

The Danish artist Lilibeth Cuenca arrived in Damascus in March last year to make a film with Nidal Hassan. The next day, the Syrian people’s uprising broke out. The film the two had actually planned about Syrian women’s struggle for a life in freedom suddenly turned into something completely different: a film about an entire people’s struggle for freedom. The two quickly decided to travel around between Damascus, Sweida and Ein Al Arab to gather first-hand stories about love, life and death - three topics that suddenly became all the more important in the light of the revolution. But the production of the film itself

became equally dramatic. After Lilibeth’s return to Denmark, friends and acquaintances started disappearing, while Nidal continued to document the Syrian’s fight against the regime - until he also disappeared for a longer period, and left behind him a void of fear for his life. But Nidal returned, and the film, which is commissioned by DOX:LAB and could be seen in an temporary version edited by Lilibeth Cuenca at last year’s CPH:DOX, is now finally complete. A film, which more than any other is made of blood, sweat and tears and the hope for a better future.

DAGMAR TEATRET: SATURDAY 3/11 AT 14:20 HRS. PALADS BIOGRAFERNE: WEDNESDAY 7/11 AT 19:00 HRS. DAGMAR TEATRET: SATURDAY 10/11 AT 14:20 HRS. DIRECTOR FILMOGRAPHY LILIBETH CUENCA: TRUE STORY OF LOVE, LIFE, DEATH AND SOMETIMES REVOLUTION (2012). NIDAL HASSAN: TRUE STORY OF LOVE, LIFE, DEATH AND SOMETIMES REVOLUTION (2012), FLINT MOUNTAINS (2009).

116 AMNESTY AWARD

REVISION DIR. PHILIP SCHEFFNER

ORIGINAL TITLE:REVISION COUNTRY:GERMANY YEAR:2012 RUNNING TIME:106M. PRODUCTION:PONG, BLINKER, WORKLIGHTS PRODUCER:MERLE KRÖGER WORLD SALES/CONTACT:PONG, GERMANY

An unfair trial is reviewed 20 years later. Literally. Two Romanian men were found murdered in 1992 in Northern Germany shot, while they were on their way over the border to the EU, by local hunters who claimed to have mistaken them for wild boars. The hunters were acquitted, the case was closed, and the bereaved families were never informed about the outcome of the trial. But now, the past is returning and the official truth about what actually happened is being revised. The method is simple: everyone is allowed to revise their own statements. For some, nothing has changed, for some others, their conscience

is finally allowed to liberate some of what has been suppressed. Was it true that it is possible to confuse human beings with wild boar that day? And why were the families of those killed not informed? With Philip Scheffner’s cinematic trial, justice is finally done, when all the parties - for the first time - are being heard. “Revision” is a harrowing and intense film, which above all raises the urgent question: are truth and morality really relative terms? And what if they are not? The screening on November 7 is followed by an afterparty arranged in collaboration with Magasinet Udvikling.

MALMÖ KONSTHALL: THURSDAY 1/11 AT 12:00 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 18:00 HRS. CINEMATEKET: SATURDAY 10/11 AT 18:45 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: THE HALFMOON FILES (2010), DAY OF THE SPARROW (2010), INDIA IN MIND (2006).

AMNESTY AWARD

117

TOMORROW DIR. ANDREY GRYAZEV

ORIGINAL TITLE:ZAVTRA COUNTRY:RUSSIA YEAR:2012 RUNNING TIME:90M. PRODUCTION:ANDREY GRYAZEV PRODUCER:ANDREY GRYAZEV WORLD SALES/CONTACT:RISE AND SHINE WORLD SALES, GERMANY

“Voina” means war in Russian. It is also the name of an anti-authoritarian art collective of three people and a one-year-old child, which with performance art as its only weapon commits peaceful actions in a symbolic protest against Putin’s Russia. When a video, where they overturn a police car, becomes an international YouTube hit, the stubborn trio is suddenly at the eye of a heated media storm: performance art, political protest or vandalism? With the one-year-old Kasper as a spectator from the backpack, the group sets out without flinching to shoplift and take part in demonstrations, trials and violent clashes with the police. And what started as a viral CINEMATEKET: FRIDAY 2/11 AT 21:30 HRS. MALMÖ KONSTHALL: SATURDAY 3/11 AT 14:30 HRS. DOX:CLUB I TEATER GROB: SUNDAY 4/11 AT 17:15 HRS. CINEMATEKET: SATURDAY 10/11 AT 14:15 HRS. MALMÖ KONSTHALL: SUNDAY 11/11 AT 14:30 HRS. DIRECTOR FILMOGRAPHY TOMORROW (2012).

118 AMNESTY AWARD

video quickly evolves into a fight for the right to protest and for freedom of speech. Voina’s members do absolutely nothing to keep either themselves or their methods a secret. Everything is laid bare, and as the director Andrey Gryazev, entirely in the spirit of the group, has done everything in the film himself, we also get to see it all. Meanwhile, they secretly prepare one last practical joke: the ultimate “fuck you” prank, which we first get to see in the film’s very last frames. The screening on November 4 is followed by a debate and a glass of wine arranged in collaboration with Magasinet Udvikling.

LIVING/BUILDING DIR. CLÉMENCE ANCELIN

ORIGINAL TITLE:HABITER/CONSTRUIRE COUNTRY:FRANCE YEAR:2012 RUNNING TIME:117M. PRODUCTION:L’OUTIL, FIN AVRIL PRODUCER:EMMANUEL DESWARTE WORLD SALES/CONTACT:PASCALE RAMONDA, FRANCE

A mysterious explosion on the horizon of a ochre-yellow desert is observed with the same calm and curious interest as the construction of a motorway through Chad, which is meant to create an infrastructure for the impoverished African nation - and which the French anthropologist and artist Clemence Ancelin documents in her simple but reflected and clear-sighted debut, which with a phenomenological sense of precision dares to stick to what is essential: work and the passing of a day, told in images and sound. There are no victims in ‘Living/ Building’. The team of French engineers who lead the project admittedly live a more comfortable life than the local workers. And the nomads who have become accustomed

to living in the hostile and arid desert climate are concerned about how the road will affect them, as one of them explains with articulate calm. But it is through the uncommented impressions of work in the impassable desert that our own ideas of development are challenged. A highway is not a good or a bad idea by definition, but it brings about big change either way. Around it, a whole society comes into being. And it is this process that ‘Living/Building’ portrays eminently and with an exemplary patience, which pays off time and again. The screening on November 8 is arranged in collaboration with Magasinet Udvikling.

CINEMATEKET: SATURDAY 3/11 AT 14:15 HRS. CINEMATEKET: THURSDAY 8/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY VICTORIA (2009, SHORT), MADAME (2008, INSTALLATION), ROULÉ-BOULÉ VIDÉO (2007, SHORT), THE CURRIERS OF BRAZIL (2005, SHORT), THE MYSTERIOUS SUB-SUZONITE PEOPLE (2003, SHORT).

AMNESTY AWARD

119

THE LAW IN THESE PARTS DIR. RA’ANAN ALEXANDROWICZ

ORIGINAL TITLE:SHILTON HA CHOK COUNTRY:ISRAEL YEAR:2011 RUNNING TIME:101M. PRODUCTION:NOGA COMMUNICATIONS PRODUCER:LIRAN ATZMOR, LAURA POITRAS, MARTIN HAGEMANN WORLD SALES/CONTACT:ROCO FILMS INTERNATIONAL, USA

This year’s Sundance Grand Jury Prize winner engages in a dialogue with the Kafkaesque legislation which the Palestinians in the Occupied Territories are living under. A system enforced by the Israeli military and which was meant to be temporary, but which over time has established itself as applicable law. Instead of taking a confrontational approach, “The Law in These Parts” makes the case with simple and effective means. A TV studio a nd a green screen set the stage for in-depth interviews with the lawyers behind the law and who themselves often find it difficult to

make head or tails of it. Based on several years of thorough research, the director Ra’Anan Alexandrowicz enters into a constructive dialogue with the ageing gentlemen, while black-and-white archive photos from the Occupied Territories appear on a green screen behind them as a reminder of the reality regulated by the paragraphs. We are as far from a bloated courtroom drama as one can imagine. Both sides must instead nod approvingly to a film, which with its confidence in dialogue instills hope that it is still possible to lead an intelligent debate on a sensitive issue.

MALMÖ KONSTHALL: THURSDAY 1/11 AT 14:30 HRS. CINEMATEKET: SUNDAY 4/11 AT 14:00 HRS. CINEMATEKET: THURSDAY 8/11 AT 21:15 HRS. CINEMATEKET: SATURDAY 10/11 AT 16:45 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: MARTIN (1999), THE INNER TOUR (2001), JAMES’ JOURNEY TO JERUSALEM (2003),

120 AMNESTY AWARD

BIG BOYS GONE BANANAS!* DIR. FREDRIK GERTTEN

ORIGINAL TITLE:BIG BOYS GONE BANANAS!* COUNTRY:SWEDEN YEAR:2012 RUNNING TIME:87M. PRODUCER:MARGARETE JANGÅRD WORLD SALES/CONTACT:SWEDISH FILM INSTITUTE, SWEDEN

Dirty tricks, financial threats and media manipulation. The food giant Dole will do anything to prevent Swedish journalist Frederik Gertten’s revealing film ‘Bananas!*’ from being shown at the Los Angeles Film Festival. The film is a fraud, says Dole, and soon after, the American media are repeating the same thing - even if nobody has even seen the film yet! But the Swedish journalist and director insists on defending his premiere, his film, his reputation and not least his freedom of speech to tell the rest of the world how the multinational company for many years has exposed its employees

to harmful pesticides. So when Dole’s threatening letters start to pop up, Frederik Gertten secretly starts to film and document the intense David vs. Goliath confrontation, which arises between the company’s efforts to defend its image and his own fight to defend freedom of speech. A stubborn struggle against all odds, which has now become a new film: ‘Big Boys Gone Bananas!*’. A journalistic thriller about having the courage to criticise those larger than yourself - and which shows that a counter-attack is sometimes the best line of defence.

EMPIRE BIO: SATURDAY 3/11 AT 20:00 HRS. GRAND TEATRET: MONDAY 5/11 AT 19:30 HRS. DOX:CLUB I TEATER GROB: SUNDAY 11/11 AT 17:00 HRS. DIRECTOR FILMOGRAPHY SELECTED FILMOGRAPHY: BANANAS!* (CPH:DOX 2009), THE SOCIALIST, THE ARCHITECT, AND THE TWISTED TOWER (2005), AN ORDINARY FAMILY (2005), BYE BYE MALMÖ (JUST A PIECE OF STEEL) (2003), THE POETRY GENERAL (2002), THE WAY BACK, TRUE BLUE 2 (2002).

AMNESTY AWARD

121

WHITE BLACK BOY DIR. CAMILLA MAGID WORLD PREMIERE

ORIGINAL TITLE:WHITE BLACK BOY COUNTRY:DENMARK YEAR:2012 RUNNING TIME:58M. PRODUCTION:FOURHANDS FILM CPH PRODUCER:JACOB OLIVER KRARUP WORLD SALES/CONTACT:FIRST HAND FILMS, SWITZERLAND

He looks like a little alien, as he gently walks around and explores the world around him. But even if Shida, with his chalk-white skin, red-blond hair and pale blue eyes, stands out from his friends, he still belongs amongs them. Outside the walls of the boarding school, however, things look a little different. For in Tanzania, the skin, bones and blood of albinos is in high demand among witch doctors as an ingredient in black magic, and murder and kidnappings are everyday fare. With a constant death threat hanging over his head, nine-year-old Shida gets a chance to

start at a boarding school in the northern part of the country. He is shy and has no English vocabulary, but is fighting to improve his skills and be accepted by a system, where discipline is high and tolerance is low. Camilla Magid’s close-up and poetic camera nonetheless finds a way into the fragile beauty in Shida’s world, where a lonely climb to a treetop becomes an image of his lonely quest for a place in the world - and a violent thunderstorm with furious lightning on the horizon becomes an almost magical experience.

CINEMATEKET: THURSDAY 1/11 AT 21:45 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 20:45 HRS. PALADS BIOGRAFERNE: FRIDAY 9/11 AT 16:30 HRS. DIRECTOR FILMOGRAPHY FROM PALESTINE WITH LOVE (CPH:DOX 2010, DOX:LAB, SHORT), ADAM AND EVE (2009, SHORT), HEART OF MINE (CPH:DOX 2009, SHORT), THE LAST PUBLIC BATH (2009, SHORT), WINTER HOLIDAY (CPH:DOX 2008, SHORT), THE BLACK LINES (2006, SHORT).

122 AMNESTY AWARD

FORTRESS

DIR. LUKAS KOKES & KLARA TASOVSKA INTERNATIONAL PREMIERE

ORIGINAL TITLE:PEVNOST COUNTRY:CZECH REPUBLIC YEAR:2012 RUNNING TIME:72M. PRODUCTION:NUTPRODUKCE S.R.O. PRODUCER:TOMAS HRUBY, PAVLA KUBECKOVA WORLD SALES/CONTACT:NUTPRODUKCE S.R.O., CZECH REPUBLIC

We’re talking fur hats, leather jackets and chain smoking as we move over the border and into the country nobody knows (or even recognises): Transnistria. Since the collapse of the Soviet Union, Transnistria has been a detached republic in the midst of Moldova with its own passport, an elected president and legal system. The state is just not recognised by anyone but themselves. Critics of the country and its system describe life in the republic as but a dog’s life, but national pride is great and the president himself believes his country to be a paradise on earth. Its political system is described in the film as ‘modified democracy’, as democratic processes such as

freedom of expression and freedom of assembly are under state control. And as a spectator of the show that the country is, democracy also comes across as highly ‘modified’ for sure. Synchronous military parades and a president with a lifetime job, whose bizarre election videos are transmitted on TV around the clock, are definitely not standard operating procedure in a well-functioning democracy. Lukas Kokes & Klara Tasovska’s ‘Fortress’ raises the iron curtain and gives us an incredible insight into a country we did not even know we should know about. Sharp and darkly funny, but with the brutal political oppression lurking just beneath the surface.

DAGMAR TEATRET: MONDAY 5/11 AT 14:20 HRS. DOX:CLUB I TEATER GROB: WEDNESDAY 7/11 AT 18:30 HRS. Q&A WITH DIRECTOR

DIRECTOR FILMOGRAPHY

AMNESTY AWARD

123

THE GIRL FROM THE SOUTH DIR. JOSE LUIS GARCIA

ORIGINAL TITLE:LA CHICA DEL SUR COUNTRY:ARGENTINA YEAR:2012 RUNNING TIME:94M. PRODUCER:JOSÉ LUIS GARCÍA, GABRIEL KAMENIECKI

In July 1989, the young José Luis Garcia ended up in North Korea by something of an accident, standing in for his older brother at an international culture festival for young communists. Not that Garcia himself was especially political. In fact, he was mostly suffering from a broken heart and saw an opportunity to escape to the other end of the world. But one thing was the culture clash of intergalactic proportions that awaited him (and which his gaping camcorder captures in great detail throughout the first third of the film). Something else was Lim Su-Kyung. A young girl from South Korea, who had sensationally found her way

CINEMATEKET: THURSDAY 1/11 AT 16:30 HRS. CINEMATEKET: SATURDAY 10/11 AT 19:15 HRS.

DIRECTOR FILMOGRAPHY CÁNDIDO LÓPEZ, LOS CAMPOS DE BATALLA (2005).

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across the border to appeal for the country’s reunification, and who announced that she would walk the fatally dangerous trip back to the south. The two never met, however, even if Garcia’s camera caught small glimpses of her. So far, so good. Twenty years later, Lim has still not left Garcia’s thoughts, and the now adult filmmaker decides to travel to Seoul to visit her. Major detective work pays off, and he manages to get in touch with the equally adult Lim. But ‘The Girl from the South’ deceives ones expectations again and again, and instead of a narrative autopilot ‘happy end’, we are given a budding friendship in all its fragility.

IN-BETWEEN DAYS DIR. SANKHAJIT BISWAS WORLD PREMIERE

ORIGINAL TITLE:DUI DHURANIR GOLPO COUNTRY:INDIA YEAR:2012 RUNNING TIME:60M. PRODUCTION:MOROMIYA PICTURES PRODUCER:MOUPIA MUKHERJEE, SANKHAJIT BISWAS WORLD SALES/CONTACT:MOROMIYA PICTURES, INDIA

Being between genders is not necessarily either ‘prohibited’ or a real taboo in India. But it’s not exactly easy either! 16-year-old Bubai and Chiranjit are two transgender childhood friends from a poor neighbourhood in Kolkata, who are confronted with social castration at a young age as a result of their feminine dispositions, and who at the request of older members of the local community start to accept money for sex as young teenagers - they become ‘wedding dancers’, as it is called, when prostitution should have a socially acceptable name and the transgender teenagers are culturally integrated. But in spite of their exposed

lives, and a constant threat of violence and HIV hanging over their heads, Bubai and Chiranjit live a flamboyant and extroverted life. What starts as an objectively distant documentary develops both in front of and across the camera, as they both become members of a nonprofit organisation, which supports trans- and homosexuals in India, and their close friendship is complicated by the fact that Charanjit is promoted and Bubai gets a boyfriend. And when Bubai also expects to become famous through Sankhajit Biswas’s film, the confrontations between all three of them start to escalate beyond the camera line.

CINEMATEKET: TUESDAY 6/11 AT 21:30 HRS. CINEMATEKET: FRIDAY 9/11 AT 19:15 HRS. DIRECTOR FILMOGRAPHY IN-BETWEEN DAYS (2012).

AMNESTY AWARD

125

LONG DISTANCE REVOLUTIONARY: A JOURNEY WITH MUMIA ABU-JAMAL DIR. STEPHEN VITTORIA INTERNATIONAL PREMIERE / OUT OF COMPETITION

ORIGINAL TITLE:LONG DISTANCE REVOLUTIONARY: A JOURNEY WITH MUMIA ABU-JAMAL COUNTRY:US YEAR:2012 RUNNING TIME:119M. PRODUCTION:STREET LEGAL CINEMA PRODUCER:STEPHEN VITTORIA, KATYANA FARZANRAD, NOELLE HANRAHAN WORLD SALES/ CONTACT:STREET LEGAL CINEMA, USA

In a classic documentary, we follow the extraordinary story about the journalist and Black Panther activist Mumia AbuJamal, who is imprisoned on death row in Philadelphia, USA. Since he was found guilty in 1981 of the murder of police officer Daniel Faulkner on questionable evidence, America has been divided. The right wing has expressed its undivided approval at the death sentence for “the cop killer”, while Mumia has become a left-wing icon and a symbol of judicial insanity in the United States. “Long Distance Revolutionary” is a tribute to the man, who with his indomitable courage has never stopped fighting for his

own - and everyone else’s - freedom. The film is based on Mumia’s enormous literary and journalistic talent, as we are given compelling and moving performances of his works by people such as Angela Davis and Cornel West. In this way, we are given the story of his life both by his closest, his colleagues and his many friends, but also by himself. It is a story about a strong man and activist, who never shies away from his principles - even after spending 30 years in a six square metres small cell. The aim is justice. Politics, philosophy and literature are the means.

EMPIRE BIO: WEDNESDAY 7/11 AT 19:30 HRS. DOX:CLUB I TEATER GROB: SUNDAY 11/11 AT 14:00 HRS. DIRECTOR FILMOGRAPHY ONE BRIGHT SHINING MOMENT: THE FORGOTTEN SUMMER OF GEORGE MCGOVERN (2005), KEEPER OF THE FLAME (2005, TV), SAVE YOUR LIFE – THE LIFE AND HOLISTIC TIMES OF DR. RICHARD SCHULZE (1998), HOLLYWOOD BOULEVARD (1995), LOU, PAT & JOE D (1988), BLACK & WHITE (1987).

126 AMNESTY AWARD

AMNESTY AWARD CLOSING GALA: BACK TO THE SQUARE DIR. PETR LOM OUT OF COMPETITION

ORIGINAL TITLE:BACK TO THE SQUARE COUNTRY:NORWAY, CZECH REPUBLIC, CANADA YEAR:2012 RUNNING TIME:83M. PRODUCTION:PIRAYA FILM AS PRODUCER:TORSTEIN GRUDE WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY

A historical revolution took place on Tahrir Square in early 2011. The first freedom was celebrated euphorically, but now that the eyes of the world are focused elsewhere, what has actually come out of the many demonstrators’ protests against the brutal iron fist of the Egyptian regime? Through the eyes of five very different people, ‘Back to the Square’ takes a look at the state of affairs in Egypt where abuse of power, extortion, sexual abuse and censorship are unfortunately not a thing of the past. For in spite of the sacrifices the Egyptians have made, the authoritarian regime still echoes in the - now seemingly

calm - streets. A young shepherd tells how he only barely survived the day he rode to Tahrir Square to have the pyramids opened again. A taxi driver talks about this six years in prison and the behaviour or the police, which is now worse than ever. Salwa met his first love during the demonstrations, while another young women is continuously experiencing harassment and unjustified arrests. And, not least, a blogger is on a hunger strike after being arrested because of his comments on the internet. The authoritarian echo still reverberates in the - now calm - streets, but so do the protests of January last year.

PALADS BIOGRAFERNE: FRIDAY 2/11 AT 19:00 HRS. PALADS BIOGRAFERNE: SATURDAY 3/11 AT 19:00 HRS. GRAND TEATRET: WEDNESDAY 7/11 AT 16:40 HRS. DIRECTOR FILMOGRAPHY LETTERS TO THE PRESIDENT (2009), ON A TIGHTROPE (2007), BRIDE KIDNAPPING IN KYRGYZSTAN (2004).

AMNESTY AWARD

127

AS IF WE WERE CATCHING A COBRA DIR. HALA ALABDALLA OUT OF COMPETITION

ORIGINAL TITLE:SI ON ATTRAPIONS UN COBRA COUNTRY:FRANCE/SYIRA YEAR:2012 RUNNING TIME:120M. PRODUCTION:RAMAD FILMS, L’OEIL SAUVAGE PRODUCER:HALA ALABDALLA, BLOCH BERNARD, FRÉDÉRIC FÉRAUD WORLD SALES/ CONTACT:WIDE MANAGEMENT, FRANCE

Danish daily Jylland Posten first placed charicatures on the international media agenda, and since then, the relationship between drawings and freedom of expression has frequently appeared on both the domestic and Arab agenda. This is also true in Hala Alabdallah’s film, which pays tribute to Egyptian and Syrian artists and their quest for artistic freedom in a life where fear is a larger element than it is supposed to be. Alabdallah, one of Syria’s greatest filmmak-

ers, turns this problem into words and images, and through interviews she nuances the critical perspectives that artists work from. But she is quickly caught in the middle of the current maelstrom of Syrian violence and is forced to shift the focus of her film. The result is an electrifying and highly topical portrait of the Syrian art world of today. A fascinating film about art, brutality, violence and the way in which difficult conditions can be expressed.

CINEMATEKET: SATURDAY 3/11 AT 14:00 HRS. CINEMATEKET: MONDAY 5/11 AT 16:45 HRS. CINEMATEKET: SUNDAY 11/11 AT 14:00 HRS. DIRECTOR FILMOGRAPHY I AM THE ONE WHO BRINGS FLOWERS TO HER GRAVE (2006)(WITH AMMAR AL BEIK)

128 AMNESTY AWARD

CALL ME KUCHU

DIR. KATHERINE FAIRFAX WRIGHT & MALIKA ZOUHALI-WORRALL OUT OF COMPETITION

ORIGINAL TITLE:CALL ME KUCHU COUNTRY:US YEAR:2012 RUNNING TIME:87M. PRODUCTION:LINDY HOP PICTURES LLC PRODUCER:MALIKA ZOUHALI-WORRALL WORLD SALES/CONTACT:CAT & DOCS, FRANCE

With a bill on the death penalty for homosexuals hanging over his head, things are looking bleak for the gay activist David Kato and the rest of Uganda’s highly modest minority of open ‘kuchus’. But even if he is surrounded, he is willing to face all odds in his fight against religious fundamentalism, superstition and, not least, an aggressive tabloid press, which outs gay people with name, photo and address, and proudly prompts people to kill them. Behind his gentle exterior hides a superhuman courage to stand up to 95% of the country’s population, which is fiercely opposed to homo-

sexuality. And here begins a shocking and deeply touching story about fighting for the right to be oneself. And a story that both heads towards a tragic end and a new beginning. Katherine Fairfax Wright & Malika Zouhali-Worrall have managed to make a universal film from the front lines of a deadly battle against oppression. The fact that Uganda’s harrowing policy was originally introduced by Western colonial powers - and today is defended by visiting American missionaries - does not lessen the responsibility of the international community.

DOX:CLUB I TEATER GROB: FRIDAY 2/11 AT 17:00 HRS. EMPIRE BIO: MONDAY 5/11 AT 20:00 HRS. AARHUS ØST FOR PARADIS: SUNDAY 11/11 AT 16:00 HRS. DIRECTOR FILMOGRAPHY CALL ME KUCHU (2012).

AMNESTY AWARD

129

DIARY FROM THE REVOLUTION DIR. NIZAM NAJJAR

ORIGINAL TITLE:DIARY FROM THE REVOLUTION YEAR:2012 RUNNING TIME:80M. PRODUCTION:MEDIEOPERATØRENE, NFI, NRK AND FREEDOM OF SPEECH ORGANISATION PRODUCER:KRISTINE ANN SKARET WORLD SALES/ CONTACT:MEDIEOPERATØRENE A/S, NORWAY

A bunch of men are walking around a store in Misrata, Libya, looking at meringueshaped wedding dresses. The same men were sitting inside six months ago repairing their machine guns, completely unaware of how to handle such a violent weapon. In the meantime, several thousand people have been killed in the struggle for a new life, and only few have not experienced a death in their closer circle. Norwegian-Libyan film director Nizam Najjar travelled with his camera to Libya in 2011 to join the local militia and get to know the men behind it, and to support and document the advance of democracy in the country. Half a year

later Nizam travels back to Norway, uncertain if he has fought for the right cause or if his battle and that of the militia have had two completely different objectives. Much has happened in Libya in a very short space of time, and the people are facing a major task with building the democracy they have fought for so long. But many changes also bring with them many challenges. After Gaddafi’s death, the question arises of what the premise for a democracy is and if those people who have now assumed power will resort to the same methods as the former dictator?

DOX:CLUB I TEATER GROB: THURSDAY 8/11 AT 16:00 HRS. DOX:CLUB I TEATER GROB: SUNDAY 11/11 AT 12:00 HRS.

DIRECTOR FILMOGRAPHY DIARY FROM THE REVOLUTION (2012)

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MAKING STATEMENTS SINCE 1872

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DOC ALLIANCE AWARD YOUR ONLINE DOCUMENTARY CINEMA - DAFILMS.COM Doc Alliance is a partnership between six European film festivals - CPH:DOX Copenhagen, DOK Leipzig, IDFF Jihlava, Planete Doc Review Warsaw, Visions du Réel Nyon and FID Marseille. The aim of the Doc Alliance initiative is to make feature documentaries available to new audiences and to support diversity and innovation with non-fiction filmmaking. Doc Alliance was initiated with the awareness that new initiatives are needed to promote remarkable films to a general market that is less permeable to their circulation and to approach various audience in every conceivable manner, ranging from cinema, television, DVD, VOD and other networks. Its objective is to create an inventive and dynamic distribution platform for filmmakers and producers. The Doc Alliance Award represents three films selected by an international jury of film critics. The nominated films tour the six partner festivals, and at end of the year an international jury will award one of the films with a cash price of €5.000. This year the award ceremony will take place during DOK Leipzig. Check out the films on the next pages. The VOD portal www.DAFilms.com offers a selection of 400 outstanding contemporary documentary films from all over the world, selected by the six partner festivals. Twenty new films are added monthly and all films can be viewed through streaming or download. Try the Doc Alliance portal for FREE! As a one-off event you are able to watch films on DAFilms.com for free on November 11 and 12. We are making five exclusive films from this year’s CPH:DOX festival program available for streaming for 48 hours only.

THE ANABASIS OF MAY AND FUSAKO SHIGENOBU, MASAO ADACHI, AND 27 YEARS WITHOUT IMAGES DIR. ERIC BAUDELAIRE

ORIGINAL TITLE:L’ANABASE DE MAY ET FUSAKO SHIGENOBU, MASAO ADACHI ET 27 ANNÉES SANS IMAGES COUNTRY:FRANCE YEAR:2011 RUNNING TIME:66M. PRODUCTION:ERIC BAUDELAIRE PRODUCER:ERIC BAUDELAIRE WORLD SALES/CONTACT:ERIC BAUDELAIRE, FRANCE

Behind this year’s longest title hides one of this year’s most unusual stories - told in a highly unusual way! But first, the story: the radical Japanese director Masao Adachi abandoned his already controversial film career in 1974 to join the Japanese Red Army, a pro-Palestinian and militant group based Lebanon, led by Fusako Shigenobu, whose daughter May only returned to Japan as a 27-year-old, after her mother was arrested. The French photographer and artist Eric Baudelaire, however, tells the story of this unusual trio with a starting point in the Japanese theory of looking at landscapes - known as ‘fukeiron’ - which Adachi also

practiced himself: by intensely filming society’s surroundings, one can attain knowledge about its ideological power structures. Through his paradoxically beautiful collage of cine footage from Beirut and Tokyo, mixed with film and TV extracts as well as May’s and Adachi’s personal narration on the soundtrack, Baudelaire moulds a visually stunning trip down memory lane of two characters’ tumultuous lives. Adachi could also be seen in Philippe Grandrieux’s New Vision winner at last year’s CPH:DOX, and is one of the filmmakers that has brought the avantgarde ideal closest to a possible realisation.

CINEMATEKET: MONDAY 5/11 AT 21:45 HRS. DIRECTOR FILMOGRAPHY THE MAKES (2010, SHORT), (SIC) (2009, SHORT), SUGAR WATER (2007).

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WORK HARD - PLAY HARD DIR. CARMEN LOSMANN

ORIGINAL TITLE:WORK HARD - PLAY HARD COUNTRY:GERMANY YEAR:2011 RUNNING TIME:90M. PRODUCTION:HUPE FILM PRODUCER:ERIK WINKER WORLD SALES/CONTACT:TASKOVSKI FILMS LTD., UK

‘The working place should not be a place where you are reminded that you are at work.’ Welcome to Workplace 2.0, where everything is geared towards innovation, growth and optimising each individual employee. All a lot of hot air, no? A group of architects are given the task of building a new business complex for the giant Unilever group. The employees should forget that they are at work, and workplace community and small talk at the coffee machine should generate new ideas. But in an effort to take into account the

person behind the employee, might one in reality end up overlooking it? Are today’s jobs just so intelligently designed that we forget that we are performing a modern piece of assembly line work? However, no answers are given in advance, and ‘Work Hard - Play Hard’ is a well-conceived and aesthetically refined contribution to the debate about the future of work in postindustrial society: Chaplin’s ‘Modern Times’ meets psychological science f iction in a reality where many spend half of their waking lives.

CINEMATEKET: THURSDAY 1/11 AT 16:45 HRS. CINEMATEKET: SUNDAY 11/11 AT 16:30 HRS.

DIRECTOR FILMOGRAPHY NICHT WIE JEDER (2009, SHORT), STUDIEREN UND KONTROLLIEREN (2007, SHORT), ARBEIT AM ENDE (2005, SHORT).

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THE WILL

DIR. CHRISTIAN SØNDERBY JEPSEN

ORIGINAL TITLE:TESTAMENTET COUNTRY:DENMARK YEAR:2011 RUNNING TIME:85M. PRODUCTION:COPENHAGEN BOMBAY PRODUCER:JULIE E. PEDERSEN WORLD SALES/CONTACT:COPENHAGEN BOMBAY, DENMARK

CPH:DOX has nominated one of last year’s most popular Danish documentaries for the international Doc Alliance Award 2012, handed out in collaboration with five European film festivals. And with the nomination comes the chance of catching a re-run of Christian Sønderby Jepsen’s tragicomic, warm and wildly unpredictable, but no less true story about three brothers who inherit a fortune from their grandfather. The inheritance is a godsend. Henrik is separated and lives above a tanning salon. His older brother is struggling to replace heroin with homegrown weed. The younger brother scores straight A’s in school. And then there is the father, who always knows what’s best. Now there are just two obstacles that have to be overcome before the three of them

can embark on a permanent vacation: the will, and an aunt who wants all the money for herself. The skeletons are rattling in the closet, and the question is if the brothers can stick together and tackle the necessary confrontations. Each time one turns a page in this wildly unpredictable family saga, totally unexpected and strange details pop up. The story about the three brothers and the millions has more bizarre twists than even the most cunning fiction film, and is simply asking to be remade in Hollywood. Which it no doubt could be, if it was not for the fact that nobody would believe in the story. But it is also a story which proves that blood is thicker than water, and that true happiness can not be bought with money.

PALADS BIOGRAFERNE: THURSDAY 1/11 AT 21:30 HRS. PALADS BIOGRAFERNE: SUNDAY 4/11 AT 19:00 HRS. CINEMATEKET: SUNDAY 11/11 AT 21:45 HRS. DIRECTOR FILMOGRAPHY THE WILL (CPH:DOX 2011), MY COUSIN THE PIRATE (CPH:DOX 2010), SIDE BY SIDE (CPH:DOX 2008).

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SONIC:DOX AWARD This year CPH:DOX launches a new prize, the SONIC:DOX Award for best sound design in a Danish documentary. The Award will be handed out to the sound designer and consists of 10.000 DKK, kindly sponsored by FAF with the help of Cyberfarm. The sound designer is not alone in creating the sound and therefore there will also be a prize to the director and the producer of the winning film. Each of them will receive 10.000 DKK earmarked for sound design on their next project. The eight nominated films are:

White Black Boy (sound: Peter Albrechtsen) Moon Rider (sound: Rasmus Winther Jensen) Searching for Bill (sound: Lea Korsgaard) The Village at the End of the World (sound: Bobby Hess) A Normal Life (sound: Kristian Selin Eidnes Andersen) Dance for Me (sound: Sille Just Boel) The Ghost of Piramida (sound: Rune Palving) Ballerina (sound: Lars Halvorsen)

The jury counts: Christina Rosendahl, film director SĂ¸ren StĂŚrmose, producer Kim Skotte, film critic Paul Davies, sound designer The SONIC:DOX Award 2012 will be handed out on November 7 after the masterclass by Paul Davies in the Cinematheque.

