International Section 20/21 nov 2017
ON: #IDFA2017
FOLLOW THE DISCUSSI
Ally Derks surrounded by well-wi shers at the lunch on Saturday
Forum turns 25 Maite Alberdi, Victor Kossakovsky and Brett Gaylor are among the directors presenting upcoming documentary projects at IDFA’s Forum, which kicks off on Monday. By Melanie Goodfellow
The 25th edition of IDFA’s benchmark co-financing event starts on Monday, showcasing 58 projects from 23 countries, spanning feature-length creative documentary projects to digital and virtual reality works. Looking back over its 25-year history, IDFA Industry chief Adriek van Nieuwenhuijzen highlights how much documentary financing has changed since the first edition in 1993. Key event “When the event was first launched, raising a budget across multiple territories was rare – today it’s the norm,” she says. “That first edition was also the first time many of the commissioning editors from the different European state broadcasters present had ever met.” Attendance has since widened to include US networks, funds and foundations such as The Ford Foundation, Impact Partners and, for the first time this year, the Catapult Film Fund, as well as big digital players Netflix and Amazon. The Forum’s reputation as a key funding event has continued to grow, as has the number of submissions. “We got close to 700 submissions this year, and the overall quality was good. It’s a huge number. I looked at the statistics, and ten years ago it was not even a third of that”, says Van Nieuwenhuijzen. Award-winners As ever, the selection includes a number of new projects from award-winning IDFA regulars such as Maite Alberdi and Victor Kossakovsky. Alberdi will present The Mole Agent, her fourth film following the award-winning The Grown-Ups and Tea Photo: Felix Kalkman
Time. Using her trademark observational approach, Alberdi follows a real-life investigation into cruelty in an old people’s home, employing a lonely octogenarian who is trained to go undercover. “You can really see she is growing as a filmmaker and taking her films to the next level in terms of how she can use the genre to tell her stories”, says Van Nieuwenhuijzen. Kossakovsky will unveil a first trailer for his long-gestating project Krogufant, exploring the emotional intelligence of the domestic animals that generally end up on our plates, such as pigs, cows and hens. “The trailer is amazing. He wants to say something very important about what is happening in the world but in this unique, artistic Victor Kossakovsky way”, Van Nieuwenhuijzen adds.
about a young Norwegian woman suffering from a severe form of anorexia who finds solace and meaning in photography. “It captures her struggle with the disease and how she heals herself by taking up photography, and at the same time shows her unique and powerful work. It touches on social issues, but also on art and photography. It was submitted for the Arts & Culture category but we’ve included it as a Central Pitch.” “This was also the case for Journey to the Morganland. It’s about music and artists, but it is also about refugees and people living in exile”, she adds, referring to Frank Scheffer’s portrait of Syrian composer and clarinettist Kinan Azmeh as he explores his musical roots through collaborations with other exiled artists.
Cross-media Beyond the established feature-length film directors, this year’s selection includes a number of cross-media projects. “Every year we get more and more strong crossmedia projects, which is normal because there is so much going on in that arena and more and more people are beginning to work in it”, Van Nieuwenhuijzen stresses. “These projects are becoming more sophisticated as that sector matures and moves on from being purely experimental. It has gone beyond focusing on how to use new techniques to really focusing on the storytelling, to really address issues or explore reality in a different way.” Three cross-media projects will be presented in the Central Pitch sessions this year, including visual artist Meghna Singh’s multisensory VR work Container, exploring the complex issue of mass migration, and Brett Gaylor’s cross-platform documentary The Internet of Shit, looking at the implications of our increasingly wired lives. Another seven cross-media projects will be unveiled in the Round Table pitches.
Global South Van Nieuwenhuijzen also highlights the fact the selection committee has also upped its efforts to include projects from the Global South, even if they do not always have national funding in place. “We don’t want to focus only on filmmakers from North America and Europe. We’ve really worked hard to get projects from the Global South to this platform”, she says.
Art projects Another trend this year, notes Van Nieuwenhuijzen, was the wealth of strong art projects with potential to play outside of traditional art and culture strands, including The Self Portrait,
Among these is Sushmit Ghosh and Rintu Thomas’s Writing with Fire, about a digital news agency run entirely by rural women belonging to India’s Dalit or ‘untouchable’ community. “It’s an amazing project, which is supported by the Bertha Fund. There’s also Aswang from the Philippines, capturing the present state of society there under [President] Duterte. It is highly political, but at the same time it’s a human story and I really believe they can make a cinematic work out of it.” “It can be hard for these projects; they do not have backing from local funds because these don’t exist, but I really think that because of that we have to make sure we help to get these stories out there. It’s up to the funders to work with these people. We’re seeing more and more producers from the US and Europe doing this because they recognise the importance of these films.”
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Norwegian Trinity Three into one goes when it comes to Norwegian docs, as evidenced by the launch of UpNorth Film, a merger of established production houses Gammaglimt, Faction Film and Volt Film. “We really think we will be stronger together because we can share our capacities and our network and all the creative aspects,” comments producer Christian Falch, formerly of Gammaglimt. competition is of course fierce, but there is money to be found; we would never survive, or even exist, without the Norwegian funding system,” continues Falch. “By creating this new company we also have the international financiers in mind and hope that this strong team of producers and directors, and our combined track records, will make it a little easier to access international funding as well.” Falch also says that the company is looking to establish a board of consultants from across the doc industry to advise Norwegian and international documentarians on all aspects of the sector.
Jonathan Borge Lie, Håvard Bustnes, Torstein Parelius, Tonje Hessen Schei, Christian Falch “We are three producers and two directors and three other employees, so a lot of creative, hardworking, inspiring people. Our ambition is to make more and better films, raise more money and become even better at launching and distributing our films, because our philosophy is that we are stronger together,” he continues. The other partners
are director Håvard Bustnes (formerly Faction Film), Volt Film’s Tonje Hessen Schei and Jonathan Borge Lie, and Torstein Parelius from Gammaglimt. Falch produced Bustnes’ Golden Dawn Girls which screens in this year’s Feature-Length Competition. “We are very fortunate in Norway having a good financial system for documentaries. The
Dogwoof deals With IDFA in full swing and the Forum kicking off on Monday, UK-based documentary sales specialist Dogwoof has announced a series of deals for its current slate. Winner of SXSW’s Grand Jury Documentary Award and selected in IDFA, critically acclaimed The Work by Jairus McLeary and Gethin Aldous went to SVT (Sweden), VPRO (the Netherlands) and Movistar (Spain). The Work follows a four-day intensive group therapy session inside the notorious Folsom Prison. Previously announced sales include DR, NRK, BBC and IPBC. Premiering in Venice and playing at IDFA, Daniel McCabe’s This Is Congo is an intimate, unfiltered look inside the Democratic Republic. Buyers in Germany, Switzerland, Belgium, Canada and the US are circling the film, which has already been sold to NRK (Norway) and BBC in the UK. Australian box-office smash Mountain sold to Cinemien (Benelux), Kinosmith (Canada), Tomorrow Films (Japan), NEO Films (Greece) and Russia Report (CIS) – all are expected to release theatrically in 2018. A UK Dogwoof theatrical release is set for 15 December, with DCM in Germany and Switzerland scheduled for the end of November.
Meanwhile, Norwegian producer Ingrid Lill Høgtun explained her reasons for co-producing IDFA opener All About Amal. The film received support of 350,000 NOK (€37,000) from the Norwegian Sørfond. “We are very happy to be aboard this documentary. I have been following it for some years, from when the director was doing it all by himself, but immediately when he pitched it to me I saw the potential and thought it was great and a very necessary documentary today too, because of the polarisation in this world between Muslins and non-Muslims, and here we have [the character] Amal, who embraces us all.” By Nick Cunningham
Dogwoof is currently in talks with all rights buyers in South Korea, China and other European distributors. Narrated by Willem Dafoe, Mountain is a cinematic and musical collaboration between the Australian Chamber Orchestra and BAFTA®-nominated director Jennifer Peedom. Ramona Diaz’s Motherland went to SVT (Sweden) and SRF (Switzerland), in addition to previously announced sales to ARTE/ZDF (Germany and France), VRT (Belgium) and EER (Estonia). Winner of World Cinema Documentary Special Jury Award for Commanding Vision at Sundance 2017, Motherland is an immersive look inside the world’s busiest maternity hospital in the Philippines. Family study The Family I Had by Katie Green and Carlye Rubin made its world premiere in Tribeca and was the first recipient of Dogwoof’s TDog production fund. It tells the story of a 13-year-old boy who kills his three-year-old sister. The Family I Had has now been taken by Medialaan (Belgium). As well as taking The Work, Movistar (Spain) snapped up an additional three titles from the Dogwoof slate: DOC NYC’s Grand Jury Prize winner Antonio Lopez 1970: Sex, Fashion & Disco by James Crump, also screening at IDFA; Sundance Grand Jury Doc Winner Dina by Dan Sickles and Antonio Santini; and Lori Kaye’s Kevyn Aucoin, a portrait of iconic makeup artist Kevyn Aucoin, who emerged from a troubled childhood to become the most in-demand celebrity and fashion make-up artist. By Geoffrey Macnab
What has changed now is the emphasis the company places on docs. “What we are now doing more systematically is continuing this line of niche documentaries that have worked well for us,” Saura explains. “We are doing it more concentratedly, and with more titles.” Latido has come to IDFA with several
titles to present to buyers, both in official selection and in Docs for Sale. These include the music film Chavela, about flamboyant singer Chavela Vargas, one of whose biggest admirers is Pedro Almodóvar. Also on Latido’s Amsterdam slate is sports film Maracanazo: The Football Legend, about the gut-wrenching defeat the Brazilian football team experienced in the final of the 1950 World Cup in front of 125,000 Brazil fans in its home stadium, The Maracana, at the hands of Uruguay. Also on the slate is Carlos Saura’s J: Beyond Flamenco and highbrow arts doc Bosch, The Garden of Dreams. Its upcoming titles include Altamira: The Dawn of Art and El Mejor Sommelier Del Mundo. “We really don’t see the difference in terms of looking for quality between a documentary and a fiction movie,” Saura says. “What we are seeing is documentary bringing to the table things that are as fascinating, or more so, as some of the fiction work.” Thus far, Latido hasn’t explored political docs on subjects such as migration and racism.
First Hand Films has arrived at IDFA ready to launch an epic Hitler documentary (The Hitler Chronicles), a film about breasts (The Boob Show) and a new project about ’80s Norwegian pop sensations A-Ha (A-Ha The Film).
See You Tomorrow, God Willing The Hitler Chronicles, directed by Hermann Pölking-Eiken and produced by Thorsten Pollfuß for Epoche Media Production, “relates the life of Adolf Hitler as it interacts with and responds to Austrian and German society as well as the national and international political trends and events during the first half of the twentieth century.” Company CEO Esther van Messel bills the archive-driven project as “an incredible piece of research. More than 30% of this has never been seen before.” “We are just launching it now. We haven’t signed any contracts yet. No rights have been given away yet,” Van Messel says. There are several different versions of the project – a seven-anda-half-hour festival version, a three-hour theatrical version and TV mini-series versions in 4 or 13 parts. First Hand Films is launching the film here in Amsterdam and will start taking concrete offers after IDFA.
Primas
Instead, it is focusing primarily on art, culinary and sports docs. Saura says it’s important for sales agents to provide new titles if they want to keep distributors’ attention. “Buyers get bored of seeing the same product. If they have seen you in Cannes or at MIP, they don’t want you to come back with the same product at another market.” After IDFA, Latido will be heading off to Ventana Sur in Argentina, a key market for Latin American buyers (many of them looking for docs). Other markets like AFM and Berlin are also screening more and more documentaries. Certain market truths still apply. Pre-sales are “very difficult” on documentaries unless you have a big event movie or an Englishlanguage film on a ‘hot topic’. Some distributors still see docs as a form better suited for TV than for cinema. Nonetheless, as Latido’s presence at IDFA attests, even the most prominent sales agents are now taking documentary much more seriously.
