International Section 18/19 nov 2017
Everyday Reality The 11th edition of IDFA’s new media strand DocLab unfolds this year under the banner Uncharted Rituals, exploring human behaviours evolving around the use of digital technology. By Melanie Goodfellow
This is a timely theme in an era when digital technology touches nearly every aspect of our lives, from how we connect with friends and family to finding a holiday pad, hailing a taxi or even stocking our fridges and turning on and off the lights. But this also comes at a time when many people, especially those in the community of artists and creatives who have come to be associated with DocLab, are questioning their initial embrace of digital technology and life online. Crossroads Referring to a quote in a recent New York Times interview with internet and virtual reality pioneer Jaron Lanier, in which he expressed his fears about the darker, more controlling aspects of the digital age, DocLab creator and curator Caspar Sonnen suggests the community is at a crossroads. “To people like me, and everyone in the New Media department at IDFA and the artists in this room who once fell in love with the internet and the wonderful and unchartered interactions it enables, this quote seems poignant and painfully true – especially today, as we are losing the open spirit of the internet to a handful of corporations”, he told the audience at DocLab’s opening night event on Thursday. Offline His thoughts around a changing relationship with the internet were echoed in a short, opening night presentation by internet artist Jonathan Harris, the first interdisciplinary documentarian Photo: Nichon Glerum
FOLLOW THE DISCUSSION: #IDFA2
to be honoured with the task of compiling an IDFA Top 10, who is also being feted with a retrospective at the festival. Harris has been associated with DocLab since its opening year, when his early work We Feel Fine – gathering traces of human emotion from internet blog entries – was part of the showcase. He gave a moving, life-affirming talk about his decision to go offline for a time and move back to his family farm in Vermont, where he has embarked on a series of non-digital projects such as figuring out how to fabricate glass using the material on his family’s land, mixed with his late mother’s ashes. Accessible The mood of introspection was lightened by the premiere of W/O/R/K – an interactive performance involving the audience and their smartphones – devised by Dutch collective The Smartphone Orchestra and UK digital creation group Anagram. The performance will be reprised at Saturday’s DocLab Live event, entitled Orchestrated Rituals. Sonnen’s consideration about control, meanwhile, runs through many of the installations on display at DocLab’s Digital Rituals exhibition in Flemish Arts Centre De Brakke Grond. #veryveryshort, for example – a series of 10 interactive 60-second experiences that can be opened on a smartphone – is the fruit of a joint call for projects by the National Film Board of Canada and ARTE, in association with DocLab, adhering to a set of 10 creative rules, one of which is that the experience should be accessible on a mobile browser, rather than an app. Sonnen highlighted this stipulation, saying it had been important that they were available in “an old-fashioned browser, as opposed to locked-in app stores and the regulations we have to abide by.” The experiences include the VR-based Sleep Together, taking the user through a series of sleep rituals with other participants, and Stir – a personalised wake-up service – delving into the information in the participant’s Facebook profile. All of these are available at www.veryveryshort.com.
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Live In another project, Lauren, Los Angeles-based artist Lauren McCarthy is attempting to be take on digital personal assistance programmes as the world’s first “human intelligence smart phone assistant.” McCarthy, who was at DocLab last year with Follower – a reflection on our obsession with social media followers – is attempting to be a human version of a smart home system, such as Amazon’s Alexa, for guests staying in her home back in Los Angeles. Under the initiative, she watches remotely over the participants for three days, 24 hours a day, taking care of every aspect of the house from running the bath to locking the door or more personal needs, whether it be taking medication or getting a haircut. It is possible to watch her interactions with the participants in a live performance on Saturday afternoon at De Brakke Grond around 6pm. Showcase Some 30 projects are being showcased across DocLab this year, spanning VR works such as Jessie van Vreden and Anke Teunissen’s The Last Chair, revolving around elderly Dutch people and their favourite chairs; installations such as Homestay, revolving around the suicide of a young Japanese language student while staying with a Canadian family; and augmented reality work I Swear To Tell The Truth. Not all are displayed in digital form. Caitlin Robinson and Ziv Schneider’s Watertight, a mesmerizing reflection on the rising numbers of people living alone, consists of a series of 3D miniature portraits of people living in single occupancy homes, creating using 3D printing technology. The exhibition also encompasses the Jonathan Harris retrospective showcasing seminal projects such as I Love Your Work, about nine women working in the lesbian porn industry, and The Whale Hunt, capturing a whale hunt in northern Alaska. At the artist’s request, there is also a small wooden, chapel-like structure where visitors can have a cup of tea and go offline.
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Creative Scotland and Scottish Documentary Institute are proud to present
nominated for Best Feature-Length Documentary Award at IDFA 2017 Join Director Finlay Pretsell along with cycling legend David Millar in conversation following the film’s premiere at the Royal Theater Carre on Sunday 19 November. All IDFA Screenings TIME TRIAL World Premiere at IDFA Feature-Length Competition 14:15 / Sunday, 19 Nov 2017 / Royal Theater Carre
Creative Scotland is supporting a Scottish Delegation of filmmakers and producers attending IDFA. Contact delegations@scotdoc.com to arrange a meeting.
www.timetrialfilm.com #timetrialfilm
11:45 / Monday, 20 Nov 2017 / Pathé de Munt 09 21:30 / Wednesday, 22 Nov 2017 / Brakke Grond Expozaal 21:15 / Thursday, 23 Nov 2017 / Pathé de Munt 11 15:30 / Saturday, 25 Nov 2017 / Tuschinski 2
FILM IN SCOTLAND
many Happy returns “The variety is enormous”, Arrate Fernandez comments of the films the Fund has backed. Several are directed by first-timers. The Fund is also involved in four projects being pitched at the Forum, including Chilean director Maite Alberdi’s The Mole Agent and Chinese director Siyi Chen’s People’s Hospital. The IDFA Bertha Fund (formerly known as the Jan Vrijman Fund) has helped kick-start the careers of some very prominent figures. Two of the big name directors invited to choose their favourite films in the Visual Voice celebration – Nishtha Jain and Maziar Bahari – were helped by the Fund when they were starting out.
Isabel Arrate Fernandez (R) and Mélanie de Vocht Photo: Corinne de Korver
The IDFA Bertha Fund turns 20 with 15 films at IDFA, including festival opener Amal By Geoffrey Macnab The IDFA Bertha Fund is celebrating its 20th anniversary this year with 15 films in official selection, including Egyptian director Mohamed Siam’s Amal, which opened the festival on Wednesday evening. “We funded the development of his previous film (Whose Country?),” the Fund’s managing director Isabel Arrate Fernandez says of IDFA’s links to Siam, who has also taken part in the IDFA Summer School and the Forum. Amal was conceived during the shooting of Whose Country?, when Siam met the 14-yearold political activist whose story he tells in the new documentary. This is the second occasion on which a Bertha Fund-supported film has opened IDFA,
following Return to Homs in 2013. “Amal is an amazing film, I am very proud to be able to give it this platform at the festival and have it as an opening film”, Arrate Fernandez enthuses. Amal was submitted to IDFA very late on, but the festival programmers immediately selected it for the competition. Many Fund titles screen this year in Best of Fests, arriving in Amsterdam having premiered in festivals such as Berlin, Cannes, Locarno and Toronto. The 2017 ‘harvest’ includes films from Bolivia (Violeta Ayala’s Cocaine Prison), Morocco (Tala Hadid’s House in the Field), Democratic Republic of the Congo (Dieudo Hamadi’s Mama Colonel), Serbia (Boris Mitic’s In Praise of Nothing), among many others.
Thanks to the support from the Bertha Foundation (which will last until at least 2019) and from Creative Europe MEDIA, the Fund is currently on a relatively stable footing. The Fund is now offering European co-producers support through the IBF Europe scheme. “That’s something from which we are now really seeing the results. We’ve been doing it since 2015. Last year, we had the first few films. Now, the second crop is coming.” However, Dutch government backing has dried up completely. “We are getting a new government in the Netherlands, so we’ll have to see what their policy towards culture and the Foreign Ministry will be”, Arrate Fernandez notes. The Fund wouldn’t have come into existence at all without the intervention of IDFA co-founder Ally Derks. “The Fund is her brainchild,” Arrate Fernandez acknowledges. “It has always been very close to her heart.”
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Docs in demand As sports films continue to fascinate buyers in the wake of last year’s Oscar winner O.J: Made in America, Dogwoof is serving up its new feature john + bjorn, an archive-based film looking at the intense rivalry between tennis stars Borg and McEnroe. (The same story told recently in the dramatic feature Borg/McEnroe.) The film was announced at the AFM last month. It is produced by Paul Bell (Amy, Senna) and includes never-before-seen footage. “The film will have the voice-over of both of them talking in the present day, but you will never see them as they are now,” explains Dogwoof Head of Sales Ana Vicente. All rights are available. Dogwoof is looking to launch the film next summer. “There are a number of buyers interested,” Vicente adds. “We have a promo which we are screening privately to buyers.” Also on the sports theme, Dogwoof is pre-selling James Erskine’s The Ice King, its documentary on legendary British ice-skater John Curry. The film is close to completion and is being submitted to festivals. It will be released theatrically in the UK, and the BBC has British broadcast rights. Dogwoof continues to bring fashion-themed films to the marketplace. One already stirring huge interest is Lorna Tucker’s Westwood, which tells the story of legendary British punk designer Vivienne Westwood. Big-name independent distributors have already swooped in several territories, including Germany (NFP), Australia (Madman) and Japan (Kadokawa). “In the case of Westwood, it’s not just the fashion, it’s her persona and what she stands for,” Vicente says of the attraction for distributors.
Look Back at IDFA
Frederick Wiseman is one of IDFA’s ‘living legends’ – and he has the award to prove it. The American has been attending the festival off and on throughout its 30-year history, serving on IDFA juries, participating in debates, showing many of his films here and having a retrospective dedicated to his work. “I don’t know if I’ve gone to every festival, but every year I’ve had a new film, they’ve shown it,” Wiseman says of IDFA. Continuing that trend, his latest feature, Ex Libris – The New York Public Library, is a Dutch premiere in this year’s Masters section.
Documentaries have never had it so good, says Dogwoof’s Ana Vicente By Geoffrey Macnab
Photo: Bram Belloni
Antonio Lopez 1970: Sex, Fashion & Disco Heather Lenz’s Yayoi Kusama: A Life in Polka Dots has likewise pre-sold widely. “Theatrical buyers are always looking for an angle so they can market a film, find an audience and reach that audience. Fashion is one of these topics, as well as sports, culinary or music,” Vicente says. “They work in any country.” Dogwoof has always used IDFA to finalise deals on titles it has picked up earlier in the year. The company is coming to Amsterdam with several titles in official selection, including This Is Congo; Antonio Lopez 1970: Sex, Fashion & Disco; Lots of Kids, a Monkey and a Castle. As ever, the company has several titles vying for awards consideration. Dina, City of Ghosts and The Work are all likely contenders for end-of-year nominations. Dogwoof has closed several deals with Netflix in recent years. Werner Herzog’s Into the Inferno and Lucy Cohen’s Kingdom of Us were Netflix ‘Originals’ (i.e. the online giant took all rights on them.) Dogwoof has also done some deals with Netflix combining multi-territory rights with a theatrical window. Meanwhile, it is also dealing with Amazon Studios, who took City of Ghosts. As this year’s IDFA begins, Vicente is noticing more and more theatrical sales agents turning their focus toward documentary. “Documentaries have never had it so good,” she says of this heightened interest in the form. “They [sales agents] think there is a market for it.” A sure sign of this interest is the fact that US agencies like WMA, CAA and others, who’ve traditionally concentrated on drama, are turning to docs too. “There is no doubt that documentaries have never been as attractive to the marketplace as they are now and there has never been as many buyers not only acquiring but coming in early to events like the Forum to track projects,” Vicente said.
