IDFA Daily #1 2016 (English) by IDFA International Documentary Film Festival Amsterdam

International Section 17/18 nov 2016

Growing up in public Interviewed in transit a few days before the beginning of IDFA, speaking from a bus and then a train, IDFA founder and festival director Ally Derks is upbeat about what will be her final festival at the helm before she makes her official farewell in 2017 – the 30th anniversary of the event she helped coax into being. By Geoffrey Macnab “I think the baby has grown up. It is time for mother to leave the house”, Derks explains of the thinking behind her departure next February. She will be in Berlin for a year as an invited fellow of the Robert Bosch Academy, but will be back in Amsterdam next November to take a final bow at IDFA (but will remain involved in an advisory role). Casting her eye over the 2016 programme, which she describes as “one of the best ever”, Derks picks out some highlights. For anyone looking for respite from frenetic digital-era doc making, there is the “slow documentary” sidebar overseen by senior programmer Martijn te Pas. “He has been walking around with this idea for ages. We gave him carte blanche… I think it’s a great idea.” The Quiet Eye programme, including such recent titles as Ben Rivers’ Two Years At Sea (2011) and South to North (2015) by Antoine Boutet, will screen during the last weekend of the festival and will allow the festival to finish off in a “Zen mood.”

Top 10

It is largely Donald Trump’s fault that Michael Moore won’t be presenting his Top 10 at IDFA this year. The Bowling For Columbine director had planned to be in Amsterdam, but decided he needed to concentrate his energies on the US election. Instead, Derks recruited Ukrainian director Sergei Loznitsa to pick his top 10 films. “He is a fantastic filmmaker, a real cinematographer and a great observer”,

Derks says of the director whose latest doc Austerlitz (screening in the official selection) takes a quizzical look at the phenomenon of Holocaust tourism. Derks is intrigued and delighted by his Top 10. They’re not “obvious” titles, she says. There’s no Chris Marker or Fred Wiseman. Instead, he has gone for films such as Chantal Akerman’s little-seen From the East and Krzysztof Kieslowski’s film I Don’t Know, about a whistle-blower in Soviet-era Poland. As ever, this year’s festival will see all sorts of filmmakers and special guests in town: Fred Wiseman, possibly rock star Iggy Pop, and French bad-boy novelist Michel Houellebecq (who both feature in Erik Lieshout’s doc To Stay Alive – A Method) as well as distinguished former CNN journalist Jean Carper, whose debut film Monsters in the Mind (about dementia) screens in Best of Fests.

DocLab 10

Derks expresses her pride that DocLab, the section that explores how the digital revolution is re-shaping documentary, has reached its 10th anniversary. Head of New Media Caspar Sonnen was keen to showcase the best digital work to have passed through the section during this period but some of this, Derks explains, turned out to be unavailable. “He wanted to have 100 projects online from the last 10 years, but some of them were impossible to put online because the software and technology behind them has already disappeared!”

Cream of the crop

In recent years, the festival has spread its tentacles all over Amsterdam. This year, there is another new venue, Theatre Carré, which has around 2,000 seats. The opening film, Stranger in Paradise by Dutch director Guido Hendrikx, screens here. “We can all be together. That’s great!” Derks says of the increased capacity the Carré gives the festival.

Barbara Visser and Ally Derks at the opening of IDFA in Carré. Photo: Nichon Glerum

Although by Derks’ own admission IDFA is now “very, very big”, the festival retains its intimate feel. This, she believes, is one of the festival’s greatest achievements. There will be close to 300 films screening this year, 120 of them world premieres. Titles range in length from seven hours (O.J.: Made in America by director Ezra Edelman) to just a few minutes. With more cinemas available, it is possible to show the films more often. IDFA still gets the cream of the crop, even if ‘fiction’ festivals like Berlin are programming more and more docs – and offering very generous prizes to documentary makers.

Heaven

Filmmakers in Europe may fret that public service broadcasters don’t support them the way they once did, but Derks believes docs are in a healthier state now than when IDFA was launched. She and her programmers had 3,500 titles submitted this year. Quantity “may not mean quality”, but there are more and more gems to unearth. “Access is much bigger than it has ever been before. There are more documentaries made now than ever before”, Derks says. “Compared to 30 years ago, we are living in heaven.”

Rude health

Dutch documentary, Derks believes, is in rude health too. “The Dutch are really fantastic this year. I am so happy. It’s my last year and I don’t have to say things aren’t going well with Dutch documentary. No, they are really doing great. Last year, we couldn’t select fifteen films because we didn’t think the quality was high enough. Now, it has been easy to choose fifteen films.” As for herself, Derks says she is “very much looking forward first to this year. Next year, I will say goodbye – and we will party!”

Casa Tarรกntula, Nicolas van Hemelryck and Clare Weiskopf present

amazona

She left to find answers. Now her daughter wants some.

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THE HANDSHAKE PRODUCTIONS present

RESURRECTING

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Steve James, Kirsten Johnson and Nick Fraser will be among the speakers at this year’s IDFA industry office programme which kicks into action on Thursday. By Melanie Goodfellow “We’ve expanded it slightly and added some new consultants, but overall the programme remains similar to last year”, says industry chief Adriek van Nieuwenhuyzen. “The consultancy slots got booked up really quickly last year, so we could see there was demand for this type of meeting” she adds, explaining the increase in consultants. New consultant faces this year will include Claire Aguilar, Peter Jäger and Anaïs Clanet. The talks will kick off with Chilean filmmaker Maite Alberdi and editor Menno Boerema, who will discuss their collaboration on the former’s The Grown-Ups, which grew out of a meeting at the IDFAcademy Summer School in 2014.

Moving into Friday, there will be an industry session on the intricacies of securing rights for archive footage – an issue that regularly trips up documentary makers. EYE Film Institute archive expert Elif Rongen-Kaynakçi will draw on the experiences of Letters from Baghdad directors Zeva Oelbaum and Sabine Krayenbühl, who had to navigate several intricate rights issues when making the film. Los Angeles publicist David Magdael – whose recent representation credits include Benjamin Ree’s Magnus, which was at the IDFA Forum in 2014, and All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone – will discuss the power of PR. New strands in the industry programme include Meet The Expert – a series of informal, hour-long round-tables with top industry professionals. These begin on Sunday (20 November) with a session attended by Yvonne Welbon, a creative producer at Chicken & Egg Pictures, industry veteran Heino Deckert and Brianna Little, development and production executive at Amazon Studios.