In complete contrast to The Hitler Chronicles is Allah In Europe, Jan Leyers’ new 8 x 42 min documentary series about the future of Islam in Europe. The Boob Show, formerly known as The Weight of Breasts, sees Swiss-based American director Kristin Vermilyea confronting breast reduction surgery – and asking what big breasts mean and why people are so obsessed with their bodies. Van Messel is one of the producers on the film, now close to completion and supported by Swiss TV and ARTE. A-Ha The Film will tell the inside story of the Norwegian band who achieved their childhood dreams but then suffered a backlash. It is being produced by Motlys. The directors are Thomas Robsahm and Aslaug Holm. First Hand also has several titles in official selection, among them Laura Bari’s harrowing competition entry Primas, about two teenage girls who suffered horrific sexual abuse, and Mid-Length Competition entry See You Tomorrow, God Willing!, a lighter doc about seventeen elderly nuns roaming the shadowy halls of their convent. “It’s not so [much] about nuns and a monastery and God. It looks a little bit like when you come to the First Hand Films office and there is a bunch of women bickering and making jokes,” Van Messel quips. “When you watch Primas, you cry and you get very emotional. When you watch See You Tomorrow, you just laugh.” Another First Hand project is Cucina Povera, a new documentary from Anemon Production in Greece about the much-vaunted Mediterranean diet, which explains that this is a “diet of poverty” and comes from “the fact they just didn’t have better food.” On the Swiss theatrical distribution side, First Hand is to release Cern and the Sense of Beauty, about attempts to bring scientists together with artists at the research centre where the Large Hadron Collider is housed. The company has also recently released Laura Poitras’ Julian Assange doc, Risk.
By Geoffrey Macnab
By Geoffrey Macnab
Latido: serious about docs Since it was set up in 2003, leading Spanish sales outfit Latido has always handled some documentaries alongside its many dramatic features. Its non-fiction successes have included culinary film (and former IDFA selection) The Chicken, The Fish And The King Crab, about Spanish Master Chef Jesúse Almagro’s attempts to win a prestigious cooking competition, and Under the Shadow of the Cross, about Franco’s legacy in Spain. Several of these docs were produced by Antonio Saura (son of Carlos Saura, who now heads up Latido).
First Hand launches
Chavela
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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
Le joli mai
Tokyo-Ga
camera in focus IDFA’s Camera in Focus programme puts the camera front and centre By Geoffrey Macnab It’s a fundamental part of the documenfeaturing street interviews with passers-by. tary process, but rarely acknowledged as Pirjo Arrate Honkasalo will present herBram feature Isabel Fernandez Photo: Belloni such. This is why this year IDFA is putting the Atman (1996), which she shot on 35mm film emphasis firmly back on cinematography in its in extraordinarily tough conditions India. Camera in Focus programme: the latest in the Wolfgang Thaler is introducing Whores’ festival’s series of craft-based programmes Glory, which he shot for Michael Glawogger that began two years ago with sound and last and which shows the lives of prostitutes in year foregrounded editing. The programme brothels in Thailand, Mexico and Bangladesh. includes 10 films – five contemporary docu“It’s very, very slippery to make a film about mentaries and five ‘classics’. prostitutes,” says Van Halsema. “It can get The way documentaries are shot has changed sensationalist very, very easily,” agrees immeasurably since Robert Flaherty made Daamen. “It’s a thin line, but this film always Nanook of the North and had to saw an igloo in stays on the right side.” half because his bulky equipment wouldn’t fit inside. The emergence of lightweight cameras D.A. Pennebaker and Chris Hegedus will show over the last 60 years has transformed and their little-seen Depeche Mode: 101 (1989), liberated documentary making, enabling filmwhich follows ‘80s Essex pop band Depeche makers to go out onto the streets and to shoot Mode on tour. IDFA chose this rather than everyday life without having to haul enormous a more obvious title, such as Pennebaker’s cables and lighting rigs behind them. celebrated Bob Dylan film, Don’t Look Back. “What we wanted from the start was to show “Depeche Mode asked them to do a film like all the different types of camerawork in Don’t Look Back,” Van Halsema points out. documentary,” says senior programmer Laura This may have been a different band and a van Halsema, who oversees the programme different era, but it was made in Pennebaker’s alongside Joost Daamen. In every case, the trademark style. Like the Bob Dylan film, it programmers were determined the cinetranscended the conventions of the tradimatographer would be present to talk about tional music doc. his or her work. 89-year-old cinematograThe fifth classic documentary is Wim pher Pierre Lhomme, was in Amsterdam this Wenders’ Tokyo-Ga (1985), which will be weekend to present Le joli mai (1963), which presented by its cinematographer, Ed he made with Chris Marker. A ground-breaking Lachman. “This film is really about finding film, a symphony of a city, shot in Paris just images – the lost images of Ozu in this case”, as the Algerian war ended; made with a Van Halsema says of the documentary in lightweight camera using synched sound and which Wenders and Lachman wander the
streets of Tokyo, looking for traces and echoes from the work of great Japanese director Yasujirō Ozu. Complementing the five classics are an equal number of newer films. Georgian director Rati Oneli’s City of the Sun, shot by Arseni Khachaturan, is set in a run-down mining town where the locals eke out an existence. “We loved that film when we saw it at the beginning of the year in Berlin. It was an obvious choice”, says Daamen. Tala Hadid’s House in the Fields is set in a “closed” community in the Atlas mountains of Morocco. “The way she shot this was very much in the tradition of Jean Rouch”, Van Halsema suggests of the cinematographer/director’s anthropological approach. “At the same time, it’s a portrait of two sisters. She is mixing styles.” Serbian director Mila Turajlic’s The Other Side of Everything (competing in the FeatureLength Competition) is another Full Focus section. “One of the reasons it is so interesting visually is that it contains so much information,” Van Halsema says of Turajlic’s chamber piece, set almost entirely inside a Belgrade apartment, focusing on the director’s mother but also touching on convulsive moments in Balkan history and politics. As Daamen observes, it’s a deceptive affair which looks easy to shoot but is actually subtle and multi-layered. Rounding off the selection, Manuel Abramovich presents his film Soldier (2017) and Talal Khoury will introduce Taste of Cement (2017).
Lhomme went on to shoot films for Robert Bresson, Jean-Pierre Melville, Jean Eustache, Jean-Paul Rappeneau and James Ivory, among others, but he holds his work on Le joli mai (screening in Camera In Focus) in special esteem. The film was made on the streets of Paris using a new lightweight camera. “People were very at ease with us and the camera”, Lhomme says of the way passers-by on the streets opened up to them. The camera was a KMT Coutant-Mathot Éclair prototype. Two models had been made. One was used by Jean Rouch, the other by Marker and Lhomme. The camera wasn’t as light as all that. Once you’d held it on your shoulder for ten minutes, it felt very heavy. Nonetheless, it was easy to use with portable sound equipment. “We were not used to endless shots. When you film without sound, all the shots are more or less short, but with the sound, you don’t feel any reason to stop, so you go to the end of the reel.” Before this camera became available to him, Lhomme had been using the CamiFlex. “It was not a silent camera. It was a very good camera, but very noisy.” There would have been no way to shoot Le
Passion produces Prolific British documentary producer John Battsek of Passion Pictures (the outfit behind Searching for Sugar Man and One Day in September) has revealed further details of the company’s forthcoming Judy Garland documentary, being made for Showtime and NBC Universal. The Garland doc, three-quarters finished, is likely to appear in advance of the recently announced biopic about Garland in which Renee Zellweger will play the troubled singer and Wizard of Oz star. “I think it will end up being the whole [Garland] story”, Battsek says of the doc, which will look in detail at Garland’s marriage to her third husband, Sid Luft. Passion Pictures is also midway through its long-gestating John Belushi documentary and is close to finishing its film about notoriously decadent New York night spot, Studio 54, which is being directed by Matt Tyrnauer. Another Passion project close to completion is Lorna Tucker’s Westwood, about celebrated British fashion designer Vivienne Westwood, who is credited alongside her ex-partner and Sex Pistols manager, Malcolm McLaren, with igniting the punk movement. Dogwoof is handling sales on the film. Here at IDFA, Battsek’s documentary, Eric Clapton: Life in 12 Bars, is screening in Music Documentary. The film is directed by Lili Fini Zanuck (producer of Driving Miss Daisy and Cocoon). “Out of the blue, she [Zanuck] contacted me to see if I would be interested in producing the film for her. It came with Lili, with Eric and fully financed”, Battsek says.
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Shooting from the shoulder
Legendary cinematographer Pierre Lhomme was at IDFA this weekend to accompany the screening of Le joli mai (1963), the documentary he co-directed with Chris Marker. By Geoffrey Macnab
House in the Fields
Eric Clapton: Life in 12 Bars
Pierre Lhomme Photo: Felix Kalkman joli mai in the fluid, freewheeling fashion it was if he and Marker had been forced to use such a camera. A lingering regret more than 50 years on is that so much of the material he shot for Le joli mai that wasn’t included in the final cut has been lost. “We had approximately fifty hours of rushes and the film is two hours and forty-five minutes. It was extremely painful, the editing. We had the material to make different films.”
Zanuck had seen Battsek’s BAFTA-nominated Marlon Brando doc Listen to Me Marlon, directed by Stevan Riley. She showed this to Clapton, who liked it as much as she did. The Clapton film has been acquired by UK distributor and sales agents Altitude (the outfit which also released Amy), who will be giving it a major release in Britain in January. The US release is being handled by Showtime. Another Passion Pictures project, Greg Barker’s The Final Year, is also screening at IDFA. The film, following the final year of Barack Obama’s presidency, premiered in Toronto. It will be released by Magnolia in the US and by Dogwoof in the UK on January 19th, a year on from the inauguration of Donald Trump. Battsek was at IDFA earlier this week to give an industry talk on the state of documentary production. “It’s not a new world of plenty, but it’s definitely a world of more than previously – there are more people in the business of financing feature docs than ever, that’s for sure”, the Passion Pictures exec reflects on the current climate for doc production. He cited US-based companies like Showtime, Hulu, Apple, Amazon, Facebook and Netflix as among the aggressive new (or newish) players with significant “aspirations in the doc space.” By Geoffrey Macnab
There were magical sequences that Lhomme shot in a taxi as the driver went about his business in Paris. “We had hours of discussion between the taxi driver and the people he met, but it was not used unfortunately”, he laments. Making Le joli mai taught the filmmakers new lessons about Paris and its inhabitants. They had no preconceived ideas about what they would shoot. “Every evening, when we were speaking about the day’s work, we were amazed at what we had discovered about the Parisians. They were free to speak … we had the feeling that the conversation was going on in a very honest way and that people were not over-acting for us”, Lhomme says.
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The Final Year
5
The Dutch Collective Management Organisation (CMO) for film and television directors.
Dutch Collective Management Organisation (CMO) for film and television directors. is proud sponsor of
IDFAcademy.
The talent development program for emerging documentary filmmakers www.vevam.org
is proud sponsor of
Dutch Collective Management Organisation (CMO) television directors. TheThe Dutch Collective Management Organisation (CMO) for for filmfilm andand television directors.
IDFAcademy.
un film de / a film by laura bari
is proud sponsor is proud sponsor of of
alent development programIDFAcademy. for emerging documentary filmmakers IDFAcademy. IDFA /
The talent development program emerging documentary filmmakers The talent development program forfor emerging documentary filmmakers www.vevam.org www.vevam.org
Screening times
Munt 9 11 / 17 Tuschinski 2 11 / 20 www.vevam.org Brakke Grond Expozaal 11 / 24 Munt 10 11 / 25 Tuschinski 5 11 / 26
19h45 13h15 17h45 15h00 14h30
THE NETHERLANDS AUDIOVISUAL ARCHIVE Beeld en Geluid IDFA Award for Dutch Documentary 2017
Stripping Back Reality
Second sight
Canadian film and virtual reality director Paisley Smith’s Homestay, which is one of the VR installations in IDFA’s DocLab exhibition this year, is a textbook example of how so often in documentary less means more.