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Wiseman met festival director and co-founder Ally Derks early on in IDFA’s history and was immediately struck by her intelligence and energy: “She liked movies and had the right kind of personality to corral people to get them to go to IDFA.” On his first visits to Amsterdam, Wiseman relished the intimacy of the event. “Everybody got together in De Balie,” he remembers of IDFA’s old hub. “You’d meet people from all over the world, because everybody passed through to have a coffee or a drink. That was great.” Inevitably, as the festival grew and grew, “that intimacy diminished somewhat.” Even so, Wiseman still enjoys the opportunity IDFA provides to encounter other directors in an informal setting. “A lot of festivals I go to, I don’t meet anybody. You go there, do your screening and your Q&A.” These festivals may have big events, but they lack the friendliness and informality of IDFA. “I’ve met Victor Kossakovsky, a great Russian filmmaker I admire a lot; I’ve met people from England; a lot of filmmakers from South America.” In 2004, Wiseman took part in an IDFA debate on Direct Cinema, alongside illustrious contemporaries such as Robert Drew, Richard Leacock, Albert Maysles and D.A. Pennebaker. He may have emerged at the same time as these directors, but Wiseman clearly feels uncomfortable about being compared to them. “We work somewhat differently, that’s all. It’s not that I resist being classified with them. I just don’t like classifications like Direct Cinema or Observational Cinema or Fly-on-theWall. What we all do is make movies … I didn’t like the way some people lumped us together. Although there were similarities; there were major differences.” Even if Wiseman has enjoyed meeting fellow filmmakers at IDFA, that doesn’t mean they will always have high-minded debates about ethics and aesthetics. “When documentary filmmakers get together, most of what they talk about is money: how difficult it is to get!” By Geoffrey Macnab
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IDFA TH E DE M I N E R BY H O G I R H I R O R I, S H I NWAR KAMAL, ©LO LAV M E D IA AB
Feature-Length Competition The Deminer by Hogir Hirori, Shinwar Kamal
First Appearance Competition Stronger Than a Bullet by Maryam Ebrahimi
Short Doc Competition As We’re Told by Erik Holmström, Fredrik Wenzel
One Day in Aleppo by Ali Alibrahim
Masters The Rebel Surgeon by Erik Gandini
Best of Fests Ouaga Girls
by Theresa Traore Dahlberg
Dead Donkeys Fear No Hyenas by Joakim Demmer
Music Doc Silvana
by Mika Gustafson, Olivia Kastebring, Christina Tsiobanelis
sfi.se
SWEDISH CO-PRODUCTIONS
First Appearance Competition The Distant Barking of Dogs by Simon Lereng Wilmont
[D K /S E / F I ]
Kids & Docs Competition Tongue Cutters by Solveig Melkeraaen
[N O /S E ]
Who let the wolves out? news in brief British director Rupert Russel’s debut doc probes the worldwide crisis in democracy By Geoffrey Macnab
can take hold in East Asia. East Asian societies – China, Singapore and so forth – are very adamant that freedom is a Western idea. We wanted to go out East to start our investigation, and see whether or not this was true.”
Freedom for the Wolf Freedom for the Wolf is the debut feature from British director and academic, Rupert Russell. An epic endeavour shot over three years, the film examines the worldwide crisis in democracy. The director contends that a new generation of elected leaders (Trump prominent among them) is undermining human rights. Russell comes from filmmaking stock. His father is legendary British director Ken Russell, whose credits included Women in Love, The Devils and Altered States. However, his route into the business has been circuitous. His background was in academia. He has a first-class degree in the Social and Political Sciences from Jesus College, Cambridge, and a PhD in Sociology from Harvard University, where he was a Research Fellow. Having lived in the US for a decade, Russell returned to the UK last year and took a job as an assistant to author, comedian and actor
Griff Rhys Jones (“I showed him the film and he loved it.”) Rhys Jones invited various friends to his home to watch the documentary, among them former BBC Storyville boss, Nick Fraser. “He understood the challenges of how hard it is to make documentaries about ideas and democracy and was really into what we had done with it”, Russell says of Fraser, who came on board as the project’s executive producer. The young director had begun the film working with his PHD advisor from Harvard, Professor Orlando Patterson, a historical and cultural sociologist best known for his books on the history of slavery. Russell and his producer, Patrick Hamm, first began filming in Japan and Hong Kong. “The reason we started with those two case studies is that, in discussions around freedom, there is very big scepticism about whether freedom
When they arrived in Hong Kong, protests were under way. In Japan – a conformist society – they were exploring freedom as “a cultural, rather than as a political, idea.” The next stop (in 2014) was Tunisia, cradle of the ‘Arab Spring’. Also included on their tour was India. “We realised what we were looking at is illiberal democracy,” the director says. “I actually think there is a high level of narcissism here on the West’s behalf. We like to look at other cultures and see them adopt our ideas, but we don’t want to look at those countries and see how democracy is practiced in real life.” The finishing point was the US, where the filmmakers followed two stories – the militarisation of the police and the very murky world of political campaign finance. Then, Trump won the election and the filmmakers had to modify their arguments. Did Ken Russell’s work have any influence on his son’s documentary? “I was always given a camera by mum and dad and told to go off and take pictures. I did the lion’s share of the cinematography on the film and I am very proud of that work,” Russell says. “One thing dad did a lot in his films was to use dream sequences. In this film, I ended up doing a similar kind of thing, with animated breaks.” Having used animation in Freedom for the Wolf (sold by Cinephil), Russell is now working with Nick Fraser at Yaddo on a series of five short films, How the World Went Mad, on the vexed subject of madness and Donald Trump. These films, combining animation and archive footage, are due for release later this year.
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Nicole Nielsen Horanyi’s The Stranger, which has its international premiere at IDFA on Saturday in the Panorama section, has picked up The Viewfinders Competition Grand Jury Prize at DOC NYC. Nielsen Horanyi also won the IDFA AWFJ EDA Award for her previous documentary film, Motley’s Law, in 2015. Mindaugas Survila’s The Ancient Woods, screening in IDFA’s First Appearance Competition, has been picked up for theatrical release in the Netherlands by Mokum Filmdistributie. The release is scheduled for 2018.
The Ancient Woods
Wide House signs Montessori doc French sales company Wide House has signed Alexandre Mourot’s Let the Child Be the Guide, exploring the contemporary relevance of the century-old, child-centred Montessori teaching method, in a deal done on the eve of IDFA. Mourot filmed a group of young children attending the oldest school in France, which uses the holistic educational method first pioneered by Maria Montessori in Italy in the early 20th century. Taking the observational, cooperative approach favoured by the Montessori method, Mourot allowed his young subjects to lead the direction of the film. “There are some 20,000 Montessori schools worldwide, and we think it’s a title that will appeal to distributors all over the world,” says Wide House head of sales Elise Cochin. “We liked the way the director got the children involved and we think that, in the current individualistic age, the film has an important message about cooperation,” she adds, stating that the film will also appeal to parents and educators questioning mainstream education, where a child’s progress is only judged on the basis of exam results.
Packed Autlook slate at IDFA
The Paris-based documentary specialist is also at IDFA with festival title Brecht Vanhoenacker’s Imposed Piece, following the young finalists in the violin category of the prestigious Belgian Queen Elisabeth Competition in 2015, screening in IDFA’s Music Competition. The title has recently sold to Taiwan (Joint Entertainment) and Korea.
Over the Limit
Autlook Film Sales has closed a multi-territory deal on Karim Sayad’s Of Sheep And Men with Gravitas Ventures. The deal was confirmed on the eve of IDFA. The film, which premiered in Toronto earlier this autumn, profiles two men in an impoverished community in Algeria. One, 16-year-old Habib, is a bus conductor who owns a ram he hopes to raise to become a champion fighter. The other, middle-aged Samir, is desperate to sell enough sheep before Eid to make ends meet. Of Sheep And Men takes its place on a packed Autlook IDFA slate. One new pick-up is competition title Time Trial, directed by Finlay Pretsell, which offers a radical new insight into professional cycling through the eyes of veteran British rider David Millar, who is followed on his final Tour de France. All territories are available. Also new on Autlook’s IDFA slate is Marta Prus’ Over the Limit, which looks at the extreme measures taken by the Russians in pursuit of Olympic glory. Its main character is rhythmic gymnast Rita Mamun, who is coming toward the end of her career but is preparing for a final tilt at an Olympic gold medal. “It is more than a sports story. It is very, very emotional and very intimate with the main character, Rita,” company CEO Salma Abdalla says of the project she picked up through dok.incubator.
Broadcasters ARTE and YLE are already on board the project. Autlook is handling Danish kids’ doc, Kids on the Silk Road, a documentary series aimed at a family audience and directed by Kaspar Astrup Schröder, Simon Lereng Wilmont and Jens Pedersen. The company is also back in business with producer Iikka Vehkalahti, with whom it partnered on its hit, Machines. Their new project together is Raghu Rai, a portrait of the legendary Indian Magnum photographer directed by his daughter, Avani Rai. Contemplating the current documentary landscape, Abdalla notes that budgets in documentary are getting higher – and, as this happens, fiction sales agents are increasingly active in the doc arena. She points to funders in the US such as Chicken & Egg and Ford Foundation, who are enabling documentary makers to work on budgets similar to those of art house directors in the fiction arena. Another trend is for documentary makers to concentrate on genres – sports films, culinary and fashion docs – that are easy to market. It helps, too, that VOD and SVOD players like Netflix are picking up documentaries in increasing numbers. Autlook’s football doc, Becoming Zlatan, is available on Netflix in North America, but was also sold to a number of prominent European theatrical distributors. By Geoffrey Macnab
Imposed Piece Wide House is also selling Elwira Niewiera and Piotr Rosolowski’s Best of Fests title The Prince and the Dybbuk, exploring the life of Hollywood producer and exiled Polish Prince, Michael Waszynski. The company will also commence pre-sales on Forum projects Swedish Sin, delving into the country’s global image as a hotbed of sexual liberalism, and The Men’s Choir, about the members of a top male choir in Norway who pull together when their conductor Ivan is diagnosed with terminal cancer. By Melanie Goodfellow
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Film Center Serbia presents
SERBIA
@IDFA17
In Praise of Nothing
The Other Side of Everything
The Same
Mila Turajlić | Serbia, France, Qatar | 2017 | 104 min.
Dejan Petrović | Serbia | 2017 | 17 min.
Boris Mitić | Serbia, Croatia, France | 2017 | 78 min.
Nov 18th
18:30
Munt 12
Nov 20th
13:45
Tuschinski 5
Nov 15th
12:45
Munt 12
Nov 21st
14:30
Tuschinski 5
Nov 19th
10:30
Tuschinski
Munt 11
Nov 22nd
14:00
Tuschinski 3 AShorts: Sense of Place
Nov 22nd
17:30
EYE Cinema 1
Munt 10
Nov 24th
11:15
Tuschinski 3
Nov 25th
14:00
Brakke Grond Rode Zaal
Nov 18th
18:30
Tuschinski 2
Nov 20th
10:45
Munt 12
Nov 20th
19:00
EYE Cinema 2
Nov 24th
17:00
Nov 26th
15:30
press & industry screening + doc talk
A door locked for 70 years in a house haunted
When life in prison mirrors society
+ doc talk
Iggy Pop narrates Nothing’s weekend on Earth
by history
2 1 1 4 1 1 2 6
x x x x x x x x
Competition Masters Forum Docs for Sale Broadcaster Festival IDFAcademy Tailor-made
fcs.rs/idfa17
Feature-Length Competition Camera in Focus
Short Film Competition
+ IDFA Forum:
+ Docs for Sale:
The Labudović Reels
Masters
When Pigs Come
Mila Turajlić | Serbia, Croatia, France | 2018
Biljana Tutorov | Serbia, Croatia, Bosnia | 2017 | 75/52 min.
An archive road trip through decolonization with Tito’s cameraman
A family tale about politics and flowers
dokserbia.com
beldocs.rs
IDFA COMPETITION FOR THE BEST STUDENT DOCUMENTARY
10–21 May 2018 Warsaw • Wroclaw • Gdynia • Bydgoszcz • Lublin • Katowice docsag.pl f docsagainstgravity
Call Me Tony DIR.: KlAuDIusz ChrOsTOwsKI • POLAND • 2017 • 62’
PRESENTS: Festival as a distribution outlet: 6 cities, 12 cash awards Theatrical releases Sales to 12 TV channels in Poland
www.againstgravity kontakt@againstgravity.pl
Konrad has two passions: acting and bodybuilding. Someone even made a joke, that if he combined them, he could be like Arnold Schwarzenegger. Call me Tony is a unique story of determination which is crucial when fulfilling your passions brings only disappointment. A story about believing in your own dreams, when no one believes in you. About the need to prove your worth to yourself and your family. And finding out what to do next, when nothing goes as planned. Sun 19 / 22:15 / TUSCHINSkI 3 Tue 21 / 12:00 / MUNT 13 Wed 22 / 16:45 / TUSCHINSkI 4 Fri 24 / 15:30 / MUNT 12
Thematic series of screenings throughout the year:
FILM IS ALSO AVAILABLE TO WATCH AT DOCs FOr sAlE Filmotherapy
Humans, not numbers
Documentary Academy series of screenings for primary schools, Universities, and senior audience
www.polishdocs.pl
FILM IS REPRESENTED BY KFF sAlEs & PrOMOTION PROJECT CO-FINANCED BY THE POLISH FILM INSTITUTE
Comrade, Ally Today the great and the good, the esteemed, the celebrated, the money, the commissioners and the facilitators all working within the sector, will gather at De Balie (where else?) to deliberate on the current state of documentary … and to say goodbye to Ally Derks, who has been at the helm of IDFA for the past 30 years. By Nick Cunningham When Ally spoke to the IDFA Daily on the eve of today’s Visual Voice Marathon event, she didn’t want to talk about her favourite films (future IDFA audiences will be able to see her Top 10 in due course), nor did she want to wrack her brains thinking up favourite memories (an exhausting exercise, and there is always one or two you forget to mention). But she did want to go back to the very beginning, to explain again the establishing ethos of the festival that has become pre-eminent among international doc-makers. And to remember some of the special people who have made IDFA so magical over the past 30 years.
