IDFA Daily #1 2017 (English) by IDFA International Documentary Film Festival Amsterdam

International Section 16/17 nov 2017

IDFA’s interim artistic director Ba rbara Visser

e f i l f o y a Aw “Strong women and troubled men” is what IDFA’s interim artistic director, Barbara Visser, promises in this year’s selection. “It’s something we have noticed. It could be coincidence, but it’s something we really saw”, she says. By Geoffrey Macnab

There is also an emphasis on youth. Some films – including Finlay Pretsell’s Time Trial (portrait of Scottish racing cyclist David Millar) and Feargal Ward’s The Lonely Battle of Thomas Reid (Irish farmer fights to keep his land from microchip manufacturer Intel) – so impressed programmers that they were bumped up from First Appearance into IDFA’s main FeatureLength Competition. To celebrate IDFA’s 30th anniversary, Visser promises a “very festive” event looking back over the festival’s history, taking stock and contemplating the future. The programme Visual Voice: 30 Years of IDFA pulls together 18 leading directors (“a group of giants from the documentary field who’ve been with IDFA sometimes from the beginning” as Visser puts it), asking them to choose a film that changed the way they see the documentary. There is mutual admiration between Kim Longinotto (who chose Nick Broomfield’s Aileen: Life and Death of a Serial Killer) and Broomfield (who chose Longinotto’s Sisters in Law). John Appel picked a film by Raymond Depardon, himself a regular IDFA visitor; The Yes Men went for Joshua Oppenheimer’s The Act of Killing. Fred Wiseman opted for Marcel Ophuls’ Hôtel Terminus: The Life and Times of Klaus Barbie while Steve James selected Alexander Nanau’s Toto and His Sisters. The screenings will be accompanied by a

Photo: Nichon Glerum

six-hour “discussion marathon” in the festival’s spiritual home, De Balie. The talk will be followed by an invitation-only party for IDFA’s founder and former director, Ally Derks. When visual artist and filmmaker Visser was appointed interim director last year, she talked about making the festival easier to navigate and possibly pulling back on the huge number of titles screening. She acknowledges this hasn’t happened, with over 300 films (including Doc Lab) screening at this year’s event. “A lot of titles,” Visser acknowledges, but points out that the “themed programmes” (for example the “full focus on cinematography”) and the curated selection of experimental, artistic documentaries in Paradocs, should help festivalgoers find their way. The Shifting Perspectives programme foregrounds the Arab world, with classic and new documentaries. The aim is to provide a view from the inside, rather than the arm’s length view presented by the Western media of Arabs as “others” living in a world of constant turmoil. Internet & new media artist Jonathan Harris has compiled this year’s Top 10 – and startled the programmers by asking if he could include a book, The Nature of Order: An Essay on the Art of Building and the Nature of the Universe by Christopher Alexander. “This question of course raised some eyebrows here. I thought it was fantastic. At the same time, where does it end? Will he select ten books?” His other selections include Godfrey Reggio’s Koyaanisqatsi, which “blew me away” when she re-watched it recently, Visser says. As ever, there will be a colourful array of guests attending IDFA. Alongside esteemed directors like Wiseman, Longinotto, Broomfield and co., there will be rock stars (Josh Homme from Queens of the Stone Age, who co-directed American Valhalla ), cyclist David Millar as well as dancers, musicians and protagonists.

In her time at the helm, Visser has travelled the festival circuit widely, taking in Sundance, Berlin, Cannes, Nyon and others. “What struck me is that documentary is such a fantastic social world,” she says. Not that there is a constant round of parties: her point is that documentary makers support one another, are excellent networkers and every documentary event will have pitching sessions or rough cut screenings. “That’s incredibly valuable. IDFA played a big role in setting up things like that.” IDFA’s Forum is celebrating its 25th anniversary and is now one of the most important co-production and co-financing markets in Europe. Meanwhile, the IDFA Bertha Fund (formerly Jan Vrijman Fund) – which invests in and stimulates documentary activity in Africa, Asia, Latin America, the Middle East and parts of Eastern Europe – is now 20 years old. Among the titles it has supported are this year’s opening film, Mohamed Siam’s Amal (which was also pitched at the Forum). As a former chair of the Academy of Arts/KNAW (Royal Dutch Academy of Sciences), Visser is used to dealing with politicians and lobbying. One novelty, though, has been spending a year in an office. “That’s something I’ve never done before!” Visser has just completed a new film of her own, The End of Fear, which tells the “insane story” of the Barnett Newman painting Who’s Afraid of Red, Yellow and Blue III (1966-67). No, it’s not screening at IDFA: “I think it would be a conflict of interest to select my own film.” However, Amstel Films will be releasing it in the Netherlands. Ally Derks oversaw IDFA for three decades. Does Visser envisage staying that long? “I am totally focused on this year,” she parries. “I started knowing that after my year there would be an open call. I am still deliberating whether I should continue. That’s not because I don’t like it, but it would really mean quitting everything else. IDFA is a way of life!”