Nanfu Wang tackles China’s one child policy
Paisley Smith Photo: Nichon Glerum At the heart of the virtual story is the tragic tale of a Japanese international student Taro who committed suicide while he was a long-term homestay guest at Smith’s home. Homestay recounts the events surrounding his death, at that the same time as exploring the sorrow and bafflement of her and her family as they try to fathom why he took his life as well as why they failed to spot the signs – that he was not waving but drowning. Smith has created a meditative work in which she recounts the story against a simple linear VR representation of the Nitobe Memorial Garden in Vancouver, modelled on a
traditional Japanese garden. The project grew out of Smith’s experiences working with VR pioneer and guru Nonny de la Pena at the Los Angeles-based Emblematic Group while she was a student at USC. “Working with Nonny, I really got an understanding of the medium. We would travel a lot, showing pieces, running people through and giving them a blurb about what to experience and when they came out having these really amazing conversations. “What I found to be the most interesting part was not how people interact with the technology but when they come out of it and
Gravitational pull “IDFA is to a certain extent responsible for the foundation of the Docs Against Gravity Festival,” underlines festival director Artur Liebhart. “I visited IDFA in 2002 and 2003 as a cinephile with two university degrees and a strong background in PR & marketing. After that injection of IDFA energy I decided to establish the documentary film festival in 2004 in Poland with a focus on audience building and a distribution of documentaries all year round.”
Hedda van Gennep On Friday, 17 November, filmmaker Hedda van Gennep (1929) passed away. Involved with film all her life, Hedda served on the first ever IDFA jury and was closely involved with the festival. Festival founder Ally Derks described her as “a strong, stubborn, sweet woman. Always fighting for women’s rights. I’ll miss her.” As will everyone at IDFA.
had just experienced something, physically and emotionally, and just wanted to have a conversation. “That’s something that has always been a spark for me. As an artist you’re looking for those moments where people connect and want to have conversations. That’s what got me excited about the medium.” Smith admits it took her time to decide to tell the story in VR and then to develop the stripped-down structure of the work. “I knew I wanted to tell the story and work in VR, although it didn’t urgently start in that way. I thought maybe it would make a film or a graphic novel exploring the idea of being an exchange student in my family as a concept. But Taro, who I explore in the story, loved video games so in a way it was a natural way of honouring him. He would have loved to have explored VR and unfortunately he never got to try it, which I found a little sad. But on top of that, it was an amazing way to explore emotion and storytelling in a way that I had not seen before,” says Smith, who also cites the personal work of VR director Oscar Raby as a source of inspiration. Putting the viewer in an alienating linear setting, adds Smith, is also a way of capturing the destabilising experience of having to navigate a new culture as an international student living away from home. “For me, one of the other interesting things about VR is that it allows you to explore new worlds and to put the audience in a place they don’t know,” she says. “In this way, the piece is sort of an homage to the experiences of an international exchange student.” By Melanie Goodfellow
The Long Season
Liebhart adds how sales companies such as Films Transit helped greatly during “that heroic period”, but that IDFA remains the main hunting ground for festival programing and distribution, especially for films pitched at Forum or co-financed by Bertha Fund that offer “an automatic stamp of quality.” Liebhart has a long-term festival and distribution commitment to IDFA 2017 titles Golden Dawn Girls and The Long Season (both FeatureLength Comp), and A Year of Hope (Masters). For the next edition of the festival, he has selected IDFA-opener Amal as well as Mr Gay Syria, The Family, Queerama, The Red Soul and A Woman Captured, with many other titles under consideration and/or in negotiation. IDFA 2016 titles performed excellently in Poland, he adds. “We premiered La Chana (Chopin Nose Award for the Best Film on Art at the festival) and Stranger in Paradise (Fiction/Non-Fiction Award, selling to three TV channels and part of the University film programme). To Stay Alive – A Method was theatrically released this fall. You don’t know how much I love you, by Pawel Lozinski, astonishingly sold 40,000 tickets. Against Gravity received the Polish Film Institute Award for the best distributor of a Polish film for both score and PR/Marketing for this film (together with Forum Film Poland for their feature Wolyn by Wojciech Smarzowski).” In a wider doc context, Against Gravity theatrically released 8 feature documentaries in 2016/2017, garnering ticket sales of 180,000, Liebhart points out. “We also have invented a series of thematic screenings in six cities on a monthly basis. The Filmotherapy with Sens series has become particularly successful with screenings sold out a week before the date.” By Nick Cunningham
By Melanie Goodfellow
Nanfu Wang Photo: Corinne de Korver
Dissident Chinese director Nanfu Wang, who broke out internationally with her debut feature Hooligan Sparrow, is preparing a new documentary exposing the social injustices caused by China’s one child policy. The New York-based filmmaker will pitch the project, entitled Born in China, at IDFA’s Forum co-financing event, which kicks off on Monday. First introduced in 1979 to bring down China’s birth rate, the policy started being phased out in 2015 as it became apparent the country’s ageing population posed a new challenge all of its own. “I was born in China in 1985, when the policy was in full swing, so like most of my peers I grew up an only child”, comments Wang. “What is striking is that, although China has since introduced a two child policy – which is also a form of control – people still think one child is best, for the country and the economy,” she continues. “After 35 years of the policy, people have changed due to a lot of propaganda and brainwashing.” The documentary will focus on the social injustices committed to enforce the policy, ranging from forced abortions to the confiscation of second children, who were sent overseas via international adoption programmes. Spanning China and the US, the subjects will include women who were forced to give up their offspring, as well as family planning officials who implemented the policy. In the US, Wang has tracked down families who adopted Chinese children, wrongly believing them to be orphans. “Their children are now teenagers, aged 12 to 18 years. Having finally understood what was really going on, these adoptive parents and the children face an ethical dilemma, knowing that they have participated in this huge scandal.” An added personal layer to the project for Wang is that she has just given birth to her first child. “I was filming throughout my pregnancy. As a Chinese person and a mother, I can’t imagine being in the position of those women who lost their children. This film is about justice for those women.” Filming has begun in both countries. A close collaborator is handling the China shoot as Wang is not certain whether it is safe for her to return home to China after Hooligan Sparrow. The work, capturing state harassment of human rights activist Ye Haiyan after she sought justice for six young rape victims, also put Wang on the radar of China’s state surveillance apparatus. Born in China is already 40% shot and is being lead produced by Christoph Jörg at Paris-based Pumpernickel Films. Oscarnominated and Emmy Award-winning producer and executive producer Julie Goldman at New York-based Motto Pictures is on board as a co-producer. Chicken & Egg Pictures and IDA have joined as financiers. Wang is also at IDFA for screenings of her second feature I Am Another You, about a young American drifter called Dylan who caught her attention when she first arrived in US. “I thought he was a unique, articulate, smart character, unlike anyone I’d ever met before. None of my New York friends could see what I saw. “I understand now it was because I had just come from China, where there is a certain romanticism around the idea of homelessness. He was a symbol of American freedom to me because he willingly chose to live on the streets … I am not sure I would be attracted to someone like Dylan now. I‘ve lost those eyes of the newcomer.” Like Hooligan Sparrow which made it to the Oscar documentary shortlist, I Am Another You has been submitted to the Academy Awards this year.
7
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
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
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
10–21 May 2018 Warsaw • Wroclaw • Gdynia • Bydgoszcz • Lublin • Katowice
www.polishdocs.pl
docsag.pl f docsagainstgravity
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
Thematic series of screenings throughout the year: Filmotherapy
Humans, not numbers
Documentary Academy series of screenings for primary schools, Universities, and senior audience
Masters
When Pigs Come
Mila Turajlić | Serbia, Croatia, France | 2018
Festival by Tomasz Wolski & Anna Gawlita
2 1 1 4 1 1 2 6
dokserbia.com
beldocs.rs
AVAILABLE AT DOCS FOR SALE
Arabic Secret By JuLiA GROSzEk The Beksinskis. A Sound and Picture Album By MARCin BORChARDT Call Me Tony By kLAuDiuSz ChROSTOwSki Dos islas By ADRiAnA F. CASTELLAnOS Festival By TOMASz wOLSki & AnnA GAwLiTA Land of the homeless By MARCin JAnOS kRAwCzyk The Mine By MARiA zMARz‑kOCzAnOwiCz Opera about Poland By PiOTR STASik A Stranger on My Couch By GRzEGORz BRzOzOwSki Volte By MOnikA kOTECkA & kAROLinA PORyzAłA zhalanash – Empty Shore By MARCin SAuTER Leocadia’s Dream By kRzySzTOF nOwiCki Desert Coffee By MikAEL LyPinSki FILMS ARE REPRESENTED By kFF SALES & PROMOTiOn
PROJECT CO-FINANCED BY THE POLISH FILM INSTITUTE
The wind that shakes De Balie
After Saturday’s 6-hour marathon of self-examination and introspection (The Visual Voice), IDFA doccers hit the dance floor at De Balie and shook their collective booty into the small hours. They also took time out to talk about 30 years of IDFA, and to bid farewell to former festival head and founder Ally Derks. Derk Sauer, IDFA Chairman: Today we had a lunch with 78 of the foremost film directors who came especially to Amsterdam to celebrate Ally’s 30-year reign over IDFA. And I must say – I am not a director and I am relatively new because I am only nine years with IDFA – but the warmth, the appreciation and the respect that these people, these legends of the documentary film world, showed for Ally was unbelievable. There were quite a few tears shed this afternoon over lunch. When people talk with such warmth, and real admiration and love for Ally, it is amazing. Looking forward, Ally of course built the biggest documentary festival in the world here in Amsterdam, but she also helped to build an extremely talented, strong and capable team… It will not be the end of the festival. (It happens very often that the founder builds something up, hasn’t surrounded himself or herself with good people, then leaves and the whole thing dies.) As people said this afternoon, IDFA is not just a film festival anymore. IDFA now is an institution. IDFA is here to stay. Maybe that is the biggest tribute to Ally: that we know now that the team is strong, the organisation is healthy and that it is an institution that will go on.
Willemien van Aalst, IDFA co-founder and former director of the Netherlands Film Festival (NFF): I was here at the very beginning, together with Adriek and Ally. I feel happy and proud, and it is really a special day. Things are changing now because Ally is leaving … but the festival is strong enough and is loved by so many filmmakers, and they are such a good team, so it will go further and change and get stronger… IDFA is not IDFA without her of course, as she is really the soul of this festival, but I am also very confident that this huge important festival institute will have a very nice future. There are a lot of things to be happy about. It is not a sad day. It is a day to be thankful. Thankful for Ally, thankful for the team and the filmmakers all over the world who together created this important festival. Amir Labaki, director of It’s All True Festival, Brazil: It is amazing to think that a documentary film festival has become as important as IDFA is. When it started the idea of a festival as a world event was unheard of. Ally and IDFA made that possible in the world. What has happened since then? What do we see? It started [a series of] very strong documentary film festivals all across the world. First we had Yamagata in Asia, then we had Hot Docs in North America. We had It’s All True in Brazil in South America. We had Nyon in Switzerland. We have Encounters in South America … What I mean is that what seemed impossible 30 years ago, IDFA made possible.