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CURATED BY: DOUGLAS GORDON

ARTIST IN FOCUS: WILLIE DOHERTY

CURATED BY DOUGLAS GORDON Douglas Gordon (b. 1966) is one of the most renowned contemporary names in the field between film, video and visual arts. Since the outset, his work has been a key reference for CPH:DOX, and this year we are proud to present an exclusive film programme which he curated for the occasion. Gordon broke through with ‘24 Hour Psycho’ (1993), a conceptual piece where here he stretched Alfred Hitchcock’s film to 24 hours using slow motion. In 1996, he received the prestigious Turner Prize, which cemented his position as one of the greatest names of contemporary art. And in 1999 he returned to Hitchcock with ‘Feature Film’, focusing on the relationship between film and music. Alongside his work with photography, installations and other media, Gordon received great critical acclaim and a large audience in 2006 with ‘Zidane: A 21st Century Portrait’ (co-directed with Philippe Parreno), which premiered in Cannes and was awarded the New Vision award at CPH:DOX in 2006. The film followed the football player Zinedine Zidane during an entire match filmed by sixteen cameras, capturing every minute detail of Zidane’s performance. Since his breakthrough with ‘24 Hour Psycho’, Gordon’s film and video works have often shared a common foundation in the most basic element of the medium: time. Likewise, his work often comments on existing, popular cultural phenomena – and films especially – by placing them in new relationships that subtly alternate their meaning. Both these aspects apply to the film programme that Gordon has curated for CPH:DOX 2012. A programme where the selected works all deal with the materiality of time and the film image. And with what we can know (and not know) about what we perceive through image and sound. Douglas Gordon joins CPH:DOX’s previous lineup of guest curators: Harmony Korine, Animal Collective, Nan Goldin and Ben Rivers & Ben Russell, and will be present at the festival to introduce the screening and to give a special Surprise Show. Do not miss – it will be both highly intelligent and very witty.

DOUGLAS GORDON SURPRISE SHOW DIR. DIV.

ORIGINAL TITLE:DOUGLAS GORDON SURPRISE SHOW RUNNING TIME:150M.

Douglas Gordon is hosting an evening at Cinemateket with an Artist Talk and a hatful of surprise films. The Scottish artist and CPH:DOX guest curator has organised a secret programme, for which we will only reveal a single sub-theme: Elephants! Gordon will also share with us the ideas

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behind his carte blanche film programme at this year’s CPH:DOX, which in subtle ways relates to his own artistic practice. Meet one of the contemporary art scene’s most original minds live for an unpretentious and no doubt both inspiring and wittily understated ‘late night show’.

F FOR FAKE DIR. ORSON WELLES

ORIGINAL TITLE:F FOR FAKE COUNTRY:FRANCE/IRAN/GERMANY YEAR:1973 RUNNING TIME:89M. PRODUCER:FRANÇOIS REICHENBACH, DOMINIQUE ANTOINE, RICHARD DREWITT WORLD SALES/CONTACT:LES FILMS DU LASTROPHE, FRANCE

‘Everything you will witness during the next hour is true!’ is the first thing Orson Welles promises. The only problem is that his legendary bluff of a ‘documentary’ is longer than that - and that it operates with its very own definition of truth! The flamboyant art forger Elmyr de Hory is the protagonist and host, and Welles himself

is a kind of master of ceremonies in a film which eliminates the boundaries between myth and truth. Labyrinthine and controversial, and firmly rooted in the idea that illusion is the first of all pleasures. The screening is preceeded by Jean Painlevé’s short film ‘The Octopus’ (1927, 13 min.).

CINEMATEKET: TUESDAY 6/11 AT 16:30 HRS.

CURATED BY DOULAS GORDON

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PAINTERS PAINTING DIR. EMILE DE ANTONIO

ORIGINAL TITLE:PAINTERS PAINTING COUNTRY:US YEAR:1973 RUNNING TIME:116M. PRODUCER:EMILE DE ANTONIO, VINCENT HANLON WORLD SALES/CONTACT:ARSENAL - INSTITUT FÜR FILM UND VIDEOKUNST E.V., GERMANY

‘Painters Painting’ is the ultimate documentary about New York’s painting scene in the generation between 1940 and 1970. Andy Warhol, Jasper Johns, Willem de Kooning, Robert Rauschenberg and Frank Stella are just a few of the many players in the American left-wing documentarist Emile de Antonio’s time capsule of a film where he visits artists in their own studios

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for conversations about painting in the period from abstract expressionism to pop art. Warhol even gives Antonio credit for having ‘turned him on’ to art! An invaluable time capsule from one of documentary filmmaking’s great humanists. The screening is preceded by Jean Painlevé’s short film ‘Le vampire’ (1945, 9 min.)

HIROSHIMA MON AMOUR DIR. ALAIN RESNAIS

ORIGINAL TITLE:HIROSHIMA MON AMOUR COUNTRY:FRANCE YEAR:1959 RUNNING TIME:90M. PRODUCTION:ARGOS FILMS, COMO FILMS, DAIEI FILMS, PATHÉ PRODUCER:SAMY HALFON, ANATOLE DAUMAN WORLD SALES/ CONTACT:TAMASA DISTRIBUTION, FRANCE

Alain Resnais’s modernist masterpiece about a love affair between a French woman and a Japanese man in post-war Japan is, just like Douglas Gordon’s own work, centered around time as a basic cinematic element. A formative film for the Scottish artist, and a film whose clear and tightly composed montage of image and speech

(or thought) continues to be a reference for visual artists working in film and video. ‘Hiroshima mon amour’ is thus particularly interesting to (re)view through the prism of Gordon’s own work. The screening is preceded by Jean Painlevé’s short film ‘Sea Urchins’ (1928, 10 min.)

CINEMATEKET: MONDAY 5/11 AT 18:45 HRS.

CURATED BY DOULAS GORDON

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PIGEONS IN THE SQUARE DIR. JEAN PAINLEVÉ

ORIGINAL TITLE:LES PIGEONS DU SQUARE COUNTRY:FRANCE YEAR:1982 RUNNING TIME:27M. WORLD SALES/CONTACT:LES DOCUMENTS CINÉMATOGRAPHIQUES, FRANCE

All films in Douglas Gordon’s curated programme are preceded by a film by the French surrealist, filmmaker and marine biologist Jean Painlevé, with whom Gordon himself shares a certain fascination for animals - or maybe more accurately for animal (im)mobility! This is also the case for the slightly longer ‘Pigeons in the Square’, which is shown before Wim Wender’s medium-length ‘Room 666’.

CINEMATEKET: TUESDAY 6/11 AT 19:15 HRS.

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Two films shot in France in 1982, and two films that like the other films in the Scottish artist’s guest-curated programme deal with the erosion of time. This film is furthermore an atypical, late work in Painlevé’s comprehensive catalogue, and one of his last. A film in which a grandfather spends a day in a Parisian park surrounded by pigeons and children - and a study in movement and imitation.

ROOM 666 DIR. WIM WENDERS

ORIGINAL TITLE:ROOM 666 COUNTRY:GERMANY YEAR:1982 RUNNING TIME:45M. WORLD SALES/CONTACT:THE FESTIVAL AGENCY, FRANCE

Win Wenders shot this film in his hotel room during the Cannes Film Festival in 1982. Or, rather, he left the room and let his guests film themselves, while they took stock of the state of cinematic art and at the same time offered their take on its future (a future, which in the meantime has become its past). Jean-Luc Godard, Paul Morrissey, Fassbinder and Steven Spielberg are among the guests in Wenders’s one-man talk show, where they were all given a reel of 16mm film with about ten minutes of talking time

each. The film is intended as a snapshot and a topical work of the time it was made, but over time it has turned into a time capsule from a period in film history when the collective optimism of modernist film art of the 1960s and, partly, the 1970s had been partially displaced by a disillusioned and expectant mood - but also by a budding postmodernism. The screening is preceded by Jean Painlevé’s ‘Pigeons in the Square’ (1982, 27 min.).

CINEMATEKET: TUESDAY 6/11 AT 19:15 HRS.

CURATED BY DOULAS GORDON

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GERRY

DIR. GUS VAN SANT

ORIGINAL TITLE:GERRY COUNTRY:US YEAR:2002 RUNNING TIME:103M. PRODUCTION:EPSILON MOTION PICTURES, MY CACTUS PRODUCER:DANY WOLF WORLD SALES/CONTACT:PARK CIRCUS LIMITED, UK

‘Desert Film’ is a genre with a great potential for existential excursions outside of time and space - and a genre, whose major works typically divide opinions. One such film is ‘Gerry’, an almost plot-less story about two young men (Casey Affleck and Matt Damon), who get lost in an endless

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desert without direction or vanishing points. The individual scenes are carved out in blocks of time. And in that sense, Douglas Gordon and Gus van Sant have more in common than their recreation of Hitchcock’s ‘Psycho’. The screening is preceded by Jean Painlevé’s ‘Liquid Crystals’ (1978, 6 min.).

STÄDELSCHULE COMPILATION

Douglas Gordon’s own take on the next generation of artists. Gordon has curated a selection of works by young artists, who work in the field between visual arts and film/video at the internationally acclaimed art academy Städelschule in Frankfurt, where Gordon is teaching as a professor. Take the opportunity to take a look into the crystal ball: the artists whose work is presented here might turn out to be the art stars of tomorrow. Natasja Loutchko: “I am, I Follow” (2012, 4:44 min.) Zoe Barcza: “Dream Sequence” (2012, 3:03 min.) Margarethe Kollmer: “Shift” (2011, 4:34 min.) Luzie Hanna & Karolina Meyer (in collaboration with Leda Bourgogne): “Dialogue” (2012, 3:39 min.) Taocheng Wang & Colin Whitaker: “The Park of Washing Scissors” (2012, 5:20 min.) Erik Lavesson: “Los Angelitos” (2012, 9:39 min.) Moritz Uebele: “Slice of Death” (2011, 10:05 min.) Inga Danysz: “R.I.P.” (2012, 00:38 min.) Anna Zacharoff: “Shaveman” (2012, 00:18 min.) Young J Lee: “Mirror, the ear” (2012, 5:13 min.) Deniz Eroglu: “Amor Populi” (2012, 6:33 min.) Patrick Banfield: “Karung und Philipp” (2012, 5:33 min.)

CINEMATEKET: TUESDAY 6/11 AT 18:45 HRS.

Total running time: 124 min

Paul Wiersbinski: “Terese machine” (2010, 2:58 min.) Laura Schawelka: “Ohne Titel” (2011, 00:26 min.) Beatrice Steimer: “Walden” (2011, 02:35 min.) Jol Thomson: “The Future-Primitive” (2009, 06:22 min.) Erik Lavesson: “Keys to Imagination” (2011, 06:50 min.) Dana Munro: “Warten” (2011, 06:00 min.) Stewart Uoo: “Confessions” (2011, 08:58 min.) Black Forest Project (Ani Schulze & Vytas Jurevicius): “Medely je me dia de cucku / Episode 1” (2012, 06:44 min.) Simon Starling class: “When in Rome” (2011, 14:02 min.) Lina Katan: “Notes From An Era of Imperfect Memory” (2011, 6:27 min.) Marcello Spada: “Give a Voice to the Unrepresented” (2011, 02:12 min.)

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ARTIST IN FOCUS: WILLIE DOHERTY CPH:DOX and the National Gallery of Denmark (Statens Museum for Kunst) proud to present this year’s Artist in Focus, Willie Doherty. With his atmospherically charged film and video works, Northern Irish artist Willie Doherty (b. 1959) has earned his reputation as one of today’s most remarkable artistic innovators in the field between film and installation. Over the past thirty years, Doherty’s work has developed from the early, topographical photo documentation of his home town Derry to the sombre and complex installational film works that typically chart the sociopolitical landscapes of Northern Ireland. Already in his early works, Doherty demonstrated an insistent interest in the ambiguous and often contradictory meanings that his soberly observing images generate. And in his later works, he has above all explored the basic physical materials of nature – moss, soil, earth, light, leaves – in disquieting phenomenological imagery charged with anxiety and expectant tension, as were the documented places recently abandoned crime scenes. The cool portraits of urban and natural spaces as a metaphor for offscreen conflicts arouse anxiety in the viewer, but are at the same time irresistibly alluring in their sensual and tactile embrace of the film medium, where territoriality becomes a central concept. Doherty’s work is based on his early life in a conflict-ridden and politically inflamed Northern Ireland, where media coverage of the events was little more than biased halftruths. He continues to confront this fundamental problem of representation with his narrative fragments, which suggest rather than explain their underlying dramatic context. Doherty’s latest work ‘Secretion’, which was commissioned by Documenta (13) and is nominated for the New Vision Award at CPH:DOX, can be seen in the X-Room at the National Gallery from November 1 to February 24, 2013. And during the festival a curated selection of Doherty’s works from the past 15 years is screening in the museum’s cinema:

“BURIED” (2009, 8 MIN.) “GHOST STORY” (2007, 15 MIN.) “PASSAGE” (2006, 8 MIN.) “NON-SPECIFIC THREAT” (2004, 8 MIN.) “CLOSURE” (2005, 11 MIN.) “THE WRONG PLACE” (1996, 10 MIN.)

SIDEBARS MAXIMALISM EMPIRE INDIA UNREAL

MAXIMALISM It’s everything time! We have elevated the maximal to an –ism in this year’s special focus, which is a birthday party in itself. Maximalism is an artificial paradise of sound and vision, created first and foremost by the generation that grew up in front of the telly in the 1980’s and who is now beginning to make films (and videos) themselves. Science fiction, psychedelic horror, tv shows, video art, and washed out home movies mutating a genre of its own: Maximalism. If minimalism has long had a near monopoly on what is considered good taste – and if taste is nothing but personal censorship – then the conclusion this time around is radical, all-embracing openness. No limits. In other words, there is literally something for every taste (or not) as we reach for the impossible with a selection of films that share an intergalactic level of ambition. Films that at the same time reinvent both themselves and the worlds they create. Anything is possible in cinema – and here are a bunch of films that do something about it. With our official favourite band Animal Collective on the forefront, Maximalism is at the same time expanding far into our curated live programme AUDIO:VISUALS. Because Maximalism is not just the new big thing – it’s ((((((((((((((((((((((((((MAXIMAL)))))))))))))))))))))))))))). Dresscode: Smiley t-shirts, size XXXL.

MAXIMALISM 1

MXXXMXLXSM for beginners! From a sugar high wedding party and neo-psychedelic, Japanese noise by data-moshing genius Takeshi Murata, to the Mariah Carey smash hit ’Touch My Body’ in a version where a greenscreen is wiping away everything that has not to do with commercialized sexuality. Jonathan Caouette’s horror film ’All Flowers in Time’ feat. Chloë Sevigny is followed by Cleopatra in a diamond dress and some trippy, ’Egyptian’ special effects by Michael Robinson, before everyone tune in on an exorcistic karaoke-flicker-show based on five minutes of ’The Little House on the

CINEMATEKET: SUNDAY NOVEMBER 4 AT 18:30 HRS HUSETS BIOGRAF: THURSDAY 8 AT 19:00 HRS

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Prairie’. Nicolas Provost takes us to the World Capital of Maximalism – Las Vegas – in ’Storyteller’, and Jacob Ciocci is posing the ever relevant question: ’Am I Evil??’. And if you go the movies to make out, take a seat in the back as Thad Kellstadt dials ’1-900-TEENSPIRIT (Lovers Remix)’. Jennifer ’Juniper’ Stratford, who was performing live with John Maus at CPH:DOX 2011, is closing the party with the first episode of her lowbudget science fiction serial show ’The Multinauts’, featuring Ariel Pink’s Haunted Graffiti among others. Please note: contains strobe effects. Including the works: Enjoy Yourself (Gaston Solnicki, 2012, 2 min.) Cone Eater (Takeshi Murata, 2004, 5 min.) Touch My Body (Oliver Laric, 2008, 5 min.) Thrashed (Thad Kellstadt, 2009, 3 min.) All Flowers in Time (Jonathan Caouette m. Chloë Sevigny, 2010, 12 min.) These Hammers Don’t Hurt Us (Michael Robinson, 2010, 13 min.) Storyteller (Nicolas Provost, 2010, 8 min.) Hold Me Now (Michael Robinson, 2008, 5 min.) Am I Evil?? (Jacob Ciocci, 2011, 5 min.) 1-900-TEENSPIRIT (Lovers Remix) (Thad Kellstadt, 2010, 6 min.) The Multinauts Episode 1: Flashback (Jennifer Juniper Stratford, 24 min.)

MAXIMALISM 2

Maximalism is an artificial paradise of sight and sound: the subconscious product of the VHS-generation that grew up in front of the telly in the 1980’s. A mutant genre, where there is a fine line between American sitcoms and an infernal, stroboscopic mindtrip, and where a family holiday evolves into a frightening, satanic ritual in the summer night. Thad Kellstadt is opening the show with a lesson in heavy metal guitar styles followed by a mindblowing piece of digital hardcore by Yoshi Sodeoka. Über-Maximalist Ryan Trecartin is asking

’What’s the Love Making Babies For’, and is followed by Michael Robinson and Jacob Ciocci respectively, with a satanic sitcom and an ecological disaster movie. Nicolas Provost’s data-moshing masterpiece ’Long Live the New Flesh’ takes ’The Shining’ and ’Videodrome’ one up in psychedelic intensity, before we tune in on the second episode of ’The Multinauts’, where our heroes are up against the Vampire Women in the ultimate death fight. Please note: contains strobe effects.

Including the works:

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Viet Cling of Laugh (Thad Kellstadt, 20XX, 4 min.) #46 — 35.23N 139.30E [FAC 3097] E5150-XX (Yoshi Sodeoka, 2012, 6 min.) What’s the Love Making Babies For (Ryan Trecartin, 2003, 20 min.) Light is Waiting (Michael Robinson, 2007, 12 min.) Dark Green (Jacob Ciocci, 2010, 6 min.) Long Live the New Flesh (Nicolas Provost, 2009, 13 min.) The Multinauts Episode 2: Mirrorman (Jennifer Juniper Stratford, 20 min.)

EVENTS

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HOLY MOTORS DIR. LEOS CARAX

ORIGINAL TITLE:HOLY MOTORS COUNTRY:FRANCE YEAR:2012 RUNNING TIME:115M. PRODUCTION:PIERRE GRISE PRODUCTIONS, THEO FILMS, ARTE FRANCE CINÉMA, PANDORA FILM, WDR/ARTE PRODUCER:MARTINE MARIGNAC, ALBERT PRÉVOST, MAURICE TINCHANT WORLD SALES/CONTACT:WILD BUNCH, FRANCE

It is not certain whether Leos Carax would approve of the imagery in an otherwise fully deserved compliment of having been the midwife at the ‘rebirth’ of cinema. But his alter ego Denis Lavant would no doubt be thrilled - and if not him, then certainly Lavant’s own alter ego, ‘Monsieur Merde’, would be so for sure! The Cannes sensation ‘Holy Motors’ is Carax’s first feature film in 13 years, and what the secretive, French auteur has saved up in terms of ideas within this time tangibly explodes in slow motion

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across the screen in the course of the film’s plot(s), where Lavant produces a series of solid chameleonesque performances: a hunchbacked beggar on one of Paris’s bridges; a stunt man in a 3D studio; a hitman hunting his own doppelganger; a tired family father; and not least the aforementioned Merde, who has to be seen with ones own eyes. ‘Holy Motors’ is one of the most radically expansive films in years, and a film that actually realises the ideal that in cinema everything is possible.

DAY IS DONE DIR. MIKE KELLEY

ORIGINAL TITLE:DAY IS DONE COUNTRY:US YEAR:2006 RUNNING TIME:170M. PRODUCER:TATIAN BLISS WORLD SALES/CONTACT:ELECTRONIC ARTS INTERMIX, USA

Dancing Goth freaks, singing vampires, children in angle costumes, an aerobics class, the Virgin Mary and Satan himself are just some of the participants in the Los Angeles artist Mike Kelley’s last, epic multi-genre video ‘Day is Done’ - an almost three hour long collective carnival filmed at an American high school, whose grey surroundings are in massive contrast to the maximum super show, which takes place at night in a nearby forest. The idea of ‘Day is Done’ originated with the discovery of a yearbook of social ‘on campus’ activities of

the kind that range outside normal teaching. With Halloween as the arch-American example of a ritualised (and commercialised) deviation from normality, Kelley’s ethnographic interest for subcultures is given free reign in the simultaneous ‘restaging’ of all festive rituals at once in something that, in his own words, mostly resembles zapping around between different TV channels. ‘Day is Done’ was originally exhibited as a 50-channel work at the Gagosian Gallery in New York.

CINEMATEKET: FRIDAY 2/11 AT 20:30 HRS. HUSETS BIOGRAF: SUNDAY 11/11 AT 17:00 HRS.

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THE MISSION OF COMMANDER ASHTAR SHERAN DIR. ERNESTO BACA INTERNATIONAL PREMIERE

ORIGINAL TITLE:LA MISIÓN DEL COMANDANTE ASHTAR SHERAN COUNTRY:ARGENTINA YEAR:2012 RUNNING TIME:70M. PRODUCTION:MONO FILMS PRODUCER:MAURO ANDRIZZI WORLD SALES/CONTACT:KAUMODAKI FILMS, ARGENTINA

If New Age was an -ism, it would have ‘maximal’ as its first name. Fantasies of immortality and the infinity of the universe are the basic stuff that neo-religious science fiction is made of, preferably topped up by apocalyptic scenarios as parts of a larger ‘evolutionary’ master plan - and all that is what you get here, albeit in quotation marks. Are the recurring ‘cosmic’ motives in Maximalism in fact a metaphor for the Internet? And is the Internet not just heralding the dawn of a new age? In Ernesto

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Baca’s maximal parable about an invasion from outer space and Earth’s impending doom, a delegation of friendly aliens arrives from a distant galaxy to - headed by commander Ashtar Sheran - save those selected samples of the planet’s decadent population who have earned salvation. Baca is fortunately one of Argentina’s most productive, independent filmmakers and he makes his films on non-existent budgets and a wild imagination.

ZAVIS, THE PRINCE OF PORNOFOLK UNDER THE INFLUENCE OF GRIFFITH’S ‘INTOLERANCE’ AND TATI’S ‘MONSIEUR HULOT’S HOLIDAY’ OR THE FOUNDATION AND DOOM OF CZECHOSLOVAKIA (1918-1992) DIR. KAREL VACHEK

ORIGINAL TITLE:ZAVIS, KNIZE PORNOFOLKU POD VLIVEM GRIFFITHOVY ‘INTOLERANCE’ A TATIHO ‘PRAZDNIN PANA HULOTA’ ANEB VZNIK A ZANIK CESKOSLOVENSKA (1918-1992) COUNTRY:CZECH REPUBLIC YEAR:2006 RUNNING TIME:147M. PRODUCTION:PRODUKCE RADIM PROCHAZKA, S.R.O. PRODUCER:RADIM PROCHAZKA WORLD SALES/CONTACT:PRODUKCE RADIM PROCHAZKA, CZECH REPUBLIC

Behind the thoroughly maximal title ‘Zavis, the Prince of Pornofolk under the Influence of Griffith’s ‘Intolerance’ and Tati’s ‘Monsieur Hulot’s Holiday’ or the Foundation and Doom of Czechoslovakia (19181992)’ (!) we find an infinitely imaginative film by the eccentric Czech filmmaker Karel Vachek, whose latest epic ‘The Obscurantist and his Lineage’ was nominated for the main prize at last year’s CPH:DOX. The funeral of a dog starts off a chaotic plot of loosely related events, which among (many!) other things include a ketchup fight, a motorcycle show and the rave party CzechTekk - and which is framed by song numbers by the drunken troubadour Zavis, ‘The Prince of Pornofolk’! However, it is not

the incredible amount of things that happen in front of the camera which Vachek’s forever moving wide-angle lens manages to capture. Just like in his other films, among which ‘Zavis’ can be found on the shorter end of the spectrum, Vachek is constantly seeking alternatives to the dominant commercial culture and the associated mindset - alternatives, which are concretely manifested in his film. With unpredictability as his preferred ‘modus operandi’ and an almost limitless curiosity as a guide, Vachek is a filmmaker who more than anyone else today lives up to the maximalist principle of radical openness. And on top of that he is hilarious, unless you are boring yourself.

HUSETS BIOGRAF: SATURDAY 3/11 AT 19:00 HRS. HUSETS BIOGRAF: SATURDAY 10/11 AT 21:00 HRS.

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SEPARATION OF THE CRITIC - A TRIP WITH RAYA MARTIN DIR. MICHAEL GUARNERI WORLD PREMIERE

ORIGINAL TITLE:SÉPARATION DE LA CRITIQUE - A TRIP WITH RAYA MARTIN COUNTRY:ITALY YEAR:2012 RUNNING TIME:20M. PRODUCTION:B ZONE VIDEO PRODUCER:MICHAEL GUARNERI & ROBERTO BONISOLI WORLD SALES/CONTACT:B ZONE DI ROBERTO BONISOLI, ITALY

C.D.I.I.C.S. - CPH:DOX’s Important Information for the Citizens of Society brings you an interview with the young, Filipino star auteur Raya Martin, who always seems to be one step ahead of everyone else. Michael Guarneri’s film gives the floor to Martin in an interimistic 20-minute interview, which was shot during last year’s film festival in Locarno, and which applies Martin’s own invention of ‘autohysteria’ to the interview situation with a split screen, which critically comments on itself with puns and doodles. Martin talks about his own films, about other films (‘The Blair

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Witch Project’, ‘Cloverfield’, J.J. Abrams), and about the director’s role as an archivist as opposed to a historian, and about turning (film) history against oneself. And about many other things. Guarneri’s ‘Separation of the Critic - A Trip with Raya Martin’ is a work in its own right, which gives an affectionate nod to both Andy Warhol and Guy Débord, but which above all testifies to the renaissance of cinephilia in an enthusiastic ‘2.0’ version, where the canon of film history undergoes a radical revision. And it is both informative and incredibly funny. The film is shown as a supporting film for Raya Martin’s film ‘Buenas Noches, Espana’.

BUENAS NOCHES, ESPAÑA DIR. RAYA MARTIN

ORIGINAL TITLE:BUENAS NOCHES, ESPAÑA COUNTRY:PHILIPPINES/SPAIN YEAR:2011 RUNNING TIME:70M. PRODUCER:ARLEEN CUEVAS, GONZALO DE PEDRO, VÍCTOR IRIARTE, MARIO MADUEÑO, RAYA MARTIN, SAMUEL MARTÍNEZ WORLD SALES/ CONTACT:PANTALLA PARTIDA SL, SPAIN

The title card’s ‘Voyage to the Luna’ is both a reference to the French silent film pioneer, magician and proto-maximalist Georges Méliès, and to the revolutionary Philippine 19th century painter Juan Luna. But apart from that, the style is Raya Martin’s very own. Or, rather: the dialoguefree and neo-psychedelic time travel / love story, which starts in colonial Philippines at the end of the 16th century and zigzags to today, where it begins in the company of a young couple in front of a TV, in fact represents (yet) another expansion of the young director’s filmic universe. ‘Buenas

Noches, Espana’ is, in other words, Raya Martin’s most trippy film to date. Perhaps it is also his most immediately accessible one? In any case, there is no reason to panic if conventional logic proves inadequate when faced with the maximalistic bombardment of digital colours and a massive sound design, that meet the eyes and ears. As a supporting film, we will show an unconventional (and incredibly funny) interview with Raya about his modern sources of inspiration from ‘The Blair Witch Project’ to ‘Cloverfield’, and about turning the filmmaking tradition against oneself.

DOX:CLUB I TEATER GROB: FRIDAY 2/11 AT 19:30 HRS.

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WATERPARK DIR. EVAN PROSOFSKY WORLD PREMIERE

ORIGINAL TITLE:WATERPARK COUNTRY:CANADA YEAR:2012 RUNNING TIME:27M. WORLD SALES/CONTACT: EVAN PROSOFSKY

Pack your flippers and speedos! The young director Evan Prosofsky invites you inside the world’s largest indoor water park. A true oasis of human-engineered temperature, fake waves and slides in all colours of the rainbow. Waterpark is a short experimental documentary about the signature building in the director Evan Prosofsky’s home town of Edmonton, Alberta. On an average Sunday, over 150,000 people visit West Edmonton Mall to escape the heat and the wind. Inside, they seek fun and relaxation in the most bizarre and neglected place in northern Canada. In ‘Waterpark’, Prosofsky explores the absurdity in the artificial beach paradise,

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which filled his childhood with dreams of another place. And he does so in a phenomenal mini-maximalist fashion. Here, you have sweat-dripping slow motion, grainy VHS archive material of adverts of the water park from the 1980s and new music created by his fellow Canadian Dirty Beaches, whose atmospheric synth and guitar experiments feed the film with the right amount of trance mood. As the film indicates, Evan Prosofsky is a highly successful cinematographer, who this year has also impressed us behind the camera of music videos for Grimes, Bat For Lashes and Grizzly Bear.

MOCRACY - NEVERLAND IN ME DIR. CHRISTIAN VAN BORRIES

ORIGINAL TITLE:MOCRACY - NEVERLAND IN ME COUNTRY:GERMANY YEAR:2011 RUNNING TIME:78M. WORLD SALES/CONTACT: CHRISTIAN VAN BORRIES

Political maximalism. Michael Jackson provided the soundtrack for the neoliberal boom of the 1980s in all aspects of life democracy, propaganda, ‘corporate power’. And since then the planet has just become even more populated. Christian von Borries, an intellectual Dandy in German culture, examines the development from when

postmodernism broke through to the present days, on his journey from Kazakhstan and Kosovo to Pyongyang and Detroit. Countries and places, which have one thing in common: that lifestyle has become the prism through which all things social are observed. The prognosis is obvious: more and more!

CINEMATEKET: SATURDAY 10/11 AT 21:30 HRS.

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EMPIRE Empire is a curated film programme based on the question: why has the concept ‘empire’ become relevant again? Or in other words, what can the concept of ‘empire’ tell us about the world in the 21st century? The programme is not about a return of imperialism, but about the concept of the empire in a broader sense. A concept that cannot be reduced to a single -ism, but which reveals itself in various ways. Through symptoms and signs of crisis, but also through the unfolding of a geopolitical power. The renewed topicality of the empire has become especially evident in terms of the global, local and mental power shifts in the wake of recent historical events such as the financial crisis and the wars in Iraq and Afghanistan. But are the recurring political, economic and geo-strategic crises in both Europe and America an expression of the final fall of the Western Empire? Are they just ripples on the surface of a world that still has one dominant superpower: the United States? Or are they, on the contrary, an expression for a new capitalist Empire of global reach, which subjugates everything and everyone at a steadily increasing pace? With the present programme, we aim to explore ‘Empire’ as an idea, as a concept and as a perspective on a rapidly changing world. The selected films all represent a corner of an imperial constitution, sometimes in unison, at other times in conflict with each other. But taken together they are images of a world where the outside has ceased to exist.

RISE AND FALL:THE EMPIRE TALK SHOW

With an image of Andy Warhol’d Empire State Building gracing the background, CPH:DOX kicks off this year’s political-philosophical film programme ‘Empire’ with a talk-show, where eight personalities from politics and culture each interpret the concept ‘Empire’ on the basis of their own profession. Why has the term ‘empire’ become relevant again? What can it tell us about the changing global power balances of the 21st century? The term will be discussed both as a political and sociological concept by Noel Parker (lecturer in political science at the University of Copenhagen, specialising in empires), Pil Christensen (blogger at Modkraft.dk), Michael Jarlner (foreign editor of Danish newspaper Politiken), Peter Bang (lecturer POLITIKENS FOREDRAGSSAL: THURSDAY 1/11 AT 18:00 HRS.

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in ethnology at the University of Copenhagen) and Ole Bjerg (lecturer in sociology at Copenhagen Business School). But the term ‘Empire’ will also be discussed in a more speculative way, when the Center for Wild Analysis,the photojournalist Henrik Kastenskov and the author Ursula Andkjær Olsen pass by. CPH:DOX’s film and debate programme ‘Empire’ is built upon the concepts of dystopia/utopia, post-crisis and power shifts, so expect an evening where some of Denmark’s brightest speakers will debate one of today’s greatest topics. The host for the evening will be the editor-in-chief of Ræson magazine, Magnus Boding Hansen. (Please note: the talks are held in Danish.)

DEMOCRACY UNDER ATTACK - AN INTERVENTION DIR. ROMUALD KARMAKAR

ORIGINAL TITLE:ANGRIFF AUF DIE DEMOKRATIE - EINE INTERVENTION COUNTRY:GERMANY YEAR:2012 RUNNING TIME:102M. PRODUCTION:PANTERA FILM GMBH PRODUCER:ROMUALD KARMAKAR, HARALD WELZER WORLD SALES/CONTACT:PANTERA FILM GMBH, GERMANY

A microphone sneaks into the otherwise black rectangle of the frame. And one by one, nine of the sharpest minds in German cultural life (one of them a filmmaker...) ascend the podium to provide their own precise and clear-sighted diagnosis of the state of democracy during the Euro crisis. In December last year, Haus der Kulturen der Welt in Berlin held a symposium, which Romuald Karmakar has documented here with a minimal, but absolutely adequate setup. Journalists, artists and intellectuals take turns on the podium in a classic democratic form, which rapidly evolves into a dialogue, and they deliver their razor sharp analyses with an exemplary clarity:

Franziska Augstein, Ingo Schulze, Roger Willemsen and Christian van Borries (whose film ‘Mocracy - Neverland in Me’ is also screening at this year’s CPH:DOX) among other things offer their take on the desolate state of democracy in an era when ‘bank rescue packages’ are thrown like manna from heaven by politicians under pressure. The sequence of speakers only comes to a halt when it is Karmakar’s turn, by an utterly phenomenal and extremely well-placed short film, of which we shall only reveal the title: ‘Ralph N. Eliott Discovers that Market Movements Wholly Reflect the Mental Behavious of Market Participants’.