IDFA TH E DE M I N E R BY H O G I R H I R O R I, S H I NWAR KAMAL, ©LO LAV M E D IA AB

Feature-Length Competition The Deminer by Hogir Hirori, Shinwar Kamal

First Appearance Competition Stronger Than a Bullet by Maryam Ebrahimi

Short Doc Competition As We’re Told by Erik Holmström, Fredrik Wenzel

One Day in Aleppo by Ali Alibrahim

Masters The Rebel Surgeon by Erik Gandini

Best of Fests Ouaga Girls

by Theresa Traore Dahlberg

Dead Donkeys Fear No Hyenas by Joakim Demmer

Music Doc Silvana

by Mika Gustafson, Olivia Kastebring, Christina Tsiobanelis

sfi.se

SWEDISH CO-PRODUCTIONS

First Appearance Competition The Distant Barking of Dogs by Simon Lereng Wilmont

[D K /S E / F I ]

Kids & Docs Competition Tongue Cutters by Solveig Melkeraaen

[N O /S E ]

Industrial Evolution Over the years, Van Nieuwenhuijzen and her team have fine-tuned the industry talks to encompass the varying degrees of professional experience at the festival. “We started running more intimate industry sessions, in which professionals share their knowledge, after we realised there were a lot of people attending IDFA with films who are not really aware of the latest developments in the industry. There was a gap between the IDFAcademy and events like the Forum. They’re extremely popular.” Topics on the table this year include how to source and clear rights to archive material; a panorama on the US market by sales veteran Diana Holtzberg; virtual reality in non-fiction story-telling; and an update on the digital rights market by VOD guru Wendy Bernfeld.

By Melanie Goodfellow

Many of the 3,000 guests touching down in Amsterdam for IDFA’s 30th anniversary edition this year will be drawn as much by its industry events as by the festival line-up. But this was not always the case, recalls the festival’s long-time industry chief Adriek van Nieuwenhuijzen, who was part of the founding team in 1988. “We had no idea what IDFA would become,” she recalls. “We had big ambitions, and these were focused on improving the climate for documentary and getting more documentaries onto the big screen. At that time, you could only really watch them on TV. They had disappeared from cinemas in the Netherlands. In those early years, the main challenge was getting the films and their makers to Amsterdam and connecting them with audiences.” “From the early days, we ran a few workshops, but these were very Dutch-focused in terms of the participants, although we were already reaching out internationally to connect the Dutch to acclaimed filmmakers such as Ken Loach, who attended one year as a tutor. The idea of setting up something like the Forum never crossed our minds … that came later when the festival’s international standing

began to grow”, she adds, referring to IDFA’s benchmark co-financing market. The launch of the Forum in 1993 – in association with pan-European body Documentary (the predecessor of EDN) – was a watershed moment. Docs for Sale (DfS) was created three years later, followed by the IDFAcademy (aimed at emerging filmmakers) and the IDFA Bertha Fund, set up to support productions out of the developing world. Along the way, a raft of networking events and talks and seminars has also grown-up. Amid the expansion, the Industry Office has remained true to IDFA’s founding ethos of improving the climate for documentary and supporting filmmakers. “Helping filmmakers and producers to tell their stories has always been central to what we do,” says Van Nieuwenhuijzen. “For us, it’s also key that there is diversity in terms of where the stories come from. Through programmes like the IDFA Bertha Fund, we support local industries in the Global South and help filmmakers tell their stories and reach out to audiences.” “We love presenting those bigger films, which are easily accessible to the audience; but we’re also looking for directors outside the mainstream as well as the experimental, the young filmmakers, and asking ourselves how we can help them grow. We want to work with a broad spectrum. We’re super proud when a big deal is done at either Docs for Sale or the Forum, but we are also very proud if a young filmmaker meets a great mentor at the IDFAcademy.”