Panel discussion The Visual Voice
Herman de Wit (former programmer, NFF): I remember well the first year we started here at De Balie, and that all the films were screened next door in the Alfa theatres which are gone already for many, many years. It was a very nice, small festival then, but all the famous filmmakers were already there, and I remember when Frederick Wiseman was here at the first festival. I was assistant to the jury. I was very excited to help him, to be with him in Amsterdam for more than a week. It was a pleasure. And it is a pleasure to see him here again, 30 years later, still going strong; still with his bright eyes looking around, enjoying the festival. Niek Koppen, documentary director & producer: Today the first question [at the The Visual Voice marathon] was, ‘what is documentary?’ and of course it is the craziest question because it is no use, it was discussed thirty years ago and it will go on for the next thirty years. But still it was really nice. I was in the audience watching. Wiseman was there. Pennebaker was there, listening to these young people. That was great … wonderful. That’s why [IDFA] is unique. When you are into documentary film and you are in Holland, you see how important IDFA has been, and will be. It has made a huge difference. Thirty years ago when it started, the people responsible for public television saw … that there was an audience for documentary that was much bigger than they thought … and they [the broadcasters] wanted to show what they stand for and documentary was the only thing left that they could use to do that. That was very good for us, but they [first understood] that here, at IDFA. Doreen Boonekamp, CEO Netherlands Film Fund (speaking before the event): With an excellent understanding of the full potential of documentary storytelling, Ally Derks and her team have managed to set the standard for documentary film festivals. IDFA contributed to making the genre strong and influential, giving autonomous filmmakers a voice and capturing audiences. Over the past 30 years, IDFA developed into the world’s leading documentary platform, connecting global audiences with filmmakers as well as becoming a platform essential to the success of documentary film industry professionals. With a clear understanding of the importance and impact of documentary storytelling, the IDFA team developed its strong pillars for professional training, funding, co-production and sales, as well as innovation and form change. The successful DocLab programme, for example, is a testimonial to this. IDFA has created a strong international profile for the Netherlands as a documentary country. We would like to join the world’s documentary makers, funders, broadcasters, commissioning editors and documentary lovers in paying tribute to Ally for her three decades of work and achievements as a truly connecting visionary.
Singing farewell: the great and the good of the doc world serenade outgoing IDFA director Ally Derks. photos Felix Kalkman
Panel discussion The Visual Voice
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Ex Libris - The New York Public Library In Ex Libris, Frederick Wiseman explores the inner workings of the New York Public Library. This is one of many films Wiseman has made over the years that have looked closely at public institutions. He has directed documentaries about museums, ballet companies, universities, hospitals for the criminally insane, schools and courts. In the film, one character observes that libraries are not about books, they’re about people.
Zhalanash Empty Shore The story of Zhalanash, a town in south central Kazakhstan, is that of a crime against the planet. Formerly a thriving fishing town on the Aral Sea, the construction of canals in the 1960s to irrigate the land for cotton production reduced the sea to a quarter of its original size. The town of Zhalanash consequently receded 15 kilometres into the desert and became home to a cemetery of beached ships. In the lyrical essay Zhalanash – Empty Shore director Marcin Sauter chronicles the town and its inhabitants, to “tell the story about the end of the world, about what can happen when humans destroy nature.” The film screens in IDFA Competition for Short Documentary. Save for a handful of characters, the town is deserted. A man delivers water to the inhabitants in his truck; two melancholy old ladies celebrate a birthday with a simple cake; a female doctor treats other elderly residents. Another man rounds up horses in the desert, while a friendly braying camel provides punctuation between the portraits. A small number of children make the most of the limited play opportunities. “People started to live more internally – their memories and imagination are more important than the reality around them,” comments Sauter. “Children shown in my film do not remember the sea and better times, they only heard about them from the adults, so they are aware that they live in a place which used
to be beautiful and now is horrible, but they do what they should in any other place, just live and play – with sand, not in the water.” Archive is used judiciously in the film and to great effect, and serves both to counterpoint the town’s horrendous plight and provide an explanation for it. “In the final version of my film, there is only one archival shot. Editing was long and definitely not easy. Me and my three editors spent a lot of time mostly removing additional themes. Characters have told me a lot of stories, memories; I really had a lot of records and also archives, but I decided we would not use them in the film. This also applied to the archival materials. I wanted the film to be less specific, less journalistic, but rather more universal and maybe even poetic.” Sauter worked on the film for three years, accumulating a lot of material over this period. Why did he settle on medium-length rather than long-form? “A lot of feature-length films are just ‘long-winded’; it is a pity for the film and for the audience. In my opinion, if you can tell the story with a powerful and unique voice in a short way, there is no reason to make it longer. I like the forty-minute form a lot, but during the shooting or even editing I was not thinking ‘it needs to be short’, I just wanted to present the story in the best way.” Sales are handled KFF Sales, who also represent Call Me Tony in the Student competition and Volte in the IDFA Competition for Kids & Docs. By Nick Cunningham IDFA Competition for Short Documentary
The same could be said of most of the other institutions Wiseman has focused on in his documentaries. “My approach is the same, in that the technique from which the film is derived has remained the same over the years,” the director says. Even Wiseman’s most enthusiastic admirers have been known to grumble at the length of his documentaries. (Ex Libris – The New York Public Library clocks in at three and a half hours.) “They have every right to grumble. It’s a matter of taste. I feel I have an obligation to the people who’ve given me information and are in the film to make a film that accurately represents my response to the subject matter.” The director remembers earlier in his career being contacted by CBS, who’d seen his film Basic Training (1971), about basic training in the army. It was the middle of the Vietnam War and the American TV network wanted to show the film. CBS representatives told Wiseman how much they loved it, but said they would need to cut it from 89 minutes to just under an hour. He refused to let them do so. “If you liked it, one of the reasons you liked it was because of what it dealt with in the length I made it,” he told them. “It would be a completely different film at 58 minutes.” That has been his attitude ever since. His films vary in length from 72 minutes to 6 hours, and he wants them to be shown just as he made them.
Don’t expect Wiseman to fill his film with intertitles or voice-over explanations either. In Ex Libris, some very well-known figures – Patti Smith, Elvis Costello and Richard Dawkins among them – are seen at the library. He doesn’t name them. He cites the example of his film La Danse (2009) on the Paris Opera Ballet. “People who know the dance world know the stars who are dancing. For people who don’t know the dance world, it doesn’t make any difference. The dancers should be judged on the performances you see in the film.” Besides, if he started naming the characters, he wouldn’t know where to stop. If he named the dancers, should he then name everyone else in the corps de ballet too? “What about the orchestra conductor? What about the soloist? The screen would get very crowded. So I don’t do it.” As ever, Ex Libris is a film discovered in the editing. Wiseman shot 150 hours or so of material, then winnowed it down. “I am on a search for the movie”, he says. “The whole idea of the editing is to impose a form on the material.” The process can take a year or more. “I find the editing completely absorbing. I get very involved in it.” As for how he chooses his subjects, that is very straightforward. “I basically try to do things that I like to do or interest me and that I want to try out.” By Geoffrey Macnab Masters
The Jewish Underground By Melanie Goodfellow
In 1984, the Israeli secret service Shin Bet arrested a group of far-right religious extremists on charges of plotting to blow up the holy Muslim site the Dome of the Rock in Jerusalem. The conspirators hoped eradicating the shrine would clear the way for reconstruction of the Jewish temple which once stood on the site in biblical times. They were also behind a long-running terror campaign against Palestinians, including a series of car bomb attacks against West Bank mayors and a scheme to blow up civilian buses at rush-hour. Some 30 years later, Israeli investigative TV journalist and filmmaker Shai Gal looks back at the events surrounding the case and delves into what has happened to the plotters. What he uncovers is chilling. Gal recounts how his initial interest in the case was sparked by reading Dear Brothers: The West Bank Jewish Underground by Haggai Segal, one of the convicted terrorists. “It’s an autobiographical account of what happened in the 1980s. I said to myself, this needs to be made into a movie”, says Gal. What would come to fascinate Gal was not the events themselves, but rather what went on behind the scenes: the psychological, judicial and political battle between the extremists, the Shin Bet agents who tracked them down and the judges who tried the case. The angle came out of a conversation with former Shin Bet chief Ya’akov Peri, who was involved in the investigation and features in the documentary. “I told him I had read Haggai Segal’s book and his response was, ‘This is not a book, it is a statement of defiance’. It was then I started to see there were two sides to what had gone on.” The final piece in the jigsaw was Gal’s realisation that a number of the convicted gang members
were not only still pushing their far-right, religious, pro-settlement agenda, but were doing so from a position close to the wheels of political power. “I started finding these photos of them with politicians and it became apparent that a number of them were extremely close to the centre of political power in Israel. It was then I said to myself, I have a movie.” In a bid to frame the complex story – part investigative thriller, part political exposé – Gal decided to focus uniquely on interviews with people involved in the case. The interviewees range from convicted terrorist plotters Natan Nathanson and Yehuda Etzion to secret service chiefs Peri and Carmi Gillon and Dorit Beinisch, the state prosecutor on the case who went on to become president of the Supreme Court of Israel. Their testimony is intercut with reconstructions of the group’s operations and archive footage and images from the time. One of the most gripping aspects is how the work reveals the close contemporary ties between some of the convicted gang members and figures in Benjamin Netanyahu’s right-wing government. One scene captures Nathanson showing hard-right Israeli Agriculture Minister Uri Ariel round the construction site for Amichai, the first new Jewish settlement to be built on occupied Palestinian land in the West Bank in 25 years. Nathanson boasts that without the campaigns by him and his fellow activists, the settlement would never have got the green light. Gal acknowledges his documentary comes at a crucial period in Israel’s 70-year history, as a less politically engaged majority comes to terms with the rise of a determined, hard-right political class. “We’re at a point where a lot of things are starting to change”, he says. IDFA Competition for First Appearance
Rezo Georgian director Leo Gabriadze tells the story of his father’s formative years in the animated Rezo, competing in the Medium-length Competition. But Leo’s father is no ordinary Georgian. He is acclaimed artist, screenwriter, filmmaker and puppeteer Rezo Gabriadze, and the film is shot through with his satisfying magical realist aesthetic, culled from his poetry, his paintings and his drawn characters. Throughout the film, Rezo tells his life-story to a small off-screen audience – from the bombing of Georgia during the World War II to his evacuation to his grandparents’ farm in the countryside, his eventual immersion into the world of paid work, to his decision to found a marionette theatre. But because it is all so lyrically and amusingly told, the unseen audience cannot help laughing – to the consternation of director Leo. (The audience eventually receive their own end-credit: ‘the gigglers’.) The tale is at times romantic and deeply moving, at other times gloriously fantastical. In the local library, a painting of Lenin leaves its frame to scold Rezo, while a mini-Lenin emerges from a badge pinned to a lapel to demand the hero’s ‘liquidation’. Stalin intervenes to predict a future for him as an electrician in Siberia, where he will marry a seamstress and have children. “My father is a story-teller,” says Leo. “And he is also a painter, so he illustrates the stories ... When you are with him you have to be in his bubble. There is no other bubble. He has his own reality distortion.” The two collaborated closely on the film. Leo recorded the videos of Rezo telling his stories
and then edited them down to make a coherent, fairly linear, story. Then he asked his dad to make drawings of the film’s characters that could then be animated into the film. At times it was a little frustrating for Leo working with his father on the project. “Have you ever worked with parents?” the director asks rhetorically. “Psychologically it is a hard thing to do [when] you are emotionally involved with the subject matter. He has his own vision. But all the characters are newly drawn for the film. Some of the backdrops are old, but most of them are created especially for us,” Leo stresses. “For me, basically what we did is an illustrated book. The genre is literary, it is oral storytelling and the only way you can record this is not on paper but on video or audio. In this case he is a painter, so this is a book with illustrations. But because it is a video, the illustrations come alive too.” Leo describes the eventual process of animation, after the story was ready to roll. “A small team of animators, one year, one room, no weekends.” By Nick Cunningham IDFA Competition for Mid-Length Documentary
d
The Deminer By Melanie Goodfellow
Hogir Hirori and Shinwar Kamal’s The Deminer is a portrait of heroic, real-life Kurdish deminer Colonel Fakhir, a local legend in the Iraqi Kurdish city of Duhok and beyond for his work disarming thousands of landmines and explosive devices across the region. Hirori explains Fakhir was a colonel in the Iraqi army when Saddam Hussein was removed from power in 2003. “After the fall of Hussein, he went to Mosul to work with the Americans. It was there that he witnessed so many people being either killed or maimed by landmines and decided to become a deminer,” explains Hirori. His mode of operating is a far cry from the Hollywood image of Jeremy Renner dressed in a protective suit and faceshield in Katherine Bigelow’s The Hurt Locker. Armed with little more than nerves of steel, a rudimentary flak jacket and a pair of clippers, Fakhir picks his way through land-mined fields and booby-trapped houses, relying purely on his experience and intuition. “People said he could smell the bombs and had a sort of sixth sense about where the bombs were placed. Anyone who worked with him felt safe,” says Hirori. After losing a leg in 2008, Fakhir was forced out of the Iraqi army and returned to his hometown of Duhok, coming out of retirement again in 2014 after the city and its surrounding areas came under attack from Islamic State fighters. Kurdish-born Hirori, who has lived in Sweden since he was a child, first met the colonel when he was making his debut documentary The Girl Who Saved My Life, capturing the humanitarian crisis unfolding in the area due to the rise of ISIS. “I had known about him for some time. He was a local hero in Duhok, which is my home city. I approached him straightaway and asked if I could make a film about him,” Hirori recounts. “He replied, ‘There are so many people who have tried to make a film about me, but no-one has ever completed the film with the material’,” he continues. “I insisted, but Fakhir said ‘There is another guy making a film right now and you’ll have to ask him if it is ok first’.” The ‘other guy’ was Kamal, who hesitated briefly
and then decided to collaborate. The Duhokbased filmmaker shot most the recent material of Fahkir operating around his home city. The early Mosul footage comes from Fakhir’s personal archive, as do the family scenes. Kamal, like Higor, had been inspired by Fakhir’s bravery. Quizzed on whether he feared for his life as Fakhir snipped the wire on yet another improvised device, Kamal replies: “It was very dangerous when he was disarming the bombs, but at the same time I always felt safe with him and the most important thing was to document his life, so everything else was secondary.” The pair are now developing separate projects. “I have two projects in development. I don’t want to go into details, but they’re both set in Sweden and won’t be about war. After three films about war, I need to move on,” he says. Kamal is working on a film capturing contemporary life in Mosul following its liberation from ISIS in September after three years of bloody occupation by the group. In the meantime, as The Deminer starts its festival run the directors hope it will bear testimony to Fakhir’s bravery and also expose the scourge of landmines in the region. “We want to show the vast number of landmines that have been laid. It’s more than most people can imagine. This has been a problem for many years and will carry on being a problem for years to come.” “We also wanted to show what one human being can do to make a change. What Fakhir did was unique. He was a father of eight. He had been wounded so many times, he lost a leg and nearly died and the motivation to save other people’s lives was so much greater. IDFA Competition for Feature-Length Documentary
Nokia Mobile - We Were Connecting People “I remember the exact date I got the idea for this film”, says director Arto Koskinen, at IDFA ahead of the Dutch premiere of his new feature doc Nokia Mobile – We Were Connecting People. “It was 3 September 2013. That day, I heard the news Nokia was going to sell its mobile phone business to Microsoft. I was sitting on a bus, and I thought, ok … it is over. At the same time, I realised I wanted to make a film about this. I didn’t know yet exactly what I was going to do – but I knew it would be a huge rise and fall story. A story of hubris.”