CINEMATEKET: TUESDAY 6/11 AT 16:45 HRS. CINEMATEKET: SATURDAY 10/11 AT 12:00 HRS.

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THE FORGOTTEN SPACE DIR. ALLAN SEKULA & NOËL BURCH

ORIGINAL TITLE:THE FORGOTTEN SPACE COUNTRY:FRANCE/NETHERLANDS YEAR:2010 RUNNING TIME:113M. PRODUCTION:DOC.EYE FILM, WILDART FILM PRODUCER:FRANK VAN REEMST & JOOST VERHEIJ WORLD SALES/CONTACT:DOC.EYE FILM, NETHERLANDS

The ship container is the smallest unit in a global network of exchange that takes place in the ‘forgotten space’, namely out on the oceans. But even if the actual transaction is invisible to most people, its consequences are so far-reaching, even far inland. In ‘The Forgotten Space’, Allan Sekula and the film theoretician Noël Burch have created a cinematic essay, which on the one hand makes visible the abstract relations that define economic exchange in a post-industrial age, and on the other hand they address it in an analytic and concrete language - in a different form of ‘exchange’

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with workers, who from their place at the very bottom of the system make sure that the goods nonetheless reach their destination. From Holland and Belgium to Los Angeles, China and Bilbao, the shipping industry resembles a self-sustaining, trans-national system controlled from land and with fewer and fewer employees on the giant crossings. Sekula & Burch illustrate their argument with archive materials, interviews and old film clips, and the result is a piece of solid, rhetorical documentarism in the discursive tradition.

WE’RE NOT BROKE DIR. KARIN HAYES & VICTORIA BRUCE

ORIGINAL TITLE:WE’RE NOT BROKE COUNTRY:US YEAR:2012 RUNNING TIME:81M. PRODUCTION:ONSHORE PRODUCTIONS PRODUCER:CHARLES G. DAVIDSON WORLD SALES/CONTACT:ONSHORE PRODUCTIONS, USA

The good news is that the United States, and with it the rest of the world, is not on the verge of bankruptcy. The bad new is that trillions have been stashed away legally in tax havens, so that companies such as Exxon, Google and Bank of America can pay the same income tax: namely nothing. But how long can the financial empire America accommodate interests that are so conflicting that they palpably undermine society? ‘We’re Not Broke’ takes a wellargued and witty look at the contradictions that within the space of a few years have

gone from being universally accepted to actually threatening to bring down the West’s social and economic infrastructure. For when multinationals are reporting record profits while firemen, teachers and doctors are being fired in large numbers, the problem is bigger than just a left-wing mantra. The essence of Karin Hayes and Victoria Bruce’s extremely well-researched film, however, lies in the question of how the current ‘model’ can be as rational as it claims to be?

GRAND TEATRET: SUNDAY 4/11 AT 12:00 HRS. DOX:CLUB I TEATER GROB: MONDAY 5/11 AT 17:00 HRS. BREMEN: SUNDAY 11/11 AT 14:00 HRS.

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SYSTEMIC FEAR DIR. MORGAN ZACHARY SINGH WORLD PREMIERE

ORIGINAL TITLE:SYSTEMIC FEAR COUNTRY:CANADA YEAR:2012 RUNNING TIME:13M. WORLD SALES/CONTACT:MORGAN ZACHARY SINGH, CANADA

The short film ‘Systemic Fear’ is an adaptation of Shimshon Bichler and Jonathan Nitzan’s programme text ‘Systemic Fear: Modern Finance and the Future of Capitalism’ - a text that paints a bleak picture of capitalism and its future, but does so on its own premises, which are simple enough: just like any other power system, capitalism is based on those in power convincing the people to support them. This confidence is maintained through an ideological dogma. As long as the dogma can constantly be confirmed, those in power remain confident and arrogant. But when the dogma crumbles, those in power are

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gripped by fear and become hesitant. The question is what happens, when the rulers of capitalism no longer believe in their own ability to govern? The answer is: systemic fear! A state of collective panic, where rational long-term perspectives, which economic theory is based on, are replaced by risky bets with immediate payoffs. Through photography, archivebased research, documentary material and interviews, Morgan Zachary Singh links the current crisis to its historical precedents. And things do not look too good. ‘Systemic Fear’ is screening with ‘Los Desnudos Our Body is a Weapon’ and ‘After Empire’.

LOS DESNUDOS - OUR BODY IS A WEAPON DIR. CLARISSE HAHN

ORIGINAL TITLE:LOS DESNUDOS COUNTRY:FRANCE YEAR:2012 RUNNING TIME:14M. PRODUCTION:CLARISSE HAHN PRODUCER:CLARISSE HAHN WORLD SALES/CONTACT:CLARISSE HAHN, FRANCE

The camera is a weapon for the French director Clarisse Hahn, just like the body is for the activists whose actions she documents in her latest trilogy of which this is the third, independent segment. The radical and at times self-destructive focus on the body as the basis for a political project combat training, hunger strikes - is taken one step further in ‘Los Desnudos’.

Mexican farmers demonstrate against the authorities’ expropriation of farmland by shedding their clothes and walking in a procession through Mexico City twice a day. Hahn talks to them, follows them around the streets, and makes their protest visible for a distant audience. ‘Los Desnudos’ is screening with ‘Systemic Fear’ and ‘After Empire’.

CINEMATEKET: SATURDAY 3/11 AT 16:30 HRS. DOX:CLUB I TEATER GROB: SATURDAY 10/11 AT 14:00 HRS.

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AFTER EMPIRE DIR. HERMAN ASSELBERGHS

ORIGINAL TITLE:AFTER EMPIRE COUNTRY:BELGIUM YEAR:2010 RUNNING TIME:52M. PRODUCTION:AUGUSTE ORTS PRODUCER:MARIE LOGIE WORLD SALES/CONTACT:AUGUSTE ORTS, BELGIUM

Michael Hardt and Antonio Negri’s book ‘Empire’ put into words on the project of the New Left when it was released in 2000 - ten years after the fall of the wall and prophetically in time for the changes in the global balance of power of the 00s. But Hardt and Negri were not just content with formulating a theoretical synthesis. They also developed a number of practical, emancipatory counterstrategies to the ‘empire’, which they identified as a new and post-national power form without a proper centre. The same goes for Herman Asselbergh’s film ‘After Empire’, just in pictures and sound. The basic premise is: image-making is a political act. A female narrator leaves her hotel room, where the stream of news from a TV talks about the demonstration that she joins on the street outside. But as she joins the CINEMATEKET: SATURDAY 3/11 AT 16:30 HRS. DOX:CLUB I TEATER GROB: SATURDAY 10/11 AT 14:00 HRS.

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crowd, she is not just confronted with the possibility of radical change, but also with her own identity as an individual in the middle of the group: ‘Historical moments only assume meaning, when they are over,’ and therefore they also include the possibility of containing their own contradictions and doubts. The almost abstract, digital images bear their materiality on the surface. Colour, volume, sound - an antithesis to the handheld and expectedly ‘authentic’ reportage form, which typically represents demonstrations and protests in the mass media, which ‘Empire’ also directs its criticism against. This is not a film adaptation of ‘Empire’, but a practical realisation of (some of) its ideas. ‘After Empire’ is screening with ‘Systemic Fear’ and ‘Los Dssnudos - Our Body is a Weapon’.

DOWNEAST

DIR. DAVID REDMON & ASHLEY SABIN EUROPEAN PREMIERE

ORIGINAL TITLE:DOWNEAST YEAR:2012 RUNNING TIME:76M. WORLD SALES/CONTACT:DAVID REDMON & ASHLEY SABIN, USA

In 2010, the United States’ last sardine factory closed down, located in Gouldsboro - a small town in northeastern Pennsylvania. The town looks like a peaceful fishing village. But behind the grey-grey beauty of stormy waves and the sound a cluttering shrimp boat, there is a mass of old factory workers, whose foundation for a stable life has been pulled away from underneath them - they have lost their jobs. But when the Italian immigrant Antonio Bussone from Boston arrives in town with the goal of transforming the empty rooms of the sardine factory into a new lobster factory,

an uncertain future without health insurance and pension, and the fear of long-term unemployment seem to be receding. The plan kicks off - grateful, wrinkled hands are trained to remove lobster claws and excess meat. But in the midst of all the joy, the plan turns out to be a tough battle that seems impossible to win. The film tells the story of a local reality, about a town’s economic paralysis, and about the importance of work to the individual. The story is local, but symptomatic for the outsourcing of labour that is taking place all over the western hemisphere.

FALKONER BIOGRAFEN: SATURDAY 3/11 AT 21:45 HRS. DAGMAR TEATRET: THURSDAY 8/11 AT 21:30 HRS.

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FILM SOCIALISME DIR. JEAN-LUC GODARD

ORIGINAL TITLE:FILM SOCIALISME COUNTRY:SWITZERLAND/FRANCE YEAR:2010 RUNNING TIME:102M. PRODUCTION:VEGA FILM PRODUCER:ALAIN SARDE, RUTH WALDBURGER WORLD SALES/CONTACT:WILD BUNCH, FRANCE

Patti Smith sings to deaf ears and the philosopher Alain Badiou speaks for nobody on board the luxurious ocean liner, which is a floating metaphor for Europe as an artificial paradise on a direct collision course with reality in Jean-Luc Godard’s latest work, ‘Film socialisme’ - a film, which is already considered one of the 21st century’s most important works, and a Babylonian essay in words, images and sounds about western civilisation’s current state, which rather than being a linear argument is a call for critical thinking, which is badly needed. Does the idea of a western empire live on as an abstraction, which legitimises

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stereotypical political thought? And how can we possibly understand where the West is going? One possible answer is: through the production of images. Godard has created his picture collage with everything from mobile phone footage to HD video (and clips ripped from YouTube). His ‘film-socialism’ is also a contribution to the copyright debate: artists have no rights, only duties. This applies in no small way to the director himself, whose reflections on the state of the west are presented freely in an open form. In short: a film in thinking images.

ESTANCIAS DIR. ORENCIO BOIX LARREY INTERNATIONAL PREMIERE

ORIGINAL TITLE:ESTANCIAS COUNTRY:ESPAÑA YEAR:2012 RUNNING TIME:12M. PRODUCTION:SANCTA SANCTORUM PRODUCER:ORENCIO BOIX LARREY WORLD SALES/CONTACT:ORENCIO BOIX LARREY, SPAIN

It was as if the building had recognized its own pathology - and that is always the beginning of possible change. ‘Estancias’ is the story of the demolition of an official institution, a psychiatric ward, as commented and apparently documented by one its former inhabitants Juan, whose thoughts (as transmitted to us via silent subtitles) and washed out video clips create a personal memo from his 15 years of residence. The abandoned ruin with its run down interiors and mountains of

smashed toilets functions - in a paradoxical, psychoanalytical sense - as a very ‘real’ image of the collapse of institutional order as a consequence of the simple passing of time (and history). Not in a critique of the well-meaning hospital system, but as a general symbol of the violence with which a self-legitimizing system is confronted with itself. The former inhabitants are observing from a distance. ‘Estancias’ is screening with ‘My Dubaï Life’.

VESTER VOV VOV: SUNDAY 4/11 AT 19:00 HRS. CINEMATEKET: THURSDAY 8/11 AT 21:00 HRS.

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MY DUBAÏ LIFE DIR. CHRISTIAN BARANI

ORIGINAL TITLE:MY DUBAÏ LIFE COUNTRY:FRANCE YEAR:2011 RUNNING TIME:60M. PRODUCTION:KHIASMA PRODUCER:OLIVIER MARBOEUF WORLD SALES/CONTACT:KHIASMA, FRANCE

Is Dubai a symptom? And if so, what is the diagnosis? As in Fritz Lang’s classic, the rapidly growing Arabic metropolis is an artificial paradise for those who have (new) money. But like with Las Vegas, the question is what we can learn from Dubai. A lot, if we are allowed to draw our own conclusions. And this we are in French filmmaker Christian Barani’s partly autobiographical “My Dubaï Life”, whose only comment is made up of silent subtitles and vulgar user comments which accompany the narcissistic YouTube videos from the young upper class’s nightlife. A form of visual anthropol-

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ogy in a city where everything is artificial above the third floor. But where the reality of the street is not necessarily more authentic when one arrives from the outside and meets the silent and skeptical working class face to face. The trip takes us in several hundred miles per hour from the stage-like suburbs, where cranes and scaffolding is rising about the desert sand, and in toward the city’s lack of a centre. A journey through a universe, which is constantly expanding, but which also contains seductive possibilities of collapse. ‘My Dubaï Life’ is screening with ‘Estancias’.

WOLFF VON AMERONGEN: DID HE COMMIT BANCRUPTCY OFFENCES? DIR. GERHARD BENEDIKT FRIEDL

ORIGINAL TITLE:HAT WOLFF VON AMERONGEN KONKURSDELIKTE BEGANGEN? COUNTRY:AUSTRIA/GERMANY YEAR:2004 RUNNING TIME:73M. PRODUCTION:WDR WESTDEUTSCHER RUNDFUNK PRODUCER:GERHARD BENEDIKT FRIEDL WORLD SALES/ CONTACT:SIXPACKFILMS, AUSTRIA

First off, it is hilariously funny. Secondly, it is extremely intelligent. And third, it explains everything you need to know about the psychology behind the 20th century’s financial empires (and their recent collapse)! And more still. A collective drama sprouts in a network of alliances, coups and paranoid conspiracies from person to person through modern German history. From early industrialisation to the miraculous ‘Wirtschaftswunder’ of the post-war period, one person’s fall leads to another’s rise with a causal precision of a clockwork. An irony, that is conveyed so dryly by a single narrator that one literally writhes with laughter - that is, if you are among those

with a sense of German humour! Speculators and tycoons come and go, but empires remain, as long as there is capital to keep the wheels in motion. The branching narration on the soundtrack is juxtaposed by images of airports, banks and anonymous landscapes, which do not seem to be directly related to what is being told, and which the restless camera simply pans past. But make no mistake: if there is one thing that is certain, it’s that everything is connected - by capital. Jean-Marie Straub and Harun Farocki are possible influences for Friedl’s formally tight and carefully designed film, but so is Dr. Mabuse.

CINEMATEKET: SATURDAY 3/11 AT 19:00 HRS.

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DIFFERENTLY, MOLUSSIA DIR. NICOLAS REY

ORIGINAL TITLE:ANDERS, MOLUSSIEN (AUTREMENT, LA MOLUSSIE) COUNTRY:FRANCE YEAR:2012 RUNNING TIME:81M. WORLD SALES/CONTACT:NICOLAS REY, FRANCE

The imaginary state of Molussia is a dystopian setting for a speculative science fiction fable whose gritty and sublime pictures are anchored in the real West, while its stories come from the mouths of political prisoners in a Molussian prison. Across nine chapters, an allegorical body of ideas is constructed about the relationship between fascism, capital and resistance. And if they echo the themes of inter-war European thought, this is not just coincidental. Rey’s film is in fact a kind of adaptation of selected passages of the German cult author and philosopher Günther Anders’s anti-fascist novel ‘The Molussian Catacomb’, which was written in the early 30s, but was only

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published 60 years later and has never been translated from German. However, it is not just with its philosophical theme that ‘Differently, Molussia’ takes a dialectical approach. Rey’s film consists of nine 16mm reels, which are assembled and shown in random order each time the film is projected which gives a total of 362,880 possible combinations. In other words, a different film each time it meets the canvas. In spite of its nondescript timeless expression, the film is an extremely topical abstraction about the concept of imperialism; an enlightenment project in pictures and sound.

2016: OBAMA’S AMERICA DIR. DINESH D’SOUZA & JOHN SULLIVAN

ORIGINAL TITLE:2016: OBAMA’S AMERICA COUNTRY:US YEAR:2012 RUNNING TIME:89M. PRODUCTION:ROCKY MOUNTAIN PICTURES PRODUCER:GERALD R. MOLEN WORLD SALES/CONTACT:ROCKY MOUNTAIN PICTURES, USA

Is Barack Obama actually a common anti-colonialist with a single goal: to bridge the gap between the world’s rich and poor by making the United States a poorer place? The conservative author and director Dinesh D’Souza has no doubt, and “2016”, which already ranks among the 10 best-selling documentaries of all times, is meant to convince Americans that he is right. With a drunken and abandoning father, Kenyan roots, a childhood in Indonesia and Hawaii as well as (more or less well-documented) connections to radical preachers, commu-

nists and even terrorists (!), the Obama that nobody knew before the 2008 election is described as the third world’s Trojan horse, which is set to make the United States’ power crumble. D’Souza’s film gives us a fascinating insight into conservative American thought, celebrating the United States as an “Empire of Ideals” - but the empire is trembling. Is Obama the reason? Or is D’Souza’s thoughts too conspiratorial to be true? Wild speculation or brutal reailty? You be the judge.

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FAR FROM AFGHANISTAN

DIR. JOHN GIANVITO, JON JOST, MINDA MARTIN, TRAVIS WILKERSON, SOON-MIN YOO, ROB TODD & PACHO VELEZ

ORIGINAL TITLE:FAR FROM AFGHANISTAN COUNTRY:US YEAR:2012 RUNNING TIME:129M. PRODUCTION: CENTRAL PRODUCTIONS, FAR FROM AFGHANISTAN LCC, STEADY ORBITS, TRAVELING LIGHT PRODUCTIONS. PRODUCER:STEVE HOLMGREN WORLD SALES/ CONTACT:STEVE HOLMGREN

Harvard historian Niall Ferguson has researched the rise and fall of historical empires, and has among a a number of symptoms of an empire’s impending doom identified ‘expensive wars in peripheral regions’ as one of the absolute signs of crisis. Bad news, good timing - at least if you even want to begin to understand the scope of America’s war in Afghanistan, which for ten years has swallowed unimaginable sums of money, which (think about this for a second) could have been used in all sorts of other ways. But with the anthology ‘Far From Afghanistan’, five of today’s most radical American film activists now launch a call for common sense, just with the camera as their pacifist ‘weapon of choice’. In five chapters, the impact of the

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war on both sides of the Atlantic is analysed. But if there is one thing that the past twenty years of warfare have taught us, it’s not that (post)modern wars ‘have never taken place’, but that they on the contrary are not just taking place in a dusty desert, but to just as high a degree in the media’s discursive coverage at home. With Marshall McLuham and Noam Chomsky as a theoretical foundation and Godard, Resnais and Chris Marker as cinematic role models (in the film ‘Far From Vietnam’, 1967), the project initiator John Gianvito and his four colleagues have created an artistically ambitious and responsible film, which might appear topical in more ways than anticipated - at least if you ask Niall Ferguson.

THE QUEEN OF VERSAILLES DIR. LAUREN GREENFIELD

ORIGINAL TITLE:THE QUEEN OF VERSAILLES COUNTRY:US YEAR:2012 RUNNING TIME:100M. PRODUCTION:CHELSEA PICTURES, PLUS PICTURES PRODUCER:LAUREN GREENFIELD, DANIELLE RENFREW BEHRENS, METTE HEIDE WORLD SALES/CONTACT:PLUS PICTURES

When Lauren Greenfield started her documentary about the eccentric billionaire family Segel, the family was in the process of constructing a Versailles-inspired huge villa of Citizen Kane dimensions - America’s biggest house, in fact. The estate agent David and the former beauty queen Jackie live in an uninhibited version of the American dream filled with luxurious surroundings and a decadent lifestyle,

until the financial crisis rears its ugly head and the housing bubble bursts with a loud bang. Will the Segel family really be forced to sell its unfinished dream house? ‘The Queen of Versailles’ is a sympathetic film that does not point any fingers, but which in an empathetic manner paints a nuanced portrait of its exotic ‘larger than life’ characters.

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INDIA UNREAL The world’s largest democracy is also the world’s largest filmmaking nation. At least in terms of the number of titles that are released each year. Nonetheless, there is still a limit to the amount of films that take the democratic task seriously. Bollywood sets the agenda with colourful and spectacular melodramas and song numbers. Few films really deal with the realities of 21st century India. But in recent years, the experimental, critical and politically active documentary has established itself as a lively alternative. And both directors and audiences are beginning to take documentary films seriously as an artistic genre in its own right. Thereby, modern, selfreflective and subjective strategies have been adopted by independent filmmakers. Political, religious and sexual taboos are being confronted. And traditional ‘Indian’ aesthetics are treated in new ways. The new and independent Indian documentary raises a long list of questions. What do the new films have in common? Does it make sense to speak of a downright New Wave or of a less centralised movement? Is it a generational shift? And how do young filmmakers deal with the country’s colonial past? ‘India Unreal’ is a selection of works from the burgeoning Indian film scene. A selection which – as the title suggests – also points to some the paradoxes and contradictions that Indian independent cinema shares with the society it reflects upon. ‘India Unreal’ does not pretend to tell the full story of Indian cinema today. On the contrary, they are films that do not necessarily ‘represent’ general genres or tendencies beyond themselves, and which must be viewed as works in their own right. Last, but certainly not least, we proud and happy to present nothing less than a world sensation when the 75 year-old composer and ‘Godfather of Acidhouse’ Charanjit Singh is not only performing live for the first time ever – he is bringing along a documentary crew and young rap star Heems of Das Racist. Two artists from tow generations brought together by CPH:DOX, and who are now recording an EP together. Welcome to India Unreal.

JAI BHIM COMRADE DIR. ANAND PATWARDHAN

ORIGINAL TITLE:JAI BHIM COMRADE COUNTRY:INDIA YEAR:2012 RUNNING TIME:200M. WORLD SALES/CONTACT:ANAND PATWARDHAN, INDIA

The focus is collective and the form a collage, but the aim is clear: the Indian caste system is to be eradicated completely. ‘Jai Bhim Comrade’ has no recurring protagonists, but revolves around an incident in 1997, where the police shot unarmed Dalits (‘untouchables’) after unknown perpetrators had vandalised a statue of an untouchable freedom fighter/martyr. Even if the caste system has been officially abolished by law in 1950, it still defines the class-divided reality for millions of poor Indians. How ingrained the system actually is becomes shockingly clear when the upper class (and

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its ignorant ‘culture’: theatre, songs and poems) takes the floor. Here, the differences between the various “castes” are reproduced ad nauseam. Anand Patwardhan has fully deserved his status as India’s foremost experimental filmmaker and activist - an uncompromising artist who makes use of all the tools of the medium in his fight for justice on behalf of the Dalits. Interviews, archive materials, news reports and even song numbers find their place in his confrontational and pared-down style. Four hours of documentary punching of a system that should never have existed.

I AM MICRO

DIR. SHUMONA GOEL & SHAI HEREDIA

ORIGINAL TITLE:I AM MICRO COUNTRY:INDIA YEAR:2009 RUNNING TIME:14M. PRODUCTION:SHUMONA GOEL, SHAI HEREDIA PRODUCER:SHUMONA GOEL, SHAI HEREDIA WORLD SALES/CONTACT:EXPERIMENTA MOVING IMAGE ART IN INDIA, INDIA

The transition to digital video has not only meant that ‘everyone can make their own film’, and so on. It has also meant that an entire film-historical heritage is in imminent danger of being lost - not least in a country like India, which has historically made more films than any other country in the world. ‘I am Micro’ is a quiet and dazzlingly beautiful elegy for the medium to which it owes its own exquisite black-andwhite 16mm images. The camera moves along narrow corridors, through abandoned film laboratories and low budget sets,

where a thick layer of dust lies like a blanket over abandoned film equipment. However, Shumona Goel and Shai Heredia are not on a nostalgic mission - film as an art form has always had a peripheral existence on the margins of commercial machinery, as the voice of an older filmmaker notes on the soundtrack. He remembers the euphoric mood during the global new wave of the 1960s, when Godard and Pasolini set new ideals, but also the decline that set in when systematic standardisation of film production began.

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FRIED FISH, CHICKEN SOUP AND A PREMIERE SHOW DIR. MAMTA MURTHY

ORIGINAL TITLE:FRIED FISH, CHICKEN SOUP AND A PREMIERE SHOW COUNTRY:INDIA YEAR:2011 RUNNING TIME:90M. PRODUCTION:MAJLIS PRODUCTIONS PRODUCER:MAJLIS WORLD SALES/CONTACT:MAGIC LANTERN FOUNDATION, INDIA

A film is devised, made and seen in radically different ways in India. At least if you dare venture beyond Bollywood. Here, you can be lucky enough to meet a family like the one which in this film plays the collective main role, while they struggle to make ‘convincing’ films under makeshift conditions. The man of the house directs, while his wife is both producer and chef. But behind the production of colourful melodramas on a low budget, reality is looming in several ways. Making films, by definition, is a political act when for example hearing a local dialect on film is a relatively new

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phenomenon. ‘Fried Fish’ takes place in Manipur, which gained the status of an independent state in 1972, the same year as the first film was made there. And ‘both were quite the hazzle’, as we are dryly told. Mamta Murthy’s film is at once a piece of film history in the making and a deeply informative and highly topical take on how politics and popular culture actually hang together - if you just dare to look beyond the West (and beyond Bollywood). A film for anyone seriously interested in film, and for anyone simply curious for a well-told story.

PARTNERS IN CRIME DIR. PAROMITA VOHRAS

ORIGINAL TITLE:PARTNERS IN CRIME COUNTRY:INDIA YEAR:2011 RUNNING TIME:94M. PRODUCTION:MAGIC LANTERN FOUNDATION, DEVI PICTURES PRODUCER:MAGIC LANTERN FOUNDATION WORLD SALES/CONTACT:MAGIC LANTERN FOUNDATION, INDIA

Is piracy a class struggle or an organised crime? Is copyright a cultural construct? And who owns a song - the person who has written it, or the person who has bought it? One thing is sure: piracy is about love. At least if you ask some (but definitely not all!) of the Indian uploaders and downloaders and punk bands and anti-piracy fanatics, who we meet in ‘Partners in Crime’, which in high spirits and a low budget dives into a global underworld, which is growing proportionally to increasing bandwidths. Paromita Vohras explores the grey areas in

the heated debate about cultural copyright. Not just film and music, but also books are being copied and sold on a large scale on the densely packed, Indian marketplaces. The artists demonstrate and the industry protests, but also for merchants films, CDs and books literally mean food on the table - no matter if they are for or against it. Vohras’s eye for situational irony and the paradoxes of the problem is spot on. But the question is also whether we are witnessing the beginning or the end of the so-called culture industry?

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LOVE IN INDIA DIR. Q (KAUSHIK MAUKHERJEE)

ORIGINAL TITLE:LOVE IN INDIA COUNTRY:INDIA YEAR:2009 RUNNING TIME:91M. PRODUCTION:MA.JA.DE FILMPRODUKTION, OVERDOSE, ZDF/ARTE PRODUCER:PRAMOD MATHUR WORLD SALES/CONTACT:DECKERT DISTRIBUTION GMBH, GERMANY

A liberal film about the desire to unite the genitals and the divine! The Hindu gods Krishna and Radha are symbols of love, sexual desire and passion, but in India it is still unheard of to kiss in public. The Indian film director ‘Q’ and his girlfriend, however, snog in the middle of the street, and when they come home they talk about sex. As representatives of a modern India, they do not settle for questioning the country’s sexually conservative politics they also practice what they preach. Q and his girlfriend feel more closely related to a Hindu religious past, and together with Q’s

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own friends they talk about sex, love and more sex in a way that totally ‘debollywoodifies’ every henna-romantic idea of India. But it is not only young people who are given the word. Q travels around the country and talks to anyone and everyone about sex and love. It could all have ended as a homespun, love-chattering disaster, but the film’s focal point - sexual liberalism vs straitlaced taboo - instead provides a refreshing India boost, which returns any preconceptions one might have had right back to sender.

VERTICAL CITY DIR. AVIJIT MUKUL KISHORE

ORIGINAL TITLE:VERTICAL CITY COUNTRY:INDIA YEAR:2011 RUNNING TIME:90M. PRODUCTION:PUBLIC SERVICE BROADCASTING TRUST PRODUCER:RAJIV MEHROTRA WORLD SALES/CONTACT:PUBLIC SERVICE BROADCASTING TRUST, INDIA

Architecture, politics and a cinematic eye for the blind spots of urban space are the three basic pillars of ‘Vertical City’, which refers to a colossal slum settlement outside Mumbai. A city on the edge and headed towards doom, where a weightless camera floats up and down the worn and dirty stairwells and corridors. The state and a group of developers were otherwise working together on a rehabilitation project that would provide access to apartments with water and sanitation. But was the point of the new hypermodern buildings really the rehabilitation of the slum residents, or just to get them away from the city centre?

It undeniably looks like a deliberate relocation of a group of people who are deemed unbecoming to the city. What was meant to be their new home has in any case developed into an even bigger slum than the one they came from. Avijit Mukul Kishore’s stylish film is a concentrated and articulate take on a current global debate, where the possible solutions are no longer just political, but also based on technology and new knowledge. Meet Kishore and writer and journalist Shastri Ramachandaranat for a panel discussion following the screening.

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THE SOUND OF OLD ROOMS DIR. SANDEEP RAY

ORIGINAL TITLE:KOKKHO-POTH COUNTRY:INDIA/SOUTH KOREA/USA YEAR:2011 RUNNING TIME:72M. PRODUCER:SANDEEP RAY WORLD SALES/CONTACT:RAY PICTURES, INDIA

If you follow one of your good friends with a camera for 20 years, the result cannot help being nothing short of riveting. And if your friend is a young poet whose only wish is to be able to live his life as a poet freely, but who eventually has to fight harder and harder against compromises - then you end up with a film like Sandeep Ray’s ‘The Sound of Old Rooms’, a formally complex but warm and human film. Ray’s friend Sarthak lives with his mother, his child and his stubborn and extremely well-read girlfriend in a tiny and labyrinthine apart-

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ment, where heated debates about Derrida’s literary theory fill the old rooms with new sounds - and where friendships, poetry and the freedom to create fill the days as the years go by. Ray also gives the word to his friend, who himself talks about his formative years as a writer, and whose poetic world view often stands in cheerful contrast to the demands of living up to ones age whatever this may mean. “The Sound of Old Rooms” is above all made with a rarely seen sense of trust and maturing friendship between the director and his subject.

JAN VILLA

DIR. NATASHA MENDONCA OUT OF COMPETITION

ORIGINAL TITLE:JAN VILLA COUNTRY:INDIA/US YEAR:2011 RUNNING TIME:20M. PRODUCER:NATASHA MENDONCA WORLD SALES/CONTACT:NATASHA MENDONCA, INDIA

It would almost be unfair to call ‘Jan Villa’ a dazzlingly beautiful work of cinematic art. For Nathasha Mendonca, who is a CalArts graduate, returned to her hometown Mumbai to shoot her film during the catastrophic floods, which hit the metropolis in 2005 and killed more than five thousand people. The result could have been a traditional documentary tragedy. But ‘Jan Villa’, which is also the name of the house where Mendonca grew up, has instead become a deeply poetic and subtle political picture poem, which reaches into the human

corners of the disaster that would otherwise remain out of sight. With its impressionistic flow of grainy celluloid images in both black-and-white and colour, the film creates an independent sensory landscape of impressions, where a child circulating around the camera on a tricycle also becomes an image of a possible future after the floods. Mendonca, who is one of the greatest talents of her generation in the budding Indian film scene, works in the discursive spectrum between postcolonial reflection and practiced visual art.

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IN-BETWEEN DAYS DIR. SANKHAJIT BISWAS WORLD PREMIERE

ORIGINAL TITLE:DUI DHURANIR GOLPO COUNTRY:INDIA YEAR:2012 RUNNING TIME:60M. PRODUCTION:MOROMIYA PICTURES PRODUCER:MOUPIA MUKHERJEE, SANKHAJIT BISWAS WORLD SALES/CONTACT:MOROMIYA PICTURES, INDIA

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THE IMAGE THREADS DIR. VIPIN VIJAY

ORIGINAL TITLE:CHITRASUTRAM COUNTRY:INDIA YEAR:2010 RUNNING TIME:102M. PRODUCTION:UNKNOWN FILM PRODUCER:ALTAF MAZID WORLD SALES/CONTACT:UNKNOWN FILM, INDIA

A cyberpunk virtual reality love story, which on the surface looks like a neon-coloured and chemically induced brain trip, but which at the same time contains parallels to Indian mythology and symbolic mysticism. In other words, a film about the past, present and future - but not necessarily in that order! The computer programmer Hari starts a platonic affair with a beautiful, female being in cyberspace. His grandfather, who is a magician specialising in black magic, turns up in his dreams and memories and gives him cryptic advice. And from then on it makes almost no sense to

paraphrase Vipin Vijay’s film any further. ‘The Image Threads’ is a film that to a large extent takes shape according to what you bring with you as a spectator. The narrative threads (or rather ‘image threads’) branch out widely, but at the same time Vijay’s film has its own eclectic logic. Like an anthropologist who tries to chart the subconscious in pictures and sound, he works his way through layers of signs, rituals and symbols. A mythopoetic film with distant relations to Brakhage and Paradjanov, but which also points towards unexplored cinematic territories.

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WE ARE NOT UNTOUCHABLE DIR. STALIN K. & VIDEO VOLUNTEERS

ORIGINAL TITLE:WE ARE NOT UNTOUCHABLE COUNTRY:INDIA YEAR:2012 RUNNING TIME:90M.

A young Dalid (‘untouchable’) is brutally attacked when he drinks water from a water tank that is reserved for ‘higher’ castes. This is just one of many examples of caste discrimination - a form of apartheid - in modern India, which grass roots activists from Video Volunteers have documented. The organisation is headed by Stalin K, an award-winning filmmaker and respected human rights campaigner, who for 20 years has worked to promote grass roots media. At this seminar, the charismatic Stalin K will show a series of film clips shot by video activists that he and his team have trained. Based on the video examples of caste discrimination, he wants to focus on the

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abysmal contrast between the image of India as a modern country in rapid development and the realities of the 3,000 year-old caste system, which still holds 200 million Dalits at the very bottom of society. At the same time, he wants to describe the role of video activism in the democratisation of the media that is taking place these years, and which to a large degree is associated with the advance of the internet. Two of Stalin K’s films about caste discrimination, ‘Lesser Humans’ and ‘India Untouched’ have won awards at both Indian and international festivals, and the latter was shown at CPH:DOX in 2007.