Competitive CAT The hybrid work featuring Belgian actor Valtentijn Dhaenens as a fake immigration official processing groups of real-life migrants on the Italian island of Sicily, is already prompting debate over its unusual treatment of the European migrant crisis. “I think it’s an important film both in terms of its format and what it has to say. The actor is amazing and it taught me a lot about immigration policy in Europe”, says CAT&Docs chief Catherine Le Clef. The company acquired the film just after MIPCOM in October, but will launch sales at IDFA to coincide with the premiere. CAT&Docs is also representing a record five titles in the feature-length competition this year, comprising Burning Out, The Good Postman, The Grown-Ups, How to Meet a Mermaid and You Have No Idea How Much I Love You. “We have a lot of competition titles, more than normal. It’s an interesting competition this year,” says Le Clef. Some of the titles have come to CAT&Docs through long-term relationships with the filmmakers, such as The Grown-Ups which

“We’ve got three really good speakers, they should interesting events. It’s a mix: Steve James, a veteran of the business; Kirsten Johnson who is this amazing cinematographer; and then Coco Schrijber – her filmography is not big, but her oeuvres are quite special.” Alongside the industry programme, IDFA’s Docs for Sale market opens its doors on Friday at Arti et Amicitiae. Attendance is expected to be on a par with 2015. One new initiative will be the screening on Sunday of seven rough-cut projects due to be presented at the Forum financing event on Monday. Among the projects due to screen are Oren Jacoby’s Shadowman about chaotic street artist Richard Hambleton, a lesser-known predecessor of Banksy.

Paris-based documentary specialist CAT&Docs has picked up world sales rights to Guido Hendrikx’s Stranger In Paradise, which opened IDFA on Wednesday evening. By Melanie Goodfellow

is about four fortysomething adults with Down Syndrome who yearn to break out of their protected lives, by Chilean director Maite Alberdi whose past films Teatime and The Lifeguard the company also sold. The company has been the sales agent of the winner in IDFA’s feature-length competition for two years running now, acquiring last year’s victor Don Juan by Jerzy Sladkowski mid-way through the festival, and before that representing Laurent Bécue-Renard’s Of Men And War, which won in 2014 and sold to Kino Lorber for the US. The CAT&Docs slate also includes Oscar nomination contender documentary Cameraperson, cinematographer Kirsten Johnson’s self-portrait exploring her work and life through out-takes shot over 25 years for numerous documentaries including Fahrenheit 9/11 and Citizenfour. “I’d love the film to be nominated, but you never know how that goes”, comments Le Clef. Johnson will be at IDFA for the screening, as well as an extended Q&A about the work.

Tokyo Girls

It will be the first-time Amazon’s Little has attended the festival. Her visit is a sign of the increasing attention being paid to feature-length documentaries by the platform, which has acquired titles such as Jarmusch’s Iggy Pop tribute Gimme Danger and Gleason in recent months. Other digital players due to attend IDFA this year include Netflix and Vimeo. Former BBC documentary chief Nick Fraser, meanwhile, will introduce his new online documentary platform Yaddo at an industry talk on Monday. “He’ll be talking about he how envisages this new world of platforms. I think there will be a lot of talk throughout the festival about these platforms, looking at how they’re both disruptive and complimentary”, comments Van Nieuwenhuyzen. Another new programme addition is the In Conversation With… strand, featuring talks with filmmakers aimed at the professionals in attendance at IDFA, featuring Steve James, Kirsten Johnson and Coco Schrijber. “As well as hearing about what’s going on in the market and networking, our guests also like to hear about one another’s work”, Van Nieuwenhuyzen comments.

Camaraperson

Photo: Ruud Jonkers

Talking Shop

Storyville stays strong

With Nick Fraser leaving BBC Storyville earlier this autumn after 17 years at the helm, Commissioning Editor Kate Townsend will be sitting at the table at this year’s IDFA Forum. By Geoffrey Macnab

“I don’t think things will change radically post-Nick. We’ve got similar journalistic backgrounds and very similar tastes”, Townsend suggests. Nonetheless, there are likely to be slight tweaks to commissioning policy. Townsend is looking to explore “serialisation of projects” as well as one-off films. The strand is also exploring new online opportunities. “There is more flexibility of form”, Townsend comments. Storyville has two projects with Yaddo, the subscriptionbased service which Nick Fraser has now joined and which will co-finance films as well as show them: new pig doc Oink and Gawker vs Thiel, about the fall of Gawker. At a time of disquiet within European documentary about diminishing support from broadcasters, Townsend strikes an upbeat note. “Storyville and the BBC more broadly are in robust health at the moment. Our budgets at Storyville are intact until 2018/2019”, she says. “There are people in place at the BBC who really treasure and understand the worth of these single, director-led projects.” One sign that docs are flourishing at the Beeb is that more and more titles are moving over from BBC4 (their normal home) to BBC2, where they are likely to find a bigger audience. Here at IDFA, Townsend will pitch a new BBC2-backed project called The Seahorse with director Jeanie Finlay, about a transgender man who has decided to have a baby. Storyville isn’t able to fund fully projects made for BBC4, but Townsend suggests this may become possible for projects made for BBC2. Recent research has shown that Storyville is reaching younger audiences through the BBC’s online catch-up service, iPlayer. There has been a move to re-licence classic old Storyville docs so they can be shown on the iPlayer. Films like The War Room (1993) from D.A. Pennebaker and Chris Hegedus and Pussy Riot – A Punk Prayer (2013) are continuing to rack up viewers. “We spike and build our audiences considerably online”, Townsend points out. As ever, Storyville is involved in several titles pitched at IDFA. These include Thomas Balmès’ Forum title, Negligence, about an American attorney who sues the manufacturer of the assault rifle used in the massacre of twenty 6-year-old children, as well as The Seahorse. Townsend welcomes the presence of aggressive players like Netflix and Amazon in the doc arena. “Anything that can give another revenue source to filmmakers has got to be a good thing for the documentary community. That’s a plus if it forces everyone to be more competitive and to commit sooner and quicker. If it is too much of a buyer’s market, it can be tough for filmmakers in terms of having to wait around for people to commit.” Recent titles Storyville has supported include Kyoko Miyake’s Tokyo Girls, James Spinney and Peter Middleton’s Notes on Blindness and Robert Cannan and Ross Adam’s The Lovers and the Despot.

Patrick Hurley Joins Sheffield Doc/Fest Sheffield Doc/Fest has appointed Patrick Hurley, currently Distribution Manager at Dogwoof, as its new Head of Marketplace. According to Sheffield Doc/Fest CEO & Festival Director Liz McIntyre: “His significant experience in distribution, sales, marketing, his nurturing of new and emerging filmmakers and their ideas, along with audience engagement and a deep knowledge of the international non-fiction film market makes Patrick brilliantly equipped to lead on Doc/Fest’s industry activities.” “I am delighted to join … a festival I’ve long admired and whose dynamic programmes were a big factor that originally drew me to the UK from my native Australia”, Hurley said. “I’m excited to build on the great work of Anna Parker in making Sheffield Doc/Fest a productive and fruitful event for buyers, commissioners and funders for all formats, both traditional and emerging.”