Originally, he planned a film not only on Nokia, but rather “… a film about the whole mobile phone industry in Finland, because it was such a huge industry.” But the focus always returned to the Finnish mobile phone giant. “So many other companies depended on Nokia. Nokia’s budget was bigger than the Finnish government’s!” Like several of the characters in his film (many of the them former Nokia employees) – and like many Finns in general – Koskinen still refers to the Nokia story as a “miracle”. (Tellingly, a prominent slogan at Nokia’s old mobile phone division forerunner Mobira was ‘The impossible we deliver at once – miracles take a bit longer’). Making creative use of archive footage and interviews, Nokia Mobile – We Were Connecting People reconstructs the incredible story of how Nokia flourished thanks to its open, innovative, service-oriented culture – before falling victim in the mid-2000s partly to its own success, but much more to the rapacious, bottom-line-oriented corporate philosophy of its (American) rivals. The demise of Nokia still feels like a national trauma to Finns, Koskinen stresses. “Most of the characters in my film felt this is something we have
to speak about. It is important not to repeat these same mistakes again”, he says. “The Finns were so proud of what they were doing – then suddenly it was gone.” Koskinen now sees history repeating itself in the world-famous Finnish education system. “The Finnish education system was one of the best,” he says. “But now they are ‘renovating’ it, and – I don’t know why – but they are repeating the same ideas of effectiveness that were used at Nokia in the middle 2000s. Some of the big bosses have been consulting on this – the same ones that contributed to the collapse of Nokia. The miracle of Nokia and the mobile phone industry was created from a totally different background. In our educational system, everyone was supposed to be equal, no matter whether you are rich or poor. Now this is being lost.” Koskinen is now working on a new project that also deals with the tech revolution of the 2000s. “I am writing a feature film about this subject – the story of MyDevice [which also features in Nokia Mobile – We Were Connecting People]. Johannes Väänänen, the inventor of MyDevice, wrote a book about this [The Smart Device], and it’s quite funny – it’s the story of the whole information technology industry during the 2000s. It’s a funny portrait of the whole start-up world.” Koskinen has completed the first draft of the script, commissioned by the Finnish Film Fund. By Mark Baker Panorama
11
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WOENSDAG20 MAANDAG 15NOVEMBER NOVEMBER
PROGRAM MONDAY 20 NOVEMBER DE MUNT
13
DE TUSCHINSKI MUNT 131 2
10:00
ng
n, 74’
:
o:
12:00
12:15
Taste of Cement Ziad Kalthoum
man
TUSCHINSKI
3 2
11:15
Back to the Taj Mahal Hotel 12:00
IDFA Work The celebrates Universal Jarius McLeary Children’s Day Best of Fests, 87’ By invitation.
Carina Molier
Mid-Length Competition, Dutch Competition, 70’
15:00
Masters, 127’
16:00
Introduced by filmmaker and jury member Maite Alberdi.
11:30
First Appearance Competition, 78’
Raed Andoni
Mercedes Dominioni
If You Were in My Pictures
Amsterdam 17:15 Human Rights W. The Venerable AwardSchroeder Nominee: Barbet Devil’s Freedom Masters , 100’ Everardo González
18:00
18:00
True Love in Pueblo Textil
Masters, 74’
With an introduction.
Horatio Baltz
Kids & Docs, IDFA Junior, 5’
Masters, 52’
Theresa Traore Dahlberg
Paradocs, 20’
On the Edge of Life Paradocs, 45’
20:30
Nokia Mobile – We Were Connecting People
21:00
Arto Koskinen Panorama, 92’
First Appearance Competition, 81’
Introduced by artistic director of Movies that Matter and jury member Dirk van der Straaten.
22:00
How to Make a Pearl
11 10
15:15
This Is Everything: Gigi Gorgeous Barbara Kopple Masters 16:00, 91’
VPRO Extra: Freedom for the Wolf
A Skin so Soft Denis Côté
The screening is followed by a conversation with Rupert Russell about the making of the film, moderated by Chris Kijne, presenter of VPRO’s 17:45 Bureau Buitenland.
Demons in Paradise Jude Ratnam Best of Fests, 94’
Best of Fests, 106’
16:30
Five Years After the War
Samuel Albaric, Martin Wiklund, Ulysse Lefort Short Competition, 17’
Plot 35
Eric Caravaca
17:45
... When You 18:00
Look In theAway Intense Now Phie Ambo
Dead Donkeys Fear No Hyenas Best of Fests, 80’ 19:00
Incense-Navigator Alexander Kuprin
Feature-Length Competition, 104’
Mohammed Ali Naqvi
Turtle Rock
Best of Fests, 85’
Xiao Xiao
First Appearance Competition, 101’
The Sight
Dejan Petrovic´
Short Competition, 17’
Mid-Length Competition, 57’ Maryam Goormaghtigh
Alejandro Pérez
16:00
Roosenberg Ingel Vaikla
Student Competition, 30’
See You Tomorrow, God Willing! 17:00 Ainara Vera
Filmworker Mid-Length Competition, 62’ Tony Zierra
Best of Fests, 94’
DE MUNT 12 CARRÉ11
BRAKKE DE MUNTGROND 13 12 EXHIBITIONS
14:00
Shadows
Best of Fests, 99’
16:30
17:00
Andreas Neumann, Joshua Homme
Jaap van Hoewijk
21:45
Masters, 78’
American Valhalla
Miss María, Skirting the Mountain Rubén Mendoza Best of Fests, 90’
19:45
19:00
The Poetess 19:15 Stefanie Brockhaus, Debut Andy Wolff
Black Stones
Usama Ghanoum
Mid-Length Competition, Shifting Perspectives, 48’
Faces Places 15:45
Agnès Varda, JR 69 Minutes Masters, 100’ of 86 Days
Egil Håskjold Larsen Best of Fests, 71’
Ramen 18:45 Heads Koki Shigeno Children of Chance Best of Fests, 93’ Thierry Michel
Garden of Life
14:30
Over the Limit Marta Prus
Intent to Destroy: Death, Denial & Depiction Joe Berlinger Masters, 115’
16:30
Ryuichi Sakamoto: Coda
In the Intense Now João Moreira Salles Masters, 127’
16:00 Industry & Press screening:
Of Fathers and Sons
EYE TUSCHINSKI CINEMA
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EYE TUSCHINSKI CINEMA
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10:45
18:15Competition, 6’ Student
Risk – They Say Betty Laura Poitras I’m Different Masters, 92’ Phil Cox
Music Documentary, 52’
True Love in 18:15 18:30
The Prince and the Dybbuk 19:00 Elwira Niewiera,
Piotr Rosolowski Living on Soul
Best Fests, 82’ Cory Bailey Jeff of Broadway,
Pueblo MakalaTextil Horatio Baltz
20:45
12:00
Jarius McLeary
Raymond Vaishali Sinha Depardon
Dutch The Competition Work , 90’
Quest 21:15 Jonathan Olshefski Of Fathers and Sons Best of Fests, 105’
Trophy
Shaul Schwarz Best of Fests, 108’
Talal Derki
Feature-Length Competition, 98’
21:00
Muhi – Generally Temporary 21:30 Rina Castelnuovo-
Hollander, Tamir Elterman Eric Clapton: Best Fests Lifeofin 12, 87’ Bars
22:00
Ouaga Girls
Theresa Traore Dahlberg Best of Fests, 83’
Laura Poitras
Garden of Life
12:30
Nokia Mobile – We Were Connecting 21:00 People Caniba Arto Koskinen Panorama , 92’ Véréna Paravel, Lucien Castaing-Taylor
Queerama Hairat 13:30 Industry & Press screening:
Dutch Competition, 72’
Happy Winter
14:00
Giovanni Totaro
First Appearance Competition, 91’
Daisy JessicaAsquith Beshir
Panorama Short Competition , 71’ , 7’
The Rebel Surgeon Erik Gandini Masters, 52’
In the Intense Now João Moreira Salles
15:00
Masters, 127’
Best of Fests, 89’
13:30
Before My Feet Touch the Ground
13:00
MELKWEG DE MUNT 9
RABOZAAL
Orban Wallace
DEKETELHUIS MUNT 10
BRAKKE DE MUNTGROND 11 EXPOZAAL
BRAKKE GROND DE MUNT 12 CARRÉ
RODE ZAAL
Masters, The Visual Voice, 108’
My Name Is Nobody
Of Fathers and Sons
Denise Janzee
15:15
This Is Everything: Gigi Gorgeous Barbara Kopple Masters, 91’
Feature-Length Competition, 98’
17:15
The Venerable W. 17:30 Melanie Gaertner
18:00
True Love in 18:15
Pueblo Textil Makala Horatio Baltz
First Appearance Competition, 79’
17:45
Demons in Paradise 18:00 Jude Ratnam
+ Doc Talk Best of Fests, 94’ Mr. Gay Syria Ayse Toprak
Emmanuel Gras
Kids & Docs, IDFA Junior, 5’ Best of Fests, 97’
Maryam Goormaghtigh The Gleaners and I Best of Fests, 80’
Theresa Traore Dahlberg
19:00
Best of Fests, 83’
19:45
20:00
Happy 20:00 Winter Giovanni Totaro 69 Minutes First Appearance Competition, 91’ of 86 Days Egil Håskjold Larsen
Nokia Mobile – We Were Connecting
Best of Fests, 71’
Screening followed by an in-depth conversation between journalist Rik van de Westelaken, director Ayse Toprak and protagonists Omar and Nader.