DOX:REGULARS DANISH:DOX TOP DOX FOOD ON FILM DOX:LAB AUDIO:VISUALS EVENTS & PARTIES

DANISH:DYNAMITE Danish documentary is on a roll – and here’s your chance to discover why! We have collected a selection of some of this year’s Danish production from both established and upcoming filmmakers. Some of them are screened for the first time, others have made the festival circuit to great acclaim. The level is high and the films are driven in equal measures by solid directorial talent as by auteur visions. The setting varies from reality of contemporary Denmark in its more or less flattering guises, to an internationally oriented outlook. From the global point of view in documentaries with a political edge, via the intimate portrait film, to the all-out experimental works. The continued success of Danish documentaries depends on the supply of new ideas, and on the ambition and artistic talent to give these ideas a form. The films presented here all realize this ambition in widely different ways. They represent a diversity of expression characteristic of Danish films these days, and a curiousity that point toward the future.

MOON RIDER DIR. DANIEL DENCIK.

ORIGINAL TITLE:MOON RIDER COUNTRY:DENMARK YEAR:2012 RUNNING TIME:81M. PRODUCTION:DENCIK FILM PRODUCER:MONICA HELLSTRÖM, CO-PRODUCER: TOBIAS JANSON / STORY AB

Daniel Dencik’s stylish ‘Moon Rider’ follows the 19-year-old Rasmus Quaades struggle to become a professional cyclist. Rasmus’s body is perfect for cycling, but his thoughts and constant reflections on life and death turn into his biggest opponent in the battle to live out his dream: to be world champion in individual time trials. A dream, whose price is constant loneliness on the saddle. Why practice a sport that almost requires you to keep going until you drop dead? Where does one find the will to push ones body beyond all limits, over and over

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again? Why voluntarily choose a lifestyle that requires so much sacrifice - not just physically, but also socially? With a raw sense of honesty, Rasmus invites us on his grand tour, where we encounter doubt, fear, a death drive, but also the euphoria of being among the best in the world. And with an incredibly beautiful visual side, shot entirely on 8mm celluloid, supported by a throbbing synthesizer score, ‘Moon Rider’ is a modern sports film told from the inside of a bike helmet.

RENT A FAMILY DIR. KASPAR ASTRUP SCHRÖDER

ORIGINAL TITLE:LEJ EN FAMILIE A/S COUNTRY:DENMARK YEAR:2012 RUNNING TIME:80M. PRODUCTION:PLUS PICTURES APS PRODUCER:METTE HEIDE WORLD SALES/CONTACT:PLUS PICTURES APS, DENMARK

Ryuchi is a director of the Japanese company ‘I Want to Cheer You Up Ltd.’. A company that rents out family, friends, colleagues or whatever one might need to help people cover up secrets and make ones life appear normal. But while Ryuichi only conceals his clients’ secrets a few hours at a time, he hides his own secret 24 hours a day. On the surface, he has a straightforward family life. He is 44 years old, married and the father of two boys, and has an

ordinary nine-to-five job. But Ryuchi only feels really happy when he works as someone else’s family member. But his own family does not know his company, and thus he leads a double life. Will Ryuchi succeed in keeping his secret, or will he find out that he can only really help others when he has helped himself and revealed his secret double life to his family? A highly unusual story about an almost ordinary man.

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FREE THE MIND DIR. PHIE AMBO

ORIGINAL TITLE:FREE THE MIND COUNTRY:DENMARK YEAR:2012 RUNNING TIME:72M. PRODUCTION:SIGRID DYEKJÆR PRODUCER:DANISH DOCUMENTARY PRODUCTION WORLD SALES/CONTACT:DANISH DOCUMENTARY PRODUCTION

The brain is the most complex phenomenon in the universe, and we are only just starting to understand how it works - and what it is capable of. Therefore, it is all the more incredible to watch the American neuroscientist Richard Davidson at work. Davidson has set out to explore how one can physically change the brain - merely by the power of thinking. And this is in fact anything but abstract. Steve and Rich are two of America’s thousands of war veterans. Their life is a nightmare. They are plagued by a fear of being together with other people, can not sleep without medication and suffer from guilt feelings about the things they experienced and did to other DAGMAR TEATRET: THURSDAY 1/11 AT 16:40 HRS. FALKONER BIOGRAFEN: SUNDAY 4/11 AT 16:30 HRS. PALADS BIOGRAFERNE: THURSDAY 8/11 AT 19:00 HRS. CINEMATEKET: FRIDAY 9/11 AT 14:30 HRS.

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people during the war. 5-year-old Will has ADHD and severe anxiety attacks. His parents are willing to try alternative methods to the traditional and addictive medication. All three of them are in ‘brain therapy’ with professor Richard Davidson - and how it pans out is something you simply have to see with your own eyes in ‘Free the Mind’, which follows the three guinea pigs on their courageous journey into themselves. Phie Ambo has created a readily understandable and educative film about a subject that sounds like science fiction, but which might soon become standard practice.

POLISH ILLUSIONS DIR. JACOB DAMMAS & HELGE RENNER

ORIGINAL TITLE:POLISH ILLUSIONS COUNTRY:DENMARK/POLAND/FRANCE/GERMANY, POLAND YEAR:2012 RUNNING TIME:80M. PRODUCTION:GRANIZA PRODUCER:JACOB DAMMAS & HELGE RENNER WORLD SALES/CONTACT:GRANIZA, DENMARK

In a smalltown in Poland, the retired American helicopter pilot Mark Buller has settled down on a farm, where there is space for his vast collection of ditto retired U.S. Army vehicles. Now all he needs is a wife. He has, however, found a helper and admirer in the young Michal - or ‘Mike’, as he prefers to be called. A synthesizer player and computer nerd, who loves all things American and likes helping Mark realise his dream retirement. At the other end of the village, the community’s ageing magician Jan is fighting for a place in the limelight,

when the local cultural centre is given a new director, who has a modern and innovative, leisure-economy vision for the village. They have all shaped the world in their own heads, but can a comfortable illusion make you a happier person? The Danish/German directing duo Jacob Dammas and Helge Renner take an affectionate, but also slightly satirical look at life in the fringes of Poland, where there is probably enough space for everyone to shape their lives according to their own wishes, but where the common reality is the first victim of the eccentricities.

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A PRACTICIAN, A PROPHET & A POOR WRETCHED SOUL DIR. DENIZ EROGLU WORLD PREMIERE

ORIGINAL TITLE:A PRACTICIAN, A PROPHET & A POOR WRETCHED SOUL COUNTRY:DENMARK YEAR:2012 RUNNING TIME:70M. PRODUCER:MORTEN JENSEN WORLD SALES/CONTACT:GEIST FILMS, GERMANY

A practitioner, a prophet and a poor, tortured soul. Three men, who for more or less articulate reasons have decided to spend their lives in bed, on the margins of the Danish welfare state - isolated from the world, which, as the ‘prophet’ puts it while he is being cared for by the municipality’s home carers, is only a grand illusion. Deniz Eroglu’s self-produced film is structured as a triptych with three parts, which in spite of their large formal differences share a black-humoured, Beckett’esque view of the soaring soul’s troubles with the often extremely tangible prison of the body. The two shorter segments, which open and close the film, are shot on 16mm in

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a classic, controlled style, while the longer and more talkative center segment is shot directly on old VHS tapes and presented as one of those kinds of documentary programmes that Danish TV filled the air with after midnight in the 1980s. A film, whose director obviously spent his formative years in the company of everyone from Orson Welles and Ingmar Bergman to ‘vidéo brut’ and conceptual film of the kind that he now has started to produce himself. Eroglu is trained as a visual artist, and his consistent use of archaic recording formats continue to refer to both real and fictional events and people.

ET BLAD FALDER TIL HIMLEN DIR. ANDERS BIRCH & DIDDE ELNIF WORLD PREMIERE

ORIGINAL TITLE:ET BLAD FALDER TIL HIMLEN COUNTRY:DENMARK YEAR:2012 RUNNING TIME:37M. PRODUCTION:ALPHAVILLE PICTURES COPENHAGEN / FILM WORKSHOP PRODUCER:CAROLINE SCHLÜTER BINGESTAM WORLD SALES/ CONTACT:ALPHAVILLE PRODUCTIONS COPENHAGEN APS, DENMARK

‘I could no longer bear seeing my father incarcerated in a hamster cage at the dementia ward of a nursing home. Visiting him day after day with my 2-year-old daughter without him being able to remember us. To have to tell him every time, who he was, and where he was, and that mother had died, and that I was his son and had become married and had a child. At each visit, it was as if someone had hit the reset button and we started all over again.’ This is how the author Knud Romer describes the last period with his demented father. A protracted farewell, which is only really completed, when Knud Romer in

collaboration with the composer Bent Sørensen and DR’s girl choir performs the work ‘A Leaf Falls to Heaven’ in the Tivoli Concert Hall as a farewell to his father. In the documentary film of the same name, we follow the making of the concert from the last conversations between Knud Romer and his father at the nursing home, his death at the hospital, the clearing of his childhood home in Nykøbing Falster, and the perfect concert at Tivoli. The film ‘A Leaf Falls to Heaven’ is about universal questions: dying, growing up, being the next generation that one day will die.

BREMEN: SUNDAY 11/11 AT 12:00 HRS.

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VERSIONS

DIR. CHRISTINA CHRISTENSEN WORLD PREMIERE

ORIGINAL TITLE:VERSIONER COUNTRY:DENMARK YEAR:2012 RUNNING TIME:16M. PRODUCTION:DHARMAFILM PRODUCER:CHRISTINA JUL GREGERSEN WORLD SALES/CONTACT:CHRISTINA CHRISTENSEN, DENMARK

A narcoleptic girl lives in a hazy borderland between dream and reality, until her illness one day throws her into a dangerous situation where it is crucial that she can distinguish between dream and real nightmare. ‘Versions’ only features characters who play themselves in reconstructed situations based on the protagonist’s own (real) diaries, and the film thereby consciously explores the border between staging and reality, acting and authenticity.

DOX:CLUB I TEATER GROB: WEDNESDAY 7/11 AT 16:30 HRS. DAGMAR TEATRET: SUNDAY 11/11 AT 21:30 HRS.

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The driving force behind the film is an exorbitant fascination of people who create their own reality with the help of fantasy, manipulation or lies. Across a series of short films, Christina Christensen has developed a method and an aesthetic, which processes the real and personal through the stylised form of fiction. And in this, her latest film, the result is an unpredictable narcolepsy thriller, which leaves the viewer highly awake.

LOBBIES

DIR. ASTA MELDAL LYNGE WORLD PREMIERE

ORIGINAL TITLE:LOBBIES COUNTRY:DENMARK YEAR:2012 RUNNING TIME:10M. PRODUCTION:ASTA MELDAL LYNGE PRODUCER:ASTA MELDAL LYNGE WORLD SALES/CONTACT:ASTA MELDAL LYNGE, DENMARK

Public and private, as well as interior and exterior spaces are merged in Asta Meldal Lynge’s aesthetically refined study of the lobby as an architectural (and perceptual) phenomenon. The lobby is an in-between space and a place of transit, which is defined precisely by its volatility and absence of a specific identity. Using footage from London and New York, Meldal Lynge examines the experience of modern urban

environments through the lens of a camera. The lobbies’ transparent surfaces and infinite mirrorrings create a dizzying experience of urban space in a kind of temporal loop, where the ‘now’ is reproduced infinitely. One is never quite sure if what one sees is real or just a reflection a kind of urban mirage - in a film that examines human life in modernist cityscapes of glass, steel and concrete.

DOX:CLUB I TEATER GROB: WEDNESDAY 7/11 AT 16:30 HRS. DAGMAR TEATRET: SUNDAY 11/11 AT 21:30 HRS.

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BALLERINA DIR. MAJA FRIIS WORLD PREMIERE

ORIGINAL TITLE:BALLERINA COUNTRY:DENMARK YEAR:2012 RUNNING TIME:50M. PRODUCTION:FRIISHAYNES APS PRODUCER:MILLE HAYNES WORLD SALES/CONTACT:FRIISHAYNES APS, DENMARK

‘Nothing should ever come between me and dance.’ These were the words of the merely 9-year-old Marianne von Rosen after her first evening at the theatre. Prophetic words, one might say, eighty years later. The world famous prima ballerina has since pursued her passion for ballet and gained a large international following of admirers. One can understand why in Maja Friis’s aesthetically exquisite portrait film, which consists in part of newly choreographed dance scenes with three

GRAND TEATRET: FRIDAY 2/11 AT 17:00 HRS.

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contemporary dancers, an exclusive look at rare archive materials, and not least a narrative inspired by von Rosen’s autobiography, ‘Not Just a Dance on Roses’. For if the greatest art in ballet is making the dance look easy, the price for perfection is correspondingly high. ‘Ballerina’ is a dazzlingly beautiful film about a hard life with a passion for dancing as a guiding star. A passion, that both gave von Rosen her life and threatened to take it away from her again.

DANCE FOR ME DIR. KATRINE PHILP WORLD PREMIERE

ORIGINAL TITLE:DANS FOR MIG COUNTRY:DENMARK YEAR:2012 RUNNING TIME:75M. PRODUCTION:KLASSEFILM PRODUCER:LISE SAXTRUP WORLD SALES/CONTACT:KLASSEFILM, DENMARK

When you, like 14-year-old Mie, are a promising dance talent with great ambitions, it is crucial to have the right dance partner, even if it means that he has to be found abroad. Egor is a top-dedicated Russian dancer, who is willing to do whatever it takes to achieve his dream of being a star. He lives with Mie and her parents, and together the young dancing duo works determinedly to reach the top of the tough, international dance world. Every competition is important for the future, and it can therefore also be hard to cope with stress and expectations, even for

a good partnership. ‘Dance for Me’ is the story of nubile but deeply passionate dancers with ambitions that are so great, that they have adapted their lives to them an existence where they work as the perfect match on the dancefloor, but also a life where they have to get used to a new family member in Mie’s home, and where Egor has to try to find his place in a foreign culture far away from his loved ones. Katrine Philp’s film gives us a close-up and sensitive look at life as a young elite dancer in a world where ambition and success overshadows everything else.

EMPIRE BIO: THURSDAY 1/11 AT 20:00 HRS. FALKONER BIOGRAFEN: MONDAY 5/11 AT 21:45 HRS. DOX:CLUB I TEATER GROB: SUNDAY 11/11 AT 19:00 HRS.

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MY LOVE

DIR. IBEN HAAHR ANDERSEN WORLD PREMIERE

ORIGINAL TITLE:MY LOVE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:58M. PRODUCTION:KLASSEFILM PRODUCER:LISE SAXTRUP WORLD SALES/CONTACT:KLASSEFILM, DENMARK

‘My Love’ is the story of two men who defy al odds and show us that it is never too late to change ones life. The fisherman Poul has long known that he is into men, but lived an ordinary family life in a small fishing community, with wife and children. At some point, Poul’s life takes a tragic turn, which bring on a personal crisis - a crisis that forces him to choose between either putting an end to his life, or coming out as gay. When Poul meets the 20 years younger Thai man Mai, it is the beginning of a love story that changes their lives completely.

DAGMAR TEATRET: SATURDAY 3/11 AT 21:30 HRS. FALKONER BIOGRAFEN: TUESDAY 6/11 AT 21:45 HRS. EMPIRE BIO: SUNDAY 11/11 AT 17:30 HRS.

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Mai settles in Denmark and starts a life with Poul, far away from his children and family back home. We follow how love and life unfolds in the small fishing community, how they honestly and courageously confront the language barriers, cultural differences and whatever else arises in terms of challenges, as well as how they both try to deal with their memories and contact with the past. Together, Poul and Mai create an unusual and life-affirming story about finding true happiness.

ME, MYSELF & MARTIN LAURSEN DIR. ANTHONY TULLBERG WORLD PREMIERE

ORIGINAL TITLE:ME, MYSELF & MARTIN LAURSEN COUNTRY:DENMARK YEAR:2012 RUNNING TIME:40M. PRODUCTION:FIRST LADY FILM PRODUCER:NYNNE SELIN EIDNES WORLD SALES/CONTACT:FIRST LADY FILM APS, DENMARK

Meet Anthony Tullberg. A former football player with a career, which according to him should have been far more glorious than was the case. He reached the second division. He played in front of 1000 people. But to his great chagrin, this was far less people than who Martin Laursen played in front of. And this in spite of the fact that they are the same age, same height, weigh the same and both are right-footed. As he in a very honest tone challenges himself to ask: ‘Why is he a star, when it should be me?’ This is the start of a film where Anthony tries to understand who Martin

Laursen is. Both the man and the football player. He digs deep into Martin’s career, where he interviews former colleagues and coaches such as Michael Laudrup, Paolo Maldini, Morten Olsen, Carlo Ancelotti, Martin Jørgensen, Zlatan Ibrahimovic and several other stars from the world of football, about Martin Laursen’s strengths and weaknesses. A witty and highly personal film about success and about the envy of why it ended up being Martin Laursen who won the Champion’s League and became a star.

EMPIRE BIO: FRIDAY 2/11 AT 17:30 HRS.

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WILD GIRLS

DIR. TINE KATINKA JENSEN & METTE CARLA T. ALBRECHTSEN WORLD PREMIERE

ORIGINAL TITLE:VILDE PIGER COUNTRY:DENMARK YEAR:2012 RUNNING TIME:40M. PRODUCTION:BULLITT FILM APS PRODUCER:ELISE LUND LARSEN & VIBEKE VOGEL WORLD SALES/CONTACT:BULLITT FILM, DENMARK

They do whatever suits them, have lots of temperament and attitude, and often end up in fights. The girl gangs in the Copenhagen suburb of Brøndby are not for wimps. In a life marked by being let down, and suffering abuse and violence, the only people to lean on are most often friends. The gangs are their protection against the outside world and an alternative to all the things they don’t have. The rough life on the margins of the law, the lack of schooling and the eternal confrontations with their surroundings make it hard for the girls to imagine life being any

BRØNDEN: WEDNESDAY 7/11 AT 17:00 HRS. DOX:CLUB I TEATER GROB: THURSDAY 8/11 AT 18:00 HRS.

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different. While the authorities are doing their bit to help them onto the right track, the girls have to try to find faith in a better future, and not least the courage to take up the fight - no matter what it takes. It is a long way from the adrenaline rush of brawls to being able to reflect about ones past, and to take responsibility for ones actions. But as the years pass, the girls develop into young, strong women, who manage to clean up their act and slowly, but surely manage to create a meaningful life with a positive future.

KONGENS FOGED DIR. PHIE AMBO WORLD PREMIERE

ORIGINAL TITLE:KONGENS FOGED YEAR:2012 RUNNING TIME:40M. PRODUCTION:DANISH DOCUMENTARY PRODUCER:SIGRID DYEKJÆR WORLD SALES/CONTACT:DANISH DOCUMENTARY PRODUCTION

‘Kongens Foged’ is about the bailiff, the executioner of our times, who has to ignore all good excuses and explanations and put people on the street, without hesitation and softness of the heart. Or what? The film follows Else, one of Denmark’s many bailiffs, who is sent out every day to enforce judicial decisions against the country’s citizens. But what lies behind this power; what thoughts and considerations does a bailiff go

through, when she has to put a family on the street? How far can a bailiff go, and what kind of reality does she live in? The film follows a number of fates that the bailiff encounters. What kinds of people end up on the street? Are they victims? And if so: victims of what? The possessive hands of the welfare system? Poor planning? Or simply one of one the greatest taboos today: downright poverty?

DAGMAR TEATRET: MONDAY 5/11 AT 17:00 HRS.

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TOP DOX TOP:DOX is the section for festival hits and front page stories from the world of documentaries. This is where you meet everyone from Steve Jobs and Slavoj Zizek to Shakespeare. Great films, great stories, great personalities – and great directors, not least. But TOP:DOX is also the series which takes a closer look at the modern culture we live within. ‘Room 237’, ‘Side by Side’ and ‘What is This Film Called Love?’ are compelling films about the lures and fatal attractions of cinema, wheres as ‘Stories We Tell’, ‘Sofia’s Last Ambulance’ and ‘Dreams of a Life’ are dramatic real life stories that challenge the feature film in dramatic engagement. And ‘Bestiaire’ is this year’s candidate for a film of universal appeal – make sure to catch it when we screen it in the Zoo after closing time. In sum, a chance to catch up with a selection of the films that made it grand in 2012, and which, when taken together, prove that one can easily be popular without being bland.

BESTIAIRE DIR. DENIS CÔTÉ

ORIGINAL TITLE:BESTIAIRE COUNTRY:CANADA YEAR:2012 RUNNING TIME:72M. PRODUCTION:METAFILMS, LE FRESNOY PRODUCER:SYLVAIN CORBEIL, DENIS CÔTÉ WORLD SALES/CONTACT:FIGA FILMS, USA

ZOO: SUNDAY 4/11 AT 14:00 HRS. VESTER VOV VOV: WEDNESDAY 7/11 AT 19:00 HRS. GRAND TEATRET: FRIDAY 9/11 AT 17:00 HRS.

Welcome to Parc Safari, a zoo and theme park in Montreal where hyenas, buffaloes, rhinos, zebras and all kinds of other animals all ask us the same, silent question: what are you staring at? We are staring at the animals - and they stare back at us with wondering eyes. But what they are actually thinking remains a mystery, for which there are probably as many answers as there are spectators of ‘Bestiaire’; a film which more than any other film shown this year can be seen and equally enjoyed by children and adults of all ages. Without being given explanatory comments, we are allowed to

be in the company of the animals in their artificial homes. The camera’s static gaze leaves us to draw our own conclusions, in a welcome alternative to the action-driven and over-explained nature programmes, which normally give us access to the world of animals. For ‘Bestiaire’ is just as much about ourselves and our relationship to animals with whom we after all share our planet, and which have always fuelled human imagination. So maybe it is not all that surprising after all that Denis Côté’s film has made a name for itself as one of this year’s major documentary hits.

THIS AIN’T CALIFORNIA DIR. MARTEN PERSIEL

ORIGINAL TITLE:THIS AIN’T CALIFORNIA COUNTRY:GERMANY YEAR:2012 RUNNING TIME:90M. PRODUCTION:WILDFREMD PRODUCTION GMBH PRODUCER:MICHAEL SCHÖBEL AND RONALD VIETZ WORLD SALES/ CONTACT:WILDFREMD PRODUKTION, GERMANY

EMPIRE BIO: THURSDAY 1/11 AT 22:30 HRS. GRAND TEATRET: WEDNESDAY 7/11 AT 21:45 HRS. EMPIRE BIO: SUNDAY 11/11 AT 22:30 HRS.

They not only built their own skateboards as children, invented their own tricks and filmed it all on Super-8. They did so in the midst of the German Democratic Republic of the 1980s, without knowing much about what was going on in the world on the western side of the wall. ‘This Ain’t California’ is pure dynamite. A story about a bunch of teenage yobs, for whom the GDR was more than just politics and propaganda. IIt was also sex, booze, drugs - and skateboarding! Wearing short, cut-off denim shorts and donning long, blond surfer hair, the young boys go all out as they cross Alexanderplatz on their homemade skateboards. At first to the great consterna-

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tion of the authorities, but later as an officially recognised socialist ‘sport’! But when the old friends meet again today, it is primarily to remember their friend Denis: a rootless rebel who was constantly at odds with the authorities, who burnt all bridges and spent his last days as a lonely soldier in Afghanistan. The past and the present are woven together by the indescribably impressive archive of countless old Super-8 footage, which they shot when they were young. And they really hammered across the pavement, in a battle for partying and freedom, where the rules were there to be broken - and what could be better than having a skateboard in a world of concrete?

ROOM 237 DIR. RODNEY ASCHER

ORIGINAL TITLE:ROOM 237 COUNTRY:US YEAR:2012 RUNNING TIME:102M. PRODUCTION:TIM KIRK PRODUCER:TIM KIRK, EXECUTIVE PRODUCERS P. DAVID EBERSOLE & TODD HUGHES WORLD SALES/ CONTACT:THE FILM SALES COMPANY, USA

BREMEN: THURSDAY 8/11 AT 21:40 HRS.

If you have seen Stanley Kubrick’s ‘The Shining’ more than three times, then this is right up your street. And if you have seen it more than 500 times, you are probably in it yourself! Kubrick’s cult classic is a magnet for people with a penchant for conspiracy theories, and in ‘Room 237’ five of them get to talk. Is ‘The Shining’ in actual fact an allegory of the extermination of American Indians? Or the Holocaust? And was Kubrick behind NASA’s pictures of the ‘so-called’ moon landing? We are presented with all the evidence, so judge for yourself. You are

in any case in for a both hilariously funny and quite thought-provoking ride as you follow the participants’ highly detailed reasoning. And what’s more, ‘Room 237’ consists entirely of clips from Kubrick’s own films, virtuously edited together to form a whole. A must-see, not just for hardcore fans of Stanley Kubrick and his films, but also for anyone with a healthy interest in how a popular culture phenomenon over time can come to mean as many things as it has had spectators.

ANTON CORBIJN: INSIDE OUT DIR. KLAARTJE QUIRIJNS

ORIGINAL TITLE:ANTON CORBIJN: INSIDE OUT COUNTRY:NETHERLANDS/BELGIUM/IRELAND YEAR:2012 RUNNING TIME:80M. PRODUCTION:LEV PICTURES, CTM FILMS, EYES WIDE FILMS, FASTNET FILMS, SAVAGE FILM, VPRO PRODUCER:SANDER VERDONK, GERTJAN LANGELAND WORLD SALES/CONTACT: FESTIVAL AGENCY

FALKONER BIOGRAFEN: THURSDAY 1/11 AT 21:45 HRS. EMPIRE BIO: MONDAY 5/11 AT 17:30 HRS. VESTER VOV VOV: FRIDAY 9/11 AT 19:00 HRS.

‘Loneliness is a great place to visit, but a sad place to settle,’ a wise person once said - and the master photographer and film director Anton Corbijn seems to live according to this quote. Even if Corbijn during the past 25 years has captured and surrounded himself with the greatest and most talented artists, loneliness has always been his most faithful companion. But just like his iconographic pictures, there is light in the darkness. The love of his work and the love of his immediate family. In this meditative film, we closely follow the shy son of a vicar from Holland, who found salvation in music and photography. Today, he is among other things known as the

filmmaker who with ‘Control’ has embraced the story about Ian Curtis from Joy Division, and who has given Depeche Mode their dark expression and captured artists such as Björk, David Bowie and Nirvana with his analogue lens. Follow the heels of this gentle and reflective man, as he visits the sound check of Arcade Fire, and look over his shoulder when he once again shoots U2 or directs George Clooney in the gangster drama ‘The American’. ‘Anton Corbijn: Inside Out’ is both an inspiring film about the enormous scope of creativity and an intimate - at times elegiac - portrait of a pensive loner. TOP DOX

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MARINA ABRAMOVIC: THE ARTIST IS PRESENT

DIR. MATTHEW AKERS ORIGINAL TITLE:MARINA ABRAMOVIC: THE ARTIST IS PRESENT COUNTRY:US YEAR:2012 RUNNING TIME:104M. PRODUCTION:MATTHEW AKERS PRODUCER:JEFF DUPRE, MARO CHERMAYEFF WORLD SALES/CONTACT:DOGWOOF, UK

GRAND TEATRET: SUNDAY 4/11 AT 13:30 HRS. MALMÖ KONSTHALL: SUNDAY 4/11 AT 14:30 HRS. MALMÖ KONSTHALL: WEDNESDAY 7/11 AT 12:00 HRS. DOX:CLUB I TEATER GROB: FRIDAY 9/11 AT 18:00 HRS.

Is it radical to sit on a chair and stare into space? And is it art? Yes, if you do it eight hours a day, six days a week, three months in a row. And this is exactly what the 63-year-old art star and performance pioneer Marina Abramovic did in her career-defining solo show “The Artist is Present” at MoMA in New York. A simple, but extreme gesture, based on eye contact with each one of the almost one million visitors that visited the exhibition. Through her 40 years as a performance artist, Marina Abramovic has had both a gun pointed at her head by a spectator, set fire to herself and met her

boyfriend on the Great Wall of China in a long and painful farewell ritual. By consistently basing her work on her own body, Abramovic creates seductive, confrontational and often potentially fatal performances, which tread the thin line between catharsis and self-torture. But nothing can compare with her magnum opus, which we follow backstage from its inception to its last, intense minutes. An elegant bid to be one of this year’s great art films, also for those of you for whom Abramovic is a new name.

SIDE BY SIDE DIR. CHRIS KENNEALLY

ORIGINAL TITLE:SIDE BY SIDE COUNTRY:USA YEAR:2012 RUNNING TIME:99M. WORLD SALES/CONTACT:CAT & DOCS, FRANCE

CINEMATEKET: THURSDAY 1/11 AT 21:30 HRS. EMPIRE BIO: FRIDAY 9/11 AT 17:30 HRS. GRAND TEATRET: SUNDAY 11/11 AT 14:20 HRS.

If you watch more than one film per week, this film is an absolute must! A crash course in what the digital revolution means for how films are made and look, with all the freedoms (and new limitations!) that digitalisation brings with it - and it’s much more than you think. Kean Reeves is surprisingly funny and enthusiastic as the roving reporter with an ever-changing hairstyle, who meets the elite of directors to talk about something they are all deeply concerned with (and strongly disagree about): Lynch, von Trier, Scorsese, Nolan, Fincher, Lucas, Cameron, Boyle, Soderbergh - as well as some of the world’s best cinematographers, including Copenhagen-

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based Anthony Dod Mantle who will introduce the screening on November 1. They all have an opinion about the digital paradigm shift, but the question is if the films have gotten any better thanks to the new opportunities? As the title suggests, the relationship between celluloid and digital is not an either/or question, and even if it gets the greatest filmmakers totally agitated, the debate never becomes an insider thing - on the contrary. You are invited to understand the greatest film historical revolution since the talkies in the 1920s, in an enthusiastic and deeply committed film about all the things one never thought one had to know anything about - until now. And it really makes you want to watch movies.

THE EXORCIST IN THE 21ST CENTURY DIR. FREDRIK HORN AKSELSEN

ORIGINAL TITLE:THE EXORCIST IN THE 21ST CENTURY COUNTRY:NORWAY YEAR:2012 RUNNING TIME:80M. PRODUCTION:GAMMAGLIMT AS PRODUCER:CHRISTIAN FALCH WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY

EMPIRE BIO: FRIDAY 2/11 AT 22:30 HRS. FALKONER BIOGRAFEN: TUESDAY 6/11 AT 16:30 HRS. AARHUS ØST FOR PARADIS: SUNDAY 11/11 AT 10:00 HRS.

“Exorcism is a battle between light and all the demonic powers of darkness,” as the priest José Antonio Fortea explains. And he knows what he’s talking about. Fortea specialises in demonology and is among the few exorcists officially approved by the Vatican. And he is a superstar among Catholics all over the world, where he travels around exorcising demons - and here for the first time with a film camera on his heels, as he with prayers as his only weapon tries to heal an articulate and university-educated 40-year-old Colombian woman, who for 15 years has been haunted by symptoms of a disease which she does

not think can be explained through psychology or medicine. But can faith really move mountains? And do demons really exist? Or does the fascination of the inexplicable simply serve as a crowd puller for the powerful religious elite in the Vatican? The Norwegian filmmaker Fredrik Horn Akselsen has made a nuanced film, which in a balanced way gives both critics and supporters of the phenomenon the word - while succeeding in showing what an enormous influence faith can have on one’s perception of reality. A film about the occult in a century where religion and superstition has experienced a renaissance.

MATTHEW’S LAWS DIR. MARC SCHMIDT

ORIGINAL TITLE:DE REGELS VAN MATTHIJS COUNTRY:NETHERLANDS YEAR:2012 RUNNING TIME:72M. PRODUCTION:BASALTFILM PRODUCER:SIMONE VAN DEN BROEK WORLD SALES/CONTACT:BASALT FILM, NETHERLANDS

CINEMATEKET: SUNDAY 4/11 AT 12:15 HRS. CINEMATEKET: SUNDAY 11/11 AT 19:15 HRS.

In a small, cluttered apartment somewhere in Germany, somewhere between heaps of clothes, dirty dishes, countless tool boxes and thirsty plants we meet Matthew, who invites us inside into a world of numbers, letters and categorisations - a fundamental system he has devised to be able to make sense of his life. Little by little, we are whirled into Matthew’s complex thoughts, which apart from a thoughttrough mathematical system also consists of a whole web of philosophical and pensive reflections. A system, that also leads to some explosive confrontations with reality, when, for example, his order and structure

in the eyes of others (and not least the municipality) is nothing more than an impenetrable chaos. Marc Schmidt has created an affectionate and courageous film portrait of his autistic childhood friend, who desperately tries to bring order into the world that surrounds him. But he has also created a highly detailed and deeply fascinating film about the impenetrable mysteries of the human mind. For who, ultimately, has the right to define what is normal? ‘Matthew’s Laws’ affects each of us in a way that makes us learn a little bit more about ourselves.

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STEVE JOBS: THE LOST INTERVIEW

DIR. PAUL SEN ORIGINAL TITLE:STEVE JOBS: THE LOST INTERVIEW COUNTRY:US YEAR:2011 RUNNING TIME:75M. PRODUCER:JOHN GAU, STEPHEN SEGALLER, PAUL SEN WORLD SALES/CONTACT:AUTLOOK FILMSALES GBR, AUSTRIA

GRAND TEATRET: SATURDAY 3/11 AT 12:00 HRS. FALKONER BIOGRAFEN: MONDAY 5/11 AT 16:30 HRS. BREMEN: SUNDAY 11/11 AT 10:00 HRS.