Speakers at the broader industry talks, taking place in Flemish Arts Centre De Brakke Grond, include Emmy Award-winning editor Joe Bini, DOP Lars Skree and documentary producer John Battsek. There will also be a Bertha Foundationorganised talk on creative resistance revolving around the documentary Strike A Rock, about a group of women who stood up for miners’ rights, as well as one on building bridges between the Arab documentary scene and the rest of the world, as part of the Shifting Perspectives sidebar on Arab documentary. Looking to the future, Van Nieuwenhuijzen has clear ideas on how IDFA can stay relevant for another 30 years in the fast-changing documentary industry. “The key is to focus on the talent of the filmmakers, to nurture that talent and help it to blossom … It all starts with filmmakers with good stories. There will always be a need for good stories. Our role is to connect these filmmakers and their ideas with each other, and with the decision-makers.”

The Czech documentary industry is soundly represented at IDFA 30 with two films in competition and a third in Masters. Nothing Like Before, about four teenagers in a Czech border town, screens in First Appearance while The Russian Job about a Swedish manager who tries to salvage Soviet car manufacturer Lada, plays in the Mid-length Competition. The Masters selection is the controversial The White World According to Daliborek. The film, which follows a small-town neoNazi, premiered earlier this year at Karlovy Vary.

Czechs and balances

The Czech contingent is headed by the Institute of Documentary Film (IDF), which has supported creative documentary films from Central and Eastern Europe since 2001. “We feel that the participation of so many Czech documentary films at the 30th IDFA is a double success,” comments IDF’s Creative Director Pavlína Kalandrová. “Most of them have been supported by IDF for some time and participated in several of its activities … We will continue to support all of them throughout their festival life.” Additional IDFA 2017 Czech activity includes the Docs for Sale selections A Marriage Story, described as a longitudinal documentary; D Is for Division by Davis Simanis (produced by Guntis Trekteris and Radim Procházka); the creative doc The Lust for Power by Slovak director Tereza Nvotová, produced by PubRes (Slovakia) and co-produced by HBO Europe and Negativ; and Batalives directed

Photo: Ramon Mangold

Look Back at IDFA Revered British documentary director Kim Longinotto has been coming to IDFA for almost as long as the festival has been running. Many of her films have screened here – from Sisters in Law to Love Is All, Rough Aunties to Divorce Iranian Style and The Day I Will Never Forget – and the British director has often attended with her subjects in tow. By Geoffrey Macnab

When Longinotto brought Rough Aunties – her film about a South African woman’s organisation that looks after abused kids – to IDFA, eleven of the women featured in the film travelled to the festival. “It was an amazing experience because most of them hadn’t been out of Durban, let alone South Africa.” “I remember them being absolutely gripped,” Longinotto says of a trip they made to the Anne Frank house. “They had all lived through apartheid and grown up with signs saying ‘no blacks, no coloureds’, so for them it was an extraordinary experience to go to a museum and see signs saying ‘no Jews’ and realise they had this real link with people who had had the same experience.”

by Karolína Zalabáková and Petr Babinec. The project Satanic Girls; Women on the Move, directed by Bohdan Bláhovec and produced by Anna Herza Tydlitátová, will be pitched at EBU. Annual funding support for Czech documentary amounts to approx. €1.4 million (from a total budget of €13.5 million), with additional film incentives amounting to €31 million per annum available to Czech and international filmmakers. Recent legislation reduces the minimum amount of costs eligible for film incentives, which has made access easier for documentary films, points out State Cinematography Fund chief Helena Bezděk Fraňková. “We also systematically support documentary films in all stages of development in special calls,” she adds. “There are also a number of industry and educational institutions that receive regular subsidies for their activities in documentary film. I’m glad that our support translates into the success of Czech documentaries at international events.” By Nick Cunningham

The Russian Job

IDFA Industry chief Adriek van Nieuwenhuijzen charts the steady growth of the festival’s professional events.