BELGIAN DOCS FROM WALLONIA-BRUSSELS AT IDFA 2016 LD WOR RE IE M E PR

FEATURE-LENGTH COMPETITION

PANORAMA

BURNING OUT

LIFE TO COME

JÉRÔME LE MAIRE

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Wed Thu Sat Tue

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20:00 15:45 13:45 11:45

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ABANDONED LAND

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GILLES LAURENT

WED SAT SUN WED

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PANORAMA

T SHOR FILM

FROM THE EAST

JASNA KRAJINOVIC

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16:30 22:00 13:15 20:30 22:45

A DIVISION OF

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IDFA TOP 10

MY DAUGHTER NORA THU SUN TUE FRI SAT

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PANORAMA

OLIVIER JOURDAIN

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15:30 10:00 12:15 22:30

CHANTAL AKERMAN

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16 22

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TUSCHINSKI 6 TUSCHINSKI 6

W W W. W B I M AGE S . B E 14/11/16 15:56

Stock in trade

he ease of accessing archive footage poses both aesthetic and practical challenges for filmmakers. These challenges will be addressed at length in a special industry session on Using Archive Footage in Documentaries on Saturday at 10:00 hours in NH Carlton Paganini. Elif Rongen-Kaynakci of the EYE Film Institute will use the session to point out that archives and stock houses – the main sources for archive material – work in very different ways. The latter are “completely

Letters from Baghdad

We’re living in an era in which archive material is at documentary makers’ fingertips. It’s right there on the web; it’s available from archives, and filmmakers can get it from stock houses too. By Geoffrey Macnab

geared to working with production houses and documentary makers” in a practical and commercial way, while cultural bodies such as EYE have a different agenda. “[Providing archive material] is not our core business, but we do have interesting material and we do like to participate in projects.” Organisations like EYE aren’t driven primarily by commercial considerations. Unlike the stock houses, they’re unlikely to have a shot-by-shot description of every piece of film in their vaults. This will make research more difficult. On the other hand,

Like Dew in the Sun

“So many conflicts here in Ukraine. Why?” Peter Entell asks a soldier he has befriended early on in his new film, Like Dew in the Sun, a contender in this year’s feature-length competition. Entell first visited the country in the summer of 2014. He had a photograph with him showing his grandfather as a boy, flanked by his great-grandparents.

hey were from Ukraine and fled the country because of war almost exactly 100 years ago. In a strange reversal, Entell had come to the country – drawn by war. “Let me make it clear: this film is not really about the war,” the Swiss-based director states. “What interested me much more was the idea that people seem to be incapable of settling their differences other than by killing each other. The violence, the vengeance, the hatred, the anger goes on and on.” In other words, this is a film about human nature. In the documentary, the director meets Russian sympathisers and nationalistic Ukrainians. He wasn’t interested in who was right or wrong, but in what provoked the extraordinary depth of enmity between them. Entell would show them the old black and white photograph of his family. They were immediately intrigued. Entell wasn’t just another filmmaker from abroad, looking in at the conflict. He was one of them, a trusted fellow countryman. The director would then disarm them even more by asking – do they like to sing? Of course, they like to sing. They are Slavs. So they then burst into song. “It was fascinating. Every song they sang had to do with violence and vengeance.” The director didn’t realise this at first, because he didn’t speak the language. Once the translations had been made, it was apparent that all these rousing choruses were steeped in very bloody history. “I call the film an opera”, Entell states, adding that the music intensifies the meanings and feeling behind the words of the songs.

Is it possible that the Ukrainians take some subconscious pleasure or a perverse satisfaction in death and destruction? Entell parries the idea. “I can’t say that. The film, like all my work, is open to interpretation.” It wasn’t just the music. Entell was equally astonished by the sheer number of monuments commemorating battle and death found everywhere in the country, from the biggest cities to the smallest villages. The film makes it clear that warfare is no recent phenomenon in this region. The killing has been going on for hundreds and hundreds of years. “When I do my films, I don’t normally research them before I go. The research is the film and the film is the research,” the director says. “All I had was a photograph, I had my name and I had some vague notion of a village. I went with my crew. I said, ‘OK, we’re going to go to the front, we’re going to film the situation today of the fighting between the pro-Ukrainians and the Russians, we’re going to film the situation of the Tatar Muslim people in Crimea and we are going to film my family.’” Entell wasn’t sure what, if anything, he would discover about his relatives. In the end, he turned up the birth certificates of his father and grandfather as well as locating the village where they had lived, uncovering its very bloody history. “I realised I was in a rather privileged position to tell the story”, Entell reflects on a film about violence and the dark side of human nature that ended up having a very personal resonance for him. Geoffrey Macnab IDFA Competition for Feature-Length Documentary

what they do offer is curatorial expertise. They will almost certainly have seen the footage and will therefore be able to contextualise and describe it. Another key difference is that stock footage companies will own the rights to material which they will then license to the filmmakers. Archives, by contrast, will generally have a bigger variety of materials but will ask the filmmakers themselves to clear the rights. One fascinating archive-based film in this year’s IDFA selection is Letters from Baghdad, about archaeologist Gertrude Bell, often called the “female Lawrence of Arabia.” Directors Zeva Oelbaum and Sabine Krayenbühl, who will also be in attendance at the session, worked closely with EYE on their project. “What we [at EYE] found interesting was that we gradually realised they weren’t looking for the actual footage [of Bell] the way a television news programme would. They were looking for general images evoking the atmosphere in which Bell was living. For me, this is a kind of found-footage film. They’re using a close-up of a fruit tree or a bird that was shot in 1912 but, by looking at this specific footage, you wouldn’t know in which country it was shot.” In other words, the filmmakers are using archive in an impressionistic, artistic fashion, not taking an exclusively factual approach. They were delighted with what they discovered in the archives. It helped that Rongen-Kaynakci is involved in the

“Ottoman Project,” which set out to bring together and restore silent films shot in the Middle East and the Balkans. This meant she knew not only what material was held at EYE, but also what material is held in other archives. One change Rongen-Kaynakci has noticed in recent years is that filmmakers are making more and more use of amateur footage and home movies. Another is that many documentary makers actually often prefer it when material looks scratchy and old. Archivists want to clean it up and restore it, but filmmakers like the material to be grainy and in black and white. “They expect it to look old and if it doesn’t look old enough, they say, ‘Oh, that’s strange.’” Thanks to digital technology, found footage can be cleaned up to such an extent it looks as if it was shot yesterday. Archival material can also create a sense of distance between the audience and the filmmaker – and this can be alienating. “If you put something on the screen that says YouTube, it creates the feeling that you’re not there, you’re not in the moment any more”, director Peter Entell (Like Dew in the Sun) notes of one of the challenges of using archive in documentaries. Festival director Ally Derks has noted changes in the way modern archive is used. “You see a lot of the same material, the same archive in (different) documentaries. That never happened ten years ago. Now, all of a sudden, excerpts from the internet or from the news, you see these things coming back… they are used over and over again.” Archivists tend to have cordial relationships with their colleagues at stock companies like British Pathé and Footage Factory. “They are people just like us, but the only thing is that the whole company and their operation is driven differently. The way they catalogue is different. They chop the footage into very small chunks so that they can deliver it separately and the way their databases are searchable is different. But I admire them very much. I use their data bases to identify some of our stock as well.”