20:30
Drib
Kristoffer Borgli
21:00 Best of Fests, 94’
Denis Côté Masters, 94’
16:00
+ Doc Talk Tokyo-Ga
15:30
The Family Rok Bicek
... When You Look Away Phie Ambo Masters, 80’
19:00
+ Doc Talk The Other Side of Everything
22:00
The Holy Mountain Alejandro Jodorowsky Jonathan Harris’ Top 10, 114’
23:00
Boris Mitic Masters, 78’
Panorama, 90’
A portrait of fashion illustrator Antonio Lopez, followed by an in-depth conversation between vlogger Elio Heres and director James Crumb.
I Am Another You Nanfu Wang Best of Fests, 85’
Best of Fests, 144’
16:00
15:15 15:30
Faces Places
Agnès Varda, JR Masters, 100’
So Help Me God
17:00
17:00
Best of Fests , 94’ Robert Drew
Belgian video artist and director Johan Grimonprez talks about his work, methods and views, highlighted with clips. 18:15
Crisis: Filmworker Behind a Tony Zierra Commitment Presidential
Intent to Destroy: Death, Denial & Depiction Joe Berlinger Masters, 115’
18:15
Selected and introduced by DA Pennebaker & Chris Hegedus.
Dead Donkeys Fear No Hyenas Joakim Demmer Best of Fests, 80’
+ Live: William Hagen Imposed Piece Brecht Vanhoenacker Music Documentary, 74’
19:00
The Act of Killing
Joshua Oppenheimer The Visual Voice, 159’
19:45 and introduced by Selected Andy Bichlbaum The Final Yearand Mike Bonanno (The Yes Men). Greg Barker 20:30
18:00
Documentary about the 19:00 finale of the prestigious The Poetess Queen Elisabeth Stefanie Brockhaus, Competition in 2015, Andy Wolff followed by a performance Best of Fests, 90’ by violinist William Hagen.
Ramen Heads Koki Shigeno
19:00 Best of Fests, 93’
Risk
Laura Poitras Masters, 92’
Victor Vroegindeweij Dutch Competition, 75’
19:30
+ Doc Talk hosted by De Groene Amsterdammer The Jewish Underground Shai Gal
First Appearance Competition, 91’ 20:45
21:00 21:15
+ Live: Girma Bèyènè 21:30 & AkaléFreedom Wubé Devil’s Ethiopiques – Revolt Everardo González of the, 74’Soul Masters Maciek Bochniak
Music Documentary, 70’
Film about the Ethio-Jazz album series and the Ethiopian military regime, followed by a performance by Girma Bèyènè & Akalé Wubé.
Quest
Jonathan Olshefski
21:30 Best of Fests, 105’
Lady of the Harbour Sean Wang
Dutch Competition, 90’
Followed Trophyby an in-depth conversation between Shaul Schwarz Best of FestsRutger , 108’ van der journalist Hoeven (De Groene Amsterdammer) and director Shai Gal.
22:00
The Gospel According to André
+ M
S a b d To O
2
+ A S
21:00
Ja
Pa
24:00
BRAKKE DE MUNTGROND 13
9:00
EXHIBITIONS
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.
18:30
The Prince and the Dybbuk Best of Fests, 82’
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’
20:00
Doclab Live: Machine Rituals
Live cinema event about artificial intelligence and the intangible dance 21:00 man and machine. between
Muhi – Generally Temporary
Rina CastelnuovoHollander, Tamir Elterman
DE MUNT
10:00
11:00
12:00
Best of Fests, Camera in Focus, 85’
Opening hours: 9:00 – 23:00
18:00
Elwira Niewiera, Piotr Rosolowski
The Last Fight
Best of Fests, 90’
Insha’Allah Democracy
Mohammed Ali Naqvi
18:30
1
20:00 First Appearance Competition, 91’
Alejandro Jodorowsky
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
Filmmaker Talk: Johan Grimonprez
The Visual Voice, 52’
Best of Fests, 85’
22:00
Damon Davis, Sabaah Folayan
Selected and introduced by Heddy Honigmann.
Best of Fests, 99’
Feature-Length Competition, Camera 20:00in Focus, 102’
James Crump
22:00
In Praise of Nothing
Jean Libon, Yves Hinant
Mila Turajlic
Distant Eric HynesConstellation and Mila Turajlic Shevaun Mizrahi discuss how to put the Best of Fests 82’ family house history of ,her and her homeland into images.
Whose Streets?
The Visual Voice, 82’
Best of Fests, 106’
Nicolas Rapold talks with celebrated director of photography Ed Lachman about the legacy of Ozu and lost and found images in 17:45 Tokyo. eighties’
+ Doc Talk Antonio Lopez 1970: Sex, Fashion & Disco
21:00
Paradocs, 96’
Masters, 197’
12:45
15:00
Agnès Varda
A Skin so Soft
Panorama, 88’
Ouaga Girls
Frederick Wiseman
Masters, 83’
Camera in Focus, 92’
Yves’ Promise Masters, 100’
Ex Libris - The New York Public Library
Radu Jude
Panorama, 77’
Wim Wenders
18:00
Masters, 107’
Before Summer Ends 14:45
Dutch Competition, 89’
Barbet Schroeder
Andres Veiel
The Dead Nation
Daphni Leef
15:00
Talal Derki
17:00
Beuys
Susan Lacy
14:30
Michael Glawogger, Monika Willi
Industry & Press screening: Industry & Press screening:16:00
19:00
Jonathan Harris’ Top 10, 114’
Spielberg 12:30 Best of Fests, 147’
13:30
Best of Fests, 84’
M
Pa
The Holy Mountain 22:00
Masters, 92’
12:30
Selected and introduced by John Appel.
B
A
22:00
Music Documentary, 135’
12:00
Another News Story
14:30
15:30
16:00
PanoramaParavel, , 92’ Véréna Lucien Castaing-Taylor
Rupert Russell
Untitled
14:45
First Appearance Competition, 79’
Paradocs, 96’
WOENSDAG MAANDAG 20 15 NOVEMBER
The BestVisual of Fests Voice , 83’, 97’
Freedom for the Wolf 13:00
13:00
Marco Niemeijer
Melanie Gaertner
18:00
19:45
Lili Fini Zanuck
Risk
Paris Ask the Sexpert
Best of Fests, 87’
Industry & Press screening:
Caniba Arto Koskinen
GROTE ZAAL GROTE ZAAL
12:00 Boy Kars Vincent
Best of Fests, Camera in Focus, 85’
21:00 People
DE BALIE TUSCHINSKI 6 DE BALIE
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Giovanni Totaro
Music Documentary, 93’
Independent Boy
13:00
Denise Janzee
Kids & Docs, IDFA Junior, 5’ Best of Fests, 97’
20:30
Industry & Press screening:
Ziad Kalthoum
My Name Is Nobody Dutch Competition, 89’ 16:00
Happy Winter
Catherine Gund, Daresha Kyi
11:30
Taste of Cement
1
15:30
Emmanuel Gras
Music Documentary, 96’
Chavela
11:00
12:00
15:00
Yves’ Promise
10:45
12:15
20:30
TUSCHINSKI 5 KLEINE KOMEDIE KLEINE KOMEDIE
Pa
Happy Winter
1:00
10:00
Feature-Length Competition, Camera in Focus, 102’
D
Industry & Press screening:
17:00
18:00
Dutch Competition, 74’
WOENSDAG 15 NOVEMBER DE TUSCHINSKI MUNT 132
Mila Turajlic
Q
13:30
Feature-Length Competition, 98’
1:00
The Other Side of Everything
1
13:00
23:00
24:00
Industry & Press screening:
Vincent Boy Kars
Talal Derki
20:00
21:00
LonelinessGonzález Everardo portrayed Masters , 74’striking through photography. With: Juan Perros and Zhalanash Empty Shore, 92’
Independent Boy Dutch Competition, 90’ 12:00
Industry & Press screening:
Music Documentary, 102’
Ramon Gieling
Devil’s Freedom Shorts: Alone
M
Industry & Press screening:
14:45
Fatum (Room 216)
21:30
C D
11:30
Giovanni Totaro
Stephen Nomura Schible
Masters, 100’
First Appearance Competition, 80’
Human Flow
C
First Appearance Competition, 91’ 14:00
15:15
Anastasiya Best of Fests, 90’ Miroshnichenko
21:00
Masters, 140’
Industry & Press screening: Dutch Competition, 72’
Feature-Length Competition, 74’
15:30
1
11:00
17:30
Best of Fests, 90’
Ai Weiwei
13:00
17:45
18:30
Mid-Length Competition, 67’
13 12
13
Best of Fests, Camera in Focus, 85’
Short Competition, 24’
Music Documentary, 82’
Dutch Competition, 72’
18:45
Feature-Length Competition, Camera in Focus, 102’
Marco Niemeijer
Ali Alibrahim
Whose Streets? Best of Fests, 144’
Mila Turajlic
23:00
DE MUNT
DE MUNT
10:00
Ziad Kalthoum
12:45
Boris Mitic
Mid-Length Competition, 53’
Damon Davis, Sabaah Folayan
The Other Side of Everything
Taste of Cement In Praise of Nothing
Noa Aharoni 15:00
So Help Me God
Piet Is Gone
Best of Fests, 147’
Industry & Press screening:
12:15
One Day in Aleppo
16:00
Jean Libon, Yves Hinant
Masters, 168’
Susan Lacy
13:30
Short Competition, 7’
The Russian Job
Joe Berlinger
Spielberg
Masters, 107’
Nina Landau
Denise Kelm Soares
12:00
Andres Veiel
Lon
I Am
Feature-Length Competition, Dutch Competition, 90’
Erin Kökdil
Dutch Competition, 90’
Martin Benchimol, Pablo Aparo
Masters, 83’
Jessica Gorter
Cold Blooded: The Clutter Family Murders
Unheard
Maasja Ooms
The Dread
Radu Jude
Mid-Length Competition, 63’
Alicia
Student Competition, 21’
Beuys
The Dead Nation
Petr Horky´
Greg Barker
Insha’Allah Democracy
21:00
21:30
The Same
The Final Year 20:30
Best of Fests, 82’
12:30
18:15
Joakim Demmer
Shevaun Mizrahi
Feature-Length Competition, 81’
Best of Fests, 67’
Distant Constellation
Best of Fests, 94’
13:45
Student Competition, 12’
Rok Bicek
Time Trial
13:30
Best of Fests, 80’
20:00
Kristoffer Borgli
Finlay Pretsell
Kids & Docs 2
Mid-Length Competition, 57’
Joshua Bonnetta, J.P. Sniadecki
Masters, 80’ Masters, 127’
Drib
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.