There will also be two sessions on short docs linked to the re-introduction of the IDFA Competition for Short Documentary. Salma Abdalla, CEO of Vienna-based sales company Autlook Film, will look at the market for short films while Tom Oyer, membership and awards manager at the Academy of Motion Picture Arts and Sciences, will explain the process for submitting a work for consideration in the short documentary category. “The re-introduction of the shorts competition means IDFA is set to become a qualifying festival for the Oscars in the shorts category”, Van Nieuwenhuijzen notes.

As for herself, Longinotto relishes her trips to IDFA. “What makes it stand out is there are always lots of films you want to see. Sometimes I get daunted by the bigness of it, as I’m not very good at finding things,” she says. “But Amsterdam is the perfect place to have a film festival. It feels very safe. You can walk around at night.” She enthuses, too, about the packed cinemas and the “very attentive” audiences who are passionate about documentary. As a non-drinker, she’ll generally take the chance during IDFA to visit Amsterdam’s famous coffee shops. “It’s a wonderful treat to be able to go and buy a spliff and smoke it without feeling you’re going to get arrested.” Longinotto has always been an admirer of the “enormous energy” festival founder Ally Derks (who recently stood down as artistic director) brought to IDFA. “People will really only understand what Ally’s personality did for IDFA when they see the difference this year,” she says. She is currently completing an archive-based film on the Sicilian mafia. The film will debunk the myths perpetrated by movies like The Godfather and show the grief and devastation the Mafia leave in their wake. “It is really wrecking us”, she says of the exhaustive editing process.

IDFA COMPETITION FOR SHORT DOCUMENTARY

Special Programme

Zhalanash – Empty Shore DIR.: MARCIN SAUTER • POLAND • 2017 • 40’

Eponymous Zhalanash is a port city over the Aral Sea. This place between a great water and a vast desert which used to be a prosperous link of the Soviet economy is just a shadow of its former glory today. In Marcin Sauter’s film, Zhalanash is not only about evocative landscape, but, above all, about the fates of people who invested their hopes and expectations into the place between the sea and the desert and now ponder over their solitude among the wrecks of ships and port cranes. SAT 18 / 13:15 / TUSCHINSkI 6 (InTernATIonAl PremIere) SUn 19 / 12:30 / TUSCHINSkI 4 mon 20 / 21:30 / TUSCHINSkI 6 WeD 22 / 20:30 / TUSCHINSkI 3

FILM IS ALSO AVAILABLE TO WATCH AT DOCS FOR SALE

www.polishdocs.pl

FILM IS REPRESENTED BY KFF SALES & PROMOTION PROJECT CO-FINANCED BY THE POLISH FILM INSTITUTE

Rise and fall told by the people who experienced the miracle and faced the destruction 10–21 May 2018

Screenings: Munt 13 EYE Cinema 2 Munt 09 Tuschinski 6

Wed Thu Fri Fri

15 16 17 24

Warsaw • Wroclaw • Gdynia • Bydgoszcz • Lublin • Katowice

Nov Nov Nov Nov

20:30 15:45 22:15 21:30

World Sales: 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

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

Serbs up

By Nick Cunningham

When Film Centre Serbia chief Boban Jevtic took over in 2015, documentary production funding was in the doldrums, with a mere six feature docs going into production that year. selected for Docs for Sale, together with the other Serbian titles selected for the fest. “I am in close contact with documentary filmmakers who founded the documentary association Doc Serbia, and this helped me a lot to articulate what we need, and what is the best way to provide it, especially regarding production support,” Jevtic says of his initial funding strategy. “I was able to articulate very clearly to my board and the Ministry of Culture how we could get good results, fast. I started with the education programme and workshops, and we started to send people abroad to workshops and festivals, with good results.”