Stranger in Paradise

Dutch director Guido Hendrikx’s debut feature Stranger in Paradise, which opens IDFA this year, is likely to stoke debate at the festival for its unorthodox treatment of the European migrant crisis. The hybrid work features Belgian actor Valentijn Dhaenens in the guise of a European official at a migrant centre in the Sicilian town of Siculiana. Over the course of three acts, he addresses a group of young migrants, newly arrived in Europe from across the Mediterranean with hopes of travelling northwards to countries like the Netherlands, Sweden and the UK. Firstly, his character sets forth an anti-immigration argument, essentially telling the participants they cost money, are not welcome and should head home. He then proclaims a pro-immigration view, suggesting a borderless world would be a far more prosperous one than that of today. The final act revolves around a simulation of the vetting process each migrant

will have to go through when they make their application to remain. It’s a timely work as the migrant debate continues to rage against the backdrop of Brexit and Donald Trump’s election as US president on an anti-immigrant ticket. The documentary was born out of a trip by the director in May 2013 to the Italian island of Lampedusa, which saw some 60,000 people land illegally on its shores that year and another 160,000 arrivals in 2014. “I became intrigued with a few different mechanisms I experienced and noticed. The power relationship between Europeans and those from the other side of the sea; how the lucky ones dealt with the desire for luck of the other. And the stark contrast between optimistic dreams and an often harsh reality”, he explains. “My goal was to make these power relationships palpable by holding up a mirror to the audience, newly arrived migrants and myself as a filmmaker, in a closed, limited arena.” The dialogue was based on Hendrikx’s observations during the trip, as well as news stories, offthe-record interviews with Dutch Immigration Service officers and an in-depth study of the protocols governing immigration in Europe. There will be viewers who will question the ethics of subjecting the participants to some of the arguments laid forth by Dhaenens’ character, but Hendrikx says the people in the film were briefed on the fact it was a simulated situation. “I emphasized that it was not real and that I wanted them to engage in the conversation if they didn’t agree. They knew it was fake”, says Hendrikx. “Sometimes we did re-takes with the same class if there was not enough interaction in the first performance, or we weren’t satisfied for one reason or the other. But some scenes were also one-takes”, he adds. As well as opening the festival, the film is also a contender in IDFA’s First Appearance competition. Melanie Goodfellow IDFA Competition for Dutch Documentary IDFA Competition for First Appearance

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Beeld en Geluid IDFA Award for Dutch Documentary 2016

How to Meet a Mermaid essence of the ocean, and relatives of the dead (including Schrijber’s own father) talk of their loss. Schrijber admits that the process of shooting a film is generally a pretty painful one in which things will always go wrong; the meaning she is trying to grasp will generally remain elusive. “You fail and fail and fail… and it is just misery, misery, real misery – but that is actually the good thing about filmmaking. If you can’t stand it, then don’t become a filmmaker.”

t may seem obvious in retrospect, but Dutch director Coco Schrijber had never intended to include the story of her brother Lex, who committed suicide off the coast of Egypt, in her documentary How to Meet a Mermaid, screening in IDFA’s feature-length competition. “I started out wanting to make a film about our changing perceptions of reality and how the same world can change within minutes, depending on our mood”, she says. Her original subjects were the parents of a young woman, Rebecca, who probably committed suicide on a Disney-owned ocean liner, and a Mexican surfer determined to catch a wave to the prosperous US of A. But an incredulous colleague pointed

out to Schrijber the link between Lex and the sea theme, as well as the story’s psychological undertow. “Oh yeah, this is how it always goes, the most logical thing in front of you and you failed to see”, Schrijber concedes. “Documentary is a living thing. It turns out close to what you would like to have made, but it is always different.” In her multi-layered work, Schrijber gives voice those who have succumbed to the sea’s watery depths, including the tragic Rebecca. “The other voices [in the film] might be mermaids,” the director comments. “But we all know that mermaids don’t exist. If you want to meet one, you have to give up your life and then figure out for yourself whether they exist.” Additionally, scratchy recordings of US novelist William Faulkner evoke the

Towards the end of the film, the director herself takes to the water to follow her brother’s final underwater journey. Was this to undergo a kind of catharsis? “It would be too melodramatic to say I did this in order to experience the pain, because as soon as I came to Egypt I was already overwhelmed with grief, but I never expected what would happen during the interview with the guy [who owned the diving school]; that he was going to ask me ‘why don’t you take a dive?’ I thought of course I am never going to do that. But the cameraman said, ‘I know what we are going to film tomorrow.’” “Then I see on my face in the film that just to carry on breathing is the basic meaning of the whole thing. ‘Keep breathing’ is the film’s motto. You can write a plan at home on your computer, but the real film is always made in trying to be open to what happens in the real world. Otherwise you might as well as make fiction.” Nick Cunningham IDFA Competition for Feature-Length Documentary IDFA Competition for Dutch Documentary

The Good Postman Tonislav Hristov’s The Good Postman, selected for the feature-length competition, starts off as a tale of life in the bucolic backwaters of south-eastern Europe, but soon turns into a universal story of human kindness, ambition, frailty and guilt, all served up in equal measure. In the Bulgarian village of Great Dervent, close to the Turkish border, all the men are called Ivan. There is Black Ivan, aka The String – a hirsute, Aviator-wearing, pro-Russian Communist mayoral candidate. There is elderly Ivan, who rises from his sickbed to paste (none too successfully) election posters onto walls and windows. And then there is the eponymous postman Ivan, a good and gentle man, also a candidate for mayor, his electoral pledge to re-populate the village with Syrian refugees. The two men are determined that the incumbent Vesa, a woman, will not be re-elected as they believe her to be incompetent and disengaged both from the electorate and the issues that affect them. During the 2016 election, a mere 38 people were registered to vote in Great Dervent, whereas in 1960 it boasted a working population of 500. Hence the postman’s desire for a new influx of people to “fill a dying village.”