Ally with Frederick Wiseman
Ally Derks
The beginning It is a truth universally acknowledged that serious documentary filmmaking is in need of a festival to present it. That is what Ally set out to do in 1987, when she was working at the worthy but underachieving Utrecht-based Festikon fest. She was, herself, politically active and vehemently anti-fascist, with a background in film studies and two documentaries under her belt. One was on the Dutch writer Dick Laan, another about an eye doctor who protested against cruise missiles by strapping himself for three days to a ballistic mock-up in Amsterdam’s Dam Square. So the will was always there, but the real ‘lightbulb’ moment came during Festikon when Dutch journalist Hans Beerekamp, who was on the jury, turned to Ally and complained how there were so many great and beautiful docs, but no audience to see them. “He said, ‘We need a festival for documentaries’.” So Ally went into action and quickly raised the money from the City of Amsterdam and the Ministry of Culture, as well as gaining a cash injection from the Dutch broadcasters that enabled her to organise what would later become the Media Workshop. Her first guests at the workshop were British filmmaker/ agitator Ken Loach and revered Dutch filmmaker Bert Haanstra. One of the eminences grises behind IDFA in its early days was Utrecht academic Sonja de Leeuw, under whom many of the leading lights within the Dutch cultural sector studied during the 1980s. Ally was one, as were two more of the festival’s foundation stones, Industry chief Adriek van Nieuwenhuijzen and Willemien van Aalst, who went on to head up the Netherlands Film Festival. (Former IFFR head Sandra den Hamer, now head of EYE, was also one of De Leeuw’s charges.) “It was a circle of people over the years studying with the best teacher - and she gave me her best students. And most of them stayed. It was a golden generation.” De Leeuw was instrumental in setting up many of the first retrospectives and Doc as Witness programmes. For many people, not least Ally, De Balie was and remains the spiritual home of the festival. It was the nerve centre of the operation, where you went to talk docs (and dance like a nutter). It was where deals were done and opinions expressed, and all exchanges were fuelled by alcohol – or so it seemed. “De Balie in the early years, it was of course the best,” sighs Ally. “I have a lot of nostalgia for the place, but it was hopeless. We couldn’t get the [close-by] theatres anymore; one was bought by Joop van den Ende, which we couldn’t use at the weekend. Then the City Theatre was completely renovated, with only small cinemas, and the Alfa disappeared completely, so we didn’t have the venues.”
Peter Wintonick
The decisive moment for the festival therefore came in 2007 when Pathé offered IDFA the art deco Tuschinski, just off the Rembrandtplein. “Yes, that determined the festival’s move to the centre. We thought it was fantastic for documentary filmmakers to show their films in one of the most beautiful theatres in Europe, a place reserved usually for James Bond. But on the other hand, De
Balie became very expensive. The prices sky-rocketed and it became too small for what we needed.” Audiences IDFA audiences are, Ally underlines, very vocal, very engaged, highly knowledgeable, politically savvy, sometimes rude and often passionate, and they constitute a breed of cineaste that visiting filmmakers need to be briefed about in advance. “I say to directors, ‘Take care, this is an Amsterdam audience, they are not always polite’,” she says. “Which is why IDFA is really an appropriate meeting point for filmmakers and audiences. They share the same chemistry I think.” What’s more, a large percentage of IDFA audiences are still of school age (12,000 kids attended in 2016). “The Kids &Docs programme that Meike Statema is doing is so important. It’s about applying wisdom, or media literacy, to make kids question everything – to show them that things they see are not always real, that images are often manipulated, and that what you digest is edited. You have to teach these kids how to read what they see, and why it is being made that way.” Friends never forgotten There are names, that Ally cites, of departed friends whom she will be missing during today’s 30th birthday celebrations. These include the legendary Jan Vrijman, after whom the Bertha Fund was originally named, and former IDFA chairman Jan Schaefer, left-wing politician and constant campaigner on behalf of Amsterdam’s poor and homeless. But none more so than the wonderfully Falstaffian Peter Wintonick, who died on the eve of IDFA 2013. For those new to IDFA, the polymath Peter (filmmaker, polemicist, raconteur, writer et al) was the irrepressible (and irreplaceable) host of much of IDFA’s nocturnal activities, talk-shows and events. Curiously – or maybe not so curiously – Ally oscillates between past and present tense when she talks of him. “Peter was the best ambassador for documentary in the world. He was very clever, very wise, very empathetic. He was very funny, and a great teacher for young students. He did his research diligently, selecting films, travelling around the world. I remember in De Balie, where our office was, there was this big couch where he would sit surrounded by all these people working for IDFA, all very young at that time, and he was telling stories about the films he made and saw, the adventures he lived through, his teaching in China, his trips to Canada, his thinker-in-residence status at Adelaide. “I was with him in Myanmar 3 months before he died, and then he was staying at my house in Lutjebroek when he was diagnosed with cancer. My best friend, my teacher and a very hard worker. I remember when he persuaded Albert Maysles to allow his niece to use some of his material. He was appealing to his conscience, ‘Albert come on, it’s your brother, it’s your niece.’ Peter was very political – some people thought he was too political – but the debates he engaged in emanated from the documentaries he loved and screened.” Future Ally may be avoiding trips down memory lane, but she can’t help herself on occasion, especially when recalling the early days of staying up until four in the morning with the Russians or the Georgians, drinking Armenian cognac. “[Adopting a Soviet accent and holding up an imaginary glass] ‘For the friendship between our people’, and then they would make another speech,” she says. “Bert Haanstra was there of course, all these old guys having fun, and Kossakovsky was there constantly raising his glass to Haanstra and his accomplishments.” Of course, such intimacies became impossible for Ally as the festival grew in size over the years. “But in the future it will be quieter for me; next year I can just watch films and really enjoy that intimacy again.” “I will come back every year of course, to support the team and see how it is evolving without me being part of it,” she adds, before casting her eye over the festival’s future. “IDFA needs young blood, and that young blood needs to be able to develop new ideas, like Caspar did with DocLab, which didn’t exist ten years ago but which has been a pioneering force ever since. I think it is important that the management supports them in that. There is a lot of expertise at IDFA to be shared with the newcomers. That is the only advice I can give. It is important for me to stay at a distance and allow the festival to evolve in its own way.” .
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www. catndocs.com Dailies2017.indd 1
17-11-14 11:40
Look Back at IDFA
First, last and always IDFA regular filmmaker John Appel
photo: Bram Belloni
looks back at the early days of IDFA I was still a film student when IDFA started, as a local festival on the Leidseplein. I saw my first American direct cinema films, by Pennebaker and the Maysles brothers, and I would hang out in De Balie until closing time. My dearest personal memory of the first years of IDFA was in 1992: my film about the virtuoso accordion player Johnny Meijer was turned down by the funds, my dream to make my first feature-length documentary was shattered. No money, no film. I found consolation by watching films at the festival. I was fascinated on one hand, but on the other hand I thought: I can do this as well, so there is no time to lose! Right after IDFA that year I started shooting, supported by a crew that worked for free – even
the film stock was gratis. It was the best decision I could have taken – even though after one day of shooting my hero died – but it was not the end of my film. It was the beginning of an unexpected story that resulted in the premiere of Johnny Meijer – Body and Soul at IDFA the year after, in the biggest hall of the small cinema next to De Balie: Alfa 1. That film was the beginning of my career, in a way thanks to IDFA. Of course, my other film about a popular musician, André Hazes – She Believes in Me (the opening film in 1999 and winner of the main award), gave my career another boost. From that time on, I’ve seen how IDFA has gradually turned into the event it is now: such a landmark in the world of documentary. The year begins and ends at IDFA and whenever I travel and meet colleagues around the globe, there’s no doubt about it – it’s always “See you again at IDFA!”
A Woman Captured Bernadett Tuza-Ritter’s debut documentary A Woman Captured tackles a big but underreported problem: modern-day slavery By Mark Baker
“I had an assignment from school, to shoot a five-minute short – a day in a person’s life”, Bernadett Tuza-Ritter, director of feature-length contender A Woman Captured, says during a break while attending this year’s IDFAcademy. “And I immediately remembered Marish’s face.” Marish – real name Edith, we learn later in the film – was the ‘servant’ of a family Tuza-Ritter had come into contact with some time before. “I knew Marish was actually 50, but she looked like 70. I thought maybe I can shoot with her for a few days”, the director recalls. “I knew she was a ‘servant’ for Eta and her family, but I was not aware what this really means. During these few days of shooting, Marish told me she is not being paid. As my relationship with her deepened, I asked for more and more days to shoot. Gradually I realised what was actually happening.” What was actually happening is modern-day slavery – a problem that is far more widespread than we may think, the director adds. “It is happening all around us – Eta’s place is not far from the city”, Tuza-Ritter adds. “After two weeks, I was sure it was going to be more than a five-minute short”, the director says. “I had to start paying the head of the family, Eta, to keep getting access. By this time I also didn’t want to stop because I didn’t want to leave Marish alone. So there was a double draw to go back. Even though it was a nightmare to shoot in that house. I never felt safe.” Now playing a double role – filmmaker and friend – Tuza-Ritter became her protagonist’s
accomplice, although she is at pains to stress that all the decisions taken were Marish/Edith’s own. “Then Marish told me she was planning to get away – but of course she didn’t want me to tell Eta this. By now it was obvious to me Marish was not a free person. I felt I had to stand by Marish, as a human being.” Conflict between her two roles was minimal, however, the director recalls. “There were some points when Marish asked me not to shoot now, but to be with her, and then I stopped filming. It was more important in those moments just to be there for her.” The filmmaker’s relationship to Eta and her family was obviously much more difficult, but she does plan to show the film to them. “We talked about this, and I told them I will show it to them once”, she says. “We will see what happens … I did include Eta’s side of the story in the film. I had this visual concept that I would not show Eta’s face, but that I would always show Marish’s face. I wanted her to be the only one on the screen. This turned out to be helpful; if I wasn’t shooting Eta I could be there when she wasn’t. I thought, this might give me more access. I also wanted to make the film more universal; not just about this particular family, but about modern-day slavery in general.” Tuza-Ritter is looking forward to the film’s premiere on Sunday – not least because her protagonist will be in attendance. “Marish will be at the premiere”, she says. “It will be a really magical moment for her!” IDFA Competition for Feature-Length Documentary
The Red Soul By Melanie Goodfellow
Dutch film maker Jessica Gorter talks about her new film exploring the complex legacy of Soviet leader Joseph Stalin Shortly after the fall of the Berlin Wall in 1989, 20-year-old film student Jessica Gorter travelled to Leningrad (now Saint Petersburg), at the invitation of a young Russian man she had met in a bar in Amsterdam. She recounts he would come to the city and collect the junk he found on the streets, load it into his car and drive back home to sell it. “His name was Alexis. We got chatting in a bar and he invited me to visit. I said, ‘Be careful, I might take you up on the offer’.” Unbeknownst to Alexis, who is now a long-time friend, Gorter had been fascinated by Russia since she was a teenager. “My father had lived in Moscow in the 1960s and it made a huge impression on him as a teenager. I read all the literature on his bookshelves, from Dostoyevsky to Solzhenitsyn. My fascination for the country grew from there”, she explains. The filmmaker recalls how her father came to Utrecht Central Station to see her off. “He gave me a compass and said, ‘If it goes bad just walk south and I’ll pick you up at the border’… When I got off the train at the other end, I stepped into Perestroika… or what I call this silent revolution.” She arrived as the new era of Perestroika, implemented by Russian President Mikhail Gorbachev, was gaining pace. The trip would cement Gorter’s fascination for Russia, which she has since translated into a series of shorts and features about the country as it undergoes what she calls “a silent revolution”. In The Red Soul, Gorter explores Russians’ complicated relationship with Joseph Stalin, taking the spectator on a journey across Russia
from pro-Stalin commemoration ceremonies in Moscow to forgotten mass graves in the north. Millions of Russians perished in gulags and mass executions under his repressive rule, but the nation is deeply divided about his legacy: where some see a mass murderer, others see a World War II hero and great leader. “In order to understand anything that is going on in Russia today, it’s very important to understand how the Russians look at their own history”, she explains. Gorter introduces a range of characters on either side of the divide: from two sisters whose mother was interned in a labour camp for most their childhood for selling a piece of cloth to buy food; to a pro-Stalin photographer, who lays roses on the late leader’s grave; to civil-rights activists who comb mass grave sites for evidence of the killings that took place. She notes that the mixed feelings can run in parallel though the same individual. “There are plenty of characters in the film where the family suffered under Stalin, but they still admire and respect him as a figure”, she notes. Her inspiration for the film, she explains, grew out of her last feature 900 Days, revolving around eye-witness accounts of the Siege of Leningrad, which in turn sparked the idea for The Red Soul after she witnessed the differences of opinion on Stalin within her group of elderly interviewees. “New subjects just kept coming, because the whole history is just evolving in front of your eyes”, says Gorter. She is now developing a new film looking at contemporary Russia, spinning off one of her interviewees in The Red Soul. IDFA Competition for Feature-Length Documentary IDFA Competition for Dutch Documentary
9
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presents
Rise and fall told by the people who experienced the miracle and faced the destruction
A RECORD NUMBER OF CZECH FILMS AT T H E 30T H I D FA
Screenings: Munt 13 EYE Cinema 2 Munt 09 Tuschinski 6
Wed Thu Fri Fri
15 16 17 24
IDFA Competition for First Appearance – World Premiere
Nov Nov Nov Nov
Nothing Like Before
20:30 15:45 22:15 21:30
CZ / 2017 / 92′ – Lukáš Kokeš, Klára Tasovská produced by nutprodukce in co-production with HBO Europe IDFA Competition for Mid-Length Documentary – World Premiere
The Russian Job CZ / 2017 / 64′ – Petr Horký produced by Krutart in co-production with Czech Television world sales: Rise And Shine World Sales
World Sales:
IDFA Masters - International Premiere
First Hand Films Esther van Messel & Gitte Hansen esther.van.messel@firsthandfilms.com gitte.hansen@firsthandfilms.com
Festivals: The Finnish Film Foundation Marja Pallassalo, marja.pallassalo@ses.fi Illume Oy: Jenny Timonen jenny.timonen@illume.fi
The White World According to Daliborek CZ, SK, UK, DK / 2017 / 105′ – Vít Klusák produced by Hypermarket Film in co-production with Czech Television, Peter Kerekes, BRITDOC Foundation, Wingman Media, Room One Films Docs for Sale A Marriage Story CZ | Batalives CZ | Nothing Like Before CZ The Lust for Power SK/CZ D Is for Division LV/CZ | The White World According to Daliborek CZ/SK/UK/DK The Russian Job CZ EBU Pitch Satanic Girls: Women on the Move CZ/SE (2019) For more information on Czech titles please contact IDF / Anna Kaslová at anna@dokweb.net / dokweb.net
24 Street th
The price that migrant worker Su pays for being alive during China’s rapid urbanisation is a heavy one. Thirty years ago he left his wife for another woman, Qin, and together they set off to find a new life together as itinerants. But the pace of change has proved too much for the unskilled Su – to the extent that he has resorted to unscrupulous peddling to eke out a living. No longer a young man, the only option seems to be to return to the family home in the countryside, but with girlfriend Qin in tow. “At first I thought the story was going to be about the street and the many people who live there,” explains director Zhiqi Pan, who first encountered Su working in a makeshift street market beside Hangzhou’s eponymous 24th Street – much of which was still under construction. “When I got close to these people, I started to bring into the film their home towns and then their family relationships. I found it more interesting to bring these new layers of stories into the film.” Su is no angel. He is a wheeler-dealer who concocts questionable contracts, shows a distinctly misogynistic streak in his relationships with his girlfriend, wife and daughter, and seeks to manipulate the director to be portrayed in the best possible light. In the middle of a vicious argument with his daughter about his 30-year absence from her life, he instructs Pan to stop shooting – an injunction the director thankfully refuses to obey. What’s more, the reasons for his return to the marital home seem spurious and governed by financial self-interest, rather than any regard for the family he left behind three decades previously.