Reality is still catching up with Steve Jobs. Icon, businessman, leader, inventor and a unique talent, who is considered as one of his time’s most influential people, simply because his ideas were original. The fact that Jobs was ahead of his time he proves himself in this exclusive and only recently rediscovered interview shot in 1995, at a time when he had been removed from Macintosh in a coup orchestrated by a boss he himself had employed. Nonetheless, the calm and charismatic Jobs is in top form. Witty and sharp, and generously dishing out his revolutionary ideas about leadership,

new thinking, technology and design. But the really big scoop are his prophecies about the future, which in retrospect hit bull’s eye over and over. At the same time, we are also given a few anecdotes about the freaky, early years with his friend Steve Wozniak, where they among many other things built a ‘Blue Box’ and called the pope! When reality one day catches up with Steve Jobs, it will be with a promise that the world will be a somewhat better place. Was he a genius? See for yourself, judge for yourself.

SHAKESPEARE: THE HIDDEN TRUTH

DIR. JØRGEN FRIBERG INTERNATIONAL PREMIERE ORIGINAL TITLE:SHAKESPEARES SKULTE SANNHET COUNTRY:NORWAY YEAR:2012 RUNNING TIME:105M. PRODUCER:KJELL ERIKSEN WORLD SALES/CONTACT:NORWEGIAN FILM INSTITUTE, NORWAY VESTER VOV VOV: FRIDAY 2/11 AT 17:00 HRS. FALKONER BIOGRAFEN: THURSDAY 8/11 AT 21:45 HRS.

The Norwegian church organist Petter Amundsen claims to have cracked the codes in Shakespeare’s works and revealed a cunning conspiracy behind the texts. The so-called ‘Shakespeare’ was not the poet and playwright we know him as today, but actually a pseudonym for a secret brotherhood. The British Shakespeare expert Peter Crumpton travels to Norway to take a closer look at this seemingly absurd theory, and not least undermine it. He is introduced to Amundsen’s incredible discoveries, intricate coding systems and a conspiracy theory, which draws lines to religious fraternities, secret orders and hidden treasures. The question is just if one

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cannot always find such coincidences if one searches long enough? Crumpton is skeptical, and that’s putting it mildly But on an adventurous journey from Holmenkollen in Norway via Stratford and other places in Britain, and finally Oak Island in Canada, Amundsen lays forth his seductive findings little by little. But while skepticism slowly turns into fascination, and one possibly even starts to be convinced, the question arises as to how far the two of them are on the trail of a major sensation, or if Amundsen himself has created the illusion that they are chasing. A film for men and women of letters - and anyone with a taste for a good story!

THE ROAD UPHILL DIR. JEAN-LOUIS SCHULLER

ORIGINAL TITLE:THE ROAD UPHILL COUNTRY:LUXEMBOURG YEAR:2011 RUNNING TIME:89M. PRODUCTION:PAUL THILTGES DISTRIBUTIONS PRODUCER:DAVID GRUMBACH & PAUL THILTGES WORLD SALES/CONTACT:PAUL THILTGES DISTRIBUTIONS, LUXEMBOURG

PUMPEHUSET: SUNDAY 4/11 AT 14:00 HRS. PALADS BIOGRAFERNE: FRIDAY 9/11 AT 19:00 HRS. PALADS BIOGRAFERNE: SUNDAY 11/11 AT 16:30 HRS.

You have to be prepared that it’s all uphill work, if you want to win the Tour de France. But the Luxembourg brothers Fränk and Andy Schleck, who are two of the world’s best professional cyclists, are painfully aware of this. With their ruthless discipline and willpower is only one part of the secret behind the great achievements that have made them world stars and national heroes back in Luxembourg. In this portrait, we follow the two brothers and the rest of Team Leopard Trek in connection with their participation in the world’s biggest bike race, the Tour de France. From the tremendously demanding physical and mental preparations to the actual race with its extreme hardships in terms of strength,

endurance, commitment and courage, where the level must be maintained over several weeks and where every second counts. With the high pressure of expectations, challenging rivals and decisive but unpredictable events such as rainfall, punctures and crashes, the long tour to Paris goes through the countryside and towns, across slippery cobblestones, over tough mountain ascents, down dangerous descents and always towards that coveted yellow jersey. ‘The Road Uphill’ gives us an exciting look at everyday life in a professional cycling team, and at the physical, mental and emotional hardships they must overcome to win the prestigious tour.

THE JEFFREY DAHMER FILES

DIR. CHRIS JAMES THOMPSON ORIGINAL TITLE:THE JEFFREY DAHMER FILES COUNTRY:US YEAR:2012 RUNNING TIME:79M. PRODUCER:CHRIS SMITH, CHRIS JAMES THOMPSON, BARRY POLTERMANN, JACK TURNER WORLD SALES/CONTACT:JEFF THE MOVIE, LLC , USA

EMPIRE BIO: SATURDAY 3/11 AT 22:30 HRS. PALADS BIOGRAFERNE: MONDAY 5/11 AT 21:30 HRS. GLORIA: SATURDAY 10/11 AT 22:00 HRS.

Jeffrey Dahmer has the dubious distinction of being the United States’ most gruesome serial killer ever. His bizarre crimes, which among other things included decorating his apartment with hand-painted skulls and experiments in turning his victims into zombie sex slaves by injecting substances straight into their brains, was an instant media sensation, when the ‘Monster from Milwaukee’ was arrested in 1991 and his bestial deeds saw the light of day. With black humour, a minimal setup and merely four participants, ‘The Jeffrey Dahmer Files’ turns the sensationalist and mass mediadriven ‘true crime’ genre on its head.

The story here is namely told by the officer who arrested and interrogated Dahmer (and got his ‘15 minutes of fame’ during his trial), by his neighbour (who today loses sleep over what might have been in those sandwiches he served her), and by the coroner, who sorted the remains of his victims. And then by Jeffrey Dahmer himself, in reconstructed and deliberately anachronistic sequences between the murders. Downbeat and deadpan, and a morbidly amusing counterbalance to the horror-infused hypocrisy that is a necessary byproduct when macabre murders are served as infotainment. TOP DOX

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THE PERVERT’S GUIDE TO IDEOLOGY DIR. SOPHIE FIENNES

ORIGINAL TITLE:THE PERVERT’S GUIDE TO IDEOLOGY COUNTRY:UK YEAR:2012 RUNNING TIME:134M. PRODUCTION:BRITISH FILM INSTITUTE, FILM4 PRODUCER:JAMES WILSON, MARTIN ROSENBAUM, KATIE HOLLY, SOPHIE FIENNES WORLD SALES/CONTACT:BL!NDER FILMS LTD MALMÖ KONSTHALL: SATURDAY 3/11 AT 12:00 HRS. GRAND TEATRET: SUNDAY 4/11 AT 19:00 HRS. DAGMAR TEATRET: TUESDAY 6/11 AT 16:20 HRS. MALMÖ KONSTHALL: SATURDAY 10/11 AT 14:30 HRS. EMPIRE BIO: SATURDAY 10/11 AT 15:00 HRS.

Who would have thought that psychoanalytical, dialectical film analyses of ‘The Sound of Music’, ‘A Clockwork Orange’ and ‘The Dark Knight’ could be so entertaining? Just like in Sophie Fiennes’ cinematic predecessor ‘The Pervert’s Guide to Cinema’, the intellectual rock star of philosophy Slavoj Zizek uses the feature film as a prism for his psychoanalytic diagnoses of society. Through Zizek’s snuffling but seductive monologues, we are guided through popular culture, film extracts and political events in a fast-paced two-hour

trip to the functions and hidden mechanisms of ideology. ‘We are always eating from the trash can of ideology,’ like one of Zizek’s many black-humoured one-liners resonates throughout the film. And Zizek’s ultimate lesson from psychoanalysis and the fiction film is that we must ultimately be responsible for our dreams. ‘The Pervert’s Guide to Ideology’ is an absolute must for cinephiles, but also for everyone with an interest in how culture is related to politics and ideology.

APPROVED FOR ADOPTION

DIR. JUNG AND LAURENT BOILEAU ORIGINAL TITLE:APPROVED FOR ADOPTION COUNTRY:FRANCE/ BELGIUM YEAR:2012 RUNNING TIME:75M. WORLD SALES/CONTACT:WIDE MANAGEMENT, FRANCE

DAGMAR TEATRET: FRIDAY 2/11 AT 16:40 HRS. DAGMAR TEATRET: TUESDAY 6/11 AT 16:40 HRS. FALKONER BIOGRAFEN: SATURDAY 10/11 AT 16:30 HRS.

The cartoonist Jung Henin has, in collaboration with the director Laurent Boileau, adapted his best-selling graphic novel about growing up as an adopted Korean child in a Belgian family. A gentle, imaginative and poetic film in autumn colours about a journey home, and then again not at all. Jung returns to his country of origin as an adult in search of his biological roots. Together with countless other South Korean children, he was adopted as a small child to live a new life in Europe. A life, which you both as an adopted child and parent have to learn to navigate over time. ‘Approved for Adoption’

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changes impressionistically between childhood memories drawn in Jung’s personal style and home videos of his childhood in Belgium, as well as a contemporary thread, which follows Jung’s j ourney back to his homeland as a 42-yearold, ambivalently in search of identity and belonging. The sensitivity and bittersweet sense of cultural contradictions from Jung’s original signed works ‘Skin Colour: Honey’ is fully preserved in his autobiographical film about his upbringing from child to adult in a country and a family, which he is simultaneously alienated from and fully integrated in.

WHAT IS THIS FILM CALLED LOVE? DIR. MARK COUSINS

ORIGINAL TITLE:WHAT IS THIS FILM CALLED LOVE? COUNTRY:UK YEAR:2012 RUNNING TIME:77M. PRODUCER:CATHERINE AITKEN, MARK COUSINS WORLD SALES/CONTACT: 4WAY PICTURES (SCOTLAND) LTD GLORIA: SATURDAY 3/11 AT 22:00 HRS. VESTER VOV VOV: THURSDAY 8/11 AT 19:00 HRS.

On the face of it, a walk in the footsteps of the Russian filmmaker Sergei Eisenstein sounds quite cinéphile. It definitely is - after all, Mark Cousins’s last film was the 15-hour long serial ‘The Story of Film’ - but it is also much more than that! A poetic, at times hilarious, but most of all insanely original low budget documentary about happiness, freedom, love and the role of identity in the world. All of it explored in only three days in Mexico for 10 pounds with a mobile phone camera. Movie geeks will be able to sit an chuckle at the more or less subtle nods to Eisenstein’s intellectual film theories, while others will fall in love in Cousins’s mixture

of charming self-centeredness and adorable enthusiasm for the world around him. And the soundtrack is exciting too. In his first cut of the film, he used PJ Harvey’s ‘To Bring You My Love’ and kept his fingers crossed that he would get permission to use it. Harvey fell in love with the film and therefore also gave Cousins the opportunity to use to unreleased songs, which is a nice bonus for a film that is about everything and nothing. It is therefore also up to the spectator’s state of mind to decide what to take home from the film. But it is certain that you have never seen a film like this before.

TRAINS OF THOUGHTS DIR. TIMO NOVOTNY

ORIGINAL TITLE:TRAINS OF THOUGHTS COUNTRY:AUSTRIA YEAR:2012 RUNNING TIME:84M. WORLD SALES/CONTACT:TASKOVSKI FILMS LTD., UK

GLORIA: SUNDAY 4/11 AT 22:00 HRS. METRO: KGS. NYTORV: WEDNESDAY 7/11 AT 18:00 HRS. PALADS BIOGRAFERNE: SATURDAY 10/11 AT 21:30 HRS.

New York’s subway is a place to rest, a break from internet connections, a potential meeting place for lovers and a place where the whole world meets. In Hollywood, the subway is just another film set with palm trees and red lights. And in Tokyo, the subway is equal to the opportunity of grasping the behind of a Japanese woman, plus the absolute number one location for suicides. But what can the underground networks actually tell us about the special aura of a metropolis? In Timo Novotny’s audiovisual essay ‘Trains of Thoughts’, the subway is explored as something more than

just a means of transport. From New York to Los Angeles and from Japan to Hong Kong, we are literally sucked into an underworld of narrow tunnels, artificial light and darkness. The experimental 3D feeling is supported by Sofa Surfers’ soft and sinister electronic soundtrack, which in fleeting moments turns Novotny’s film into a long science fiction music video. Between the electro tones and the galloping speed trains, there is also room for moments of contemplative reflection - just like during a subterranean journey through a real city.

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JOURNAL DE FRANCE DIR. RAYMOND DEPARDON & CLAUDINE NOUGARET

ORIGINAL TITLE:JOURNAL DE FRANCE COUNTRY:FRANCE YEAR:2012 RUNNING TIME:100M. WORLD SALES/CONTACT:WILD BUNCH, FRANCE

VESTER VOV VOV: MONDAY 5/11 AT 17:00 HRS. GRAND TEATRET: SUNDAY 11/11 AT 19:00 HRS.

An old-school globetrotter and a cultivated humanist, who has travelled all around the world and photographed his surroundings for almost five decades. The French Magnum photographer Raymond Depardon has lived what must correspond to 20-30 normal human lives. Nonetheless, one is always surprised exactly how attentive his camera is as

it captures the course of history while it still is in its infancy. From Biafra and Tchad to the French countryside, where he rolls around in a minibus and perpetuates what he sees. ‘Journal de France’ takes stock of a dedicated and active life; a good place to start for the lucky ones who are yet to discover Depardon’s cinematic work.

THE VIRGIN, THE COPTS AND ME...

DIR. NAMIR ABDEL MESSEEH ORIGINAL TITLE:LA VIERGE LES COPTES ET MOI COUNTRY:FRANCE/ EGYPT YEAR:2012 RUNNING TIME:85M. PRODUCTION:OWEDA FILMS WORLD SALES/CONTACT:DOC AND FILM, FRANCE DAGMAR TEATRET: THURSDAY 1/11 AT 14:20 HRS. EMPIRE BIO: SUNDAY 4/11 AT 17:30 HRS. VESTER VOV VOV: SATURDAY 10/11 AT 17:00 HRS.

A film about Egyptians that is not about the revolution is a rare thing these days. But this is nonetheless what Nami Abdel Messeeh set out to make, when he decided to investigate the phenomenon that apparently took place in 1968, when the Virgin Mary suddenly appeared in front of several hundred thousand Christians in Egypt. Allegedly. But Namir is sketpical and therefore sets out to investigate the miracle. But he encounters resistance from the Egyptian Christians, from contributors

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who lack a connection to the revolution, and not least from his own mother, who doubts his abilities as a filmmaker. The resistance means that Namir ends up going back to his home town in Egypt, where he finally succeeds in finding a workable story. In the land of his forefather’s, a story of cultural identity is created, and with Namir’s mother in tow, the film becomes a moving, warm and very witty portrait of a Christian family’s roots in a Muslim-dominated society.

DREAMS OF A LIFE DIR. CAROL MORLEY

ORIGINAL TITLE:DREAMS OF A LIFE COUNTRY:UK / IRELAND YEAR:2011 RUNNING TIME:91M. PRODUCTION:CANNON AND MORLEY PRODUCTION (UK), SOHO MOON PICTURES (IRELAND) PRODUCER:CAIRO CANNON, JAMES MITCHELL WORLD SALES/CONTACT:E1 ENTERTAINMENT, CANADA

EMPIRE BIO: SUNDAY 4/11 AT 22:30 HRS. FALKONER BIOGRAFEN: WEDNESDAY 7/11 AT 16:30 HRS. PALADS BIOGRAFERNE: FRIDAY 9/11 AT 21:30 HRS.

Joyce Vincent was 38 years old and lived in one of the busiest areas of London, in an apartment just above a shopping mall. Surrounded by millions of people, and yet so lonely that she could disappear in absolute silence. When her apartment was cleared due to a lack of rent payments, the caretaker made a macabre discovery - surrounded by unopened Christmas presents and with the television still running, the young woman had been lying there dead for three years. Through the testimonies of people who came to meet the young woman, Carol Morley has made an entirely

unforgettable film with a story you will not soon forget. Selected episodes from the young woman’s life are reconstructed and unfold to create a sad story, which inevitably arouses ones neighbourly compassion. But ‘Dreams of a Life’ also asks many questions about life. A fascinating film, which becomes especially interesting thanks to the fact that the more is told about Joyce, the less she appears as the kind of person you would imagine ending life in solitude. It is no wonder that Morley’s film has been praised to the skies by both audiences and critics everywhere.

CHASING ICE DIR. JEFF ORLOWSKI

ORIGINAL TITLE:CHASING ICE YEAR:2011 RUNNING TIME:75M. PRODUCER:PAULA DUPRÉ PESMEN WORLD SALES/ CONTACT:SUBMARINE ENTERTAINMENT, USA FALKONER BIOGRAFEN: THURSDAY 1/11 AT 16:30 HRS. DOX:CLUB I TEATER GROB: SUNDAY 4/11 AT 14:00 HRS. DOX:CLUB I TEATER GROB: SATURDAY 10/11 AT 16:00 HRS.

Years become seconds when the National Geographic master photographer James Balog with his staggeringly beautiful but also fear-inducing fast motion footage from Greenland, Iceland and Alaska documents how the ice is melting - and how quickly it is happening. Balog brings together a team of glacier scientists and other ice experts, and together they set off on an Arctic voyage of discovery by helicopter, canoe and dogsled to install 27 cameras in fifteen different locations. Cameras, which automatically photograph the ice formations all year round, and which show how the glaciers are disappearing at a terrifying speed.

After several failed attempts and several thousand photographs, James succeeded in filming how the climate is changing year by year at a far greater speed than assumed so far. ‘Chasing Ice’ is the story about one man’s mission to focus on climate change by collecting undeniably beautiful pictorial evidence. A work between science, art and passion. And with both ups and downs. But the pictures speak for themselves, and the director Jeff Orlowski supports them by interviewing researchers whose data illustrate that we are not only witnessing Earth’s natural atmospheric cycle - if anyone should be in any doubt. TOP DOX

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JANEANE FROM DES MOINES DIR. GRACE LEE EUROPEAN PREMIERE

ORIGINAL TITLE:JANEANE FROM DES MOINES YEAR:2012 RUNNING TIME:78M. PRODUCTION:WILSILU PICTURES PRODUCER:GRACE LEE, JANE EDITH WILSON EMPIRE BIO: THURSDAY 1/11 AT 17:30 HRS. DOX:CLUB I TEATER GROB: MONDAY 5/11 AT 21:00 HRS. DOX:CLUB I TEATER GROB: FRIDAY 9/11 AT 16:00 HRS.

With its distinctive combination of subversive Wallraff-style journalism and fictional soap opera, ‘Janeane from Des Moines’ gives the mockumentary genre a serious political kick in the behind. The conservative, Bible-bashing housewife Janeane will do anything to get Obama out of the White House. But as the economy is crumbling, the health care insurance disappears and serious illness sets in, she starts to question her own resistance against Obamacare and her desperate attempt to get an answer

from Mitt Romney & co. just whirls her into a downward spiral, which ends on nationwide TV. Just like Joaquin Phoenix, Borat and Mads Brügger before her, Janeane launches a fictional protagonist into a very real world - and a bomb into the REpublican camp. But the director Grace Lee elegantly avoids cheap laughs and Michael Moore’s pitfall - preaching to the converted - in this thought-provoking and well-timed film, which questions the entire American model of society.

SOFIA’S LAST AMBULANCE DIR. ILIAN METEV

ORIGINAL TITLE:POSLEDNATA LINEIKA NA SOFIA COUNTRY:BULGARIA/CROATIA/GERMANY YEAR:2012 RUNNING TIME:75M. PRODUCTION:SUTOR KOLONKO FILMPRODUKTION PRODUCER:INGMAR TROST WORLD SALES/CONTACT:FILMS BOUTIQUE, GERMANY

GLORIA: THURSDAY 1/11 AT 22:00 HRS. FALKONER BIOGRAFEN: THURSDAY 8/11 AT 16:30 HRS. DAGMAR TEATRET: SUNDAY 11/11 AT 12:00 HRS.

The Bulgarian filmmaker Iilam Metev was behind one of this year’s ‘smallest’ films, but one of the greatest surprises at Cannes with ‘Sofia Last Ambulance’, which sensationally took part in the festival’s ‘Critic’s Week’ as only the second documentary ever. The film is, in all its simplicity, about what happens when two million people share only 13 ambulances. This is namely the case in the Bulgarian capital Sofia, where dedicated rescuers spend 48 hour shifts hurtling around the bumpy roads of the city to take care of small and large accidents. We follow the doctor Krassi, the nurse Mila and the ambulance driver Plamen during a normal working day, as they without a GPS and a proper radio link are struggling to save lives both inside and outside their

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ambulance, while they struggle to get their everyday lives to function. With each their character and feature, they complement each other wonderfully on their journes from one end of the city to the other. Mila is the heart, who keeps the troops together, and in a loving and direct way looks after the patients at the back of the car. Krassi, the chain-smoking hero, carries with him equipment and medicine that he has paid for with his own salary, as the state can not afford these kinds of things. An Plamen makes sure that he, cold and concentrated, can transport people around safely in his ambulance. Together, they form a strong team, but as a spectator you are forgiven for wondering how long they will endure.

HIGH TECH LOW LIFE DIR. STEPHEN MAING OUT OF COMPETITION

ORIGINAL TITLE:HIGH TECH LOW LIFE COUNTRY:CHINA/USA YEAR:2012 RUNNING TIME:87M. WORLD SALES/CONTACT:MUD HORSE PICTURES, LLC, USA

DOX:CLUB I TEATER GROB: THURSDAY 1/11 AT 19:30 HRS. FALKONER BIOGRAFEN: SATURDAY 3/11 AT 16:30 HRS. PALADS BIOGRAFERNE: TUESDAY 6/11 AT 21:30 HRS. AARHUS ØST FOR PARADIS: SUNDAY 11/11 AT 14:00 HRS.

While the Chinese regime is trying to expand ‘The Great Firewall of China’, the growing censorship has created a countermovement of Chinese microbloggers, who insist on finding the cracks in the Internetwall and reporting from the margins of official Chinese reality. Even if Chinese access to sites such as YouTube, Facebook and Twitter (and for a rapidly growing list of search terms) is officially blocked, widely different idealists such as 27-year-old Zola and 57-year-old Tiger Temple still manage

to ignore the possessive censorship and reclaim some of the freedom of speech by travelling to distant corners of China and reporting on local news, tragedies and events. Events of the unwanted kind, of course. Therefore, ‘High Tech Low Life’ is not just a film about Chinese activists, but also about a growing global phenomenon, where authoritarian news monopolies are challenged by low-tech media. A development that is well worth familiarising oneself with.

STORIES WE TELL DIR. SARAH POLLEY

ORIGINAL TITLE:STORIES WE TELL COUNTRY:CANADA YEAR:2012 RUNNING TIME:108M. PRODUCTION:NATIONAL FILM BOARD OF CANADA PRODUCER:ANITA LEE WORLD SALES/CONTACT:NATIONAL FILM BOARD OF CANADA, CANADA

DOX:CLUB I TEATER GROB: THURSDAY 1/11 AT 21:45 HRS. GRAND TEATRET: MONDAY 5/11 AT 17:00 HRS. BREMEN: SATURDAY 10/11 AT 14:00 HRS.

Everyone has had a fantasy that their parents are not their real parents. But what happens when fantasy turns into reality? ‘Stories We Tell’ is a personal essay and family portrait of Sarah Polly’s own parents, the British actor Michael Polly and the Canadian actress Diane Polly. With a combination of narrative ‘home movies’, stills and new interviews with family members, which smoothly blends the

past and the present, the film explores how a memory and an account of the same event can vary from person to person. At the same time, the film reveals an unexpected discovery of a family secret, which was buried when Polly was eleven years old and the lid was placed on her mother’s coffin. Sarah Polly’s acclaimed fiction film ‘Take This Waltz’ is currently screening in cinemas around.

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FOOD ON FILM Documentaries can cause us to reflect on the deep-rooted habits of society. Our food habits no less, and with this series it has been our ambition to discuss whether modern food culture can at least claim to be civilized, when our consumption is so massively based on industrialized products? And when the very production of food has such a direct impact on the future of our planet? With the ’Food on Film’ we have selected a handful of artistically strong films with a firm focus on what we eat – and on how it ends up on our plates. ’More Than Honey’ turns a budget of millions into an epic about one of the biggest threats to mankind: the extinction of bees. ’L’amour des moules’ takes us into the underwater world of mussels in glorious 35mm images, whereas ’Entre les bras’ and ’Canned Dreams’ illustrates the scope of cooking from gourmet to ravioli. Finally, we are inviting you to a stomach-turning double feature where one of this year’s most astonishing films ’Leviathan’ is followed by the wonderfully unpretentious one-take acheivement ’Kingdom of Animal’ – followed by a bowl of steaming hot, homemade fish soup! Let us know what you think. The screenings are followed by debates and a bite to eat.

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STEP UP TO THE PLATE DIR. POUL LACOSTE

ORIGINAL TITLE:ENTRE LES BRAS COUNTRY:FRANCE YEAR:2011 RUNNING TIME:90M. PRODUCTION:EVERYBODY ON DECK PRODUCER:GAËLLE BAYSSIÉRE AND DIDIER CRESTE WORLD SALES/CONTACT:EVERYBODY ON DECK, FRANCE FALKONER BIOGRAFEN: FRIDAY 2/11 AT 16:30 HRS. GRAND TEATRET: MONDAY 5/11 AT 17:00 HRS. FALKONER BIOGRAFEN: SUNDAY 11/11 AT 16:30 HRS.

Michael Bras has dedicated his life to the culinary arts, and today he is an icon within haute cuisine. Over the decades, the virtuoso star chef has built up tremendous respect for his person and his restaurant, which is located on a mountaintop in the southern French Aubrac region. Over the past 15 years, his patient son Sébastien has stood by Michel’s side in the kitchen and waited to prove his worth as a chef. So when the patriarch decides to retire, it is up to the heir to fill his father’s big shoes.

In “Entre les Bras”, the director Paul Lacoste follows the last year and the last four seasons before the generational change that is awaited with great apprehension by the elite of gourmets. We come so close to the enchanting cooking, that one can almost taste the incomprehensibly complicated dishes. But at the same time we more than sense the enormous pressure that comes with ones family’s name being synonymous with three Michelin stars.

CANNED DREAMS DIR. KATJA GAURILOFF

ORIGINAL TITLE:CANNED DREAMS COUNTRY:FINLAND YEAR:2011 RUNNING TIME:78M. PRODUCTION:OKTOBER OY, FINAL CUT FOR REAL, BANDO Á PARTE, YLE, ARTE FRANCE, RTP, NRK PRODUCER:JOONAS BERGHÄLL WORLD SALES/CONTACT:OKTOBER OY, FINLAND EMPIRE BIO: TUESDAY 6/11 AT 17:30 HRS. VESTER VOV VOV: FRIDAY 9/11 AT 17:00 HRS. PALADS BIOGRAFERNE: SUNDAY 11/11 AT 19:00 HRS.

The production of a can of ravioli is a highly dramatic affair. But not just for the ravioli! From the production of the aluminium can in Brazil to the finished product on the shelf in a Finnish supermarket, the modest canned dish moves through a global assembly line, which is always attended to by people at work. And in the mines, the fields, the factories, the farms and the slaughterhouses, all the personal stories and tragedies unfold themselves, of which the can in the supermarket reveals nothing. A Brazilian woman tells her family story about a mother who left her, a violent father

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and her twelve children, one of which is dead and eight have been given away for adoption. A Danish pig farmer has cerebral palsy, and finds the love he lacks in the reliability of animals. And on the onward journey through Poland, Ucraine, Italy, Portugal and France, the film reveals a cycle of birth, death, love, sorrow, dreams, punishment, poverty, happiness and disappointment - in short, everything that our modern food culture has alienated us from. ‘Canned Dreams’ is a modern call to buy our eggs from the neighbour, and get a good story or two into the bargain.

KINGDOM OF ANIMAL DIR. DAVID REDMON & ASHLEY SABIN

ORIGINAL TITLE:KINGDOM OF ANIMAL YEAR:2012 RUNNING TIME:71M. WORLD SALES/CONTACT:DAVID REDMON & ASHLEY SABIN, USA

EMPIRE BIO: THURSDAY 8/11 AT 17:30 HRS. CINEMATEKET: SUNDAY 11/11 AT 21:15 HRS.

With Kingdom of Animal, the directing duo Ashley Sabin and David Redmon (‘Girl Model’, CPH:DOX 2011 and ‘Downeast’, which is screening in the EMPIRE sidebar) give us a liberatingly raw take on the special subgenre of one-take films. Equipped with a steadicam, Redmon walks around in a fish factory in Maine and observes the work in progress on thousands of sardines, which are constantly thrown onto assembly lines. Along the way, a very special relationship arises with the working men and women in overalls and bathing caps, which have

enough energy to flirt away over the cleaning of crab claws! Where, for example the director Aleksander Sokurov’s groundbreaking ‘Russian Ark’ was planned right down to the smallest detail, the momentum in Kingdom relies solely on the factory workers’ schedules, which contributes to the film’s far more prosaic, edgy style. Shortly after filming the company closed down, and the films remains today as a kind of ‘American Ark’: a requiem for a doomed fish factory and an elegy of the United States in financial difficulties.

MORE THAN HONEY DIR. MARKUS IMHOOF

ORIGINAL TITLE:MORE THAN HONEY COUNTRY:AUSTRIA/ SWITZERLAND/GERMANY YEAR:2012 RUNNING TIME:91M. PRODUCER:THOMAS KUFUS, HELMUT GRASSER, PIERRE-ALAIN MEIER, MARKUS IMHOOF WORLD SALES/CONTACT:FILMS BOUTIQUE, GERMANY DAGMAR TEATRET: SUNDAY 4/11 AT 14:20 HRS. FALKONER BIOGRAFEN: WEDNESDAY 7/11 AT 21:45 HRS. GRAND TEATRET: SATURDAY 10/11 AT 16:00 HRS.

Einstein once predicted that if bees die out, humanity will follow suit four years later. The idea is remote - but now it is threatening to turn into reality! Enormous swarms of bees are dying while scientists are desperately looking for an explanation. And it is not only the honey we have to live without: a third of all the food we eat goes back to industrious bees. Therefore, great fortunes can be gained in the seemingly innocent romance between bees and flowers. The director Markus Imhoof sets out on a worldwide expedition, where he

meets both the arch-capitalist for whom the humming of bees is the sound of money, as well as the mountain farmers and scientists who are all dumbfounded by the mystery. Meanwhile in China they have gone over to pollinating plants by human hand. “More Than Honey” is a visually breathtaking epic about life and death in the hives, shot on a budget of millions, which brings us as close to the riddle as only a brain-scan of a bee could bring us! A magnificent cinematic experience from a nature alarmingly out of balance.

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MUSSELS IN LOVE DIR. W.J.A. KLUIJFHOUT INTERNATIONAL PREMIERE

ORIGINAL TITLE:L’AMOUR DES MOULES COUNTRY:THE NETHERLANDS YEAR:2012 RUNNING TIME:76M. PRODUCTION:TRUEWORKS PRODUCER:REINETTE VAN DE STADT WORLD SALES/CONTACT:CINEMA DELICATESSEN, NETHERLANDS

DAGMAR TEATRET: FRIDAY 2/11 AT 14:20 HRS. EMPIRE BIO: WEDNESDAY 7/11 AT 17:30 HRS. VESTER VOV VOV: SUNDAY 11/11 AT 19:00 HRS.

You either love them, or you hate them! But either way, you probably didn’t know that the mussel can be used for much more than a starter - until now! ‘L’amour des moules’ is nothing less than the ultimate film about the life and food of this strange shellfish, and about the whole human comedy that unfolds around it. For the mussel can provide humanity with many things, as among others the gynecologist Jan will attest to, who uses the glue that mussels produce to save unborn children. At the same time, we also meet both

biologists and cooks, who each in their own way deal with mussels in their everyday lives - from when they are born at the bottom of the sea to when they end up on our plates, in aquaria an in laboratories after a long journey. Willemiek Kluijfhout’s film is shot on 35mm, and as with the French surrealist and marine biologist Jean Painlevé, both the underwater images and those from on land possess a great sense for the adventure and beauty of small things. For even if you are tough on the outside, you can still be soft on the inside.

THE SHADY CHOCOLATE (WORK IN PROGRESS)

DIR. MIKI MISTRATI WORLD PREMIERE ORIGINAL TITLE:LYSSKY CHOKOLADE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:120M. PRODUCTION:MADE IN COPENHAGEN, NDR, DR, DANISH FOREIGN MINISTRY PRODUCER:HELLE FABER

DOX:CLUB I TEATER GROB: SATURDAY 3/11 AT 14:00 HRS.

When the director Miki Mistrati in 2010 revealed heavy use of child labour and trafficking in the cocoa production of the Ivory Coast, the chocolate industry had a busy time trying to circumnavigate the problems. Now, Mistrati is back with the film ‘The Shady Chocolate’, which investigates the truth behind the industry’s measures. CPH:DOX is exclusively showing a series of extracts from the new film before its

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December premiere. To get the whole picture, we are also showing the first film, ‘The Dark Side of Chocolate’, before the director takes part in a panel debate with, among others, the chocolate producers Peter Beier and Mikkel Friis-Holm and the director of the Fairtrade label, Jonas Giersing. (Please note: the debate is held in Danish.)

DOX:LAB DOX:LAB is CPH:DOXâ&#x20AC;&#x2122;s own international film production programme. DOX:LAB was launched in 2009, and has been an overwhelming success â&#x20AC;&#x201C; artistically as well as with the audiences at other film festivals in Rotterdam, Hong Kong, Locarno, and Venice, to name but a few. The concept behind DOX:LAB is to pair selected filmmakers in teams of two. Each team is given carte blanche and a grant to create the widely different and artistically powerful films the likes of which can now be experienced at CPH:DOX 2012. The ambition of DOX:LAB is to stimulate cultural exchange in cinematic terms, and to create special and challenging works of artistic vision. And we are excited to present the eight films of the second generation, that all fulfil this ambition in widely different but equally challenging ways: many (if not all) of the films this year are hybrid works that go beyond the real to explore the realms of the imagination. DOX:LAB continues in 2012 with new filmmakers who will meet each other for the first time during the festival. For more information on DOX:LAB, see: www.cphdox.dk/doxlab.