Ask the Sexpert
The Family
João Moreira Salles
20:30
Best of Fests, 70’
Gabriel 12:00 Tejedor
14:30
15:30
Paradocs, 95’
The Red Soul
14:30 The Call Enrico Maisto Before Summer Ends
15:30 Masters, 94’
El mar la mar
11:15
Songs for Kit
Ruslan Fedotow
15:00
20:00
Renata Terra, Bruno Jorge, Mariana Oliva
14:00
Short Competition, 22’
Masters, 107’
Amsterdam 69 Minutes of 86 Days Human Rights Egil Håskjold Larsen Award Nominee: Best of Fests, 71’ Piripkura
DE MUNT
11:00
11:45
Best of Fests, 83’
Jason Hanasik
Vít Klusák
20:00
Best of Fests, Shifting Perspectives, 94’
Best of Fests, 84’
Lou Colpe
The White World According to Daliborek
19:00
Best of Fests, 83’
DEKETELHUIS MUNT 9 10
11:45
Orban Wallace
Yaser Kassab
18:45
Ouaga Girls
RABOZAAL
Mayskaya Street
Another News Story
Best of Fests, 89’
17:00
Ghost Hunting
Student Competition, 25’
13:00
Rupert Russell
17:00
MELKWEG TUSCHINSKI DE MUNT 96
Justine Cappelle
Vaishali Sinha
13:00 Best of Fests, 89’
Amsterdam 14:30 Human UntitledRights Award Nominee: Michael Glawogger, Amal Monika Willi
Feature-Length Competition, Shifting Perspectives, 83’
The Creator of Universes
Rupert Russell
Hairat 13:15 Jessica Beshir Primas Short Competition, 7’
Mohamed SiamVoice, 108’ Masters, The Visual
GROTE ZAAL
Maregrave
Freedom for the Wolf 13:00
14:15
TUSCHINSKI 6 5 DE BALIE
11:00
12:30
Erik Gandini
João Moreira Salles
5 4
10:45
The Rebel Competition Surgeon, 95’ Feature-Length
In the Intense Now
TUSCHINSKI
KLEINE KOMEDIE
Industry & Press screening:
Laura Bari
14:45
4 3
11:00
13:00
14:00
TUSCHINSKI
IDFA celebrates Universal Children’s Day By invitation.
Best of Fests, Camera in Focus, 85’
ible
ailey
9:30
11:00
man
e
WOENSDAG 15 NOVEMBER
20:30
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
13:00
14:00
15:00
16:00
17:00
18:00
19:00
20:00
21:00
Best of Fests, 87’
22:00
Kate Novack Panorama, 94’
23:00
24:00
24:00
1:00
1:00
13
A il fo co v d
WOENSDAG DINSDAG 21 NOVEMBER 15 NOVEMBER
PROGRAM TUESDAY 21 NOVEMBER DE MUNT
13
DETUSCHINSKI MUNT 13
00
10:00
g 0
12:00
12:15
Taste of Cement Ziad Kalthoum
13:00
The Work
Best of Fests, 87’
Feature-Length Competition, 95’
Jarius McLeary
13:15
This Is Congo Panorama, 91’
14:00 14:45
In the Intense Now João Moreira Salles
15:00
Masters, 127’
16:00
17:00
14:30
Michael Glawogger, Monika Willi
Masters, The Visual Voice, 108’
16:00
Eric Clapton: Life in 12 Bars
The Venerable W. Masters, 100’
18:00
18:00
Pueblo Textil Horatio Baltz
Ouaga Girls
Theresa Traore Dahlberg
19:00
Best of Fests, 83’
20:30
20:00
Oxfam Novib Selection: 20:00 Dead Donkeys 69 Minutes Fear No Hyenas of 86 Days Joakim Demmer
Best of Fests, 80’ Larsen Egil Håskjold Best of Fests, 71’
Nokia Mobile – We Were Connecting People
21:00
Arto Koskinen Panorama, 92’
22:00
DEDE MUNT MUNT1312
Followed by an in-depth conversation with director Joakim Demmer moderated by Chris Kijne, presenter of VPRO’s Bureau Buitenland.
0
00
Rupert Russell
Best of Fests, 84’
13:45
GROTE ZAAL
DE MUNT 9 10 KETELHUIS
Compilation program of three extraordinary shorts. With: Fire Mouth, As We’re Told and Strike Team, 85’
15:00
Denis Côté
DE MUNT
11 10
DECARRÉ MUNT
12 11
BRAKKE GROND DE MUNT 13 12 EXHIBITIONS
DE MUNT
13
10:00
Maciek Bochniak
Music Documentary, 70’
A Skin so Soft 15:30
Masters, 94’
Moldovan Miracle
The Family 15:45 Rok Bicek Kumbh Best of Fests, 106’
Panorama, 82’
Short Competition, 30’
15:45
Stian Indrevoll
NTR Avond van de Wolf: The Greenaway Alphabet
Last Days in Shibati
Masters, 107’
17:45
Jude Ratnam de Kloet talks to director Best of Fests, 94’ Willem Baptist.
Look Away Nothing Like Before Phie Ambo
Student Competition, 25’
Mid-Length Competition, 60’
Lukas Kokes, Klara Masters, 80’ Tasovska
18:15
Dead Clive Davis: Donkeys The Fear Soundtrack No Hyenas of Joakim Demmer Our Lives
Music Documentary, 96’
Maryam Dejan Petrovic´ Goormaghtigh
Charlie Lyne
Before The Same Summer Ends
After the film NTR host Co de Kloet talks to directors
20:30 Jeff Broadway en Cory Bailey. Drib
Kristoffer Borgli Best of Fests, 94’
Personal Truth
Best ofCompetition Short Fests, 80’ , 17’
15:00 Short Competition, 17’
Enrico Maisto
Damon Davis, Festus Toll Sabaah Folayan Student Competition, 35’
Whose We WillStreets? Maintain
15:30
Eating Animals
Christopher Quinn
Best of Fests, 144’
16:00 Best of Fests, 94’
Best of Fests, 99’
16:45
Orban Wallace
Filmworker Our Skin
Best of Fests, 84’
20:30
Rina CastelnuovoHollander, Tamir Elterman
Mohammed Ali Naqvi
Best of Fests, 87’
18:30
Braguino 19:00
Koki Shigeno
Best of Fests, 90’
Ramen Heads 19:00 Best of Fests, 93’
Stronger than a Bullet
Johan 21:30Grimonprez Paradocs, 48’
Devil’s Freedom Everardo González
Fatum (Room 216) Ramon Gieling
Dutch Competition, 74’
Saskia Boddeke
15:30
Faces Places
Agnès Varda, JR
Masters , 115’ Tony Zierra
12:00
With the world premiere of The Greenaway Alphabet.
WOENSDAG 15 NOVEMBER EYE TUSCHINSKI CINEMA
31
EYE TUSCHINSKI CINEMA
4 2
TUSCHINSKI 5 KLEINE KOMEDIE KLEINE KOMEDIE
Apollo The Work Javakheti Bakar Jarius Cherkezishvili McLeary
Klaudiusz Chrostowski Student Competition, 64’
13:45
Namir Abdel Messeeh Shifting Perspectives, 85’
14:00
DE BALIE TUSCHINSKI 6 DE BALIE
GROTE ZAAL GROTE ZAAL
Short Competition, 25’
The Ugliest Car
Grzegorz Szczepaniak
João Moreira Salles Masters, 127’
15:00
Crisis: Behind a Presidential Commitment Robert Drew
Let There Be Light
17:00
Songs for Kit
Ruslan Fedotow
Ask the Sexpert
Mid-Length Competition, 47’
13:00
Hairat 13:15
12:30
Best of Fests, 83’
Selected by Frederick Freedom for the Wolf Wiseman. Rupert Russell Best of Fests, 89’
Jessica Beshir + Doc Talk Short Competition, 7’ The White World The Rebel Surgeon According to Erik Gandini Daliborek
Risk 18:30
Laura Poitras
The Next Guardian Masters, 92’ Dorottya Zurbó, Arun Bhattarai
First Appearance Competition, 74’
Best of Fests, 83’
Mr. Gay Syria Ayse Toprak
17:15 , 88’ Panorama
The Venerable W.
18:00
19:00
A provocative portrait of the neo-Nazi Daliborek, followed by an in-depth conversation between fi lmmaker Rob Schröder and 15:15 the film’s director Vit Klusák.
This Is Everything: Gigi Gorgeous
20:30
Nanfu Wang
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
20:00
19:00
Drib
Kristoffer Borgli
21:00
Quest 21:15 Jonathan Olshefski Ali Aqa Best of Fests, 105’
Big Time 20:45 Kaspar Astrup Schröder Trophy Panorama, 93’ Shaul Schwarz Best of Fests, 108’
Strike a Rock Aliki Saragas
21:00
An Inconvenient Muhi – Generally Temporary Truth 2
Jon Shenk, Rina CastelnuovoBonni Cohen Hollander, Tamir Elterman Best of Fests, 100’
Kamran Heidari
Feature-Length Competition, 81’
Best of Fests, 87’
69 Minutes of 86 Days
Egil Håskjold Larsen Best of Fests, 71’
21:30
Gloria Carrión Fonseca
Panorama, 87’
Short Competition, 22’
15:00 Songs for Kit
Ruslan Fedotow
16:00
1
+ O
16:45
Ta
Mr. Gay Syria Ayse Toprak 17:00 Panorama, 88’
Fe
Tw a h a b N D
18:00
Ouaga Girls
Theresa Traore Dahlberg Best of Fests, 83’
19:30
19:00
1
Drib 19:00
R C
Kristoffer Borgli Best of Fests, 94’
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Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
20:00
21:00 21:30
Heiress of the Wind 22:00
Gloria Carrión Fonseca Panorama, 88’
22:00
23:00
WOENSDAG DINSDAG15 21NOVEMBER NOVEMBER RABOZAAL RABOZAAL
DE MUNT 10 KETELHUIS KETELHUIS
BRAKKE DE MUNTGROND 11 EXPOZAAL
BRAKKE DE MUNTGROND 12 CARRÉ
10:00
RODE ZAAL
24:00
Oxfam Impact Experiment
Denis Côté Masters, 94’
Panorama, 88’
Rok Bicek
Catherine Gund, 16:00 Kyi Daresha
The Family
Chavela
Best of Fests, 106’
Masters, 78’
Damon Davis, Sabaah Folayan Best of Fests, 144’
15:15 15:30
Faces Places
Agnès Varda, JR Masters, 100’
Music Documentary , 93’ So Help Me God
Intent to Destroy: Death, Denial & Depiction Joe Berlinger Masters, 115’
Jean Libon, Yves Hinant Best of Fests, 99’
17:00
Filmmaker Talk: Everardo González
Tony Zierra
17:45
... When You Look Away Phie Ambo Masters, 80’
18:15
Dead Donkeys Fear No Hyenas Joakim Demmer Best of Fests, 80’
Best ofKalthoum Fests, 82’ Ziad
Best of Fests, Camera in Focus, 85’
Cinematographer Talal Khoury talks with Eric Hynes about the visual narrative of this film about loss and resurrection.
20:30
Insha’Allah Democracy
Mohammed Ali Naqvi Best of Fests, 85’
18:30
18:30
Jessica Gorter
19:00 Mika Gustafson, Olivia Kastebring, The Poetess Christina Tsiobanelis Stefanie Brockhaus, Music , 95’ AndyDocumentary Wolff Bestintimate of Fests, 90’ An journey through the carreer and love life of Swedish rapper and feminist icon Silvana Imam, who gives a performance after the screening.
19:00 Best of Fests, 93’
19:00
Maasja Ooms
Josh Lowell, Peter Mortimer
IDFA in De Balie: The Red Soul After The Red Soul, a panel discussion 19:45 will address questions on the continuity The Final Year of the former Soviet-Union Greg Barker and the persisting popularity Best of Fests, 90’ of strong leadership in contemporary Russia.