Yet despite his roguishness and feckless approach to responsibility, Su has a certain degree of charm, and we can be both moved and amused by his idiosyncrasies – not least when he decides to take a bath in a plastic tub outside a block of corporate offices, using a fire hydrant as a faucet. “This is his way of survival, so a lot of the complexities in his personality actually reflect the hardships of people like him surviving in a place like China,” says Pan. In the background we always see girlfriend Qin, generally silent and stoic in the face of the tough life she endures with Su. “She is a person who is not very expressive, but in the relationship between the two she plays a very important role,” comments Pan. “Her existence explains why Su left his home town in the first place. Destiny made their paths cross. Su didn’t like his wife. Qin was mistreated by her husband. For them to meet each other at that time [meant] they could migrate and fight for work together.” By Nick Cunningham IDFA Competition for Feature-Length Documentary
Beuys By Geoffrey Macnab
Joseph Beuys was the fat-obsessed artist in the felt hat; the dapper visionary and former Luftwaffe pilot who survived a plane crash in the wilderness and whose work provoked the German establishment in the post-war era. His life was his art. Beuys deliberately built up myths about his experiences, and told tall tales. Andres Veiel’s documentary portrait emphasises not just Beuys as an artist, but also his importance as an environmentalist, storyteller and political theorist. “I went to a show of Beuys in 2008 and I was very surprised, not only because of his huge and fascinating collection of pieces of art, but I was fascinated and thrilled by some videos in which he talked about his ideas on what it meant to have a democratic economy in terms of money flow.” Veiel wanted to reclaim Beuys from the museum world, and to remind the world of the artist’s continuing relevance. He sees his documentary as being in a similar spirit to some of his earlier films dealing with West German politics (and terrorism) in the 1970s and 1980s. “You see a stiff. dogmatic way of thinking, a very brutal way of thinking, in this period. There is no movement: only good and bad, black and white. Beuys brings the idea of tearing down walls … if you put energy into fat, it starts to float, to move.” As a young man growing up in Stuttgart, Veiel was inspired by Beuys’ work. Now that he has rediscovered it, he describes the artist as “not only an important artist of the twentieth century, but a lighthouse for the twenty-first century.”
The director originally planned to take a “classical” approach, featuring interviews with the artist’s friends and contemporaries. “Then I discovered the strength of the archive,” he says. This footage was far stronger than the material he had shot on HD. So he decided to “follow the archive.” The director also decided to avoid the chronological, linear approach of the typical biopic. He wanted to be able to jump around. “He compared himself with the hare. We had to have a structure like the way the hare runs. The hare doesn’t run straight. Sometimes, it runs in this direction, then he pops up from another angle you weren’t expecting.” There were 30,000 photos to draw on, as well as lots of filmed footage. The more the filmmaker delved into the archives, the more he warmed to his subject. Beuys had a humour and a sense of “selfirony” not always associated with German artists. “It was thrilling.” Beuys’s family was initially reluctant to help Veiel, but he sent the artist’s widow Eva Beuys his previous film, Black Box BRD. Her response was swift. “Yes”, she replied in her letter. “I got her support, I got her trust. I was really very lucky. She even signed a contract saying she won’t intervene in the filmmaking process. She also supported us a lot … without her, it would have been impossible to make the film. She is like the gatekeeper.” Eva Beuys came to the premiere of the film at the Berlinale. To Veiel’s immense relief, she gave it her blessing. “The basic response was that it is a great film. I felt a huge relief that she enjoyed the movie.” Masters
The Other Side of Everything Serbian director Mila Turajlic is a big fan of big, generation-spanning novels like John Galsworthy’s The Forsyte Saga and Thomas Mann’s Buddenbrooks, that strive to tell the story of an entire society by focusing on a single family. Her original intention with The Other Side of Everything was to explore Yugoslavian and Serbian history through an account of the happenings in a Belgrade apartment. By Geoffrey Macnab
This apartment was where the director’s mother, Srbijanka Turajlic, was born. The apartment had a locked door. The director intended to reveal just what lay beyond that door. In doing so, she would provide insights into what the Balkans endured during the Communist era and the civil war that followed. “I was in my mid 20s when I realised for the first time that living in an apartment with a locked door in the sitting room is slightly bizarre”, the director says. As she investigated, she learned the story of the other people who moved into the house during the Communist period.
Belgrade later this month. “That’s the one I fear will be the most haunting of the screenings. It will be seen by an audience who has lived this story. Obviously, they’re going to be coming at it from a completely different perspective. Then, there’s the question of what kind of political echo the film will have when it’s shown in Serbia. That’s what we are really uncertain of.” Serbia remains a divided society. Srbijanka Turajlic has both admirers and detractors. The director’s hope is that audiences, whatever their feelings, will come to the film with an open mind. Turajlic comes from a high-achieving family. Her mother is a professor of electrical engineering. Her grandparents were prominent academics. Her choice to pursue a Over the decade that she worked on the film, career as a filmmaker didn’t win their immediate approval. the director’s focus shifted slightly. Turajlic “Nobody was very happy,” she remembers. “My parents began to concentrate more and more closely being professors of mathematics come from a binary world on her dialogue with her mother, an academic – one that is quite exact. When you say you want to go into who was also an outspoken political activist and the arts, it’s disconcerting for them, because I was moving freedom fighter, renowned for her stand against into an area in which they could not advise me or follow me Serbian leader Slobodan Milošević. “I don’t in any way – a world in which there is no objective scale to think she really understood what was going on. hold onto.” To be honest, it was a bit of a jolt for her when Here at IDFA, Turajlic isn’t just presenting her film in I did a small screening in Belgrade … that was competition. She is also pitching her new project, The the moment she discovered she was the main Labudovic Reels (working title) at the Forum. The new character. It was a bit of a surprise for her!” documentary investigates the role of cinema in the liberHer mother was a master storyteller who ation movements of the Third World and the birth of the always spun colourful yarns about her parents. Non-Aligned Movement. “It is going to be quite an intense After the revolution that finally toppled the few days!” the director reflects on bringing two films to the Milošević regime, she was appointed a junior festival at the same time. minister in the new government. IDFA Competition for Feature-Length Documentary The director admits to a wariness about Camera in Focus the Serbian premiere, due to take place in
11
Norwegian Films
IDFA COMPETITION FOR FEATURE-LENGTH DOCUMENTARY GOLDEN DAWN GIRLS
Dir: Håvard Bustnes Prods: Christian Falch, Håvard Bustnes for Faction Film
KIDS & DOCS COMPETITION TONGUE CUTTERS
Dir: Solveig Melkeraaen Prod: Ingvil Giske for Medieoperatørene
BEST OF FESTS 69 MINUTES OF 86 DAYS
Dir: Egil Håskjold Larsen Prod: Tone Grøttjord-Glenne for Sant & Usant
DRIB
Dir: Kristoffer Borgli Prods: Magne Lyngner, Riina Spørring Zachariassen for Bacon Osl
PANORAMA ALEPPO’S FALL
Dir: Nizam Najar Prods: Henrik Underbjerg for Stray Dog Productions Tore Buvarp for Fenris Film
MOLDOVAN MIRACLE
Dir: Stian Indrevoll Prod: Johnny Holmvåg for Flimmer Film
RECRUITING FOR JIHAD
Dirs: Adel Khan Farooq, Ulrik Imtiaz Rolfsen Prod: Lars Løge, Jonathan Borge Lie for Volt Film, Ulrik Imtiaz Rolfsen for Curry Film
CO-PRODUCTIONS AMAL
(IDFA competition for feature-length documentary) Dir: Mohamed Siam Prods: Myriam Sassine for Abbout Productions Mohamed Siam for ArtKhana Co-prod Norway: Ingrid Lill Høgtun for Barents Film
RAGHU RAI, AN UNFRAMED PORTRAIT (IDFA competition for mid-length documentary) Dir: Avani Rai Prod: Iikka Vehkalahti for IV Films Co-prod Norway: Torstein Grude for Piraya Film
SEE YOU TOMORROW, GOD WILLING!
(IDFA competition for mid-length documentary) Dir: Ainara Vera Prod: Itziar García Zubiri for Arena Comunicación Co-prod Norway: Anita Rehoff Larsen, Tone Grøttjord-Glenne for Sat & Usant
IDFA 2017
Of Fathers and Sons
Syrian director Talal Derki, whose Return to Homs opened IDFA in 2013, is back at the festival with a second work exploring his country’s self-destructive civil war, this time through an intimate portrait of an AlNusra Front fighter and his sons. Now living in exile in Germany, Derki took his life in his hands and returned undercover to Syria in 2014, to embed with protagonist radical Islamist fighter Abu Osama and his family in the Al-Nusra Front heartlands of Idlib, in north-western Syria. Inspiration for the film came out of the final shooting period of Return to Homs, explains Derki, when he witnessed its pro-democracy fighter protagonist Adbul Baset al-Sarout and his comrades embrace jihadi beliefs, influenced by the teachings of radical preachers from outside Syria. “I saw a change in Baset and some of his group. They were really influenced by these sheikhs from outside the country, with their doomsday, Armageddon
ideologies,” he recalls. “It was a shocking and complicated time for me, as I witnessed the fight for democracy and freedom cross over into a religious, ideological battle.” The filmmaker decided to look at the phenomenon through the vehicle of a radical father and his sons, joining the Abu Osama household under the guise of a recent Islamist convert who wanted to make a film glorifying the jihadist cause. “I was praying with them, I shaved my moustache. I changed how I dressed. I had to adopt the same attitude and look ... I would sometimes go days without doing anything, going through the motions, listening to a lot bullshit conversations.” Beyond the initial premise, the resulting film also looks at the legacy of war for a generation of children who have never known peace. “We wanted to look at what it means when you have a generation of children who have only grown up against a backdrop of war, where killing and violence are the norm,” he says. The film follows the brothers as they
hang out with their father or run feral on the wasteland around their village, making rudimentary bombs, throwing stones at girls attending the local school, and later attending a boys’ military camp. “The first six months were difficult, as they got used to the camera. There was no shooting order in the beginning. It took time for me to figure out the direction we were taking. We had to be ready to roll whenever something happened.” Derki also tags along with Abu Osama as he demines local fields, does duty on the frontline and assists in a video shoot showing a group of captured government soldiers, including a group of teenagers who would later be executed, He admits that the latter experience left him shaken. “It was difficult to witness that, these young guys who had been forgotten. At the same time, it was a key moment being able to capture it on film as a record to show the world.”
“What attracted me so much to the project was that I couldn’t believe how much under the radar [his case] had flown,” comments director Feargal Ward. “There we were, a European nation state, evicting a man from his house and his land for the benefit of a private corporation. It was like wow, is this happening?” The story is told through radio reports and re-enactments (in Reid’s farmyard and fields) of court testimony, as well as via comment from the eponymous hero himself. Much of the time we see him tending his livestock, looking over his wall at suspicious activity, or sitting in his living room. He is generally alone, without friends or family; his main companion being the director or local DJ Pat, who plays his requests on the radio.