You Have No Idea How Much I Love You

ozinski is reluctant to discuss just how he made the film, gaining intimate access to such private moments in his subjects’ lives. What he does reveal is that he initially set out to make a film about divorce mediation. “Unfortunately, none of the couples I tried to shoot agreed”, he remembers. After eighteen months during which he tried and failed to find protagonists, a friend of his parents encouraged him to change tack and make a film about psychotherapy instead. There is a startling revelation at the end of the film; one Lozinski insists is kept confidential. This is a film with a Bergmanesque quality with faces in large close-up on camera throughout. The director registers every tiny change of expression or emotion. The director’s intention was to allow the audience to “see the process of the therapy.” The five sessions of therapy were recorded just as they happened, without the director intervening. The editing is chronological. For Lozinski, making the film was a cathartic experience. Three years ago, he made a documentary, Father and Son, that focussed on his relationship with his own father, the distinguished director Marcel Łoziński. Father and son went on a journey in

In Pawel Lozinski’s new film You Have No Idea How Much I Love You (screening in the feature-length competition), a mother and daughter are shown in a room in sessions with a very distinguished psychotherapist, Professor Bogdan De Barbaro. He is a kindly, patient and perceptive man who helps Hania and her mother Ewa talk through the problems in their loving but antagonistic and very raw relationship. a camper van together. Each made their own documentary. At the end of the process, they quarrelled and didn’t speak to each other for almost three years. In tackling the new documentary, Lozinski explored how deep family conflicts can be resolved. You can’t always do it on your own, but therapy can help. Both sides benefit. The director suggests that Poland itself could do with some therapy. Last year, the country’s right-wing Law and Justice party swept to power – and its election has caused widespread division between families arguing among themselves about the direction in which the country is going. That’s one reason, Lozinski thinks, why the film has been such a success in Polish cinemas. “It had 18,000 spectators, really a big audience in our conditions in Poland… the subject of the film and the situation and the emotions opened the hearts of the viewers. They came back with their stories of their fathers, mothers and relationships. I’ve been making films for 25 years, but this is the first time I’ve had such deep feedback from the audience. I felt there was a very deep need for this kind of film.” Geoffrey Macnab IDFA Competition for Feature-Length Documentary

The project came into being in 2014 when director Hristov saw a news item on Bulgarian television about how the elderly women of Dervent had recently welcomed in a large group of Syrian refugees. Some of these women had found themselves in a similar situation during the World War II, the news story had claimed, and Hristov was both impressed and intrigued by this demonstration of empathy. The director contacted all his friends on Facebook to see if anybody knew of the place. It transpired that a friend of his from university had grown up there – someone whose best friend was now the village postman. With this connection secured, Hristov settled in the village. At first he thought his film would focus on 86-year-old Angela who featured in the original news story, a woman who exudes kindness from every pore. But when the director heard about the upcoming village election, that became the focus of his narrative. Hristov observes and documents the dramatic shifts and reversals in the candidates’ behaviour. While the good postman solicits his constituents face-to-face in their homes, The String (ostensibly the postman’s friend) hires a tacky public address system and harangues the tiny noncommittal audience with his rhetoric, offering free beer and meatballs. On election day the postman remains serene and dignified while The String shouts at the village elders and cries foul of the election process. Without giving anything away, it is in the last 30 minutes of the film, after the result has been announced, when Hristov’s story really takes off, underlining an all-too-human propensity towards moral weakness rendered even more poignant and pitiable when placed within the context of the European migrant crisis. As importantly, his camera also records the sense of profound regret that follows, and the subsequent desire for redemption. Nick Cunningham IDFA Competition for Feature-Length Documentary

www. catndocs.com

Burning Out “

he film’s producer, Arnauld de Battice, showed me the book Global Burn-out by Belgian philosopher Pascal Chabot, which explains that the burn-out is a kind of distorted mirror of our society”, director of feature-length contender Burning Out Jérôme le Maire says about the gestation of his intense examination of the stressed-out working environment at the surgical ward in a Parisian hospital. “The burn-out, the exhaustion of our professionals, has immensely corrupted the working world throughout our society. It’s an epidemic”, the filmmaker continues.

In spite of the film becoming an urgent indictment of a system in crisis, the filmmaker was given carte blanche to film by the hospital authorities – even in the operating theatre during operations. “This freedom was because I won the trust of everyone, from the managers to the nurses”, the director explains. “I was frank and honest. I explained that I did not want to film the patients (because I did not want the viewers to identify with them), and I wanted to finish the film on a positive note.” The film does not exactly have a happy ending, however. “I was too optimistic thinking this filming process was going to ease problems that took years to develop”, the director admits. “But I think the challenge

is still there and the film can still help change things.” The film focuses principally on three characters: anaesthetist Marie-Christine; Professor Safarti, a surgeon; and auxiliary nurse Sabrina. “I saw Marie-Christine as a kind of whistle-blower”, the director says. “These are beautiful people because they give a lot of themselves, and take risks to save the system. I love people who have this type of courage. And also it’s really cinematic!” “At the beginning, Professor Safarti really scared me. I didn’t dare enter the room when he was operating. Then I got closer to him and I realized this huge man was suffering greatly. I was really moved a guy like him could be so sensitive. And lastly I became friends with Sabrina. One day I discovered this corridor behind the operating theatres where the ‘downstairs staff’ work. Sabrina saw me and asked me who I was and what I was doing. When I told her I wanted to make a film, she couldn’t believe it. She told me she was just talking to a colleague, complaining that no one knew they were there or what they were doing. With these three characters, I knew I had a good basis to tell a beautiful story.” The main characters have seen the finished film, the director says, as have “the head of the hospital and the public relations officer. They all seem to like my work. I really hope the film will have consequences for the quality of life at work for these people.” Unfortunately, this doesn’t seem to be the case as yet, the filmmaker states. “In fact, far from it. But I hope the film will make waves. The film ends with Bob Dylan’s Times They Are a-Changin’ – it is time to take matters in hand! Now at least we can no longer say, ‘I didn’ know the situation was so bad.’” Mark Baker IDFA Competition for Feature-Length Documentary

Miss Kiet’s Children Filmmaking duo Petra and Peter Lataster have been attending IDFA for more than a quarter of a century, first separately and then together, presenting nearly twenty joint works over the years.