Silas
Anjali Nayar, Hawa Essuman
+ Live: Silvana Imam Silvana
Ramen Heads Koki Shigeno
Alicia
Dutch Competition, 90’
IDFA in De Balie: Devil’s Freedom Everardo González
After the screening of Devil’s Freedom we will discuss the prospects of a disrupted state like Mexico and its citizens, both haunted by trauma.
21:30
+ Devil’s Live: Hyenaz Freedom Everardo González Queercore: How To Masters, a 74’Revolution Punk Yony Leyser
Music Documentary, 83’
This documentary about the anarchic, alternative queercore subculture is accompanied by a live performance by electro duo Hyenaz.
Masters, 92’
The Dawn Wall
18:30
The Prince and the Dybbuk Elwira Niewiera, Piotr Rosolowski Best of Fests, 82’
Best of Fests, 108’
Join Jonathan Harris on a secular pilgrimage: from physical reality to the chaos 21:00 of YouTube, and a digital simulation of consciousness. Muhi – Generally
Piripkura
Rina CastelnuovoHollander, Tamir Elterman
Trophy
Shaul Schwarz
21:30 Best of Fests, 105’
21:30
Thomas Vroege
Renata Terra, Bruno Jorge, Mariana Oliva
A Stranger Came to Town Dutch Competition, 71’
11:00 11:00
12:00 12:00
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’
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
Panorama, 100’
20:45
Jonathan Olshefski
DE MUNT
10:00 10:00
Best of Fests, Camera in Focus, 85’
Opening hours: 9:00 – 23:00
18:00
DocLab Live: Order, Chaos and Everything
Quest
21:15
Laura Poitras
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.
20:00
21:00
Masters, 74’
22:30
Risk
18:30
Feature-Length Competition, Dutch Competition, 90’
+ Distant Doc Talk Constellation Shevaun Taste ofMizrahi Cement
An inspiring conversation with Everardo González, one of the strongest voices in documentary in Latin America 18:15 today.
Best of Fests, 94’
DocLab: Uncharted Rituals & Jonathan Harris Retrospective
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
Filmworker
Vincent Moon, Priscilla Telmon
Music Documentary, 88’
Boris Mitic
Whose Streets? 15:30
20:00
Híbridos, the Spirits of Brazil
In Praise of Nothing
15:00
15:30
Music Documentary, 102’
21:30
12:45
Queerama The Dead Nation
Best of Fests, 80’
Stephen Nomura Schible
Kristoffer Borgli
Best of Fests, 147’
13:30
Maryam Goormaghtigh
A Skin so Soft
Ryuichi Sakamoto: Coda
Drib
Beuys
Susan Lacy
Before Summer Ends 15:00
19:00
20:30
Spielberg 12:30
14:30
Feature-Length Competition, 98’
Two years in the life of an Al-Nusra fighter and his family, followed by an in-depth conversation 17:45 between journalist Minka Demons Paradise Nijhuis and in director Talal Jude Ratnam Derki.
12:00
BRAKKE BRAKKE GROND GROND DE MUNT 13 EXHIBITIONS EXHIBITIONS 9:00
First Appearance Competition, 81’
Temporary
20:30
Nokia Mobile – We Were Connecting People Arto Koskinen Panorama, 92’
20:00 20:00
21:00 21:00
Best of Fests, 87’
22:00 22:00
0
23:00
00
24:00
24:00 24:00
0
1:00
1:00 1:00
Best of Fests, 80’
23:00 23:00
2
H S
V P
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Mohamed Siam
MELKWEG MELKWEG DE MUNT 9
A th fo co fi th
Mid-Length Competition, 57’
Panorama, 87’
Amal
Panorama Masters, 83’ , 71’
Talal Derki
Best of Fests, 94’
21:00
22:00
Jason Hanasik
Kids & Docs, IDFA Junior, 5’
Strike a Rock
22:30
Another News Story
+ Doc Talk Of Fathers and Sons
20:00
Heiress of the Wind 22:00
How to Make a Pearl
Horatio Baltz
20:30
Daisy Radu Jude Asquith
Barbara Kopple
Best of Fests, 94’
Best of Fests, 94’
I Am Another You
20:30
Best of Fests, 82’
+ T A D
M
14:30
Nanfu Wang
Masters, 107’
Best of Fests, 84’
16:15
Masters, 100’
19:30
Best of Fests, 85’
Elwira Niewiera, Piotr Rosolowski
True Love in Pueblo Textil
I Am Another You
Andres Veiel
Orban Wallace
Kids & Docs, IDFA Junior, 5’
Theresa Traore Dahlberg
The Long Season 18:30 Leonard Retel Helmrich The PrinceCompetition, and Feature-Length the Dybbuk Dutch Competition, 115’
Aliki Saragas
13:00
Masters, 107’
Horatio Baltz
Ouaga Girls
Let There Be Light
18:15
Masters, 74’
Vaishali Sinha
The Visual Voice, 267’
Masters, 91’
Barbet Schroeder
Best of Fests, 80’
Pueblo Textil
Masters, The Visual Voice, 108’
16:45
Mila Aung-Thwin
18:00
Jason Michael Hanasik Glawogger, Monika Willi , 22’ Short Competition
16:00
The Visual Voice, 52’
17:15
14:30
Mid-Length Competition, 57’
15:45
Robert Drew
17:15
First Appearance Competition, 75’
12:00
Marcel Ophüls
Masters, 52’ Vít Klusák
How Untitled to Make a Pearl
14:45
In the Intense Now
Hôtel Terminus: The Life and Times of Klaus Barbie
12:00
Call Me Tony 13:00
Crisis: Behind a Presidential Commitment The Visual Voice, 52’
A special interactive morning program. Can a documentary change the world?
, 16’
Best of Fests, Camera in Focus, 85’
15:45
1
V
14:00
1:00
Student Competition, Best of Fests , 87’ Kids & Docs
Jonathan Harris’ Top 10, 86’ Ziad Kalthoum
The Virgin, the Copts and Me
Best of Fests, 94’
Tara Fallaux
Masters, 127’
Feature-Length Competition, Shifting Perspectives, 83’
Panorama, 68’
Powers of Ten
Godfrey Reggio Taste of Cement
João Moreira Salles
Intent to Destroy: Death, Denial 15:45 & Depiction Filmworker Joe Berlinger
11:30
Charles Eames, Ray Eames
Namir Abdel Messeeh
14:45 15:15
Maryam Ebrahimi
20:30
Blue Orchids
22:15
Masters, 92’
The Virgin, the Copts and Me
Best of Fests, 85’
Paradocs, 16’
Best of Fests, Camera in Focus, 86’
13:45
In the Intense Now
18:15
Mila Zhluktenko, Sylvain Cruiziat
Marian Mayland
House in the Fields
Call Me Tony
Klaudiusz Chrostowski
18:00
Find Fix Finish
A Bar on Majorca
Best of Fests, 85’ 21:15
Student Competition, Kids & Docs, 16’
Best of Fests, 80’
The Poetess Panorama , 49’
Insha’Allah Democracy
Bakar Cherkezishvili
Student Competition, 64’ 13:00
Shifting Perspectives, 85’
18:00
Clement Cogitore
Best of Fests, 90’
Best of Fests, Camera in Focus, 85’
12:00
Apollo Javakheti 12:00
Mila Aung-Thwin
Student Competition, 20’
Tala Hadid
11:30
12:15 Koyaanisqatsi
Panorama, 77’
Dutch Competition, 89’
11:00
Jonathan Harris’ Top 10, 9’
Marcel Mettelsiefen
Greg Barker
20:30 Best of Fests, 82’
Muhi – Generally Temporary
Denise Janzee
Love Letters Another News Story
17:00
Watani My Homeland
16:15
Jean Libon, Yves Hinant
The Final Year
Distant Constellation Shevaun Mizrahi
Godfreyof Reggio Taste Cement Jonathan Harris’ Top 10, 86’ Ziad Kalthoum
12:45
Boris Mitic
Masters, 100’
So Help Me God
Panorama, 75’
Charles Eames, Ray Eames
12:15 Koyaanisqatsi
In Praise of Nothing
My Name Is Nobody 14:30
19:45 20:00
Best of Fests, 147’
Powers of Ten
Jonathan Harris’ Top 10, 9’
Susan Lacy
14:00
14:30
Agustina Comedi
Masters, 83’
11:30
13:30
Masters Music Documentary , 83’ , 74’
Mid-Length Competition, 57’
Mikala Krogh
Spielberg
13:30
Radu Jude Brecht Vanhoenacker
The Call
A Year of Hope
Masters, 78’
Stefanie Brockhaus, Andy Wolff
NTR Avond van de Wolf: Living on Soul
12:00 Best of Fests, Camera in Focus, 100’
The DeadPiece Imposed Nation
Silence Is a Falling Body
... When You 18:00
Rati Oneli
Andres Veiel
Hendrick Dusollier
Best of Fests , 80’ Chris Perkel Music Documentary, 123’
Jeff Broadway, Cory Bailey
Best of Fests, 85’ Beuys
Best of Fests Student Competition , 94’ , 17’
Laura Poitras
22:15
12:30 Mohammed Ali Naqvi
Tony Queiroga João Zierra
First Appearance Competition, 17:45 Dutch Competition, 91’
Demons in Paradise After the film NTR host Co
Insha’Allah Democracy
Iso Luengo, Vaishali Sinha Jorge Moneo Quintana, Andrea Best of Fests, 83’ Ballesteros i Beato
Umesh Vinayak Kulkarni
Mid-Length Competition, 55’
12:00
Ask the The Interior Sexpert City
Raghu Rai, an Unframed Portrait
NTR Avond van de Wolf: Instant Dreams
City of the Sun
Panorama, 75’
12:00
11:00
11:15 11:30
Julia Bacha
Ethiopiques – Revolt of the Soul
Avani Rai
Willem Baptist
Naila and the Uprising
13:45
Shorts: Believe It or Not
Bernadett Tuza-Ritter
filmmaker Meral Uslu Barbara Kopple and director Bernadett Masters , 91’ Tuza-Ritter.
Another News Story Orban Wallace
Followed by an in-depth This Is Everything: conversation between Gigi Gorgeous
Feature-Length Competition, 89’ 15:15
13:00
Best of Fests, 89’
10:00
00 True Love in
en an
Freedom for the Wolf
Risk
DEDE TUSCHINSKI MUNT MUNT13132
0
00
+ Doc Talk A Woman Captured
12:30
21:45
00
0
14:30
Dutch Competition, 72’
Mid-Length Competition, 63’
19:15 19:30
1:00
n,
Erik Gandini
Laurent Van Lancker
First Appearance Competition, 92’
0
ch
The Rebel Surgeon
Kids & Docs, IDFA Junior, 5’
24:00
0
Followed by an in-depth conversation between 13:00 journalist Jaap Tielbeke Hairat (Dutch weekly De Groene Jessica Beshir and Amsterdammer) Short Competition, 7’ director Håvard Bustnes.
Alex de Ronde
Kalès
17:00 17:15
Barbet Schroeder
00
00
TUSCHINSKI 6 5 DE BALIE
Deaf Child
11:45
Music Documentary, 135’
23:00
0
5 4
11:30
Lili Fini Zanuck
0
00
Håvard Bustnes
Masters, 52’
Untitled
00
g 0
TUSCHINSKI
KLEINE KOMEDIE
11:00
+ Doc Talk hosted by De Groene Amsterdammer Golden Dawn Girls
12:00
an
00
4 3
Masters, 100’
Daniel McCabe
00 True Love in
0
TUSCHINSKI
10:30
Best of Fests, Camera in Focus, 85’
0
00
3 2
11:30
00
0
TUSCHINSKI
Agnès Varda, JR
11:00
00
0
12
MELKWEG DE MUNT TUSCHINSKI 96 RABOZAAL
Faces Places
0
00
WOENSDAG 15 NOVEMBER
13