“Ever since I was a little boy, Greece had been my summer vacation paradise. I was shocked and wanted to learn more about how extreme political views – such as the ones expressed by Golden Dawn – had managed to become so common among the friendly Greeks I met during my holidays”, says Håvard Bustnes, director of feature-length contender Golden Dawn Girls. By Mark Baker “My initial idea was to make a film about how extreme nationalists raise their children,” he says. “About how they transfer their worldviews to their kids. I soon realized this idea was impossible to follow up, for ethical and practical reasons. So with all the Golden Dawn parliament members in prison at that time, I decided to follow the women, who had to take charge of the party.”
He admits to being terrified that his own cover would be blown and credits his wife, assistant director on the film, with calming his nerves. “My wife helped me out psychologically, giving me therapy every time we were able to speak. At some points I was close to being destroyed … I started getting paranoid. Every time I heard a car, I feared it was kidnappers”, Derki says. Now back in Germany, Derki has no plans to return to Syria – or at least to the Islamist fighter milieu. As if to cement this desire, he got his ear pierced and arm tattooed on his return from the final shoot, both of which would make it difficult for him to embed with an Islamist community in the future. By Melanie Goodfellow IDFA Competition for Feature-Length Documentary IDFA Bertha Fund
The Lonely Battle of Thomas Reid Thomas Reid is a very determined farmer. When the giant Intel corporation decide they want to purchase his land in Maynooth, County Kildare, to build a new factory, he refuses to sell – even when the price mooted rises to €10million. So when a compulsory purchase order is served on him, he takes the case to the High Court, subsequently engaging in a seemingly hopeless battle against Intel and Ireland’s Industrial Development Authority.
Golden Dawn Girls
But Reid is also very odd. He is an avowed fan of the epic soap series Dallas (he can name all the characters from Digger Barnes to Pam Ewing) and is a manic hoarder of newspapers, utility bills and video tapes. He has no friends and, according to director Ward, has only ever ventured from Maynooth once, when he went on a day trip to nearby Bettystown as a child. It took Ward a year and a half to gain access to Reid’s house after initially deciding on the project. Even then, the director felt he was desperately holding onto a tenuous thread, unsure as to whether his protagonist would fully engage. “Every single time I met him, I nearly had to start [from scratch] to gain his trust again. I was living in Berlin, but even if I wasn’t shooting with him or he wasn’t feeling well, I had to make it back to see him. I couldn’t let it go for more than two weeks – if I let it go beyond this, it could take me a month to get his trust back.” “But I can totally empathise with this mistrust and borderline paranoia,” Wards adds. “If people are whispering and telling you that a big huge corporation is coming for your land, and it turns out to be true, and you are on your own, you are going to be mistrustful of anything that is happening. And I was part of that.” By Nick Cunningham IDFA Competition for Feature-Length Documentary
Bustnes homes in on these ‘leading ladies’ of the Golden Dawn – a wife, a mother and a daughter of incarcerated Golden Dawn leaders – asking increasingly probing questions from behind (and occasionally in front of) the camera. “My producer, Christian Falch, had previously included Golden Dawn parliament member and black metal bassist Giorgios Germenis in his film Blackhearts”, the directors explains of how he was able to get such unfettered access to the inner circles of the extreme right-wing Golden Dawn party. The result is a kind of dance of approach and retreat, acceptance and rejection, between the filmmaker and his subjects, who by turns seem welcoming, tolerant, indifferent or hostile to his presence and questions. “The ‘fog of war’ between me and the characters became a more important part of the film,” Bustnes says, “because it turned out that the characters themselves wanted to take control over what I was trying to do. I want to show how they use rhetoric and how they always seem to claim that someone else is behind everything, when Golden Dawn members or supporters are involved with assaulting immigrants or similar violent events.” “I became more and more fascinated by their way of explaining away all the concrete evidence of racism and violence that appeared in the media and elsewhere during the period of shooting. Golden Dawn Girls turned into a film where I try to show an absurd and dangerous worldview based on conspiracy theories”, the director explains. Bustnes’ increasingly confrontational approach to the subjects of his film was in part prompted by responses to some early test screenings, he reveals: “We participated at the dok.incubator workshop, where we did some test screenings of early versions of Golden Dawn Girls,” Bustnes says. “We soon realized there was a big difference between the way Scandinavians reacted and the way a Central European audience understood what we were trying to do. I think the Scandinavian audience has a more tolerant attitude toward exposing extreme nationalists without me, as the filmmaker, having to be very confrontational … [so] after a while we realized it was necessary to clearly state our own critical point of view in the film itself.” “I’m currently working on developing a new feature documentary with the working title Apache!”, the director says of life after Golden Dawn, “with producer Christian Falch, cinematographer Lars Skree and scriptwriter Lars K. Andersen.” The film will examine “Trump’s ambition to build a wall in the mountanious Sierra Madre region – an area filled with weapons, drugs and refugees – where the Apache were exterminated. Or were they?” IDFA Competition for Feature-Length Documentary
13
ng
:
WOENSDAG VRIJDAG 17 NOVEMBER 15 NOVEMBER
PROGRAM SATURDAY 18 NOVEMBER DE MUNT
13
DE TUSCHINSKI MUNT 131 2
10:00
ng
:
ré
on, 91’
10:00
3 2
TUSCHINSKI
4 3
Boom for Real: The Late Teenage Years of Jean-Michel Basquiat
TUSCHINSKI
5 4
KLEINE KOMEDIE
TUSCHINSKI 6 5 DE BALIE
GROTE ZAAL
Sara Driver
12:00
Taste of Cement
11:30
Manuel Abramovich
Martin Benchimol, Pablo Aparo
The Work
Best of Fests, Camera in Focus, 72’
Jarius McLeary Best of Fests, 87’
Ziad Kalthoum
Best of Fests, Camera in Focus, 85’
13:00
14:00
13:00
Master Talk: Jonathan Harris
Digital art pioneer and guest of honor Jonathan Harris will discuss his own projects, his Top 10 selections, and the ideas that have shaped him.
13:00
In the Intense Now João Moreira Salles
15:00
Masters, 127’
American Valhalla Andreas Neumann, Joshua Homme Music Documentary, 82’
16:00
13:30 Short Competition, 7’
The Rebel Poetess The Surgeon Stefanie Brockhaus, Erik Gandini Andy Wolff Masters, 52’ Best of Fests, 90’
18:00
Kids & Docs, IDFA Junior, 5’
Ouaga Girls
Theresa Traore Dahlberg
17:15
Mid-Length Competition, Shifting Perspectives, 48’
Panorama, 83’News Story Another
This Is Everything: Gigi Gorgeous
Best of Fests, 84’
15:45 Kopple Barbara Masters , 91’ Five Years
the War
After
Masters, 94’
Beuys
Jude Ratnam
Industry & Press screening:
14:45
Eating Animals
Best of Fests, 94’
The Distant Barking of Dogs
First Appearance Competition, 90’
20:30
Egil Håskjold Larsen
Nokia Mobile – We Were Connecting People
Best of Fests, 71’
The Ugliest ... When YouCar Look Away Mid-Length Competition, 47’ Grzegorz Szczepaniak Masters, 80’
21:00
Arto Koskinen Panorama, 92’
21:30
Love Means Zero Jason Kohn
22:00
19:00
The Creator of Universes
NPO 2Doc Primeur: Piet Is Gone Jaap van Hoewijk
Dutch Competition, 72’
Mid-Length , 63’ Best of FestsCompetition , 80’
Anastasiya Miroshnichenko
My Name Is Nobody Denise Janzee
... When You Look Away
Some Might Say Nila Núñez Urgell
Student Competition, 61’
22:30
19:45 Kopple Barbara Masters , 84’ The Final
Year
Greg Barker
Best of Fests, 90’
15:30
Faces Places
Agnès Varda, JR
16:00 Masters, 100’
Land of the Free
The Poetess
14:30 Industry 14:45 & Press screening:
15:15
Dutch Competition, 90’ Masters, 127’
Ruslan Fedotow
Best of Fests, 93’
João Moreira Salles
Intent to Destroy: Death, Denial & Depiction
Laura Bari
The Rebel Surgeon Masters, 52’
Jonathan Olshefski
21:30
Compilation of beyond the frame docs: Where Do You Stand Now, João Pedro Rodrigues?, Two, Transitions, Silica 90’
Everardo González
Devil’s Freedom 22:00 Masters, 74’
A Skin So Soft Denis Côté Masters, 94’
Best of Fests, 105’
The Distant Barking of Dogs
Simon Lereng Wilmont
First Appearance Competition, 90’
EYE TUSCHINSKI CINEMA
31
EYE TUSCHINSKI CINEMA
4 2
10:00
Industry & Press screening:
Stronger than a Bullet
True Love in Pueblo Textil
Laura Poitras
IMasters Am , 92’
Denise Kelm Soares Student Competition, 12’
The Russian Job Mid-Length Competition, 63’
18:30
The Prince and the Dybbuk Elwira Niewiera, Piotr Rosolowski Best of Fests, 82’
Shai Gal
First Appearance Competition, 91’
Trophy 21:00
Shaul Schwarz
Solving My Mother Best of Fests, 108’ Ieva Ozolina
First Appearance Competition, 104’
21:00
Muhi – Generally Temporary
Rina CastelnuovoHollander, Tamir Elterman Best of Fests, 87’
22:00
So Help Me God
22:15
Jean Libon, Yves Hinant
Nokia Mobile – We Were Connecting People
18:30 Horatio Baltz
Best of Fests, 99’
Yves’ Promise Ouaga Girls
Melanie Gaertner Theresa Traore Dahlberg
First Best Appearance of Fests, 83’ Competition, 79’
12:00
Taste of Cement Ziad Kalthoum
12:45 Best of Fests, Camera in Focus, 85’
Industry & Press screening:
The Next Guardian Dorottya Zurbó, Arun Bhattarai
Feature-Length Competition, Jarius McLeary Dutch Best ofCompetition Fests, 87’ , 115’
The Misfortunes of Some 12:30
12:30
Emilio Belmonte
Rupert Russell
Impulso
13:00 First Appearance Competition, 105’
Hairat
Jessica Beshir
Short Competition, 7’
First Appearance Competition, 74’
14:30
Lady the Harbour In theofIntense Now Sean Wang João Moreira Salles
15:00
Dutch Competition, 90’ Masters, 127’
14:00 Industry & Press screening:
16:00
First Appearance Competition, 90’
18:00
True Love in Pueblo Textil
18:30 Horatio Baltz
Masters, The Visual Voice, 108’
Industry & Press screening:
Over the Limit Marta Prus
Feature-Length Competition, 74’
Melanie Gaertner Theresa Traore Dahlberg
15:15
This Is Everything: Gigi Gorgeous Barbara Kopple
Masters, 91’ 16:00
NPO 2Doc Primeur: Independent Boy
Arto Koskinen Panorama, 92’
22:00
Impreza – The Celebration
A Skin so Soft Denis Côté
15:30 Masters, 94’
Bunch of Kunst Christine Franz
Music Documentary, 103’
Vincent Boy Kars
RABOZAAL
15:00
16:00 Marta Prus
Feature-Length Competition, 74’
DEKETELHUIS MUNT 10
BRAKKE DE MUNTGROND 11
9:30
EXPOZAAL
BRAKKE GROND DE MUNT 12 CARRÉ
RODE ZAAL
Nettiquette
Shifting Perspectives, 52’
Two documentary classics by the late Omar Amiralay, introduced by Orwa Nyrabia. 13:00
12:00
Kalès 20:30 Laurent Van Lancker Nokia Mobile – Mid-Length Competition, 63’ We Were Connecting People Arto Koskinen Panorama, 92’
22:00
Impreza – The Celebration
Alexandra Wesolowski Student Competition, 75’
12:30
Best of Fests, 83’
Beuys
Andres Veiel Masters, 107’
Another News Story
Opening hours: 9:00 – 23:00
Orban Wallace Best of Fests, 84’
13:30
+ Doc Talk The Mulberry House
Radu Jude
Sara Ishaq
An interview with director Sara Ishaq by Isabel Arrate following the screening
Before Summer Ends 15:00
Best of Fests, 80’
Damon Davis, Sabaah Folayan
The Family
Best of Fests, 144’
Rok Bicek
16:00 Best of Fests, 106’
16:00
+ Doc Talk A World Not Ours
Best of Fests, 99’
Tony Zierra
Dead Donkeys Fear No Hyenas
19:00
Best of Fests, 80’ 19:00
19:00
Mohamed Siam
Stefanie Brockhaus, Andy Wolff
The Venerable W. Masters, 100’
As We’re Told 20:00 Erik Holmström, 69 Minutes Fredrik Wenzel of 86 Days , 28’ Short Competition
Mid-Length Competition, 63’
Phie Ambo
+ Doc Talk Atman
Pirjo Honkasalo Camera in Focus, 76’
20:30
Drib
Nicolas 20:00 Rapold and Pirjo Honkasalo discuss the Distantand Constellation direction shooting Shevaun Mizrahi of her award winning Best of Fests, 82’ documentary.