TRUE STORY OF LOVE, LIFE, DEATH AND SOMETIMES REVOLUTION DIR. NIDAL HASSAN & LILIBETH C.RASMUSSEN WORLD PREMIERE

ORIGINAL TITLE:HEKAYAT AN ELHOB WA ALHAYAT WA ELMAWT COUNTRY:DENMARK/SYRIA YEAR:2012 RUNNING TIME:65M. PRODUCTION:DOX:LAB, KAYANI PROJECT PRODUCER:TINE FISHER, NIDAL HASSAN WORLD SALES/CONTACT: DOX:LAB

DAGMAR TEATRET: SATURDAY 3/11 AT 14:20 HRS. PALADS BIOGRAFERNE: WEDNESDAY 7/11 AT 19:00 HRS. DAGMAR TEATRET: SATURDAY 10/11 AT 14:20 HRS.

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17.000 ISLANDS DIR. THOMAS ØSTBYE & EDWIN WORLD PREMIERE

ORIGINAL TITLE:17.000 ISLANDS COUNTRY:NORWAY/INDONESIA YEAR:2012 RUNNING TIME:90M. PRODUCTION:DOX:LAB PRODUCER:TINE FISCHER

‘17,000 Islands’ is an interactive, crossmedia documentary. In Jakarta, there is a Disneyland-style museum park named Taman Mini. A place, which tries to represent Indonesian culture in a condensed and groomed form - an idealised image of the country’s 17,000 islands gathered in one place. Through their shared fascination of Taman Mini, the Indonesian director Edwin and his Norwegian companion Thomas Østbye set out to relinquish control over

their own film, and instead seek out the real life within the artificial and controlled setting - with your help. The website www.17000IslandsInteractive.com will launch in 2013, and here the two directors will invite you to take their seat, take apart their original material and put your own film together from the fragments. We are giving away a sneak peak of what to expect at the seminar ‘Case Studies - an Interactive Audience’ on Friday November 9!

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AB (WORK-IN-PROGRESS) DIR. ANDREAS KOEFOED & IVAN FUND WORLD PREMIERE

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THE KILLING OF STRANGERS (WORK IN PROGRESS) DIR. JACOB SCHULSINGER & NICOLAS PEREDA OUT OF COMPETITION

CINEMATEKET: SATURDAY 3/11 AT 19:15 HRS. GRAND TEATRET: FRIDAY 9/11 AT 12:00 HRS.

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START FROM ZERO DIR. FLORA WAN MAN LAU WORLD PREMIERE

CINEMATEKET: SATURDAY 3/11 AT 21:15 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 19:30 HRS.

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THIS IS MY FAMILY DIR. FREDERICK KIGOZI WORLD PREMIERE

ORIGINAL TITLE:THIS IS MY FAMILY COUNTRY:UGANDA/ DENMARK YEAR:2012 RUNNING TIME:23M. PRODUCTION:DOX:LAB, NAVCORP PRODUCER:TINE FISCHER, MIRIAM ODAKA WORLD SALES/CONTACT: NAVCORP

Dick and Mutesa are brothers. And they are having a great time together, apart from one problem: they have the same father, but two different mothers - and their mothers simply can’t stand each other! ‘This is My Family’ looks through the eyes of a 10-yearold at the difficult but in its own way also human situation. While the town’s school is teaching the children what a ‘family’ is, the boys (and their 7-year-old sister) put it in their own words what it’s like to grow up with more than two parents. A seemingly simple film about a complicated affair.

CINEMATEKET: THURSDAY 1/11 AT 21:45 HRS. CINEMATEKET: WEDNESDAY 7/11 AT 20:45 HRS. PALADS BIOGRAFERNE: FRIDAY 9/11 AT 16:30 HRS.

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WINTER / MIRACLE DIR. GUSTAVO BECK & ZELJKA SUKOVÁ WORLD PREMIERE

CINEMATEKET: SATURDAY 3/11 AT 21:30 HRS. CINEMATEKET: FRIDAY 9/11 AT 17:00 HRS.

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ridm.qc.ca

AUDIO:VISUALS AUDIO:VISUALS is an exclusive concert series curated and produced by CPH:DOX, and held during the festival between November 1 – 12, 2012. AUDIO:VISUALS is an ambitious attempt to explore the field between visual art, and live music in new and challenging ways, presented at special venues in Copenhagen. The concept is simple. We have invited some of the most exciting musicians and film, visual and performance artists from both Denmark and abroad to collaborate creatively across different media and genres. The idea is to combine live concerts, stage acts and installations in unique events where sound, light and performance take part on an equal basis. And ’unique’ is to be taken literally. The events in the series will only be presented this once. Musically the series covers a wide field, but one current has proven extra strong this year: Maximalism! In line with our special focus on the –ism of excess, a long line of the bands and artists present here are cranking it up to 11 on the scale from 1 to 10. We are especially delighted to bid our official favourite band Animal Collective back to the festival, where they appeared last in 2010 with a live show along with an installation produced exclusive for CPH:DOX and a guest curated film programme. AUDIO:VISUALS take place in different venues around Copenhagen from The National Gallery (Statens Musem for Kunst) and Kunsthal Charlottenborg, to our own venues Bremen Teater and DOX:CLUB, both located in the heart of the city. We would travel far to experience the 16 events in AUDIO:VISUALS ourselves. So take the opportunity to see them while you have the chance!

MUSIKUDVALGET

ANIMAL COLLECTIVE VS. ABBY PORTNER STATENS MUSEUM FOR KUNST: MONDAY 12/11 AT 20:00 HRS.

DORIT CHRYSLER & TRENTEMØLLER BREMEN: SUNDAY 11/11 AT 20:00 HRS.

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CPH:DOX 2012 ends with a party! And it will be a truly maximal one, as we have invited the wildcats from our official favourite band Animal Collective (back!) to give us a uniquely colourful audiovisual live show at the closing night at the National Gallery where they created an installation as Artists in Focus in 2010 exclusively for CPH:DOX and played with individual sets. This time, the whole band is united, and they are bringing with them a brand new release, ‘Centipede Hz’. An album, where the magical melodies of the collective are given a slightly more experimental and raw expression, which among other things is due to the fact that the guitarist Deakin is back in action, and that Panda Bear for the first time in many years has replaced the sampler with a homemade drumset - also live! The concert will be dedicated to the both trippy and melodic style that we all know and love Animal Collective for - replete with psychedelic, colourful visuals and a set design by the frontman Avey Tare’s sister, Abby Portner.

The Danish electro-virtuoso Trentemøller and the theremin diva Dorit Chrysler will share the stage at a sensational last night of the festival. An exclusive night at Bremen Theatre, which starts with the world premiere of the new concert film and documentary ‘Trentemøller Live in Copenhagen’, which was filmed last year in Christiania with crystal clear images, solid sound and dynamic editing, and which features Dorit Chrysler as a guest star. Her latest album is produced by Trentemøller, and after the film the two will take to the stage with a short, intense and world-class concert. Why can’t all Sundays be like this?

DIRTY BEACHES VS. EVAN PROSOFSKY ‘WATERPARK’ CHARLOTTENBORG: THURSDAY 1/11 AT 20:00 HRS. MALMÖ KONSTHALL: FRIDAY 2/11 AT 19:30 HRS.

SHABAZZ PALACES + THEESATISFACTION LOPPEN: FRIDAY 2/11 AT 22:00 HRS.

Dirty Beaches finds inspiration in cinematic narratives that find a musical expression in long, dreamy tracks that offer fragments of everything from 60’s pop and Elvis Presley to psych-noise and evil Western-themes. The Taiwanese-born one-man-band is opening CPH:DOX with a very special live show on November 1, when we celebrate the World Premiere of the Evan Prosofsky’s maximal mini-movie ‘Waterpark’! The film is shot in a waterpark inside a gigantic, indoor shopping mall in Canada - an artificial paradise, which is visited by 150.000 people on an average Saturday. Dirty Beaches (aka. Alex Zhang Hungtai) composed the original score for the film, and we have invited him and the director to perform live at the exhibition space Kunsthal Charlottenborg (and the day after at Malmö Konsthall). Dirty Beaches will perform live to the film, followed by an improvised mini-concert with Elias Bender Rønnenfeldt og Jakob Tvilling from the punk band Iceage - and a DJ session with the blog Passive/Aggressive. Bring your Speedos and sun lotion, and see you for a night in the blue lagoon! The concert is arranged in collaboration with Music Doc.

Get ready to be have your traditional understanding of both hip-hop and soul uprooted completely. The two futuristic Seattle outfits Shabazz Palaces and THEESatisfaction will perform a unique concert, where they will bring with them mysterious visuals and make guest appearances on some of each other’s songs. It has been said very accurately about Shabazz Palaces, that their sound refers to a soundscape that is closer to the Atlas mountains than Seattle, where Beduins guard beats instead of goats. The duo became the first hip-hop representatives signed by the legendary rock label Sub Pop, which released the album ‘Black Up’ in 2011. Apart from rap, their musical elements include downbeat jazz, funk and dubstep, which peppers Shabazz Palaces’s music with an alluring mysticism, which both entices and challenges the audience on the other side of the loudspeakers. THEESatisfaction, which consists of Stasia Orins and Cathrine Harris-White, also signed with Sub Pop in 2011 with ‘awE NaturalE’, which was released in March this year and is a sensual dive into a confusing harmony of funky, psychedelic and feminist sci-fi jazz soul. The concert is organised in collaboration with Smash!Bang!Pow! AUDIO:VISUALS

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BALAM ACAB VS. MAIYA PLANETEN: THURSDAY 25/10 AT 22:30 HRS.

The Electronica dreamer Balam Acab and the video artist Maiya warm up CPH:DOX with a night at Planeten under the roof of the legendary Huset-KBH in the heart of Copenhagen, where the combination of atmospheric, downtempo sounds and mysterious visuals create the setting for an

AGE COIN VS. VITAMIN J MAYHEM: THURSDAY 8/11 AT 21:00 HRS.

As a soundtrack and visual for the ice-cold and dark month of November, Age Coin and Vitamin J will cross their heavy industrial swords and the metallic sound will bring on the chills for everyone who dares venture out into the dark. The Copenhagen-based Age Coin (members of Lower and VÅR) have

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intergalactic fusion of sound and visions. Balam Acab, aka the American Alec Koone, released his debut EP “See Birds” in mid-2010 and has since been a known figure of the alternative electronic music scene. Balam Acab makes lo-fi electronica - the subgenre is called witch house - which can be enjoyed by both trained ears as well as less trained ones, as the purpose of the music seems to be more evocative, elongated and atmospheric than narrative. Balam Acab’s intention with his music is to create abstract understandings of sound, and the man is definitely not afraid to cross swords with normality when he unfolds his dreamy, slow-beat songs - which so far have only brought him respect and admiration from all kinds of critics. Tonight we will offer you a unique opportunity to experience Acab’s wonderful universe, where Maiya’s psychedelic and enigmatic visuals will fit like the crowning glory of the work in the company of the dreamy sound. The concert is organised in collaboration with Smash!Bang!Pow!

released material with Endurance and Posh Isolation and describe their sound like ‘when you are having a really bad time in the corner of a club, unable to make contact with the people around you. They are all ghosts - the hand glides through the immaterial bodies, and you end up freezing cold and lonely. Age Coin is for the young boys among the old men. Age Coin is the snowmobile that never stops and the hourglass that never runs out.’ Vitamin J is one of the many aliases for the futurist Jonas Frederiksen from Girlseeker. This project is ‘sensual big-dog music - a digital tribal tattoo - a glitch in the system. He flashes vertically, his skin is scaly and the sound moves like liquid metal’. The night will include a kind of exchange of auditory and visual constructions between these two musical projects, which alternately feed each other with sounds and images. The concert is organised in collaboration with Smash!Bang!Pow!

STEVE GUNN VS. HEIDI DIEHL DIN NYE VEN: SATURDAY 27/10 AT 20:00 HRS.

We are jumping the gun a bit this year. We know. But when we got the chance to invite the guitar comet Steve Gunn to the local bar/café Din Nye Ven on October 27 to perform a highly intimate concert with accompanying visuals by the artist Heidi

CHARANJIT SINGH VS. HEEMS (DAS RACIST) DOX:CLUB I TEATER GROB: TUESDAY 6/11 AT 20:00 HRS.

It is nothing short of a world sensation that we, in collaboration with Red Bull Music Academy, have managed to get the 75-year-old ‘Godfather of Acidhouse’ Charanjit Singh to Denmark - and even in the company of the rapper Heems from the NY-based hiphop-outfit Das Racist! Two generations of Indian musicians which we have brought together for the first time and who have since begun to make a joint EP.

Diehl, we are excused. The highly gifted musician joins the line of guitar legends such as John Fahey, but adds quirks and elements to his music which at times are reminiscent of old school Bob Dylan, at times of Kurt Vile - and at times of something entirely different. In short: take a guitarist and equip each of his ten playing fingers with a genre, and you have Steve Gunn. The earliest of Gunn’s music was primarily instrumental guitar experimentation, whereas the latest material from the Brooklyn-based musician leans more towards melodious compositions, which gently lead the listener through a diverse universe of beautiful tones not unlike Elliot Smith, who grabs hold of and works your inner melancholy. For this concert, Gunn will perform to visuals by the New Yorkbased artist Heidi Diehl, who combines dream narratives, ethnographic material and personal videos. The concert is organised in collaboration with Smash! Bang! Pow!

The story of Charanjit Singh is an adventure about an Indian Bollywood composer who on his album ‘Synthesising: Ten Ragas To A Disco Beat’ from 1982 invented acidhouse by accident and without knowing it, five years before the genre even got its name. The album was not a commercial success and disappeared in oblivion, until it suddenly reappeared in 2002 (and rereleased in 2010) and thereby had the honour of having invented acid house sent from Chicago to Mumbai. The evening starts with a work-in-progress showing of a new documentary about the man, ‘The Re-emergence of Charanjit Singh’ (introduced by the director Rana Ghose himself) and an RBMA session with Charanjit. Subsequently, you will for the fist time ever (!) be able to witness Charanjit Singh live with his vintage synths and 808 drum machines, and he will even be accompanied by Heems (Himanshu Suri) from the acclaimed hip-hop trio, Das Racist, who will both complement Singh and perform alone. An evening of sublime beats and subtle rap - and an embrace with a piece of rediscovered music history. The concert is organised in collaboration with Red Bull Music Academy.

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ICE CREAM CATHEDRAL VS. LUCID FEEL JAZZHOUSE: FRIDAY 9/11 AT 23:00 HRS.

It doesn’t take many minutes’ of listening to discover the great potential of Ice Cream Cathedral. With its dreamy and melodic expression, the skillfully composed songs take the listener into its own aural universe,

JAMES MURPHY VS. SHUT UP AND PLAY THE HITS KONCERTHUSET I DR BYEN: SATURDAY 6/10 AT 20:00 HRS.

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where Anja Lahrmann’s vocals unfold beautifully. The music takes its impetus from New Age, 60s pop and early 90s shoegaze, and is tonight accompanied by the VJ duo Lucid Feel’s specially developed visuals, which apart from sombre and evocative images also experiments with on-stage art installations. The three band members got together for the first time in 2010, and attracted attention the following year with the excellent, lo-fi-oriented EP ‘Straight Arcs’, where you can recognise references to both Beach House and PJ Harvey, and, on the song ‘Cornucopia’, also to Crystal Castles’ unruly computer glitch. Ice Cream Cathedral are on their airwaves with their latest single ‘The Ranger’ and the debut album will be released in early 2013. The concert is part of Jazz House’s late-night concept AFTERBEAT, where DJ Classic VIV (aka Najaaraq) will keep the audience warm before and after the concert. The concert is organised in collaboration with Smash!Bang!Pow!

LCD Soundsystem have stated that they did not play concerts - they played parties. And a party is what’s on the menu when the frontman James Murphy gets behind the turntables and is guaranteed to set fire to the dance floor in DR Concert Hall’s Studio 1. But before we get that far, we will serve a starter in the Concert Hall, where the long-awaited LCD Soundsystem documentary and concert film ‘Shut Up And Play The Hits’ will have its Scandinavian premiere. The film follows the last few days in the band’s life, mixed with fast-paced live tracks from their last concert in Madison Square Garden. And even this in itself might satisfy the party-hunger of most of us, it does not stop there. For apart from James Murphy’s DJ set, the dessert will consist of unbridled turn-tabling from 2MANYDJs, the Belgian Dewaele brothers, who with an almost scary sense of cohesion mix their electronic mashups as if they were one person with 4 arms. And there is still more. The local Danish DJ heroes Christian D’or and Pac will also contribute to the party. In other words, a multi-course party explosion is on the menu, when CPH:DOX, DR and Vice in beautiful collaboration let the Concert Hall work overtime and tests the durability of the dance floor.

LUKE HAINES VS. ART WILL SAVE THE WORLD DOX:CLUB I TEATER GROB: THURSDAY 8/11 AT 21:30 HRS.

CANCER X HETZ X GOOMS X PREBE-UN DOX:CLUB I TEATER GROB: FRIDAY 9/11 AT 22:00 HRS.

Here is an opportunity to meet one of the most unusual personalities that has ever been associated with the Britpop genre, when the former The Auteurs frontman Luke Haines can first be seen in the film ‘Art Will Save the World’ and subsequently holds an acoustic set at Teater Grob. Forget all about Damon Albarn and the Gallagher brothers, for Luke Haines is far from your average Brit-popper, and since the release of The Auteurs’ first album in 1993 he has consistently distanced himself from the genre - in fact, he (sarcastically) denies that Britpop ever happened. And where The Auteurs can rightfully be associated with Britpop, Haines’ subsequent projects are better described as intricate, alternative and experimental. But make no mistake - Luke Haines is an incredibly talented songwriter, with a brilliant ear for the good melody, and under his misanthropic surface and at times morbid lyrics there is a perpetual twinkle in his eye. Tonight, Mr. Haines will shake the goodie bag and play songs from his entire career.

You don’t have vinyl with the Gooms? Your friends don’t talk non-stop about PRE-be-Un? Don’t worry, it’s not you who’s lost it. We are talking about the world premiere of no less than four musical projects, which include members from some of the most innovative Danish musicians in recent times including Oh No Ono, Choir of Young Believers and When Saints Go Machine. The lead singer of the latter band, Nikolaj Vonsild, is for the first time, with his companion Kristian Finne Kristensen, performing the folk project Cancer, which they describe as ‘calm unrest and rotten sound - future ballads from a parallel universe.’ The duo Hetz is Malthe Fischer and Kristian Olsen from the now defunct Oh No Ono. Their project is built upon a Technics organ, vocals, guitar and drum machines with Andreas Munksgaard as a contributor of visuals. Live via Skype from L.A. and with dancers on the stage live at Teater Grob, Aske Zidore and Suni Zacharias will present the Gooms project with the cryptical Gremlins reference: ‘No bright light, don’t get them wet, and never feed them after midnight!’ and last, but not least, Nicolai Koch will present his solo project, PRE-Be-UN. ‘Retro-futuristic children’s music for adults with detours to sound collages and 60s pastiche’. Come and hear for yourself. AUDIO:VISUALS

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TEITUR VS. EVERYDAY SONG KONCERTHUSET I DR BYEN: SUNDAY 4/11 AT 20:00 HRS.

DEATH GRIPS PUMPEHUSET: WEDNESDAY 31/10 AT 21:00 HRS.

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It will be a very special experience when Teitur and one of the world’s leading wind ensembles - Netherland Wind Ensemble together accompany the modern silent film ‘Everyday Song’ in DR Concert Hall’s Studio 2. Film and music will appear as a unified work, where the action on the screen will be the catalyst for the music. The theme of ‘Everyday Song’ are the rituals and habits that people build in everyday life - a kind of ode to monotony. We follow the film’s only participant, played by the legendary Faroese actress, Elin Mortensen, while everyday life unfolds and she moves around in the frame of the stationary camera frame, as if it was an old arcade game. The orchestra appears simultaneously as the omniscient narrator, which via song and music provides us insight into the protagonist’s thoughts and reflections. True to the inescapable cycle of the day, the film is framed by evocative sequences of sunrise and sunset. The film will later be released with recorded music, so this is a rare opportunity to experience a moving and evocative life performance of the work.

It is vicious, unruly and hardcore - and with a precisely balanced amount of each. We have the unique honour of presenting one of our new favourite bands at Pumpehuset, the acclaimed noise rap trio Death Grips, who will bring their own visuals tonight to keep the aggressive sound company. And if you have become acquainted with the trio’s inventive low budget music videos, these visuals will no doubt enforce the intense and claustrophobic experience it is to see the band live. The trio was formed in late 2010, when the drum typhoon Zach Hill, the rapper Stefan ‘MC Ride’ Burnett and the keyboard player Andy Morin came together in Sacramento and released three albums in eighteen months. It is intense and dark. But no in a pessimistic way, but with a punch that makes your eardrums quiver - and you are happy to accept it. But not only is this concert the first one that Death Grips has played since Coachella in April: it is also their only concert in Scandinavia before they continue to, among other places, the Pitchfork Music Festival and All Tomorrow’s Parties. The concert is organised in collaboration with Smash!Bang! Pow! and Pumpehuset.

KISS KISS KISS VS. MAGNUS PIND BJERRE & SØREN RYE + SUPPORT: PLANTS DOX:CLUB I TEATER GROB: WEDNESDAY 7/11 AT 22:30 HRS.

RAIME VS. JOACHIM KOESTER CHARLOTTENBORG: WEDNESDAY 7/11 AT 20:00 HRS.

After a long stay in Lisbon, the Århusbased boys from Kiss Kiss Kiss have returned home with a mature and ambitious style, built upon playful soundscapes, experimental tones and mysterious melodies. In other words, we are dealing with an entirely reborn band, which is ready to play songs from the album ‘Ponte 25’. And not only that, they have also brought with them a profusion of creative efforts, so the stage show that will unfold tonight on Nørrebro will not be your typical fare. There are no VJs or lighting designers controlling the visual side of things when the music gets going. Instead, the lead singer Mads Koch and a small handful of audience members will be in charge of manipulating and controlling the videos behind the band. The interactive concept is developed by Magnus Pind Bjerre, who has worked at MoMA, and is based on the band’s latest music video by Søren Rye. The theme is smoke, light and ceremonial rituals - a reflection of the Kiss’ers’ new sounds, which among other things seem to draw on artpop and shoegaze.

The works of the Danish video artist Joachim Koester revolve around the dark sides of life. We are therefore making a corner of Kunsthal Charlottenborg come to audiovisual life with the Koester exhibition ‘If One Thing Moves, Everything Moves’. Like the sound of a dream you almost do not dare continue, but you are still drawn into, the British electronic duo Raime steps directly into Koester’s gloomy darkness, but also does so in a way that makes you curiously and voluntarily want to follow them down through the cracks of the dancefloor.The enigmatic duo is releasing its debut album ‘Quarter Turns Over a Living Line’ through the record label with the appropriate name Blackest Ever Black, and fans of the duo include Aphex Twin and Hype Williams, who has also been drawn to Raime’s fierce minimal techno and dragging witchhouse. Combined with their inspiration from European goth, synthwave and given the unique context of the event – Koester’s horrifying film works as a backdrop – you can look forward to a night that is not unlike a morbid Grimm fairy tale.

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CHOKOLADE EVENT D. 3/11

FØDSELSDAGSFEST D. 10/11 whisky

EVENTS & PARTIES We’re 10! And you are invited to our big birthday party, which is just one of a long line of offbeat events where the films continue out in the real world. We are screening this year’s most universally appealing film ’Bestiaire’ in the Zoo after closing time, followed by a guided tour. We have borrowed a truckload of swan-shaped water bikes to properly celebrate the international premiere of Andrew Kötting’s film ’Swandown’. And we are covering the American presidential election which is taking place in the middle of the festival with an all-night event (the time difference, mind you). Our annual YouTube Battle is held on the first night of the festival, where the unofficial World Champion of YouTube is awarded. Last, but certainly not least, CPH:DOX 2012 is opening and closing with gala events in the atmospheric venues of Koncerthuset (Denmark’s Radio) and Bremen Theatre. And much more. Try something new, and remember: it’s YOUR party.

OPENING GALA

DIR. JOSHUA OPPENHEIMER, CHRISTINE CYNN & ANONYMOUS ORIGINAL TITLE:THE ACT OF KILLING COUNTRY:NORWAY/DENMARK/ INDONESIA/UNITED KINGDOM YEAR:2012 RUNNING TIME:420M.

KONCERTHUSET I DR BYEN: TUESDAY 30/10 AT 19:00 HRS.

CPH:DOX 2012 is opening with an exclusive gala in the stylish surroundings of the Danish Broadcasting Corporation’s concert hall on Tuesday October 30. Festival director Tine Fischer will bid you welcome before we dim the lights for a special screening of ‘The Act of Killing’ a film of no less than epic proportions, and one of this year’s absolute documentary highlights. After the screening we are inviting your for a glass of wine to celebrate the opening of the 10th edition of the festival.

CLOSING GALA AND AWARD CEREMONY DIR. DANIEL DENCIK

ORIGINAL TITLE:EKSPEDITIONEN TIL VERDENS ENDE COUNTRY:DENMARK YEAR:2012 RUNNING TIME:88M.

BREMEN: FRIDAY 9/11 AT 21:00 HRS.

The closing gala is held on Friday November 9 at Bremen Theatre where the juries will be handing out the prizes for the winning films before we present a special screening of Daniel Dencik’s brand new film ‘The Expedition to the End of the World’ - a genuine adventure film, albeit in a very modern sense, where Dencik and his crew set sails to explore the northeastern parts of Greenland. Afterwards we are going to party until the break of day in the lobby with DJ’s, dance and drinks.

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THE BIRTHDAY PARTY BREMEN: SATURDAY 10/11 AT 24:00 HRS.

CPH:DOX is 10! And YOU are invited to the party! Expect confetti, smoke machines and mirrorballs à go-go as the disco party turns into a birthday party at midnight. Hip, local DJ’s Synd & Skam, Oliver Hoiness og Pladevennerne set the dance floor on fire as they dig deep in their record collections. Aperol is serving a spritzer and Jägermeister offers a shot to get the party going. Dresscode: Maximalism!

THE SECRET DISCO PARTY BREMEN: SATURDAY 10/11 AT 21:30 HRS.

Was the disco culture of the 1970s a wild, hedonistic exploration of everything that could be screwed, sniffed and danced to? Or was it a subversive soundtrack for the liberation of women, gays and black people? ‘The Secret Disco Revolution’ examines the many competing views on disco music’s cultural significance - and after the screening the party continues in the lobby where DJ superstars Christian d’Or and DJ Gul will crank the volume all the way up to 11 - before your Rolls Royce turns into a pumpkin at midnight, and the Secret Disco Party turns into the CPH:DOX birthday party! Two parties in one! Maximalism!

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YOUTUBE BATTLE PUMPEHUSET: THURSDAY 1/11 AT 21:00 HRS.

BESTIAIRE AT THE ZOO ZOO: SUNDAY 4/11 AT 14:00 HRS.

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The audience is guaranteed an explosive charge of talent, musical surprises, videos, bad resolution, chaos and an atmosphere close to melting point, as CPH:DOX for the fifth year in a row is awarding the unofficial YouTube Champion at a massive party on the first night of the festival: yes, the annual YouTube Battle is back! Henrik Aagard is the master of ceremonies and Kalles World Tour his loyal, musical sidekicks. The rules are easy: show the best YouTube video and win the favour of the audience. The video that gets most applause from the audience, wins. Eight teams will take to the stage to fight a battle, which takes place on the border between the visual and the auditive, the poetic and the profane - between art and fight. REGISTRATION FOR THE BATTLE: if you would like to battle last year’s winner of the YouTube Battle, send a mail with your name, address, telephone number and one or several selected YouTube extracts to youtube@cphdox.dk. Couples and teams are welcome! The deadline is October 22.

CPH:DOX invites human beings and animals to be each other’s audiences both on the screen and in reality, as we show films in Copenhagen’s Zoo. With its curious, static and silent observations of animals in Montréal’s zoo, ‘Bestiaire’ explores not only the animals’ sounds and movements, but also our own relationship to them, as it is left to our own imagination to come up with what the animals might be thinking. Children and adults alike will be fascinated by the film that has as many lessons as there are animals in a zoo. And maybe the staff of Copenhagen Zoo can add some extra life to all the ideas that have been set in motion, as they guide you around the zoo - even after closing time!

DOX:LAB NIGHT CINEMATEKET: SATURDAY 3/11 AT 19:00 HRS.

A SHADED VIEW OF FASHION FILM FEAT. DIANE PERNET & HENRIK VIBSKOV GRAND TEATRET: SATURDAY 3/11 AT 19:00 HRS.

We are celebrating the premiere of the latest film productions from our very own international talent development programme DOX:LAB, which brings together filmmakers from Europe, Asia, Africa and South America and challenges them to think differently and find new ways of creating films. Tonight, we have the pleasure of presenting the premiere of Nicolas Pereda and Jacob Schusinger’s ‘The Killing Of Strangers’, Flora Lau’s ‘Start From Zero’, Gustavo Beck and Zeljka Suková’s ‘Winter/ Miracle’ and Andreas Koefoed and Ivan Fund’s ‘AB’. There will be cold beers for everyone in the audience - and afterwards we will go together and individually to our very own festival café Fortunen, which has promised us a party of maximum dimensions.

The Paris-based festival ‘A Shaded View of Fashion Film’, which is organised by the fashion expert and diva Diane Pernet, focuses on the expression that occurs in the encounter between art, fashion and film. Meet Pernet in conversation with Henrik Vibskov, as she returns to CPH:DOX to show a selection of works from ‘A Shaded View on Fashion Film’ - works that bring a new dimension to an industry that is otherwise primarily defined by the constant presence of the still image and the slinky ballet steps of the catwalk, and which underlines that the fashion industry has always been closely linked to film and other art forms.

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48 HOURGAMES: INTERACTIVE PREMIERE + PRESS PLAY ON TAPE & AKIRI (LIVE)

DIR. SUVI ANDREA HELMINEN ORIGINAL TITLE:48 HOUR GAMES: INTERAKTIV PREMIERE + PRESS PLAY ON TAPE & AKIRI (LIVE) COUNTRY:DENMARK YEAR:2012 RUNNING TIME:180M. PRODUCTION:FILM PRODUCER: MINERVA FILM / GAME PRODUCER: KNAPNOK GAMES PRODUCER:FILM PRODUCER: MIKAEL WINDELIN / GAME PRODUCER: DAJANA DIMOVSKA DOX:CLUB I TEATER GROB: SATURDAY 10/11 AT 21:00 HRS.

AMERICAN ELECTION NIGHT TV2 TEGLHOLMEN: TUESDAY 6/11 AT 23:30 HRS.

262 EVENTS & PARTIES

Good news for gaming geeks! ‘48 Hour Games’ is an interactive documentary, which becomes one with its subject: The Nordic Game Jam. In an epic battle against time and against each other, computer game developers of all levels of experience are challenged to create a game from scratch in just 48 hours. Suvi Andrea Helminen’s interactive film gives us backstage access to the event, a look at the worldwide ‘game jamming’ movement, and an insight into the minds of more than 300 developers, who strive to triumph over the pressure of time, creative differences and a lack of sleep to make the best game of them all. And you decide yourself, which one of them you want to follow and for how long. You are not just a spectator, but an active player, as we celebrate the premiere at Teater Grob with a subsequent live concert with the ‘Nintendotronica’-trio Akiri and Press Play on Tape, which has specialised in Commodore 64 themes! Both bands have made music for the film. So throw yourself into it, choose your own path and experience Nordic Game Jam, as if you were there yourself.

On the occasion of the American presidential elections, we are presenting a whole night of political film and debate. In their headquarters at Teglholmen, TV2 will transmit the US elections live from beginning to end. And as an opener, CPH:DOX will show a political film. The conservative producer John Sullivan will personally present his controversial, best-selling film ‘2016: Obama’s America’, which has caused a stir in the U.S. with its fierce criticism of the president. Can it also topple him? We will be asking this question to, among others, Ib Bondebejrg and Martin Krasnik, when they discuss the use of film in politics - and the boundaries between criticism, propaganda, information and entertainment. The rest of the night we will follow the developments of the elections, with a live transmission to the big screen and a large number of comments, analyses and assesments on the elections from leading experts on the United States. We will keep up the energy levels with constant news flashes from TV2 KBH - and, not least, coffee, water and snacks.

PUBLIC HEARING IN THE CITY HALL KØBENHAVNS RÅDHUS: MONDAY 5/11 AT 19:00 HRS.

TOUR DE DOX: 2 FILMS, 25 EXERCISE BIKES PUMPEHUSET: SUNDAY 4/11 AT 12:00 HRS.

The town hall in the heart of Copenhagen will be the historical and monumental setting for the screening of James Kienitz’s excellent film ‘Public Hearing’ (see page 35). The evocative debate hall ‘Den Gamle Hovedkasse’ (access via main entrance), which for centuries has housed public meetings, debates and political discussions, will provide the historic setting, so you can immerse yourself in the film’s eternally relevant topic: the democratic dream (and illusion?) of citizens’ participation. The film is kick-started with an introduction by the literature expert and writer for the newspaper Information, Mikkel Krause Frantzen. Come to the inside of the town hall to join a thought-provoking and entirely unique event with lots of Information for the Citizens about the Community!

Put on your cycling pants, take a seat in the saddle and get ready for a sweaty experience in the company of the Danish talent Rasmus Quaade and the two professional cycling brothers Andy and Frank Schleck in cinematic portrayals. You are literally invited to take part in the hardships, as a double screening of the two cycling films ‘Moon Rider’ and ‘The Road Uphill’ is powered by the exercise bikes the audience is spinning away on. Do you dare push yourself through two films on the saddle, or are you happy to take a seat in the rows of chairs?

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SWANDOWN: WATER BIKES & WHISKEY PUMPEHUSET: THURSDAY 8/11 AT 19:00 HRS.

SUBWAY SCREENING METRO: KGS. NYTORV: WEDNESDAY 7/11 AT 18:00 HRS.