hey have built their reputation on making character-driven films, touching on current social issues and aimed at prompting public debate. Their latest work, Miss Kiet’s Children, which premieres in the IDFA Competition for Feature-Length Documentary, is a heart-warming work that very much fits this mould. It follows a year in the classroom life of Kiet Engels, a Dutch primary school teacher specialised in integrating refugee children into the Netherlands’ state school system. “For a long time now we’ve wanted to make a film about education and teaching due to our feeling that the idealism of teaching and teachers is being neglected and underestimated”, explains Peter Lataster. After asking friends in the education field for recommendations of teachers they thought were doing extraordinary work, they received a letter from the headmaster of a primary school in the Dutch village of Hapert. “It was almost like a love letter praising Kiet for the wonderful work she was doing with refugee children. We weren’t planning to do a film about refugees, but we went to take a look and within 10 minutes we’d decided we wanted to make a film about Kiet and her class”, Peter Lataster explains. Although many of the children hail from conflict hotspots like Syria and Iraq, there is a joie de vivre and energy about the class

which is infectious. Peter Lataster puts this atmosphere down to the work of Engels. “One of her big principles is that, in order for these children to be able to learn and to start a new life, they have to encounter an atmosphere of warmth and safety”, explains Lataster. “Her basic goal, before the learning, is that the children must feel safe.” “She is also very serious with the kids. Of course they get to play, but when they’re learning there’s no fooling around. There’s this attitude of ‘we’re in this together and we’re going to make something good out of it’,” he continues. Interestingly, the children did not play up to the camera. The filmmakers suggest this is partly because they were present in the classroom from the start of the academic year, filming on alternate weeks. “We were there from day one, so I think they accepted us as being part of the school. Maybe they thought filming in Dutch schools was a regular thing. What also helped was that they were so busy adjusting and learning a language and trying to figure things out, we were the least of their problems”, says Lataster. Aside from premiering the film in competition, the Latasters will also be at IDFA on Sunday for an extended Q&A on the editing of the film, along with its editor, Mario Steenbergen. Melanie Goodfellow IDFA Competition for Feature-Length Documentary IDFA Competition for Dutch Documentary

Machines

“

was not aware of any cinema that was doing this when I started making this film”, director Rahul Jain says of his debut feature doc Machines, screening in this year’s IDFA feature-length competition. “There was basically no point of reference when I started.” Machines eschews traditional documentary narrative or talkingheads structures. The film is rather a slow-burning, meditative and beautifully shot exposé gradually revealing the appalling working conditions of transient workers in India’s textile industry. Jain’s camera lingers on workers as they toil among gargantuan, rusty, leaky, ancient-looking machinery. Surrounded by fire, steam, deep pools of water and lit by incidental rays of dust-speckled sunlight, the imagery is reminiscent of nothing so much as the “dark satanic mills” of William Blake’s classic poem Jerusalem, which described the infernal horrors of the industrial revolution in nineteenth-century England. “We in India are next-door neighbours to global economy goliath China, and many factory owners justify their lack of environmental safety standards as cost-cutting measures that enable them to compete with China’s massive industrial infrastructure”, the director explains. “India has an absolute disregard for labour rights. Most factory owners think they are doing their workers a big favour by giving them a job. There is no regard for human rights or anything like that.” Fortunately for the filmmaker, the management’s laissez faire attitude also extended to his project, and he was granted unfettered access

to the factory, able to follow the workers at will throughout their relentless, 12-hour shifts. Thanks to the long periods during which he was able to film, Jain was able to build up a rapport with his subjects, which contributes to the extremely natural feel in the film. Eventually, the characters start to address the camera. “Any camera or recording device always changes its subjects”, the director acknowledges. “It is up to the person behind the camera to make those being recorded feel comfortable so the camera can ‘steal’ their essence, their aura. My strategy was to put all my cards on the table in the very beginning and hope this would prompt them to do the same. I think most human beings are waiting to open up to the other in these highly alienating times.” Since he completed the film, the machines have taken over even more, making life even more uncertain for the workers, Jain reveals. “The factory has just expanded to double the size, while the labour force has got smaller; the era of automatic machinery has finally begun taking over.” Machines was made with support from the IDFA Bertha Fund. “The IBF distribution support will help get the film to the people who need to know about it. I have realized most audiences are constantly bombarded with unwanted stimuli and are led to desire an experience that is really not needed. I hope the Fund’s help can allow this film to get to those who seek something different”, he says. Mark Baker IDFA Competition for Feature-Length Documentary

Program TUSCHINSKI TUSCHINSKI 1 1

Thursday 17 November

TUSCHINSKI TUSCHINSKI 2 2

TUSCHINSKI TUSCHINSKI 3 3

TUSCHINSKI TUSCHINSKI 4 4

TUSCHINSKI TUSCHINSKI 5 5

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EYEEYE CINEMA CINEMA 1

CARRÉ CARRÉ

9:00 9:00

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LifeLife to Come to Come

Claudio Claudio Capanna Capanna Panorama Panorama , 75’ , 75’

11:00 11:00

ExileExile

ErrolErrol Morris Morris

RithyRithy PanhPanh

12:00 12:00 Industry Industry Screening Screening

Masters Masters , 78’ , 78’

12:00 12:00

11:00 11:00

TheThe B-Side: B-Side: ElsaElsa Dorfman’s Dorfman’s Portrait Portrait Photography Photography

11:30 11:30

Best ofBest Fests of, 96’ Fests, 96’

Radio Radio Kobanî Kobanî Reber Reber Dosky Dosky Rodnye Rodnye (Close (Close Relations) Relations) 11:15 11:15 Industry Industry Screening Screening DutchDutch Competition Competition , 72’ , 72’ Vitaly Vitaly Mansky Mansky Unknown Unknown Brood Brood Masters Masters , 112’ , 112’

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Cinema Cinema Travellers Travellers 11:00 11:00TheThe Shirley Shirley Abraham, Abraham, AmitAmit Madheshiya Madheshiya

10:45 10:45 Industry Industry Screening Screening

11:15 11:15

Santoalla Santoalla

Andrew Andrew Becker, Becker, Daniel Daniel Mehrer Mehrer

11:45 11:45

Masters Masters , 76’ , 76’

Houston, Houston, We We Have Have a Problem! a Problem!

TheThe European European

Best ofBest Fests of, 82’ Fests, 82’

Hissein Hissein Habré, Habré, a Chadian a Chadian Tragedy Tragedy

Mahamat Mahamat SalehSaleh Haroun Haroun Masters Masters , 82’ , 82’

ZigaZiga Virc Virc

Dirk-Jan Dirk-Jan Roeleven Roeleven

11:30 11:30

Best ofBest Fests of, 88’ Fests, 88’

DutchDutch Competition Competition , 90’ , 90’

DutchDutch Competition, Competition, MusicMusic , 90’ , 90’ Documentary Documentary

12:00 12:00

Estephan Estephan Wagner, Wagner, Moritz Moritz Siebert, Siebert, AbouAbou Bakar Bakar Sidibé Sidibé

12:30 12:30 Industry Industry Screening Screening

Stranger Stranger in Paradise in Paradise

Best ofBest Fests of, 80’ Fests, 80’

On Call On Call Mohamed Mohamed Jabaly Jabaly

TheThe Settlers Settlers

Best ofBest Fests of, 78’ Fests, 78’

Shimon Shimon Dotan Dotan

14:00 14:00Best ofBest Fests of, 110’ Fests, 110’

Conscience Conscience

Best ofBest Fests of, 97’ Fests, 97’