Kristoffer Borgli
21:00 Best of Fests, 94’
The Poetess 19:45
Fire Mouth
21:00
Quest
Dreaming Murakami Nitesh Anjaan Panorama, 58’
Namir Abdel Messeeh Shifting Perspectives, 85’
Everardo González Masters, 74’
Masters, 92’
19:00
+ Doc Talk The Ancient Woods
Jonathan Olshefski Best of Fests, 105’
A poetic and atypical nature film about the inhabitants of an old-growth forest, followed by an in-depth conversation between host 20:45 van Pol and director Andrea Mindaugas Trophy Survila. Shaul Schwarz Best of Fests, 108’
21:30
Habaneros
Julien Temple Masters, 126’
Physical Installations The Cave Dance Tonite Greenland Melting Homestay 11:00 - 21:00
True Love in
18:30
The Prince and the Dybbuk Elwira Niewiera, Piotr Rosolowski Best of Fests, 82’
First Appearance Competition, 85’
Best of Fests, 90’
Devil’s Freedom
Laura Poitras
Mindaugas Survila
Best of Fests, 90’
21:30
The Virgin, the Copts and Me
Best of Fests, 93’
Greg Barker
Insha’Allah Democracy
21:45
Koki Shigeno
The Final Year
Best of Fests, 85’
Short Competition, 9’
The Family
Joumana El Zein Khoury discusses the opening film of IDFA with director 20:30 Mohamed Siam.
21:30
Luciano Pérez Fernández
22:30
Ramen Heads
Joakim Demmer
+ Doc Talk Amal
Risk
VR Cinema {The And} VR Bloodless 14:45 The Last Chair In the Intense Now Limbo João Moreira Potato DreamsSalles Masters, 127’ A Thin Black Line 11:00 - 21:00
AR & Audiowalks I Swear To Tell The Truth It Must Have Been Dark By Then 11:00 - 21:00 Patent Alert 18:00 11:00 - 15:30
18:15 18:30
Mohammed Ali Naqvi
Demons in Paradise Jude Ratnam
18:15
Feature-Length Competition, Shifting Perspectives, 83’
Masters, 115’
This unsettling analysis of big game hunting in Africa is followed by an in-depth conversation between journalist Ersin Kiris and directors Shaul Schwarz and Christina Clusiau.
Filmworker
Masters, 80’
Feature-Length Competition, 81’
Joe Berlinger
Best of Fests, 108’
17:00
18:30
Best of Fests, 94’
Agnès Varda, JR
Intent to Destroy: Death, Denial & Depiction
Shaul Schwarz
Best of Fests, 94’
17:45
Faces Places + Doc Talk Trophy
Jean Libon, Yves Hinant
Shifting Perspectives, 93’
15:15 15:30
16:00 Masters, 100’
So Help Me God
Mahdi Fleifel
Screening followed by an in-depth conversation between host Katinka Baehr and director Simonka de Jong.
Whose Streets?
Time Trial
Feature-Length Competition, 81’
Best of Fests, 106’
1
T
B
M
19:00
Erik Holmström,
20:00 Fredrik Wenzel
Short Competition, 28’
Rezo
Leo Gabriadze
Mid-Length Competition, 63’
21:00
20:00
Doclab Live: Bob
For its world premiere, the engrossing radio documentary series Bob 21:00 is turned into an intimate and interactive multimedia Muhi – Generally performance. Temporary Rina CastelnuovoHollander, Tamir Elterman
Live Performance: Pueblo Textil Lauren During Lauren HoratioIDFA Baltz McCarthy the Kids & Docs, invites IDFA Junior , 5’ audience to observe as Ouaga Girls she assists people in their Theresa Traore morning ritual inDahlberg Los Best of Fests, 83’ Angeles. Times may vary due to the nature of the performance. 16:00 - 18:00 Guided Tour Free tours daily at 15:30
20:30
Available on your– Phone: Nokia Mobile www.veryveryshort.com We Were Connecting www.botstory.net People www.burymemylove.com Arto Koskinen Panorama, 92’
2
D
Ju
B
22:00
22:30
The Family Rok Bicek
DE MUNT
10:00
11:00
12:00
13:00
14:00
15:00
16:00
17:00
18:00
19:00
20:00
21:00
Best of Fests, 87’
22:00
Rok Bicek
23:00
V
Industry & Press screening:
18:00 Finlay Pretsell
Best of Fests, Camera in Focus, 85’
On site reservation may be required and some installations have varying opening hours:
Dutch Competition, 93’
14:30
Maryam Goormaghtigh
Masters, 78’
Simonka de Jong
Masters, 83’
15:30
Orwa Nyrabia discusses this personal film with director Mahdi Fleifel.
+ Doc Talk The Pilot’s Mask
The Dead Nation
13:45
In Praise of Nothing 13:15
EXHIBITIONS
DocLab: Uncharted Rituals & Jonathan Harris Retrospective
Boris Mitic
Susan Lacy
Best of Fests, 147’
BRAKKE DE MUNTGROND 13
9:00
12:45
Spielberg
Vaishali Sinha
N In
17:00
24:00
The DocLab: Uncharted Rituals exhibition presents the latest and best interactive documentaries, games and audio experiences. Immerse yourself in the VR Cinema, play with bizarre 12:15 AI experiments or go completely offline with Taste of Cement internet pioneer and Top 10 Ziad Kalthoum curator Jonathan Harris.
12:00
Ask the Sexpert
1
D
Best of Fests, 106’
By invitation.
... When You Look Away
Finlay Pretsell
Best of Fests, 94’
Student Competition, 75’
MELKWEG DE MUNT 9
Jude Ratnam
Demons in Paradise
Leo Gabriadze
Alexandra Wesolowski
GROTE ZAAL GROTE ZAAL
17:45
Rezo Best of Fests, 71’
22:00
DE BALIE TUSCHINSKI 6 DE BALIE
Time Trial
Industry & Press screening:
Egil Håskjold Larsen
21:00
Dutch Competition, 75’
As We’re Told
WOENSDAG VRIJDAG 15 17 NOVEMBER
17:45 Masters, 100’
Barbet Schroeder
20:00
Kalès 20:30 Laurent Van Lancker Nokia Mobile – Mid-Length Competition, 63’ We Were Connecting People
Selected and introduced by Nishta Jain.
15:00
19:45 20:15
The Visual Voice, 92’
The Venerable W.
19:00
First Best Appearance of Fests, 83’ Competition, 79’
Mani Kaul
17:15
Kids & Docs,&IDFA Junior , 5’ Industry Press screening:
Yves’ Promise Ouaga Girls
The Mind of Clay
Omar Amiralay
Shifting Perspectives, 65’
Michael Glawogger, Monika Willi
Barbet Schroeder
18:00
13:15
Dutch Competition, 90’
17:00
Simon Lereng Wilmont
Masters, 52’
Best of Fests, 89’
14:30Vroegindeweij Victor
Industry & Press screening:
The Distant Barking of Dogs
Erik Gandini
The Last Fight
15:45
16:30
The Rebel Surgeon
Freedom for the Wolf
Dutch Competition, 75’ Untitled
Industry 14:45 & Press screening:
Victor Vroegindeweij
23:00
Shifting Perspectives, 47’
screening: The 12:00Season Long The Work Leonard Retel Helmrich
13:00
14:00
The Last Fight
19:45 20:15
Panorama, 92’
Omar Amiralay
Industry & Press
12:15
Industry & Press screening: 14:00
Kids & Docs,&IDFA Junior , 5’ Industry Press screening:
The Jewish Underground
A Flood in Baath Country
11:30
First Appearance Competition, 75’
Fi
19:30
11:00
11:00
Maryam Ebrahimi
TUSCHINSKI 5 KLEINE KOMEDIE KLEINE KOMEDIE
Im
E
13:00
1:00
DE TUSCHINSKI MUNT 132
1
17:45
1:00
11:00
Dutch Competition, 115’
Industry & Press screening:
Arto Koskinen
WOENSDAG 15 NOVEMBER
Leonard Retel Helmrich 12:00 Feature-Length Competition,
Over the Limit
16:30
20:45
Quest 21:30
Risk 18:30
Feature-Length Competition, 95’
21:00
Industry & Press
screening: The Long Season
Industry & Press screening:
Masters, 115’
18:15
Primas
Erik Gandini
11:30
15:45
Joe Berlinger
18:00
Petr Horky´
Jessica Beshir
Lady the Harbour In theofIntense Now Sean Wang
Panorama, 94’
Short Competition, 22’
19:45
Short Competition, 7’
Dorottya Zurbó, Arun Bhattarai
Masters, 88’
Kate Novack
Jason Hanasik
19:45
Hairat
The Next Guardian
12 Days
The Gospel According to André
How to Make a Pearl Songs for Kit
11:00
14:00
Best of Fests, 92’
Stefanie Brockhaus, Andy Wolff Best of Fests, 90’
Industry & Press screening:
14:15
Camilla Magid
Koki Shigeno
Best of Fests, 94’
23:00
Best of Fests, 82’
Mid-Length Competition, 57’
Kristoffer Borgli
13 12
13
First Appearance Competition, 74’
17:15 17:30
19:00
Paradocs: Shorts
Student Competition, 21’
Masters, 78’
17:00
Best of Fests, 85’
Ismaël Joffroy Chandoutis
Sabaah Folayan Elwira Niewiera, Best ofRosolowski Fests, 144’ Piotr
Ramen Heads
Mohammed Ali Naqvi
Dark Waves
Whose The Prince Streets? and Damon Davis, the Dybbuk
18:30
Insha’Allah Democracy
Drib
DE MUNT
DE MUNT
10:00
12:45 Best of Fests, Camera in Focus, 85’
Heiress of the Wind
Best of Fests, 99’
Masters, 80’
A Murder in Mansfield
12:45
Boris Mitic
15:00
Phie Ambo
Dead Donkeys Fear No Hyenas
Ziad Kalthoum
Raymond Depardon
15:15
First Appearance Competition, 75’
Taste of Cement In Praise of Nothing
Panorama, 88’
Best of Fests, 90’ Filmworker
18:15
20:00
Best of Fests, 147’
Stronger than a Bullet 12:15
Susan Lacy
Gloria Carrión Fonseca
17:00 Rubén Mendoza
First Appearance Competition, 80’
Maryam Ebrahimi
Masters, The Visual Voice, 108’
13:45
Jean Libon, Yves Hinant
Best of Fests, 94’
Michael Glawogger, Monika Willi
Zhiqi Pan
24th Street
Music Documentary, 85’
So Help Me God
Tony Zierra
Industry & Press screening:
11:30
Claire Belhassine
Masters, 83’
16:00
Miss María, Skirting the Mountain
20:30 Dutch Competition, 89’
21:15
Beuys 12:45 Andres Veiel The Man Behind Masters, 107’ the Microphone
Radu Jude
Adriana Loeff, Claudia Abend
19:15
Best of Fests, 82’
The Dead Nation
Jiawei Ning Maryam Goormaghtigh
Best of Fests, 80’
Kristoffer Borgli
Best of Fests, 90’
24:00
EXHIBITIONS
11:15
Untitled
Awaken Before Summer Ends
Joakim Demmer
Shevaun Mizrahi
21:00 Best of Fests, 94’
13:30 , 87’ Panorama
13:45
Panorama, 84’
Debut
Distant Constellation Drib
Aliki Saragas
16:30
20:00 20:30
Strike a Rock
Best of Fests, 106’
Noa Aharoni
Industry 17:45 & Press screening:
13:00
Rok Bicek
First Appearance Competition, 78’
20:00
Paradocs, 45’
La flor de la vida
Shadows
Phie Ambo
18:30
Yaser Kassab
15:30
17:15
Demons in Paradise
Dieudo Hamadi
Short Competition, 36’ 14:30
Mid-Length Competition, 53’
Simon Lereng Wilmont
69 Minutes of 86 Days
BRAKKE DE MUNTGROND 13 12
11:00
Mama Colonel
Ben Knight
Mercedes Dominioni
20:00
DE MUNT 12 CARRÉ11
11:00
12:30
On the Edge of Life
The Family
16:00
17:30 17:45
Andres Veiel
11 10
Spielberg
Paradocs, 20’ Best of Fests, 83’
Best of Fests, 94’
Denis Côté
Best of Fests, 67’
Masters, 100’
18:00
DE MUNT
12:00 Feature-Length Competition, 88’
Vaishali Sinha
The Last Honey Hunter
Christopher Quinn
A Skin so Soft
If You Were in 12:00 My Pictures Ask the Sexpert Lou Colpe
Orban Wallace
14:15
Dutch Competition, 71’
15:15
The Venerable W.