264 EVENTS & PARTIES

We have borrowed a truckload of swan-shaped pedaloes from Sommerland Sjælland (thanks!) and filled Pumpehuset. And why on earth have we done this? Because we want to appropriately celebrate the international premiere of ‘Swandown’: a Monty Python-esque pedalo ride from Hastings to Hackney in the company of two men, who launch a protest against the narrow definitions of normality. The director Andrew Kötting is one of them, and he will be present at the screening. Experience ‘Swandown’ from a pedalo (if you are among the fastest), and enjoy a break from reality accompanied by a whisky highball from Stauning Whisky!

Discover the subways of New York, Tokyo and Vienna from up close down in Copenhagen’s own metro, as we present the screening of Timo Novotny’s audiovisual essay about life in the subway. What can the subterranean network actually tell us about the special character of a metropolis? According to Novotny, the subway is far more than just a means of transport. We agree with him and transform Kongens Nytorv into a movie theatre for one evening.

02-11 × 05 × 2013 SUBMISSION OPENS SEPTEMBER 1ST www.docaviv.co.il

× Over 90 films × International Competition × Israeli Competition × World Panorama, Workshops, Masterclasses,Tributes & Retrospectives.

INDUSTRY SEMINARER CPH:FORUM ART:FILM DOX:LAB CPH:MARKET MALMรถ KONSTHALL

SEMINARS Again this year, CPH:DOX presents a broadly conceived seminar programme, which gives audiences as well as professionals from the international industry the chance to become acquainted with a large number of filmmakers, artists, debaters, and others with ideas and fresh insight to spare. Peter Mettler, Swedish director duo Hanna Heilborn and David Arowonoritz, and sound genius Paul Davies are present for masterclasses. In relation to our special thematic focus series, India Unreal and Empire, we have invited a long line of writers, journalists, bloggers, and artists to give their perspective on things. And for the film professionals, a long strand of seminars dedicated to the latest from the industry. From the launch of our new cross-media initiative SWIM to case studies in 3D filmmaking and interactive, online storytelling. We are continuing our ART:FILM symposium dedicated the production of artistsâ&#x20AC;&#x2122; film in collaboration with LUX and our new partner, the International Film Festival Rotterdam. Donâ&#x20AC;&#x2122;t miss. There is plenty to learn, and plenty to take home.

MASTERCLASS: PETER METTLER CINEMATEKET: SUNDAY 4/11 AT 14:30 HRS.

MASTERCLASS: HANNA HEILBORN & DAVID ARONOWITSCH CINEMATEKET: THURSDAY 8/11 AT 14:30 HRS.

270 SEMINARS

Together with Werner Herzog, the Canadian director Peter Mettler is one of the world’s most uncompromisingly visionary documentarists. Mettler is a travelling auteur and a modern ‘man with a movie camera’, whose consciousness-expanding works have a penchant for being based in the ethnographic tradition and favouring the exploration of basic human desire to grasp the greater picture. With his latest epic ‘The End of Time’, he tackles nothing less than the mystery of time in a grand, cinematic format, which follows in the footsteps of his epic works such as ‘Gambling, Gods and LSD’ (2002), about the human being’s drive towards ecstasy and transcendence, and the harrowing ecological science fiction / disaster film ‘Petropolis’ (2009). Meet Mettler at a master class about thinking big and making films accordingly, as he returns to CPH:DOX to once again take the audience’s breath away.

With their animated and hyper-realistic documentary trilogy ‘Slaves’, ‘Hidden’ and the brand-new ‘Sharaf’, the Swedish duo Hanna Heilborn and David Aronowitsch have pushed the boundaries of what the medium is capable of - and for how big an audience an artistically refined, political documentary can reach. Their award-winning film trilogy works equally well in the cinema, on TV, in classrooms or at exhibitions. Meet the duo and hear more about their practices and experiences with animated documentary - and see their three films, including the latest ‘Sharaf’, which will have its silver screen premiere at CPH:DOX.

MASTERCLASS: PAUL DAVIES + SONIC:DOX AWARD CINEMATEKET: WEDNESDAY 7/11 AT 14:40 HRS.

HYBRID CINEMATOGRAPHY CINEMATEKET: WEDNESDAY 7/11 AT 12:00 HRS.

We are happy to bid welcome to a Masterclass with Paul Davies, one of the most acclaimed sound designers in Europe. Davies is the man behind the sound in prize-winning feature films such as ‘The Queen’, ‘Hunger’, ‘The Proposition’ and ‘The American’, as well as a long line of prominent documentaries - among them the Sex Pistols documentary ‘The Filth and the Fury’ and ‘The Imposter’, which is the launch film at this year’s CPH:DOX. However, Davies is probably best known for his close partnership with Lynne Ramsay, most recently in ‘We Need to Talk About Kevin’. Samples from Davies’ production will be screened, and the talk will be moderated by Danish sound designer Peter Albrechtsen. After the Masterclass, the festival’s very first SONIC:DOX Award will be handed out to the best sound design in a Danish documentary. Paul Davies is a member of the Jury and there will be prizes for both the sound designer, the director and the winning film’s producer. And last but not least, we dim the lights for a screening of the docu-thriller ‘The Imposter’ for which the sound design was made by - Paul Davies.

Hybrid films between staging and documentary-style spontaneity is one of the most hotly debated topics in contemporary cinema - a debate, which all too often gets stranded in a taxonomic definition of genres. Instead of talking about documentary vs fiction, however, we would like to take this opportunity to examine how cinematography regulates the experience of reality in some of this year’s most significant films. Meet the brothers Bill & Turner Ross, the makers of ‘Tchoupitoulas’, and Brent Chesanek, the director of ‘City World’ - three of the American hybrid scene’s most accomplished new talents.

SEMINARS

271

REENACTMENTS: THE RETURN OF THE REAL CINEMATEKET: TUESDAY 6/11 AT 14:30 HRS.

FILMMAKING AND FREEDOM IN MYANMAR

272 SEMINARS

Reenactments in documentaries are nothing new. But to base an entire film around the reenactment of an actual event has become a prominent current which is highly visible in some of the most remarkable films at this year’s festival: ‘The Act of Killing’, ‘Roland Hassel’, ‘Public Hearing’, ‘The Killing of Strangers’ and ‘Revision’, to name but a few. What can these films tell us about the methods and limitations of documentarism? What new knowledge can reconstructions generate? Does one overstep an ethical boundary by reconstructing events? We have invited the directors of three of the festival’s absolute highlights to take part in a discussion about the possibilities of recreating reality: Joshua Oppenheimer (‘The Act of Killing’), Måns Månsson (‘Roland Hassel’) and James N. Kienitz Wilkins (‘Public Hearing’) all bring about a return of the real through the use of reenactments - to very different and highly original results.

Imagination and artistic creativity are the only things you can’t put in jail. They know this better than anyone else in Myanmar - at least judging by the few films that from time to time see the light of day and make it to the big screen. But this year it was possible for the first time in 50 years to show films that are not censored. What has this meant for creative freedom? And can filmmakers and artists afford to be critical, or does censorship still exist in a hidden form? During two days ahead of the festival we will offer a rare glimpse at the closed country, seen from the inside. Meet artists, filmmaker and activists, and discover a series of poetic, courageous, moving, funny and highly different films, which all have one thing in common: the dream of freedom. “Freedom Film from Myanmar” is organised in collaboration with Cinemateket / The Danish Film Institute, International Media Support (IMS) and Danish PEN.

WHAT IS THE FUTURE OF HYBRID FILMS? CINEMATEKET: WEDNESDAY 7/11 AT 16:00 HRS.

Over the past deacade the field between fiction and non-fiction has experienced a true creative boom with films such as ‘The Ambassador’, ‘R’, ‘The Arbor’, ‘Le Quattro Volte’, ‘Exit Through the Gift Shop’ and not least the work of Austrian auteur Ulrich

3D CASE STUDY - CATHEDRALS OF CULTURE CINEMATEKET: TUESDAY 6/11 AT 15:00 HRS.

Seidl. Hybrid films have the potential to deliver complex stories with a firm basis in reality but with a fundamentally cinematic interpretation. But it is also a difficult field - financially speaking. For how do you support a film you do not know for sure whether it is a documentary or a feature? Are the traditional genre definitions experiencing a paradigm shift, and what does this mean for how films are developed and supported? We have invited a number of film experts, whose professions all involve working with and supporting the new hybrid film forms. Meet, among others, Channel 4’s Tabitha Jackson, the woman behind some of the most successful hybrid films, such as ‘The Arbor’; Lucas Smith from ZDF, who supports both fiction, non-fiction and new hybrid formats; Thomas Robsahm from the Norwegian Film Institute; and Martin Schweighofer, director of the Austrian Film Commission, which has a particularly strong tradition of supporting the new hybrid wave.

The team behind the 3D dance film ‘Pina’ is back with a unique and groundbreaking project. 10 award-winning and acclaimed directors, among them Wim Wenders, Michael Madsen, Jiska Rickels, Michael Glawogger, Victor Kossakovsky, Noberto Amado Lopez and Karim Ainouz, embrace the 3D-language in the TV series ‘Cathedrals of Culture’ and reverse the narrative perspective by giving 10 distinct answer to the question: “If buildings could talk, what would they say about us?” At this seminar, producers Erwin M. Schmidt from Neue Road Movies in Berlin and Anne Köhncke from Final Cut for Real in Copenhagen talk about challenges and experiences with developing, financing, producing and distributing an innovative and thoughtprovoking TV series in 3D and 2D. What does it take to do all of this in 3D compared to 2D? What new challenges and opportunities lie in the 3D visual language? How does one unite 10 strong filmmakers in one project? And last but not least, how do you get a building to speak?

SEMINARS

273

CASE STUDIES - AN INTERACTIVE AUDIENCE CINEMATEKET: FRIDAY 9/11 AT 15:00 HRS.

ONLINE STORYTELLING CINEMATEKET: WEDNESDAY 7/11 AT 14:30 HRS.

The online universe is constantly seeing the creation of new experimental platforms, and it can be hard to keep up and evaluate what is and isn’t relevant to the film industry. We have invited a leading platform within online storytelling: National Public Radio (NPR.org). Wesley Lindamood who

274 SEMINARS

Trans-media producer/developer Asta Wellejus, Die Asta Experience, reveals the ideas behind the two international productions ‘Facelessbook’ and ‘Worldbrain’ and talks about how the two very different interactive concepts have been developed, based on the films’ subject-matters and intention, target group and the interaction that is aimed at with the audience. Furthermore, the Norwegian trans-media documentary director Thomas Østbye, the Indonesian director Edwin and interactive-producer Paramita Nath will present their ‘17.000 Islands’, an interactive experiment commissioned by our own DOX:LAB, where the audience can further develop their own documentaries by adding elements to the director’s original film. This seminar is moderated by Annika Gustafson, Transmedia commissioner, BoostHBG.

work with digital media at NPR, will explain the importance of having a documentary project accessible online to promote it and create awareness of it. He will explain the importance of combining sound and images to form a whole which is bigger than the sum of its parts, and how one best presents ones material via a computer, tablet or mobile phone. An online documentary can be viewed on any number of devices and in almost any setting. The advantages of online documentaries are their portability, that they can be easily shared, and can continue to evolve and grow after they have been published. More than artifacts, they can become living documentaries. In relation to this, Mozilla’s Popcorn.js project - founded by Brett Gaylor - will be discussed as a tool which filmmakers can use to craft online documentaries. Furthermore, the challenges and opportunities of online storytelling will be presented. One of these challenges is the lack of control that filmmakers have over their own work.

NIPKOW PRESENTS: THE IMPORTANCE OF MARKETING CINEMATEKET: TUESDAY 6/11 AT 10:00 HRS.

MICRO BUDGET CINEMATEKET: THURSDAY 8/11 AT 14:00 HRS.

The German Nipkow programme is organising two seminars focusing on project development. Experts within production, distribution and international marketing will, based on the international film industry, discuss the role of the sales agent today and advise the audience about developing film projects. The keynote presentation will be held by the sales and marketing consultant Philipp Hoffmann, who worked for several years with The Match Factory, and who has today established his own company, VOD-Consulting, in Cologne. The next seminar is ‘So Get Your Film Out There’ at 12:00 hrs. Both seminars are followed by a Q&A session.

When you make low-budget films, the demands in terms of creativity are heightened, but it is just as important that a strong team can stand the test of shooting a low-budget film. At this seminar, a panel of experts will share their knowledge about the development of low-budget films. Maggie Ellis, one of the panelists, has since 2006 been at the forefront of Film London’s micro budget feature film programme, Microwave, which will be introduced at the seminar. You can also meet the low budget director Katrín Ólafsdóttir, Savina Neirotti from Torino Film Lab and Keith Potter, Head of production at Film Agency for Wales.

SEMINARS

275

NIPKOW PRESENTS: SO GET YOUR FILM OUT THERE CINEMATEKET: TUESDAY 6/11 AT 12:00 HRS.

BEN RIVERS AND BEN RUSSELL CROSSING BOUNDARIES CINEMATEKET: FRIDAY 9/11 AT 11:00 HRS.

276 SEMINARS

How should a film be promoted? And what makes a trailer effective? What should a captivating catalogue text contain? The workshop will explain how you can capture the attention of an international audience, and how you make contact with the international industry with the right presentation materials. Based on two cases: ‘Breathing Earth - Susumu Shingu’s Dream’ and ‘Five Broken Cameras’, Christine Camdessus, Leslie Hills and Irena Taskovski hand out advice on effective marketing.

CPH:DOX festival director Tine Fischer will present a new collaboration between Rotterdam International Film Festival, the British art film platform LUX and CPH:DOX. The three organisations have joined forces to create a new platform, which focuses on the financing and production of artists’ films in the borderland between film and visual art. Through the presentation of a relevant case study and a panel discussion, we will examine the challenges and new opportunities from working with projects in between film and art. First up, meet two of the most visionary visual artists in art cinema / contemporary art Ben Rivers and Ben Russell, who have just completed their first joint feature film ‘A Spell to Ward off the Darkness’.

MEET THE ART INSTITUTIONS & INVESTORS CINEMATEKET: FRIDAY 9/11 AT 13:00 HRS.

DR, DFI FILMWORKSHOP AND CPH:DOX TALENT AWARD 2012 CINEMATEKET: FRIDAY 2/11 AT 14:45 HRS.

Who actually holds the patent to the rough diamond in the borderland between film and visual arts? What films are produced? Where are they shown? How are they developed and financed? How does one develop a visual arts film without the industrialised film production becoming all-consuming? Come and meet the art world and hear the representatives discuss what works, how their funding structures work, whom they support and what their approaches are to the field. At the seminar you can, among others, meet Sally Berger from MoMA, Stuart Comer from Tate Modern and Isabelle Gaudefroy from the Cartier Foundation, Teresa Hoefert du Turegano from Medienboard BerlinBrandenburg.

Young filmmakers will have the unique opportunity to pitch their film idea to the documentary film industry. 25.000 DDK are at stake in development and production funding from the Danish Broadcasting Corporation DR - and on top of that, equipment will be provided by the Filmworkshop at the Danish Film Institute. The talent award aims to focus on the development of young and creative directing talents. The 10 selected finalists will compete on Friday, November 2 2012 at a talent pitch event in Copenhagen. Here, a professional panel will announce the final winner of the Talent Award 2012. Jury: Mette Hoffmann (DR), Prami Larsen (DFI Filmworkshop), Rune Spare Geertsen (DR) and Michael Noer.

SEMINARS

277

CPH:FORUM CPH:FORUM is our 3-day international financing and co-production event crossing boundaries between non-fiction, fiction and visual art. The Forum is an international hotspot where European and international professionals meet the Nordic scene: a unique event dedicated to help facilitate the development and financing of creative and visually strong film projects. CPH:FORUM takes place November 7 – 9 during CPH:DOX, and presents project presentations, tailored one-on-one meetings, a line-up of seminars, masterclasses, networking, social events and fun. Reflecting CPH:DOX’s overall profile, the Forum has three main focus areas: FICTIONONFICTION - Challenging works in the ever-growing hybrid landscape between fiction and non-fiction. CINEMA -High end theatrical feature length documentaries with international distribution potential. ART – Feature film projects directed by visual artists, conceptualized to be screened both within the institution of cinema and that of visual arts.

This year, an exclusive number of 26 projects have been selected for presentation. These will take place on Wednesday 7 and Thursday 8 of November. The Forum is for invited guests only. For the second year running we are pleased to be arranging an ART:FILM Symposium in collaboration with LUX and International Film Festival Rotterdam on November 9. The idea is to connect people from the world of visual art and cinema to exchange knowledge and contacts, and to support filmmakers and artists working on feature projects in between the two fields. Read more about this on the following pages. CPH:FORUM is kindly funded and supported by MEDIA, Nordisk Film & TV Fond, Det Obelske Familie Fond & The Danish Film Institute. For the third year running, the Forum features a collaboration with European Audiovisual Entrepreneurs - EAVE.

ART:FILM CPH:DOX, The International Film Festival Rotterdam and the British art film organisation LUX have joined forces to launch a new international platform – ART:FILM. For the second year running we are pleased to be arranging the symposium during CPH:FORUM. ART:FILM is a forum, a network and a meeting place with a common mission and ambition to facilitate meetings and partnerships between artists, filmmakers, producers and other professionals working in the ever growing borderland between film and visual arts. What is currently happening in the field between film and visual arts? Which films are being produced, who owns them, where do they appear, how are they developed and financed? How does the production context and not least the institutional context influence the creative process? What is the future of art cinema? Does it lie in the hands of the film industry or in the hands of the art world – or in between? The overall idea is to focus on the financing and production of feature length films in the borderland between film and visual arts and, through panels and meetings, to connect artists, professional filmmakers and institutions from both worlds to exchange knowledge, ideas and contacts, and to highlight new ways of cooperation. We have invited a selected group of international producers, artists, funders and museums for a discussion on the current state of the international scene of art cinema and the processes by which it can be developed and supported in the future. The platform will become a stable integrated part during future editions of CPH:DOX and International Film Festival Rotterdam. BEN RIVERS AND BEN RUSSELL CROSSING BOUNDARIES

MEET THE ART INSTITUTIONS & INVESTORS

Friday 9th November 2012 11am-12.30pm

Friday 9th November 2012 1pm-2.30pm

CPH:DOX festival director Tine Fischer will present a new collaboration between International Film Festival Rotterdam, the British art film platform LUX, and CPH:DOX. The three organisations have joined forces to create a new platform, which focuses on the financing and production of artists’ films in the borderland between film and visual art. Through the presentation of a relevant case study and a panel discussion, we will examine the challenges and new opportunities from working with projects in between film and art. First up, meet two of the most visionary visual artists in art cinema / contemporary art Ben Rivers and Ben Russell, who have just completed their first joint feature film ‘A Spell to Ward off the Darkness’.

Who actually holds the patent to the rough diamond in the borderland between film and visual art? What films are produced? Where are they shown? How are they developed and financed? How does one develop a visual arts film without the industrialised film production becoming all-consuming? Come and meet the art world and hear the representatives discuss what works, how their funding structures work, whom they support and what their approaches are to the field. At the seminar you can, among others, meet Sally Berger from MoMA, Stuart Comer from Tate Modern, Isabelle Gaudefroy from the Cartier Foundation, and Teresa Hoefert du Turegano from Medienboard Berlin-Brandenburg.

DOX:LAB is CPH:DOX’s own international film production programme. DOX:LAB was launched in 2009, and has been an overwhelming success – artistically as well as with the audiences at other film festivals in Rotterdam, Hong Kong, Locarno, and Venice, to name but a few. The concept behind DOX:LAB is to pair selected filmmakers in teams of two. Each team is given carte blanche and a grant to create the widely different and artistically powerful films the likes of which can now be experienced at CPH:DOX 2012. The ambition of DOX:LAB is to stimulate cultural exchange in cinematic terms, and to create special and challenging works of artistic vision. And we are excited to present the eight films of the second generation, that all fulfil this ambition in widely different but equally challenging ways: many (if not all) of the films this year are hybrid works that go beyond the real to explore the realms of the imagination. DOX:LAB continues in 2012 with new filmmakers who will meet each other for the first time during the festival: Johan Oettinger (Denmark) + Peter Tukei Muhumuza (Uganda) Lea Glob (Denmark) + Petra Costa (Brazil) Katja Adomeit (Denmark) + Shahrbanoo Sadat (Afghanistan) Clara Bodén (Sweden) + Simon El Habre (Lebanon) Kadri Kousaar (Estonia) + Maximiliano Schonfeld (Argentina) Kasia Klimkiewicz (Poland) + Dominga Sotomayor (Chile) Petra Zlonoga (Croatia) + Julio Hernandez Cordon (Guatemala) Sejla Kameric(Bosnia & Herzegovina) + Anocha Suwichakornpong (Thailand) Mark Peranson (Germany) + Raya Martin (Philippines) Gabriel Abrantes (Portugal) + Vimukthi Jayasundara (Sri Lanka) Omar Shargawi (Denmark) + Mahmoud Al Massad (Jordan) For more information on DOX:LAB, see: www.cphdox.dk/doxlab.

CPH:MARKET CPH:MARKET is our video-on-demand service running in conjunction with CPH:DOX. This year the market will be open daily from November 2 – 11 from 10am - 8pm. All festival delegates have access to the digital screening market, with priority given to buyers, festival programmers and curators. The market is located at the Danish Film Institute on the fourth floor and presents 20 viewing stations of iPads / iMacs operated with an on-demand digital screening system, offering professionals easy access to an extensive line-up of more than 200 recent documentary titles. CPH:MARKET is a curated market that reflects CPH:DOX’s overall interest in visually and artistically strong documentary films. Most films selected for an official festival screening at CPH:DOX are available for preview a t the market. In addition to these titles, the market also includes four exclusive series guest curated especially for the market. This years’ curators are True/False Film Fest, Filmkontakt Nord, Punto De Vista and Ann Arbor Film Festival. CPH:MARKET is kindly funded by MEDIA, established in close cooperation with ioGates and sponsored by Fritz Hansen furniture and AiAiAi headphones.

TRUE/FALSE FILM FEST

True/False highlights innovative nonfiction work with a cinematic scope and films that provoke dialogue about their subjects and the evolution of the documentary form itself. The festival has shown long-form examinations of complex issues; tight, humorous stories of curious people and places; fresh and unexpected glimpses of life from around the globe—above all, films that push the boundaries of their genre. Focusing on collegiality and the connections between diverse filmmakers rather than on awards and honorifics, True/False fosters non-competitive camaraderie and an unhurried opportunity to view and discuss great films. Filmmakers interact with audiences in a way only possible in the welcoming environs of Columbia, Missouri, a small and curiously friendly American city. Director James Marsh (Man on Wire, Project Nim) says, “If there was one festival that I would recommend to anyone involved or interested in documentary filmmaking, it would be True/False. The whole town is alive with passionate debate about documentaries, the films they show are really well chosen and they were brilliant hosts.” True/False 2013 will present more than 120 screenings of 75 nonfiction films. Each screening is accompanied by the director, subject, producer or cinematographer who introduces each film and answers audience questions after screenings. Since its inception, True/False has developed an international reputation for its excellence in programming and is highly regarded on the festival circuit among filmmakers, producers, critics and programmers - not the least because of its commitment to challenging filmmakers to re-imagine the possibilities of nonfiction filmmaking. The tenth annual True/False Film Fest is a celebration of non-fiction filmmaking that will take place February 28 to March 3, 2013. Paul Sturtz, Director at True/False Film Fest. www.truefalse.org TRUE/FALSE FILM FEST HAS CURATED THE FOLLOWING FILMS Only The Young

Dir. Jason Tippet

Better This World

Dir.Kelly Duane de la Vega & Katie Galloway (us)

& Liz Mims (us)

Dir. Jose Álvarez (mex)

Building Babel

Dir. David Osit (us)

Canícula

The Source

Dir.Maria Demopoulos

How to survive a plague Dir.David France (us)

& Jodi Wille (us)

Family Nightmare

Dir. Dustin Guy Defa (us)

Dir. Jarred Alterman (pt)

Paraiso

Dir. Nadav Kurtz (us)

Aaron Burr, Pt. 2

Dir. Dana O’Keefe (us)

Convento

286

EVENST

FILMKONTAKT NORD

As the Director of Filmkontakt Nord, I’m delighted to give you this taste of some of the latest documentaries from the five Nordic countries. Filmkontakt Nord (FkN) was established in 1991 by visionary Nordic filmmakers who took matters into their own hands to get their films off the ground and be seen. Since then, FkN has been dedicated to promote Nordic shorts and docs internationally and to advance Nordic-international professional networks. More than 20 years has passed, and FkN has truly become the First Stop for Nordic Shorts & Docs having established itself as a unique central source of information and expertise. FkN’s main event is Nordisk Panorama, comprising a film festival, a documentary co-financing forum and a market. Spanning all professional focus areas from development and financing to distribution and exhibition, Nordisk Panorama Event is the main annual business platform for shorts and docs in the Nordic region. Nordisk Panorama Market Online (NPM Online) is aimed at international TV-buyers, distributors, sales agents and festival programmers. Approved professionals can stream films in full length at their own convenience around the clock. Currently more than 1300 films are available just a click away. I have chosen to show you a small selection of the documentaries that were presented at this year’s Nordisk Panorama Festival and Market, available at NPM Online. Each in their own way they all investigate the human soul and what happens to it when affected by externally imposed conditions, over time and in relation to other human beings. With these films you will be taken on an emotional ride. Hopefully this taste will give you an appetite for more outstanding Nordic documentaries to be found in abundance at NPM Online year round. To start exploring, all you need to do is to sign up. Enjoy! Katrine Kiilgaard, Director, Filmkontakt Nord. www.filmkontakt.com FILMKONTAKT NORD HAS CURATED THE FOLLOWING FILMS The Will Me Without You

Dir. Christian Sønderby

Finnish Blood, Swedish Heart Dir. Mika Ronkainen (fi)

Jepsen (dk)

John and Reverend John

The Punk Syndrome Directors: Lukka Kärkkäinen & J-P Passi (fi)

Dir. Steinthor Birgisson (is)

Dir. Aage Rais-Nordentoft (dk) Reunion - Ten Years After the War

Dir. Jon Haukeland(no)

Dare Remember

Dir. Ewa Cederstam(se)

The Quiet One

Dir. Ina Holmqvist & Emelie Wallgren(se) EVENTS

287

PUNTO DE VISTA

The International Documentary Film Festival of Navarre, PUNTO DE VISTA, is a festival focused on the most cutting-edge forms of non-fiction, experimental and avant-garde films. PUNTO DE VISTA aims to be, not only a festival, but a meeting place on several different levels. Firstly, as a space for audiences, filmmakers and critics to relate and interact around the documentary genre and all trans-frontier manifestations and heterodoxies of nonfiction. Secondly, as a spatial and temporal meeting space. PUNTO DE VISTA aims increasingly to become a place where documentary film from all around the world can converge. But it also strives to offer a space for dialogue between the past and future of documentary film. A space where the most diverse traditions in non-fictional film can embrace the most daring and innovative proposals. PUNTO DE VISTA, therefore, sees itself as a dialogic space where all these encounters can occur with an ambitious and innovative determination. PUNTO DE VISTA not only wants to be a focus on the most important films and tendencies of contemporary international films, but also wants to support and promote the most underground and innovative spanish filmmakers, and in 2009 created the X FILMS PROJECT, which produces a film by a young, spanish filmmaker yearly. Gonzalo De Pedro Amatria, Program Director at PUNTO DE VISTA www.puntodevistafestival.com

PUNTO DE VISTA FILM FESTIVAL HAS CURATED THE FOLLOWING FILMS Dir. Víctor Iriarte (es)

Dress Rehearsal for Utopia Dir.Andrés Duque (es)

Invisible

Notes on Ephemeral Dir. Chus Domínguez (es)

The Search of Emak Bakia Dir. Oskar Alegría (es)

Manduré Place

Dir. Sebastián Lingiardi (ar)

Fanteria Cavalleggeri Dir. Alessio Di Zio (it)

The Jury

Dir. Virginia García del Pino (es)

The Lord

Dir. Juan Cavestany (es)

Mapa

Dir. León Siminiani (es)

National Heritage

Dir. Jean Castejón Gilabert (es)

ANN ARBOR FILM FESTIVAL

The Ann Arbor Film Festival is the longest-running independent and experimental film festival in North America. Established in 1963, the AAFF recently concluded its 50th edition. Internationally recognized as a premiere forum for independent filmmakers and artists, each yearâ&#x20AC;&#x2122;s festival presents 40 programs with more than 200 films of all lengths including experimental, animation, documentary, fiction, and performance-based works. The festival takes place over six days each March in the Michigan Theater, a restored 1920s movie palace and brings together many filmmakers, curators, and scholars from all over the world along with members of the local community. For its first four decades, the festival solely exhibited works finished on 16mm. The AAFF remains committed to the exhibition of this medium among various other formats. Thousands of influential filmmakers and artists have exhibited early work at the AAFF, including Kenneth Anger, Agnes Varda, Andy Warhol, Gus Van Sant, Barbara Hammer, Les Blank, Matthew Buckingham, and James Benning. In addition to exhibiting over one hundred new films in juried programs each year, the AAFF presents filmmaker retrospectives, gallery installations, panel discussions, historic and thematic surveys and contemporary artist programs. The Ann Arbor Film Festival serves as one of a handful of Academy Award-qualifying festivals in the United States. Our awards program presents more than $20,000 USD in cash and film stock/services to filmmakers. The AAFF is a pioneer of the traveling film festival tour and each year presents short film programs at more than 35 cinematheques, universities, museums and artist-run centers in the US, Canada and Europe. David Dinnell, Program Director at Ann Arbor Film Festival www.aafilmfest.org ANN ARBOR FILM FESTIVAL HAS CURATED THE FOLLOWING FILMS The Strawberry Tree Dir. Simone Rapisarda Casanova (ca/cu)

The Sea [is still] Around Us

Dir. Hope Tucker (us)

Undergrowth

Dir. Rob Todd (us)

Ricky

Dir. Janie Geiser (us)

Saskatchewan

Dir. Richard Wiebe (us)

Lack of Evidence

Dir. Hayoun KWON (fr)

Devilâ&#x20AC;&#x2122;s Gate

Dir. Laura Kraning (us)

Concrete Parlay

Dir. Fern Silva (us)

Village, silenced

Dir. Deborah Stratman (us)

As Above, So Below Dir. Sarah J. Christman (us)

CPH:DOX AT MALMÖ KONSTHALL Malmö Konsthall and CPH:DOX are initiating a new collaboration this year, with daily screenings of selected films from the programme. Every day during the festival period at 12:00 and 14:30 films are shown, and selected films include artists talks. Entrance is free for all screenings. Malmö Konsthall is one of Northern Europ’s most beautiful and acknowledged exhibition spaces for contemporary art, and is located 30 minutes by train from Copenhagen Central Station. The idea behind the collaboration is to focus on the field between documentary practice and visual art, a central part of the mission for both Malmö Konsthall and CPH:DOX. You can see which films have been selected for screening at Malmö Konsthall here in the programme and on our website. How to get there: take the train from Copenhagen Central Station to Triangeln Station in Malmö, where Malmö Konsthall is located on S:t Johannesgatan 7. For more information about Malmö Konsthall, visit: www.konsthall.malmo.se

292 SEMINARS

INTERNATIONAL DOCUMENTARY FILM FESTIVAL

CINÉMA DU RÉEL

MARCH 21ST TO 31ST 2013 PARIS - CENTRE POMPIDOU SUBMISSIONS ON-LINE UNTIL NOVEMBER 15TH 2012

WWW.CINEMADUREEL.ORG

CNRS Images / Comité du film ethnographique

AMBULANTE DOCUMENTARY FILM FESTIVAL

FEBRUARY 8TH MAY 9TH

DISCOVER. SHARE. TRANSFORM

copenhagen international

film festival for children and youth

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OFFICIAL CONTRIBUTORS

SPECIFICATION OF CATALOGUE ADVERTISMENT Full page 148 mm x 210 mm + 3 mm bleed Height format Black and White Format: PDF Resolution: 300 dpi Deadline: 28. 09. 2012

Contact Bianka Brenišínová 16th JIHLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL / October 23-28, 2012 Bubenska 1 / Prague 7 / Czech Republic M: +420 774 101 656 E: bianka@dokument-festival.cz www.dokument-festival.cz

56TH INTERNATIONAL LEIPZIG FESTIVAL FOR DOCUMENTARY AND ANIMATED FILM

DOK

FESTIVAL 5 Competitions 74.500 Euro Festival Prizes Special Programmes Focus Brazil Retrospectives Homages Funded by

28 OCT

3 NOV 2013

DOK

INDUSTRY DOK Market Copro Meeting Leipzig Screening German Day Wild at Heart DOK Panels

TRAINING Master Classes DOK.Incubator Preview DOK Net Lab Cross Media Case Studies and Screenings

Member of

www.dok-leipzig.de www.dafilms.com

E É S A , E T K t Á K T S A I K S A K S T A , Č Á K K I F É K K K , K , K Ů , , Ů Á K , I K R V E L K S R V E L I S Á R V E L I S I R V , K I S K R V E L I S Á I É K K , K K Á Ů s š I P K K, Ů P s K K c K , K, Market Caravan TV Focus Silver Eye Award Streaming

East Silver

East European Documentary Film Market organized by Institute of Documentary Film (IDF)

Next submission deadline: January 11, 2013 More info at www.eastsilver.net

Jihlava, October 23 — 28, 2012 Prague, March 5 — 10, 2013

TWO AND THOU THIR SAND TEEN Festival 24 – 28 April Exhibition 24 April – 26 May www.emaf.de

www.fidmarseille.org

24th INTERNATIONAL FILM FESTIVAL — MARSEILLE

JULY 03 — 08 2013

THE CALL FOR FILMS IS AVAILABLE ONLINE ON OUR WEBSITE → www.fidmarseille.org FROM DECEMBER 3rd, 2012 TO MARCH 15th, 2013

INTERNATIONAL COPRODUCTION PLATEFORM 5th EDITION

JULY 04 — 05 2013

THE CALL FOR PROJECTS IS AVAILABLE ONLINE ON OUR WEBSITE → www.fidmarseille.org FROM OCTOBER 15th 2012 TO FEBRUARY 8th, 2013