Ambulance Ambulance

14:00 14:00 Industry Industry Screening Screening

14:00 14:00

Tonislav Tonislav Hristov Hristov

Andreas Andreas Dalsgaard, Dalsgaard, Obaidah Obaidah Zytoon Zytoon

TheThe Good Good Postman Postman

TobyToby Oppenheimer, Oppenheimer, DanaDana Flor Flor

15:00 15:00

16:00 16:00 Industry Industry Screening Screening

LikeLike DewDew in the in the SunSun PeterPeter Entell Entell

Raymond Raymond Depardon Depardon

Communion Communion

16:30 16:30

Feature-Length Feature-Length Competition, Competition, 108’ 108’

AnnaAnna Zamecka Zamecka

Forever Forever PurePure

Followed Followed by anbyin-depth an in-depth

Bahram Bahram Sadeghi Sadeghi and director and director MayaMaya Zinshtein. Zinshtein. See page See page 114 114

Lucija Lucija Stojevic Stojevic

17:30 17:30

My My Daughter Daughter Nora Nora

Daniel Daniel

Anastazja Anastazja Dabrowska Dabrowska

18:00 18:00 19:00 19:00

Best ofBest Fests of, 75’ Fests, 75’

Paradocs Paradocs , 100’ , 100’

Student Student Competition, Competition, 41’ 41’

Compilation Compilation of short of short filmsfilms about about CubaCuba in transition. in transition. With:With: Motriz, Motriz, House House for Sale, for Sale, ConnecConnection and tion Great and Great Muy Muy Bien.Bien.

Masters Masters , 98’ , 98’

Machines Machines

20:00 20:00

Inadelso Inadelso Cossa Cossa

First Appearance First Appearance Competition, Competition, , 64’ , 64’ Shifting Shifting Perspectives Perspectives

Panorama Panorama , 75’ , 75’

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Venus Venus

Lea Glob, Lea Glob, Mette Mette CarlaCarla Albrechtsen Albrechtsen

Days Days 22:00 22:00ZeroZero

21:00 21:00

Rachel Rachel Grady, Grady, HeidiHeidi Ewing Ewing

Sébastien Sébastien Rist, Rist, AudeAude Leroux-Lévesque Leroux-Lévesque

Norman Norman Lear: Lear: JustJust Another Another Version Version of You of You

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Shalom Shalom Italia Italia 22:00 22:00

Beauties Beauties of the of the Night Night

Xavier Xavier Marrades Marrades Panorama Panorama , 17’ , 17’

Mid-Length Mid-Length Competition, Competition, 56’ 56’

20:00 20:00

Alexander Alexander Kuznetsov Kuznetsov Panorama Panorama , 77’ , 77’

21:00 21:00

Music Music Shorts Shorts

DutchDutch Competition Competition , 85’ , 85’

SteveSteve James James

Compilation Compilation of short of short filmsfilms about about classical classical music. music. With:With: The Pit, TheRight Pit, Right Side of Side Cello of Cello and and Joe’s Joe’s Violin. Violin.

IreneIrene Taylor Taylor Brodsky Brodsky Best ofBest Fests of, 114’ Fests, 114’

Abacus: Small Small 21:00 21:00Abacus: Enough Enough to Jail to Jail

21:15 21:15

JorisJoris Postema Postema

22:15 22:15

Maria Maria José José Cuevas Cuevas

Best ofBest Fests of, 87’ Fests, 87’

19:00 19:00

Cucli 19:00 19:00Cucli

Best ofBest Fests of, 96’ Fests, 96’

We’ll We’ll Be Alright Be Alright

Beware Beware the the Slenderman Slenderman

Tamar Tamar Tal-Anati Tal-Anati

An Insignificant An Insignificant ManMan

Audrius Audrius Stonys Stonys

Mid-Length Mid-Length Competition, Competition, 55’ 55’

21:30 21:30

Philip Philip Gnadt, Gnadt, Mickey Mickey Yamine Yamine

Masters Masters , 114’ , 114’

Khushboo Khushboo Ranka, Ranka, Vinay Vinay Shukla Shukla

Student Student Competition, Competition, 45’ 45’

Daan’s Daan’s Inheritance Inheritance

Best ofBest Fests of, 71’ Fests, 71’

Gaza Gaza SurfSurf ClubClub

First Appearance First Appearance Competition, Competition, 80’ 80’

AlexAlex Gibney Gibney

Best ofBest Fests of, 78’ Fests, 78’

22:00 22:00

Maayan Maayan Schwartz Schwartz

My My Friend, Friend, Yaniv Yaniv

20:15 20:15

Alejandro Alejandro G. Salgado G. Salgado

Living Living withwith Giants Giants

Masters Masters , 91’ , 91’

Student Student Competition, Competition, 14’ 14’

Woman Woman andand the the Glacier Glaci

21:00 21:00 21:30 21:30

18:00 18:00

Panorama Panorama , 22’ , 22’

Bolingo. Bolingo. Forest Forest of Love of Love A Memory A Memory in Three in Three ActsActsTheThe 20:00 20:00

Panorama Panorama , 70’ , 70’

18:45 18:45

Daphne Daphne Matziaraki Matziaraki

Panorama Panorama , 60’ , 60’

Jonny Jonny von Wallström von Wallström

Feature-Length Feature-Length Competition, Competition, , 71’ , 71’ Assembling Assembling RealityReality

4.1 Miles 4.1 Miles Mathijs Mathijs Vleugels Vleugels

TheThe Pearl Pearl of Africa of Africa

Rahul Rahul Jain Jain

19:15 19:15

Silent Silent Wilderness Wilderness

20:00 20:00

Chairun Chairun NissaNissa

17:00 17:00

Mid-Length Mid-Length Competition, Competition, 51’ 51’

Alexandru Alexandru PetruPetru Badelita Badelita

18:45 18:45

Tower Tower

Best ofBest Fests of, 82’ Fests, 82’

CutsCuts

Ksenia Ksenia Okhapkina Okhapkina

I Made I Made You,You, I KillI Kill YouYou

Paradocs Paradocs , 69’ , 69’

KeithKeith Maitland Maitland

16:30 16:30

First Appearance First Appearance Competition, Competition, 100’ 100’

18:15 18:15

Yuri Ancarani Yuri Ancarani

18:45 18:45

Come Come Back Back FreeFree

Thomas Thomas Dandois, Dandois, Francois-Xavier Francois-Xavier Tregan Tregan

TheThe Challenge Challenge

19:45 19:45

Nanette Nanette Burstein Burstein

ISIS,ISIS, Deserters Deserters Speak Speak OutOut

16:45 16:45 Industry Industry Screening Screening

CarloCarlo Guillermo Guillermo ProtoProto

Panorama Panorama , 53’ , 53’

18:00 18:00

InnaInna Omelchenko Omelchenko

Cuban Cuban Shorts Shorts Zaatari Zaatari Djinn Djinn 19:00 19:0019:15 19:15 Catherine van Campen van Campen Gringo: Gringo: TheThe Dangerous DangerousCatherine DutchDutch Competition Competition , 80’ , 80’ LifeLife of John of John McAfee McAfee