19:00
Best of Fests, 83’
Usama Ghanoum
Up Down & Sideways
Eric Caravaca
Masters, 107’
Horatio Baltz
Anushka Meenakshi, 13:00 Iswar Srikumar
Thomas 15:00 Vroege
Samuel Albaric, Martin Wiklund, Ulysse Lefort
Barbet Schroeder
True Love in Pueblo Textil
Rupert Russell
A Stranger Came to Town
Plot 35
18:00
12:30
Industry & Press screening:
Short Competition, 17’
17:00
12:30
Black Stones
Jessica Beshir
Michael Glawogger, Monika Willi
15:15
Mid-Length Competition, 67’
Industry & Press screening:
14:30
Masters, The Visual Voice, 108’
DEKETELHUIS MUNT 9 10
Best of Fests, 73’
11:45
13:00 Best of Fests, 89’
Hairat
Panorama, 85’
The Dread
Freedom for the Wolf
Untitled
14:45
Nizam Najar
Industry & Press screening:
Soldier 12:15
RABOZAAL
Aleppo’s Fall 11:15
12:00
MELKWEG TUSCHINSKI DE MUNT 96
10:45
Best of Fests, 78’
man
nt
TUSCHINSKI
11:00
man
08’
WOENSDAG 15 NOVEMBER
23:00
24:00
24:00
1:00
1:00
13
WOENSDAG ZONDAG 19 NOVEMBER 15 NOVEMBER
PROGRAM SUNDAY 19 NOVEMBER DE MUNT
13
00
DETUSCHINSKI MUNT 13
g 0
11:00
12:00
12:15
Taste of Cement
11:00
The Long Season
Leonard Retel Helmrich
12:00
The Work
Jarius McLeary
14:00 14:45
João Moreira Salles
15:00
Masters, 127’
14:00
Cold Blooded: The Clutter Family 14:30 Murders Untitled Joe Berlinger Monika Willi
Masters, The Visual Voice, 108’
17:00
18:00
18:00
Pueblo Textil
Håvard Bustnes
Kids & Docs, IDFA Junior, 5’
Ouaga Girls
Theresa Traore Dahlberg
20:30
20:00
Nokia Mobile – We Were Connecting People
0
21:00
Arto Koskinen Panorama, 92’
00
0
an
00
vi
Shorts: Alone
Loneliness portrayed
13:00 through striking
photography. With: Story Juan Another News Perros and Zhalanash Orban Wallace Best of Fests , 84’92’ Empty Shore,
Vaishali Sinha Best of Fests, 83’
12:45
Of Fathers and Sons Talal Derki
Feature-Length Competition, 98’
12 11
De Groene Amsterdammer Day 10:45
One of Us
Compilation program put up by editors of De Groene Amsterdammer.
Heidi Ewing, Rachel Grady
BRAKKE GROND DE MUNT 13 12 EXHIBITIONS 10:30 Industry & Press screening:
Awaken
Jiawei Ning
Mid-Length Competition, 63’
Masters, 95’
12:00
Paradocs: Shorts
Compilation of beyond the frame docs: Where Do You Stand Now, João Pedro Rodrigues?, Two, Transitions, Silica 90’
13:30
12:30
Beuys 12:45 Andres Veiel Back to the Taj Masters, 107’ Mahal Hotel Carina Molier
Mid-Length Competition, Dutch Competition, 70’
12:15
Susan Lacy
Best of Fests, 147’
Taste of Cement 12:30 Ziad Kalthoum
12:45
In Praise of Nothing Boris Mitic
13:15
The Pilot’s Mask
Into Great Silence Best of Fests, Camera in Focus, 85’ Philip Gröning
Jonathan Harris’ Top 10, 162’
14:45 15:00
+ Doc Talk 15:15 Piet Is This Is Gone Everything: Jaap van Hoewijk Gigi Gorgeous Dutch Competition, 72’
Maregrave
15:00
Justine Cappelle
A Skin so Soft Denis Côté
Maryam Goormaghtigh
Masters, 78’
Best of Fests, 80’
Student Competition, 25’
15:15
Gabriel Tejedor The Family
Ingel Vaikla
15:30 Masters, 94’
15:30 Mayskaya Street
Roosenberg
Piripkura
Best of Fests, 70’ Rok Bicek
Student Competition, 30’
Industry & Press screening:
Renata Terra, Bruno Jorge, Mariana Oliva
Best of Fests, 106’
Feature-Length , 83’ Demons inCompetition Paradise
Jude Ratnam Best of Fests, 94’
17:30
Strike Team 17:45 Willie Ebersol ... When You Short Competition, 25’ Look Away Orione Phie Ambo
Five Years After the War
Mid-Length Competition, 67’
Bernadett Tuza-Ritter
20:30
Best of Fests , 82’ Feargal Ward
20:30 Short Competition, 25’
The Red Soul
Kristoffer Borgli
Drib
Feature-Length Competition, 85’
Best of Fests, 94’
Tara Fallaux
Insha’Allah The Ugliest Car Democracy Grzegorz Szczepaniak
Mohammed Ali Naqvi Mid-Length Competition , 47’ Best of Fests, 85’
Feature-Length Competition, Dutch Competition, 90’
Trophy
Shaul Schwarz
22:15
Best of Fests, 108’
Apollo Javakheti Bakar Cherkezishvili Student Competition, Kids & Docs, 16’
Queercore: How To Punk a Revolution Yony Leyser
Matthias Krepp
Student Competition, 91’
Joe Berlinger Masters, 115’
Masters, 84’
18:30
Ramen Heads Koki Shigeno
The Poetess Lady of the Harbour Sean Wang Stefanie Brockhaus, AndyCompetition Wolff Dutch , 90’ Best of Fests, 90’
The Final Year
17:45
The Distant Barking of Dogs
18:15 Lereng Wilmont Simon
First Appearance Competition, 90’ Risk
Laura Poitras Masters, 92’
First Appearance Competition, 18:00 Dutch Competition, 91’
True Love in Pueblo Textil
18:30
The Prince and the Dybbuk Elwira Niewiera, Piotr Rosolowski Best of Fests, 82’
Giovanni Totaro
First Appearance Competition, 91’
21:00
Quest
Jonathan Olshefski
On the Edge of Life
Laura Bari
Feature-Length Competition, 95’
13:00
1
21:30 Best of Fests, 105’
Naila and the Uprising Julia Bacha Panorama, 75’
Horatio Baltz
Kids & Docs, IDFA Junior, 5’
Ouaga Girls
Theresa Traore Dahlberg
19:15 Best of Fests, 83’
Our Skin
João Queiroga
Student Competition, 17’
Over the Limit
Silence Is a Falling Body
Feature-Length Competition, 74’
20:30 , 75’ Panorama
20:00
Trophy
Shaul Schwarz Best of Fests, 108’
Agustina Comedi
21:00
Muhi – Generally Temporary
Rina CastelnuovoHollander, Tamir Elterman Best of Fests, 87’
22:00
Distant Constellation Shevaun Mizrahi Best of Fests, 82’
Yaser Kassab
Back to the Taj Mahal Hotel Carina Molier
Mid-Length Competition,
15:00 Dutch Competition, 70’
Paradocs, 45’
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
The Lonely Battle of Thomas Reid
Feature-Length Competition, 85’
17:00
10:30
10:00
Awaken
Jiawei Ning
31
A Woman Captured
Ex Libris - The New York Public Library
Feature-Length Competition, 89’
Masters, 197’
Industry & Press screening:
Bernadett Tuza-Ritter
Industry & Press screening:
EYE TUSCHINSKI CINEMA
10:00
12:00
12:15
Taste of Cement 12:30 Ziad Kalthoum Into Great Silence Best of Fests, Camera in Focus, 85’ Jonathan Harris’ Top 10, 162’
Freedom for the Wolf 13:00
Hairat
Jessica Beshir
14:15 Industry 14:30 & Press screening:
Back to the Taj Untitled Mahal Michael Hotel Glawogger,
João Moreira Salles
15:00
Masters, 127’
Carina MonikaMolier Willi
Mid-Length Competition, Masters, The Visual Voice, 108’ Dutch Competition, 70’
15:45 Industry & Press screening:
Last Days in Shibati
Hendrick Dusollier
Mid-Length Competition, 60’
16:00
Industry & Press screening:
17:00
Instant Dreams
14:15
Best of Fests, Camera in Focus, 86’
Pueblo Textil Horatio Baltz
Theresa Traore Dahlberg Best19:15 of Fests, 83’
Our Skin
20:30 Panorama, 75’
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
Feature-Length Competition, 85’
17:15
The Venerable W.
18:15 Industry & Press screening:
Enrico Maisto
Mid-Length Competition, 57’
19:45
Student Competition, 17’
Agustina Comedi
Feargal Ward
19:00
João Queiroga
Silence Is a Falling Body
20:00
The Interior City 20:00 Iso Luengo, Jorge Moneo 69 Minutes Quintana, Andrea of 86 Days Ballesteros i Beato Egil Håskjold Larsen Student Competition , 25’ Best of Fests, 71’
Last Days in Shibati 21:00
Hendrick Dusollier
Mid-Length Competition, 60’
Ali Alibrahim
Short Competition, 24’
Black Stones
Dutch Competition, 90’
After the screening a VPRO 15:15 moderator talks to director This IsOoms Everything: Maasja and producer Gigi Gorgeous Willemijn Cerutti about the Barbaraof Kopple making the film.
Tala Hadid
Eric Hynes interviews director and cinematographer Tala Hadid about 15:00her visual approach and cinematic references.
A Skin so Soft Denis Côté Masters, 94’
16:15
+ Doc Talk Depeche Mode: 101 17:00
The Last Fight
David Dawkins, Chris Hegedus, D.A. Pennebaker Camera in Focus, 117’
Demons in Paradise
Legendary film couple D.A.Pennebaker and Chris Hegedus talk about the 17:45 cinematography of their ... When You music documentary.
Best of Fests, 94’
Phie Ambo
Victor Vroegindeweij Dutch Competition, 75’
17:45
Jude Ratnam
Look Away Masters, 80’
May It Last: A Portrait of the Avett Brothers Michael Bonfiglio, Judd Apatow
Music Documentary, 104’
Makala
Emmanuel Gras
Usama Ghanoum
Best of Fests, 97’
Mid-Length Competition, Shifting Perspectives, 48’
13:00
+ Another Doc Talk News Story Orban WallaceIraq Homeland: Best of Fests , 84’ Year Zero Abbas Fahdel
Shifting Perspectives, 334’
A family epic before and after the Iraq war is screened in an afternoon program, followed by a conversation with Abbas Fahdel moderated by Volkskrant-journalist Hassan Bahara.
15:30
Part 1 of the film shows Thedaily Family the life of director Rok Bicek Fahdel’s family against the Best of Fests, 106’ background of the threat of an American invasion in 2002. Part 2 shows how life goes on during the war. There is a one-hour break between the two parts.
Drib
Kristoffer Borgli Best of Fests, 94’
Panorama, 104’
GROTE ZAAL GROTE ZAAL
One Day in Aleppo Ali Alibrahim
22:15
Insha’Allah Democracy
Mohammed Ali Naqvi Best of Fests, 85’
Short Competition, 24’
Black Stones
Usama Ghanoum
Mid-Length Competition, Shifting Perspectives, 48’
WOENSDAG ZONDAG 15 19NOVEMBER NOVEMBER
18:15
Dead Donkeys Fear No Hyenas
+ Doc Talk City of the Sun
Burma VJ – Reporting from a Closed Country Anders Østergaard The Visual Voice, 85’
Selected and introduced by Heidi Ewing & Rachel Grady.
12:00
Ask the Sexpert Vaishali Sinha Best of Fests, 83’
13:00
The House Is Black Forough Farrokhzad The Visual Voice, 20’
The Lovers’ Wind Albert Lamorisse The Visual Voice, 71’
The House Is Black is selected 14:30 and introduced by Pirjo Honksasalo and Ends The Before Summer Lovers’ Wind is selected by Maryam Goormaghtigh Maziar Bahari. Best of Fests , 80’
15:30
General Idi Amin Dada
Barbet Schroeder The Visual Voice, 92’
Selected and introduced by Hubert Sauper.
17:00
Filmworker Tony Zierra
Best of Fests, 94’
Untitled
Michael Glawogger, Monika Willi
Masters, The Visual Voice, 108’
Selected and introduced by Victor Kossakovsky.
19:45
The Final Year
20:00 Rati Oneli
Shevaun Mizrahi Arseni Khachaturan Best of Fests, 82’ shares his experiences as cinematographer of Rati Oneli’s visually impressive film.
Greg Barker
20:30
Insha’Allah Democracy
21:00 Mohammed Ali Naqvi Best of Fests , 85’ + Doc Talk Ghost Hunting
Raed Andoni
Best of Fests, Shifting Perspectives, 94’
22:15
This Is Congo Daniel McCabe Panorama, 91’
Filmmaker Eyal Sivan interviews director Raed Andoni after the screening of his award winning experimental film.
MELKWEG MELKWEG DE MUNT 9 CARRÉ
RABOZAAL RABOZAAL
DE MUNT 10 KETELHUIS KETELHUIS
Best of Fests, 90’
20:30
Santiago
João Moreira Salles The Visual Voice, 80’
Selected and introduced by Jørgen Leth.
11:00
Oxfam Novib Selection: An Inconvenient Truth 2
Jon Shenk, Bonni Cohen Best of Fests, 100’
Film about Al Gore’s attempts to unleash an energy revolution followed by a conversation between director Jon Shenk and author and former politician Femke Halsema.
BRAKKE DE MUNTGROND 11
10:00
EXPOZAAL
BRAKKE DE MUNTGROND 12 CARRÉ
10:00
RODE ZAAL
DocLab: DocLab: Interactive Conference Interactive Conference Live Stream
10:30
18:00
Best of Fests,Constellation Camera in Focus, 100’ Distant
20:30
DE BALIE TUSCHINSKI 6 DE BALIE
19:30
Nicole Nielsen Horanyi
22:15
Followed by an in-depth interview with Akram Zaatari by Orwa Nyrabia about memory and image of the Arab World.