Marseille #01-#30, Alexander Schellow

One World

International Human Rights Documentary Film Festival

Submission deadline November 15, 2012 www.oneworld.cz

Both feature and short length documentaries Engaging filmmaking of high artistic quality Competition and thematic categories, retrospectives East Doc Platform industry section, masterclasses and workshops

Submit your film! program@oneworld.cz

Welcome to Nordisk Panorama Malmรถ 20-25 September 2013

with support from:

www.filmkontakt.com

Nordisk Panorama is arranged by:

APRIL 2013 11. - 24. APRIL 2013 www.cphpix.dk www.cphpix.dk

THE ONLY DOCUMENTARY FESTIVAL IN SWITZERLAND AND ONE OF THE MOST IMPORTANT WORLDWIDE WITH ITS EXCLUSIVE DOC OUTLOOK INTERNATIONAL MARKET. NYON: A MUST FOR PROFESSIONALS AND FILM LOVERS

INTERNATIONAL FILM FESTIVAL DOC OUTLOOK INTERNATIONAL MARKET–NYON 19–26 APRIL 2013 WWW.VISIONSDUREEL.CH

MAIN SPONSORS

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CONTACTS Alphaville Productions Copenhagen ApS Badstuestræde 17, 1. 1209 København K. Denmark +45 3391 9170 office@alphavillepictures.com Anand Patwardhan India anandpat@gmail.com Arsenal - Institut für Film und Videokunst e.V. Germany (49-30) 26955 158 gk@arsenal-berlin.de Asta Meldal Lynge Denmark astalynge@gmail.com Auguste Orts Rue A. Ortsstraat 20-28 1000 Bruxelles Belgium +32 (0)2 550 03 69 marie@augusteorts.be Autlook Filmsales GbR Zieglergasse 75/1 AT-1070 Wien Austria +43 720 55 35 70 welcome@autlookfilms.com Auxerrine 322 Jefferson St. #2R, Brooklyn NY 11237 USA +001 718 749 1996 info@auxerrine.com B Zone di Roberto Bonisoli Viale Trento e Trieste, 148 26100 Cremona Italy +39 037386990 info@bzonevideo.com Basalt Film Schiekade 189-III 3013 BR Rotterdam Netherlands +31 6 24505047

Beofilm / DDR-Film Kopenhagen Denmark +45 26 81 06 22 500@beofilm.dk Bossa Nova Films Brazil pcosenza@bossanovafilms.com. br Bullitt Film Rådmandsgade 43 3rd. floor 2200 Copenhagen N Denmark +45 2612 5001 Cat & Docs 18 rue Quincampoi 75004 Paris France +33 1 44 59 63 53 maelle@catndocs.com, cat@ catndocs.com CatBird Fims, Inc. 210b Ave Mozart West H2S 1C4 Montreal Canada +1 5144198590 info@catbirdproductions.ca Christian van Borries Germany Mail: headquarter@ masseundmacht.com Christina Christensen Otto Mallings Gade 6 3 th 2100 Copenhagen Denmark + 45 50 76 16 51 christjerne@gmail.com Cinema Delicatessen Arie Biemondstraat 111 1054 PD Amsterdam Netherlands 31204207123 info@cinemadelicatessen.nl Clarisse Hahn France + 33 6 85 11 64 53 clarissehahn@yahoo.fr Copenhagen Bombay Refshalevej 147, 1. 1432 København K Denmark

Danish Broadcasting Corporation DR Sales Emil Holms Kanal 20 999 DR Byen Denmark +45 3520 2299 drsales@dr.dk Danish Documentary Production c/o Duckling 1250 København K Denmark +45 2616 2535 sigrid@danishdocumentary.com David Redmon & Ashley Sabin USA dwredmon@gmail.com Deckert Distribution GmbH Marienplatz 1 4103 Leipzig Germany +49 341 215 6638 info@deckert-distribution.com Dharma Film Denmark d@dharmafilm.dk Doc and FIlm France d.elstner@docandfilm.com Doc.eye Film Van Hallstraat 52 1051 HH Amsterdam Netherlands +31 20 686 5687 doceye@xs4all.nl Dogwoof Unit 211 Hatton Square Business Centre 16 16a Baldwins Gardens London EC1N 7RJ UK global@dogwoof.com DOXBIO Tagensvej 85 F 2200 Copenhagen N Denmark doxbio@doxbio.dk

CONTACTS

315

DOX:LAB Tagensvej 85 F DK 2200 Copenhagen N Denmark doxlab@cphdox.dk E1 Entertainment 175 Bloor St. East, Suite 1400 N. Tower CDN Toronto Canada 001 416 646 2400 internationalsales@entonegroup. com Eagle Rock Entertainment Inc. 22 West 38th Street, 7th Floor 10018 New York USA +1 1 212 354 1101 Andrew@eagle-rock.com Electronic Arts Intermi 535 West 22nd Street, 5th Floor NY 10011 New York USA (212) 337-0694 info@eai.org Entertainment One Television International 175 Bloor St. E. North Tower, Suite 1400 M4W 3R8 Toronto, Ontario Canada tvinfo@entonegroup.com Eric Baudelaire 41bis, Quai de la Loire 75019 Paris France +33 6 47 82 68 90 info@baudelaire.net Evan Prosofsky Canada evanprosofsky@gmail.com Everybody On Deck 54, rue René Boulanger 75010 Paris France +33 1.44.52.15.00 everybody@ondeck-prod.com

316 CONTACTS

Experimenta - Moving Image Art in India #003, Ground floor, ‘Hebron’, 57 Benson Cross Road, Benson Town 560046 Bangalore India experimentaindia@gmail.com Figa Films 3925 Cazador Street 90065 Los Angeles, CA USA 323-309-4856 dilian@figafilms.com Films Boutique Skalitzer Str. 54A 10997 Berlin Germany +49 03069537850 Films Transit International Inc. 252 Gouin Boulevard East H3L 1A8 Montreal, Quebec Canada 514 844 3358 janrofekamp@filmstransit.com , info@filmstransit.com Filmy Wiktora Ciudad de la Paz 561 2º 31 C1426AGI Buenos Aires Argentina +54 11 4553 3293 gastonsolnicki@gmail.com Final Cut for Real Forbindelsesvej 7 2100 Copenhagen Denmark +45 35436043 byrge@final-cut.dk First Hand Films Fritz heeb -Weg 5 8050 Zürich Switzerland +41 44 312 20 60 info@firsthandfilms.com First Lady Film APS The White House, Byvangen 16 2700 Brønshøj Denmark +45 2028 8620 nynne@firstladyfilm.dk

Flora Wan Man Lau Hong Kong flojolau@gmail.com Friishaynes Aps C/o Kong Gulerod, Pilestræde 52 B, 2. sal 1112 Copenhagen K Denmark +45 25140606 Frutacine Argentina frutacine@hotmail.com Geist Films Mulanskystrasse 20 60596 Frankfurt am Main Germany babacim@gmail.com Ginestra Film Källängsvägen 61 181 44 Lidingö Sweden Globus Film ApS Begoniavej 9A 2820 Gentofte Denmark +45 22377280 jesperjarl@mail.com Graceland Film Company AS Hegermannsgt 13B 478 Oslo Norway +47 22 19 12 30 bastian@graceland.no Graniza Denmark +45 61335117 jacob.dammas@graniza.dk Grupo de vídeo de Conxo Rúa Ponte de Sar 43C 1ºD 15702 Santiago de Compostela Spain foraconxo.filme@gmail.com Happy Endings Productions Unit 5 E8 2 DP London UK +44 7841 098 441 emie@happyendingsproductions. co.uk

Haslund Film Nørrebrogade 12 2200 Copenhagen N Denmark + 45 20 23 13 88 / haslundfilm@gmail.com Hong Kong International Film Festival Society Hong Kong alvin_tse@hkiff.org.hk If You Hold A Stone Rua Oliveira Rocha, 38 / 302 Jardim Botânico 22461070 Rio de Janeiro Brazil +55 2199790797 Illume Ltd Palkkatilankatu 7B 240 Helsinki Finland +358 9 148 1489 maarit.mononen@illume.fi Insurgent Media 45 Main Street Suite 1030 NY Brooklyn 11201 USA zara.duffy@gmail.com Jacob Ciocci USA jacobciocci@gmail.com James N. Kienitz WIlkins 138 St. Nicholas Ave, 3R 11237 Brooklyn, NY USA +1 207 5766053 Jeff The Movie, LLC 220 E Buffalo St #400 53202 Milwaukee, WI USA (414) 455-5509 JeffTheMovie@gmail.com Jesse Mclean 3202 Friendship Street 52245 Iowa City USA +001 4123345871 jessemclean@gmail.com

John Menick USA johnmenick@gmail.com Kamoli Films Taarbæk Parcelvej 1 2930 Klampenborg Denmark +45 21435238 helle@kamolifilms.com Kaos Cinematografica Rom Italy +39 6 5884003 kaoscinematografica@alice.it Kaumodaki Films Montevideo 777 1049 Buenos Aires Argentina +54 11 2070 1278 kaumodakifilms@gmail.com Keren Cytter Lottumstr. 13 10110 Berlin Germany keren_cytter@hotmail.com Khiasma 15 rue Chassagnole 93260 Les Lilas France +33 (0)1 43 60 69 72 hugo.khiasma@gmail.com Kidam 8, rue Edouard Robert 75012 Paris France +33 (0)1 46 28 53 17 kidam@kidam.net Klassefilm Kronprinsessegade 46D, 4. sal 1306 Copenhagen Denmark +45 20267440 Kran Film Aalststraat 7-11 Suite A3.1 1000 Brussels Belgium 472331311 mail@kranfilm.net

Le Fresnoy - Studio National des Arts Contemporains 22 Rue Fresnoy, BP 179 59200 Tourcoing France +33 320 283800 com-fresnoy@lefresnoy.net Les Documents Cinématographiques 38, avenue des Ternes 75017 Paris France +33 (0)1 45 72 27 75 info@lesdocs.com Les Films du Lastrophe 92, rue Chardon Lagache 75016 Paris France Lu x3rd Floor NW1 9N London xE8 2EZ UK +44 207 503 3980 mike.sperlinger@lux.org.uk Magic Hour Films ApS Baldersgade 6 2200 Copenhagen N Denmark +45 3964 2284 llm@magichourfilms.dk Magic Lantern Foundation J 1881, Chittaranjan Park, Basement 110019 New Delhi India +9111 26273244 / 41605239 magiclantern.foundation@gmail. com Magnolia Pictures 49 W 27th St., 7th Floor NY 10001 New York, NY USA (212) 924-6701 nfuruichi@magpictures.com Mariam Ghani 372 DeKalb Ave #3i NY 11205 Brooklyn USA mariam@kabul-reconstructions. net CONTACTS

317

Maximage Neugasse 6 8005 Zürich Switzerland +41 1 274 8866 / 60 info@maximage.ch

Mud Horse Pictures, LLC 85 Ainslie Street, #2 11211 New York, NY USA 617 504 9518 hightechlowlifefilm@gmail.com

Norwegian Film Institute Filmens Hus, Dronningens gate 16, Box 482 Sentrum 105 Oslo Norway +47 2247 4575

Medieoperatørene A/S Tegleverksgata 2c 553 Oslo Norway +47 91560860 geir@mop.no

Nakba FilmWorls #4 450 Kingsland Rd E8 4AE London UK + 44 7852840462 patrick@nakbafilmworks.com

Nuno Monteiro Denmark numo80@yahoo.com

Met Film Ealing Studios, Ealing Green W5 5EP London UK +44 (0)20 8280 9110 info@metfilm.co.uk

Natasha Mendonca B 601 Mansi Regency DP link Road IC Colony 400103 Mumbai India natasha.mendonca@gmail.com

Michael Gottwald 3148 Burgundy Street 70117 LA USA 8043170918 mgottwald83@gmail.com

National Film Board of Canada 3155 Côte de Liesse H4N 2N4 St-Laurent, QC Canada +1 514 283 9700, +1 514-283-27 festivals@nfb.ca

Michael Robinson 3027 Logan Blvd. Apt # 1 IL 60647 Chicago USA +1 607 3391072 michaelblayneyrobinson@ hotmail.com

Navcorp Ltd fkigozi5@gmail.com 117 Mutesa II Road, Rubaga P.O Box 7235 Kampala

Mission Films Limited 3rd Floor, 9 Lower John St, Soho, W1F 9DZ London UK +44 (0) 207 870 7414 hello@spicerandmoore.com Morgan Zachary Singh Canada morgan.zachary.s@gmail.com Moromiya Pictures 149/1B, Raja Rajendralal Mitra Road 700010 Kolkata India 919433166230 moromiya.pictures@gmail.com

318 CONTACTS

Negoks (Skogen) Produktion HB Havregatan 8 S-118 59 Stockholm Sweden +46 707 223 613 Neuer Berliner Kunstverein 10115 Berlin Germany nbk@nbk.org New Chapter Productions Inc. 50 Charles Street E., #123 M4Y 2L4 Toronto Canada HoliffFame@gmail.com Nicolas Rey France nicorey@club-internet.fr

Nutprodukce s.r.o. Umlecká 618/7 170 00, Praha 7 17000 Prague Czech Republic + 42 0731163041 tomas@nutprodukce.cz Oktober Oy Oulunkyläntori 2 a 640 Helsinki Finland 358407093331 joonas@oktober.fi Oliver Laric Germany mail@oliverlaric.com Onshore Productions NY 10003 New York USA onshoreproductions@gmail.com Orencio Boix Larrey Calle Templarios 7, 2º 22001 Huesca Spain +34 619620081 orencioboix@gmail.com Oscilloscope 511 Canal Street 5E NYC 10013 NY New York USA 212-219-4029 dan@oscilloscope.net Pantalla Partida SL c/ Mochuelo 7, local 28019 Spain 34914617151 pantallapartida@gmail.com

Pantera Film GmbH Uhlandstr. 160 101719 Berlin Germany +49 30 88 62 76 77 info@panterafilm.de Park Circus Limited 1 Park Terrace G3 6BY Glasgow UK +44(0) 141 332 2175 info@parkcircus.com Pascale Ramonda Paris France pascale@pascaleramonda.com Paul Thiltges Distributions 45, Boulevard Pierre Frieden 1543 Luxembourg Luxembourg +352 44 70 70 - 4670 pthiltges@ptd.lu Pham Ngoc Lan Vietnam lan.pham.architecture@gmail.com PHI Films 356 Le Moyne, suite 100 H2Y 1Y3 Montreal Canada 514-844-7474 ext. 5117 info@phi-films.com Plymserafin Norway +47 41449611 plymserafin@gmail.com Pong Skalitzer Str. 62 10997 Berlin Germany 030-61 07 60 98 info@pong-berlin.de Preferred Content 1460 4th Street Suite 304 90401 Santa Monica USA 310-393-0707 info@preferredcontent.net

PRODUKCE RADIM PROCHAZKA Rehorova 1039/54 130 00 Prague Czech Republic info@radimprochazka.com Public Service Broadcasting Trust A-86 Nizamuddin East 110013 New Delhi India +91 11 24355941 info@psbt.org Radical Mmedia 435 Hudson Street, 6th Floor, 10014 New York, NY USA +1 212 462 1590 berlinger@radicalmedia.com

Rosforth Denmark rosforth@gmail.com Rumraket Schleppegrellsgade 3 kld tv 2200 Copenhagen N Denmark contact@rumraket.com Sabine Gruffat USA sgruffat@hotmail.com Savage Film De Ribaucourtstraat 139 0/D 1080 Brussels Belgium +32 486 697 993

Ray Pictures 344/9 NSC Bose Road 700049 Kolkata India 913324727173

Scottish Documentary Institute eca 74 Lauriston Place EH3 9Df Edinburgh UK + 44 131 221 6125 s.henrici@eca. ac.uk/

Red Box Films 33-34 Rathbone Place, 2nd Floor W1T IJN London UK +44 (0) 207 323 9933 info@redboxfilms.co.uk

Secher & Schulsinger Jesper Brochmands Gade 3, 2tv. København Denmark +45 2812 1112 schulsinger@hotmail.com

Rise and Shine World Sales Schlesische Strasse 29 / 30 10997 Berlin Germany + 49 30 47372980 info@kloosundco.de

Sixpackfilms Neubaugasse 45 / 13 1071 Vienna Austria +43 1 526 09 90 office@sixpackfilm.com

Rita Productions 4, rue des Marbriers 1204 Genève Switzerland max@ritaproductions.com

Steve Holmgren USA Mail: steve.holmgren@gmail.com

Rocky Mountain Pictures USA press@2016themovie.com Roco Films International 80 liberty Ship Way, Suite 5 94965 Sausalito, CA USA 415 332 6471 info@rocofilms.com

Story AB Virkesvägen 2a 12030 Stockholm Sweden +46 8156 280 tobias@story.se

CONTACTS

319

Street Legal Cinema 8265 Sunset Blvd., Suite 200 90046 Los Angeles USA +001 323 654 9483 steve@deepimage.info Studio Simon Starling UK christian@simonstarling.net Studio Cao Guimarães Brazil studio@caoguimaraes.com Submarine Entertainment 132 Crosby st. #8 10012 New York USA +1 212 625 1410 josh@submarine.com Swedish Film Institute Box 271 26 10252 Stockholm Sweden +46 8 665 1100 info@sfi.se Tamasa Distribution 63 rue de Ponthieu 75008 Paris France +33 (0) 1 43 59 01 01 contact@tamasadiffusion.com Taskovski Films Ltd. 7 Granard Business Centre, Bunns Lane NW7 2DQ London UK 00387 65 652 046 info@taskovskifilms.com Telefantasy Studios USA info@telefantasystudios.com Thad Kellstadt USA thadkellstadt@gmail.com

320 CONTACTS

The Cinema Guild 115 West 30th Street, Suite 800 NY 10001 New York USA (212) 685-6242 info@cinemaguild.com

Video Data Bank 112 S. Michigan Avenue IL 60603 Chigago USA +1 312 345 3550 info@vdb.org

The Festival Agency France info@thefestivalagency.fr The Film Sales Company 151 Lafayette Street , Fifth Floor 10013 New York, NW USA contact@filmsalescorp.com

Wavelength Pictures 24 Alexandra Grove / Apt 4 N4 2LF London UK +44 7968 772792 john.flahive@wavelengthpictures. co.uk

The Match Factory Sudermanplatz 2 50670 Cologne Germany +4922 1292 1020 info@matchfactory.de Tobias Lampe Denmark tobias@s-e-n.biz Uganda fkigozi5@gmail.com www.naviomusic.net Tel +256712432773 Unknown Film 2 Udayachal Path, Christian Basti Guwahati 781 005 India unknownfilm@gmail.com Urban Distribution International 14 rue de 18 août 93100 Montreuil France +33 1 48 70 73 18 contact@urbandistrib.com UTA (United Talent Agency) 9560 Wilshire Boulevard, 4th Floor CA 90212 Beverly Hills USA 310-273-6070 studio@davidlachapelle.com Vanessa Nica Mueller Marktstrasse 136 20357 Hamburg Germany vanessa-nica-mueller@gmx.de

Wide Management 40, Rue Sainte-Anne 75002 Paris France +33 1 53 95 24 44 Widerberg Film Pildammsv 12 211 46 Malmö Sweden +46 4 097 3592 / 46 709 855 37 christina@widerberg.com Wild Bunch 99 rue de la Verrerie 75004 Paris France +33 1 5301 5020 distribution@wildbunch.eu Wildfremd Produktion Berlin Germany 493047375643 Willie Doherty / Kerlin Gallery Anne´s Lane, South Anne Street Dublin 2 Ireland 35316709093 info@williedoherty.com Yoshi Sodeoka USA y@sodeoka.com ZDF Enterprises GmbH Lise-Meitner-Strasse 9 55129 Mainz Germany +49 6131 99 10 info@zdf-enterprises.de

INDEX 17.000 ISLANDS. . . . . . . . . . . . . . . . . . . . . . . . . . 2016: OBAMA’S AMERICA. . . . . . . . . . . . . . . . .

239 181

AB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 240 ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 THE ACT OF KILLING . . . . . . . . . . . . . . . . . . . . . 30 AFTER EMPIRE . . . . . . . . . . . . . . . . . . . . . . . . . . 174 AMNESTY AWARD CLOSING GALA: BACK TO THE SQUARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 THE ANABASIS OF MAY AND FUSAKO SHIGENOBU, MASAO ADACHI, AND 27 YEARS WITHOUT IMAGES . . . . . 134 ANTON CORBIJN: INSIDE OUT . . . . . . . . . . . . 219 APOCALYPSE: A BILL CALLAHAN TOUR FILM . . . . . . . . . 103 APPROVED FOR ADOPTION . . . . . . . . . . . . . . . 224 ART WILL SAVE THE WORLD . . . . . . . . . . . . . . 91 AS IF WE WERE CATCHING A COBRA . . . . . . 128 BALLERINA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BESTIAIRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEWARE OF MR. BAKER . . . . . . . . . . . . . . . . . . BEYOND THAT WASTELAND . . . . . . . . . . . . . . BIG BOYS GONE BANANAS!* . . . . . . . . . . . . . BLACK DROP . . . . . . . . . . . . . . . . . . . . . . . . . . . . ET BLAD FALDER TIL HIMLEN . . . . . . . . . . . . . A BRIEF HISTORY OF COLLAPSES . . . . . . . . . . BUENAS NOCHES, ESPAÑA . . . . . . . . . . . . . . .

210 218 88 111 121 53 207 59 163

CAESAR MUST DIE. . . . . . . . . . . . . . . . . . . . . . . CALL ME KUCHU . . . . . . . . . . . . . . . . . . . . . . . . . CANNED DREAMS . . . . . . . . . . . . . . . . . . . . . . . CHARLES BRADLEY: SOUL OF AMERICA . . . . . . . . . . . . . . . . . . . CHASING ICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . CITY WORLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . CROSSFIRE HURRICANE . . . . . . . . . . . . . . . . . .

43 129 232

DANCE FOR ME . . . . . . . . . . . . . . . . . . . . . . . . . . DANCE OF OUTLAWS. . . . . . . . . . . . . . . . . . . . . DAY IS DONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEATH ROW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEMOCRACY UNDER ATTACK - AN INTERVENTION . . . . . . . . . . . . . . . . . DIARY FROM THE REVOLUTION. . . . . . . . . . . . DIFFERENTLY, MOLUSSIA . . . . . . . . . . . . . . . . .

211 83 159 24

92 227 34 108

169 130 180

DOUGLAS GORDON SURPRISE SHOW. . . . . . DOWNEAST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DREAMS OF A LIFE . . . . . . . . . . . . . . . . . . . . . . .

142 175 227

THE END OF TIME . . . . . . . . . . . . . . . . . . . . . . . . ESTANCIAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EVERYONE IS OLDER THAN I AM . . . . . . . . . . THE EXORCIST IN THE 21ST CENTURY. . . . . . THE EXPEDITION TO THE END OF THE WORLD . . . . . . . . . .

42 177 32 221

F FOR FAKE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FAR FROM AFGHANISTAN . . . . . . . . . . . . . . . . FILM SOCIALISME . . . . . . . . . . . . . . . . . . . . . . . THE FORGOTTEN SPACE . . . . . . . . . . . . . . . . . . FORTRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FREE THE MIND. . . . . . . . . . . . . . . . . . . . . . . . . . FRIED FISH, CHICKEN SOUP AND A PREMIERE SHOW . . . . . . . . . . . . . FUTURE MY LOVE . . . . . . . . . . . . . . . . . . . . . . . .

143 182 176 170 123 204

GAINSBOURG BY GAINSBOURG: AN INTIMATE SELF-PORTRAIT . . . . . . . . GERRY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE GHOST OF PIRAMIDA . . . . . . . . . . . . . . . . THE GIRL FROM THE SOUTH. . . . . . . . . . . . . . .

188 78

90 148 96 124

HALF THE NIGHT. . . . . . . . . . . . . . . . . . . . . . . . . HIGH TECH LOW LIFE . . . . . . . . . . . . . . . . . . . . . HIROSHIMA MON AMOUR . . . . . . . . . . . . . . . . HOLY MOTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . THE HUMAN SCALE . . . . . . . . . . . . . . . . . . . . . . HUNGARIAN RHAPSODY: QUEEN LIVE IN BUDAPEST ‘86. . . . . . . . .

68 229 145 158 81

I AM FICTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . I AM MICRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I HAVE ALWAYS BEEN A DREAMER . . . . . . . . THE IMAGE THREADS . . . . . . . . . . . . . . . . . . . . THE IMPOSTER . . . . . . . . . . . . . . . . . . . . . . . . . . IN-BETWEEN DAYS . . . . . . . . . . . . . . . . . . . . . . IN-BETWEEN DAYS . . . . . . . . . . . . . . . . . . . . . . THE INVISIBLE WORLD . . . . . . . . . . . . . . . . . . .

40 187 38 195 18 125 194 61

JAI BHIM COMRADE . . . . . . . . . . . . . . . . . . . . . JAN VILLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

186 193

109

EVENTS INDEX

321

JANEANE FROM DES MOINES . . . . . . . . . . . . THE JEFFREY DAHMER FILES. . . . . . . . . . . . . . JOURNAL DE FRANCE . . . . . . . . . . . . . . . . . . . . JUST THE RIGHT AMOUNT OF VIOLENCE . . .

228 223 226 21

KIDD LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE KILLING OF STRANGERS. . . . . . . . . . . . . . THE KILLING OF STRANGERS. . . . . . . . . . . . . . KINGDOM OF ANIMAL. . . . . . . . . . . . . . . . . . . . KONGENS FOGED . . . . . . . . . . . . . . . . . . . . . . . .

94 19 241 233 215

THE LAST STATION. . . . . . . . . . . . . . . . . . . . . . . THE LAST TIME I SAW MACAO . . . . . . . . . . . . THE LAW IN THESE PARTS . . . . . . . . . . . . . . . . THE LEBANESE ROCKET SOCIETY. . . . . . . . . . LEVIATHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIVING/BUILDING . . . . . . . . . . . . . . . . . . . . . . . . LOBBIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LOGICAL REVOLTS . . . . . . . . . . . . . . . . . . . . . . . LONG DISTANCE REVOLUTIONARY: A JOURNEY WITH MUMIA ABU-JAMAL . . . . . . . . . . . . . . . . . LOS DESNUDOS - OUR BODY IS A WEAPON LOST RIVERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . LOVE IN INDIA. . . . . . . . . . . . . . . . . . . . . . . . . . .

37 36 120 41 46 119 209 66

MARINA ABRAMOVIC: THE ARTIST IS PRESENT. . . . . . . . . . . . . . MARLEY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW’S LAWS . . . . . . . . . . . . . . . . . . . . . . ME, MYSELF & MARTIN LAURSEN . . . . . . . . . MEKONG HOTEL . . . . . . . . . . . . . . . . . . . . . . . . . THE MISSION OF COMMANDER ASHTAR SHERAN . . . . . . . . . . . . . . . . . . . . MISSION TO LARS . . . . . . . . . . . . . . . . . . . . . . . MOCRACY - NEVERLAND IN ME . . . . . . . . . . . MOON RIDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . MORE THAN HONEY . . . . . . . . . . . . . . . . . . . . . MUSSELS IN LOVE . . . . . . . . . . . . . . . . . . . . . . . MY AFGHANISTAN - LIFE IN THE FORBIDDEN ZONE . . . . . . . MY DUBAÏ LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . MY FATHER AND THE MAN IN BLACK . . . . . . MY LOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A NORMAL LIFE. . . . . . . . . . . . . . . . . . . . . . . . . . EVENST 322 INDEX

126 173 22 190

220 107 221 213 52 160 97 165 202 233 234 82 178 104 212 80

NYX. ARE WE THE CHILDREN OF THE NIGHT ?. . . . . . . . . . . . . . . . . . . . . .

ONE, TWO, MANY. . . . . . . . . . . . . . . . . . . . . . . . OTTO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

60 35 48

PAINTERS PAINTING . . . . . . . . . . . . . . . . . . . . . PARTNERS IN CRIME. . . . . . . . . . . . . . . . . . . . . THE PERVERT’S GUIDE TO IDEOLOGY . . . . . . PETEY AND GINGER . . . . . . . . . . . . . . . . . . . . . . PIGEONS IN THE SQUARE . . . . . . . . . . . . . . . . POLISH ILLUSIONS. . . . . . . . . . . . . . . . . . . . . . . THE POOR STOCKINGER, THE LUDDITE CROPPER AND THE DELUDED FOLLOWERS OF JOANNA SOUTHCOTT . A PRACTICIAN, A PROPHET & A POOR WRETCHED SOUL . . . . . . . . . . . . . . . . . . . . PUBLIC HEARING . . . . . . . . . . . . . . . . . . . . . . . . PUSHWAGNER . . . . . . . . . . . . . . . . . . . . . . . . . .

144 189 224 76 146 205

THE QUEEN OF VERSAILLES. . . . . . . . . . . . . . .

183

R. STEVIE MOORE: TAPE TO DISC + CONCERT : DINNER. . . . . . . . . . . . . . . . . RENT A FAMILY . . . . . . . . . . . . . . . . . . . . . . . . . . REVISION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RISE AND FALL: THE EMPIRE TALK SHOW . . THE ROAD UPHILL . . . . . . . . . . . . . . . . . . . . . . . THE ROCKA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROLAND HASSEL . . . . . . . . . . . . . . . . . . . . . . . . ROOM 237. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROOM 666. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

106 203 117 168 223 99 39 219 147

SAKDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SEARCHING FOR BILL . . . . . . . . . . . . . . . . . . . . THE SECRET DISCO REVOLUTION . . . . . . . . . SECRETION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SEPARATION OF THE CRITIC - A TRIP WITH RAYA MARTIN . . . . . . . . . THE SHADY CHOCOLATE . . . . . . . . . . . . . . . . . . SHAKESPEARE: THE HIDDEN TRUTH . . . . . . . SHARAF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHE MALE SNAILS . . . . . . . . . . . . . . . . . . . . . . . SHE’S STAGING IT . . . . . . . . . . . . . . . . . . . . . . . SHUT UP AND PLAY THE HITS . . . . . . . . . . . . .

54 206 47 75

51 79 93 63 162 234 222 114 72 77 89

SIDE BY SIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . SILENT VISITORS . . . . . . . . . . . . . . . . . . . . . . . . SOFIA’S LAST AMBULANCE . . . . . . . . . . . . . . . SOMETHING FROM NOTHING: THE ART OF RAP . . . . . . . . . . . . . . . . . . . . . THE SOUND FROM THE HALLWAY . . . . . . . . . THE SOUND OF OLD ROOMS . . . . . . . . . . . . . . STARRING SIGMUND FREUD . . . . . . . . . . . . . START FROM ZERO. . . . . . . . . . . . . . . . . . . . . . . START FROM ZERO. . . . . . . . . . . . . . . . . . . . . . . STEP UP TO THE PLATE . . . . . . . . . . . . . . . . . . . STEVE JOBS: THE LOST INTERVIEW . . . . . . . . . . . . . . . . STORIES WE TELL. . . . . . . . . . . . . . . . . . . . . . . . THE STORY OF ONES . . . . . . . . . . . . . . . . . . . . . STÄDELSCHULE COMPILATION . . . . . . . . . . . . SWANDOWN. . . . . . . . . . . . . . . . . . . . . . . . . . . . SYSTEMIC FEAR . . . . . . . . . . . . . . . . . . . . . . . . .

220 23 228 102 65 192 56 69 242 232 222 229 67 149 49 172

THE WEATHER WAR. . . . . . . . . . . . . . . . . . . . . . 64 WHAT IS THIS FILM CALLED LOVE? . . . . . . . . 225 WHATEVEREST . . . . . . . . . . . . . . . . . . . . . . . . . . 98 WHEN BUBBLES BURST . . . . . . . . . . . . . . . . . . 73 WHITE BLACK BOY. . . . . . . . . . . . . . . . . . . . . . . 122 WILD GIRLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 THE WILL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 WINTER / MIRACLE . . . . . . . . . . . . . . . . . . . . . . 62, 244 WOLFF VON AMERONGEN: DID HE COMMIT BANCRUPTCY OFFENCES? . . . . . . . . . . . . . . . . . . . . . . . . . 179 WORK HARD - PLAY HARD . . . . . . . . . . . . . . . . 135 A WORLD NOT OURS . . . . . . . . . . . . . . . . . . . . . 115 ZAVIS, THE PRINCE OF PORNOFOLK UNDER THE INFLUENCE OF GRIFFITH’S ‘INTOLERANCE’ AND TATI’S ‘MONSIEUR HULOT’S HOLIDAY’ OR THE FOUNDATION AND DOOM OF CZECHOSLOVAKIA (1918-1992). . . . . . . . . 161

TAKE #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 TCHOUPITOULAS . . . . . . . . . . . . . . . . . . . . . . . . 33 THIS AIN’T CALIFORNIA . . . . . . . . . . . . . . . . . . 218 THIS IS MY FAMILY . . . . . . . . . . . . . . . . . . . . . . 243 TOMORROW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 TRAINS OF THOUGHTS . . . . . . . . . . . . . . . . . . . 225 TRAVELING WITH MR. T . . . . . . . . . . . . . . . . . . 84 TRENTEMØLLER LIVE IN COPENHAGEN. . . . . . . . . . . . . . . . 105 TROPICALIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 TRUE STORY OF LOVE, LIFE, DEATH AND SOMETIMES REVOLUTION . . . . . . .116, 238 TZVETANKA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 UNDER AFRICAN SKIES . . . . . . . . . . . . . . . . . .

101

VENGEANCE EPISODE 1 - 3. . . . . . . . . . . . . . . . VERSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VERTICAL CITY . . . . . . . . . . . . . . . . . . . . . . . . . . VILLAGE AT THE END OF THE WORLD . . . . . . . . . . . . . . . . . . . . . . THE VIRGIN, THE COPTS AND ME... . . . . . . . .

57 208 191

WALKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WATERPARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . WE ARE NOT UNTOUCHABLE . . . . . . . . . . . . . WE’RE NOT BROKE. . . . . . . . . . . . . . . . . . . . . . .

50 164 196 171

25 226

INDEX

323