Tomas Tomas Koolhaas Koolhaas

Paper Paper Stars Stars

18:30 18:30

Panorama Panorama , 16’ , 16’

RemRem

Michal Michal Marczak Marczak

Student Student Competition, Competition, 24’ 24’

JasnaJasna Krajinovic Krajinovic

17:00 17:00 17:15 17:15

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Resurrecting Resurrecting Hassan Hassan

16:30 16:30

SergeiSergei Loznitsa's Loznitsa's Top 10Top , 54’10, 54’

All These All These Sleepless Sleepless Nights Nights IDFA Competition IDFA Competition for Kids for&Kids Docs&, 87’ Docs, 87’ OttoOtto Bell Bell

15:00 15:00

16:15 16:15 Industry Industry Screening Screening

Panorama Panorama , 83’ , 83’

OtarOtar Iosseliani Iosseliani

TheThe Eagle Eagle Huntress Huntress

Best ofBest Fests of, 94’ Fests, 94’

Ana Ana Endara Endara

La Chana La Chana

A Little A Little Monastery Monastery in Tuscany in Tuscany

IDFA Competition IDFA Competition for Kids for&Kids Docs&, 4’ Docs, 4’

Taggart Taggart Siegel, Siegel, Jon Betz Jon Betz

First Appearance First Appearance Competition, Competition, 87’ 87’

Mid-Length Mid-Length Competition, Competition, 61’ 61’

Stefanie Stefanie Visjager, Visjager, Katinka Katinka Baehr Baehr

conversation between between TV host TV host 17:00 17:00conversation

Seed: Seed: TheThe Untold Untold Story Stor

AliceAlice Schmid Schmid

15:45 15:45

SergeiSergei Loznitsa's Loznitsa's Top 10Top , 20’10, 20’

1Minute 1Minute Nature Nature

Best ofBest Fests of, 72’ Fests, 72’

withwith Extended Extended Q&AQ&A

TheThe Joy Joy of Sound of Sound

Masters Masters , 83’ , 83’

Vittorio Vittorio De Seta De Seta

Compilation Compilation of short of short filmsfilms about about contemporary contemporary USA.USA. With:With: The Ride The Ride of their of their Lives,Lives, Wolvesmouth Wolvesmouth and Raised and Raised by by 16:30 16:30 Krump. Krump.

TheThe GirlGirl down down LochLoch ÄnziÄnzi 14:45 14:45 Industry Industry Screening Screening

I dimenticati I dimenticati

American American Shorts Shorts 16:15 16:15

Panorama Panorama , 104’ , 104’

14:15 14:00 14:0014:15

14:15 14:15 Industry Industry Screening Screening

Mustafa Mustafa ÜnlüÜnlü

France France 15:15 15:15

15:30 15:30

16:00 16:00

Ah Ah 14:30 14:30

Best ofBest Fests of, 100’ Fests, 100’

Mid-Length Mid-Length Competition, Competition, 57’ 57’

14:00 14:00

Panorama Panorama , 91’ , 91’

TheThe WarWar Show Show

Feature-Length Feature-Length Competition, Competition, 82’ 82’

Knutte Knutte Wester Wester

Check Check It It

SergeiSergei Loznitsa's Loznitsa's Top 10Top , 78’10, 78’

Dugma: Dugma: TheThe Button Button Paul Paul Salahadin Salahadin Refsdal Refsdal 13:00 13:00Best ofBest Fests of, 58’ Fests, 58’

First Appearance First Appearance Competition, Competition, Competition Competition , 72’ , 72’ Dutch Dutch

A Bastard A Bastard Child Child

13:30 13:30

Vladimir Vladimir Denisenko Denisenko

12:45 12:45

Guido Guido Hendrikx Hendrikx

13:15 13:15 Industry Industry Screening Screening

13:15 13:15

AliceAlice DiopDiop

13:30 13:30 13:45 13:45

12:00 12:00

Those Those Who Who Jump Jump

13:00 13:00

11:00 11:00

Dennis Dennis AlinkAlink

Masters Masters , 90’ , 90’

22:00 22:00

Solitary Solitary

Best ofBest Fests of, 91’ Fests, 91’

KristiKristi Jacobson Jacobson Panorama Panorama , 82’ , 82’

23:00 23:00

24:00 24:00

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TUSCHINSKI 1 EYE TUSCHINSKI 2 EYE CINEMA EYE 1 CINEMA 1 CINEMA EYE 2 CINEMA

ARRÉ

9:00

10:00

11:00

DONDERDAG DONDERDAG1717NOVEMBER NOVEMBER

9:00 9:00

10:00 10:00

10:15

Shirley Abraham, Amit Madheshiya

12:00 12:00 12:45

13:00

Music Documentary, 90’ Music Documentary, 90’

11:30

Exile

12:45

Masters, 78’

Krzysztof Kieslowski Krzysztof Kieslowski Hamid Jafari Sergei Loznitsa's Top 10Sergei , 47’ Loznitsa's Top 10Panorama , 47’ , 25’

Boris Gorlov

Boris Gorlov Best of Fests, 58’ Sergei Loznitsa's13:30 Top 10Sergei , 62’ Loznitsa's Top 10, 62’

Ambulance Best of Fests, 78’

Shimon Dotan

Seed: The Untold Seed: Story The Untold Story Best of Fests, 94’

15:00

Lullaby

15:00 15:00

Hamid Jafari Panorama, 25’

LoveTrue Lullaby

Best of Fests, 58’

Best of Fests, 82’

16:30

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Dziga Vertov

15:30

Like Dew in the Sun Peter Entell

Communion

Feature-Length Competition, 108’

Anna Zamecka

Forever CutsPure

Chairun Nissa Nissa withChairun Extended Q&A Panorama, 70’ Followed Panorama , 70’in-depth by an 17:00 17:00conversation between TV host Bahram Sadeghi and director Maya Zinshtein. See page 114

1Minute Nature

Student Competition, 24’

19:00

Audrius Stonys Audrius Stonys 20:00 Masters , 98’ Mid-Length Competition, Mid-Length 56’ Competition, 56’

20:00 20:00 20:00

20:00

Paper Stars

Inna Omelchenko

Student Competition, 41’

Compilation of short films about Cuba in transition. With: Motriz, House for Sale, Connection and Great Muy Bien.

The Eagle Huntress Otto Bell

IDFA Competition for Kids & Docs, 87’

18:00

15:15

I dimenticati

A Little Monastery in Tuscany 16:00 Otar Iosseliani

Sergei Loznitsa's Top 10, 54’

21:00

22:00

17:15

All These Sleepless Nights

17:00

Michal Marczak

18:00

Alex Gibney Masters, 114’

First Appearance Competition, 80’

Hissein Habré, a Chadian Tragedy

Mahamat Saleh Haroun