Best of Fests, 80’
The Stranger
22:00
Akram Zaatari
Joakim Demmer
19:00
21:30
21:45
One Day in Aleppo
Maasja Ooms
The Call
Kids & Docs, IDFA Junior, 5’
Ouaga Girls
VPRO Extra: Alicia
Industry & Press screening:
Masters, 100’
18:00
13:30
+ Doc Talk House in the Fields
Masters, 52’
16:15
Barbet Schroeder
Willem Baptist
First Appearance Competition, 18:00 Dutch Competition, 91’
Best of Fests, 89’
Masters, 91’
The Lonely Battle of Thomas Reid
17:15
Rupert Russell
Erik Gandini
The Rebel Surgeon
In the Intense Now
Shifting Perspectives, 38’
12:30
Short Competition, 7’
14:45
Kids & Docs, 83’
This film is subtitled in English and will be dubbed in Dutch live during this screening.
Industry The Work & Press screening: Jarius McLeary Primas Best of Fests Laura Bari, 87’
13:00
14:00
Tongue Cutters
+ Doc Talk On Photography, Dispossession and Times of Struggle
Solveig Melkeraaen
12:00
TUSCHINSKI 5 KLEINE KOMEDIE KLEINE KOMEDIE 10:30
11:00
Feature-Length Competition, 95’
Philip Gröning
4 2
Frederick Wiseman
11:00
Mid-Length Competition, 63’
EYE TUSCHINSKI CINEMA
12:30
Beuys
Andres Veiel Masters, 107’
13:30
The Dead Nation
The annual DocLab Interactive Conference brings together digital pioneers, artists and thinkers for a day full of inspiring presentations, visions of the future and audience experiments. 12:00 Anagram, Paisley Featuring Smith (Homestay), Memo Spielberg Akten, Puckey Susan Jonathan Lacy (Dance Tonite), Best of Fests , 147’ Micha Wertheim (Somewhere Else), Yasmin Elayat (Scatter), The Smartphone Orchestra, Jonathan Harris, Lauren McCarthy and food artist Emilie Baltz.
Radu Jude Masters, 83’
14:15
Live Stream of the annual DocLab Interactive Conference, which brings together digital pioneers, artists and thinkers for a day full of inspiring presentations, visions of the future and audience experiments. Featuring Anagram, Paisley Smith (Homestay), Memo Akten, Jonathan 12:45 Puckey (Dance Tonite), Micha Wertheim In Praise ofElse), Nothing (Somewhere Yasmin Boris Mitic Elayat (Scatter), The Masters, 78’ Smartphone Orchestra, Jonathan Harris, Lauren McCarthy and food artist Emilie Baltz. Open for IDFA passholders only.
+ Doc Talk Time Trial
Finlay Pretsell
Feature-Length Competition, 81’
A portrait of road racing cyclist David Millar, followed by an in-depth conversation between Jørgen Leth, Mart Smeets, director Finlay 16:00 and Millar himself. Pretsell
15:00
Whose Streets? Damon Davis, Sabaah Folayan Best of Fests, 144’
15:15 15:30
Faces Places
Agnès Varda, JR Masters, 100’
So Help Me God
Intent to Destroy: Death, Denial & Depiction Joe Berlinger Masters, 115’
Jean Libon, Yves Hinant Best of Fests, 99’
+ Doc Talk Jane
Brett Morgen Masters, 90’
Ramen Heads Koki Shigeno
19:00
19:00 Best of Fests, 93’
Stefanie Brockhaus, Andy Wolff
Denise Janzee
The Poetess Best of Fests, 90’
Risk
Laura Poitras Masters, 92’
The Prince and the Dybbuk Best of Fests, 82’
Dutch Competition, 89’
DocLab: Uncharted Rituals & Jonathan Harris Retrospective
The DocLab: Uncharted Rituals exhibition presents the latest and best interactive documentaries, games and audio experiences. Immerse yourself in the VR Cinema, play with bizarre 12:15 AI experiments or go completely offline with Taste of Cement internet pioneer and Top 10 Ziad Kalthoum curator Jonathan Harris.
Industry & Press screening:
The Call
Enrico Maisto
Mid-Length Competition, 57’
19:00 19:45
The Interior City
On site reservation may be required and some installations have varying opening hours: VR Cinema {The And} VR Bloodless The Last Chair 14:45 Limbo In theDreams Intense Now Potato João Salles A ThinMoreira Black Line Masters, 127’ 11:00 - 21:00 Physical Installations The Cave Dance Tonite Greenland Melting Homestay 11:00 - 21:00
Guided Tourin True Love Free toursTextil daily at 15:30 Pueblo Horatio Baltz Available on your Kids & Docs, IDFA Junior, Phone: 5’ www.veryveryshort.com Ouaga Girls www.botstory.net Theresa Traore Dahlberg www.burymemylove.com Best of Fests, 83’
20:30
Ai Weiwei
Masters, 140’
21:00
Quest
Jonathan Olshefski
21:30 Best of Fests, 105’
Independent Boy Vincent Boy Kars
Dutch Competition, 90’
Clive 20:45Davis: The Soundtrack of Trophy Our ShaulLives Schwarz Chris Best of Perkel Fests, 108’
Music Documentary, 123’
DocLab Live: Somewhere Else
A screening of the experiment with which Micha Wertheim rewrote theatre 21:00 history—he wasn’t present on stage,–but was somewhere Muhi Generally else. Followed by a Q&A. Temporary Rina CastelnuovoHollander, Tamir Elterman
20:30
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
1
M o
M Ju
M
Iso Luengo, Jorge Moneo
20:00 Quintana, Andrea
Ballesteros i Beato
Student Competition, 25’
Last Days in Shibati Hendrick Dusollier
Mid-Length Competition, 60’
21:00
2
T
N
Pa
22:15 22:00
Makala
Emmanuel Gras Best of Fests, 97’
DE MUNT
10:00 10:00
11:00 11:00
12:00 12:00
Best of Fests, Camera in Focus, 85’
Opening hours: 9:00 – 23:00
20:00
+ Introduction Human Flow
Masters, 74’
18:30
Elwira Niewiera, Piotr Rosolowski
My Name Is Nobody
20:00
This screening of Ai Weiwei’s view of the global refugee crisis features an poetic 21:30introduction by Dutch poet Ester Naomi Devil’s Freedom Perquin. Everardo González
BRAKKE BRAKKE GROND GROND DE MUNT 13 EXHIBITIONS EXHIBITIONS 9:00
18:00
18:15 18:30
T
18:15 18:00
24:00
AR & Audiowalks I Swear To Tell The Truth It Must Have Been Dark By Then 11:00 - 21:00 Patent Alert 11:00 - 15:30
17:00
A portrait of Jane Goodall, followed by an in-depth conversation between Dutch World Wildlife Fund ambassador Humberto Tan and director Brett Morgen.
1
D
1:00
10:00
A m M W m
V
21:45
Klaudiusz Chrostowski
DEDE TUSCHINSKI MUNT MUNT13132
D
Industry & Press screening:
Student Competition, 64’
DEDE MUNT MUNT1312
M
16:15 16:00
23:00
WOENSDAG 15 NOVEMBER
V A
Willem Baptist
20:45
Paradocs, 20’
Primas
Instant Dreams
Marta Prus
Masters , 74’ Lou Colpe
Last Days in Shibati
Hendrick Dusollier
Industry & Press screening:
Happy Winter
20:45
If You Were Devil’s Freedom in Everardo González My Pictures
Industry & Press screening: 12:00
Feargal Ward
19:15
Best of Fests, 90’
21:30
Industry & Press screening:
17:15
Best of Fests, 93’
Greg Barker
Kids & Docs 3
F
11:00
15:45
Mid-Length Competition, 60’
A Murder in Mansfield
Barbara Kopple
19:00
Masters, 127’
17:00
Kids & Docs 2
Compilation program of youth documentaries. With: A Butcher’s Heart, Kids on the Silk Road: Music in My Blood, True Love in Pueblo Textil, Andy’s Promise, the Monsoonshow, 74’. Films in this program are English spoken or have English subtitles.
Intent to Destroy: Death, Denial & Depiction
Sand and Blood
Best of Fests, 94’
Music Documentary, 83’
Call Me Tony
23:00
22:15
Faces Places 15:45
Dorottya Zurbó, Arun Bhattarai
So Help Me God
Tony Zierra
Compilation program of youth documentaries. With: Sulukule mon amour, Apollo Javakheti, Kojo, Kids on the Silk Road: Life Is a Beach, Volte, 85’. Films in this program are English spoken or have English subtitles.
Love Letters
Best of Fests, 144’
15:30
First Appearance Competition, 74’
19:45
The Lonely Distant Constellation Battle Shevaun Mizrahi of Thomas Reid
Damon Marco Niemeijer Davis, Sabaah Folayan Dutch Competition , 72’
João Moreira Salles
15:15
16:30 Best of Fests, 99’
18:00
Eric Caravaca Joakim Demmer
Whose GardenStreets? of Life
Mid-Length Competition, 62’
Short Competition, 17’
Dead Donkeys Plot 35 Fear No Hyenas
15:00
Jean Libon, Yves Hinant
Samuel Albaric, Martin
Wiklund, Ulysse Lefort 18:15
Toia Bonino Masters , 80’
In the Intense Now
Agnès Varda, JR The Next Guardian Masters, 100’
17:00 17:30
14:45
16:00
Filmworker
The Deminer
Mid-Length Competition, 63’
M
Industry & Press screening:
See You Tomorrow, God Willing! Ainara Vera
First Appearance Competition, 81’
Laurent Van Lancker
Y
Feature-Length Competition, 89’
Bernadett Tuza-Ritter
14:15 14:00
Marian Mayland
Kalès
1
A Woman Captured
Dutch Competition, 93’
A Bar on Majorca Paradocs, 16’
13
Simonka de Jong
14:15
Before Summer Ends
DE MUNT
10:00
Industry & Press screening: E 10:00
12:00
Spielberg
12:15
The Dead Nation
14:30
Egil Håskjold Larsen
22:00
Rezo
DECARRÉ MUNT
10:00
Masters, 83’
Feature-Length Competition, 89’
Jessica Gorter
Erik Holmström, Fredrik Wenzel
Short Competition, 28’
Best of Fests, 90’
11 10
As We’re Told
Radu Jude
21:45
00 True Love in
0
12:30
20:00
69 Minutes of 86 Days
Masters, 83’
Greg Barker
Ask the Sexpert
20:00
Best of Fests, 71’ 20:45
00
00
The Jewish 12:30 Underground Freedom for the Wolf Shai Gal
A Woman Captured 20:00
The Final Year
Mikala Krogh
DE MUNT
10:15
12:00
Industry & Press screening:
19:30
1:00
0
12:00
19:00
Best of Fests, 83’
10:30
A Year of Hope
DE MUNT 9 10 KETELHUIS
Mid-Length Competition, 63’
Best of of Fests Fests,, 67’ Best 80’
0
g 0
Phie Ambo
MELKWEG DE MUNT TUSCHINSKI 96 10:00 RABOZAAL
Leo Gabriadze
First Appearance Competition, 91’ Rupert Russell Best of Fests, 89’
Feature-Length Competition, 95’
Horatio Baltz
... When You Look Away
GROTE ZAAL
Masters, 52’
Hogir Hirori, 17:45 Shinwar Kamal
Golden Dawn Girls
10:15
TUSCHINSKI 6 5 DE BALIE
Erik Gandini
Barbet Schroeder
18:00
5 4
Masters, 80’
The Rebel Surgeon
17:15
Masters, 100’
24:00
00
A feel-good documentary about ‘Nothing,’ followed by an in-depth conversation between IDFA 2017 artistic director Barbara Visser and filmmaker Boris Mitic.
17:15
The Venerable W.
TUSCHINSKI
KLEINE KOMEDIE
Masters, 78’
Barbara Kopple Screening Masters , 91’ followed by an in-depth conversation between historian and journalist Raymond van den Boogaard, director Jaap van Hoewijk and Piets sister Toos Beentjes.
16:00
00
0
First Appearance Competition, 85’
Jessica Beshir
Masters , 168’ Michael Glawogger,
In the Intense Now
0
put oene
Mindaugas Survila
Short Competition, 7’
00
Day
4 3
Boris Mitic
Hairat
an
00
+ Doc Talk In Praise of Nothing
13:00
13:00
00 True Love in
0
TUSCHINSKI
10:00
The Ancient Woods
10:30
Best of Fests, Camera in Focus, 85’
0
00
3 2
Best of Fests, 87’
Ziad Kalthoum
00
0
TUSCHINSKI
Industry & Press screening:
Feature-Length Competition, Dutch Competition, 115’
00
0
12
10:00
0
00
WOENSDAG 15 NOVEMBER
13:00 13:00
14:00 14:00
15:00 15:00
16:00 16:00
17:00 17:00
18:00 18:00
19:00 19:00
20:00 20:00
21:00 21:00
Best of Fests, 87’
22:00 22:00
0
23:00
23:00 23:00
00
24:00
24:00 24:00
0
1:00
1:00 1:00
13