Nothing Like Before

Two years later, the figure has quadrupled to 20 per year, both for 2016 and 2017, with an increase in operational budget from €300,000 to €700,000. “I’m especially interested in documentaries, because in my opinion, in our part of the world we have a lot of stories to tell and to share,” he comments. “At the same time, the documentary genre is, from the point of view of a state fund, an excellent investment because it gives results faster than fiction films.” The upshot of Jevtic’s higher investment in the doc form is the selection of four films

in official selection at IDFA 2017, with The Other Side of Everything (Mila Turajlic) in the Feature-length Competition, Nothing Like Before (Lukas Kokes, Klara Tasovska) competing in First Appearance, Boris Mitic’s In Praise of Nothing in Masters and The Same by Dejan Petrovic in the IDFA Competition for Short Documentary. “I am very satisfied with that,” Jevtic underlines. (Turajlic’s competition pic originally world-premiered at TIFF, while In Praise of Nothing bowed at Karlovy Vary.) In addition, Turajlic will present his upcoming project The Labudovic Reels at the Forum, while Biljana Tutorov’s When Pics Come is

Black Stones Some two years have passed since the rebel-held Syrian city of Homs, once dubbed the ‘capital of the revolution’, fell to President Bashar alAssad’s government troops in Syria’s ongoing civil war. By Melanie Goodfellow

But as its former inhabitants continue to digest the destruction of their place of origin, fresh documentary accounts – some raw, others reflective – continue to emerge, capturing life in the city amid the fighting.

“I want to put the documentary on the map of Serbian cinematography. One of the crucial steps in that was to agree contracts with the national broadcasters and slots on national TV for Serbian documentaries, which had never been done before. I hope we will be able to offer innovative documentaries in the future and that they will be successful at both local and European levels,” he continues. “Serbia is often connected with the war, but for us the war was 20 years ago. We have a new generation who is interested in that period, of course, but also they are interested in new kinds of problems, such as transition, emigration, youth who don’t want to stay in the country, LGBT issues, minority problems and social issues. I think it is the time to show to the world these films about contemporary subjects from Serbia.”

Homs-born director Usama Ghanoum’s medium-length contender Black Stones homes in on a field hospital run by young medics in the Old City of Homs between early 2012 and late 2013, at the height of the siege of the city by Assad’s forces. It takes its title from Homs‘ nickname, ‘mother of the black stones’, for its buildings constructed from the region’s black basalt.

Ali Aqa

Ghanoum reveals he had already left the city when the events in the film started to unfold. “It’s my city. I was born and raised and spent my first 24 years in Homs, before leaving in late 2011,” he recounts. “I tried to stay longer but I couldn’t. I had to leave after I was called up for military service. I packed my stuff and left for Egypt within two days.” While living in Cairo, he was contacted by two young doctors still based in Homs, credited in the film simply as Rafeeq and Fakry. “These two guys who filmed the footage contacted me, asking me to do something with it. At first, I looked for a filmmaker, then decided to do it myself after getting some filmmaking training in Cairo.”

“For years I’ve taken pictures of pigeons in Shiraz”, director Kamran Heidari says of the genesis of his feature-length contender Ali Aqa. “I’ve always liked their way of life. I’ve always been interested in making a documentary about pigeons, but other projects made it impossible. But then I found some free time and finally began to research pigeon-lovers.” By Mark Baker

One of these became the eponymous subject of Ali Aqa. The filmmaker was attracted to the cantankerous seventy-year-old “because Ali had this mad, intense love for his pigeons. I became especially interested in how he dedicated his whole life to his pigeons, despite all the life problems he has.” Persuading his recalcitrant subject to participate in the film was an arduous process. “It took me four months to finally gain his trust; after going to his home for that long, he finally got used to me being around and agreed to being filmed. His family didn’t trust me either at first, but after four months I managed to gain their trust as well. Eventually, Ali even showed some enthusiasm for documentary-making.” “I gradually got him acclimatised to the filmmaking equipment and the whole process. Our cameras and sound-recording devices were small, so that helped him to get used to the idea, and after a while he acted as he actually is, in front of the camera.” That the main character is at ease being filmed is palpable throughout the film, with the camera at times circling Ali almost like his beloved flock of pigeons. This familiarity also gives rise to a crucial scene in the film, when director Heidari steps out of the role of observer to intervene directly in an intense incident involving Ali and his family. An intervention that

is filmed, and was clearly not appreciated at the time by the film’s protagonist. “Yes, this had an impact on the production of the film,” the director recalls. “Ali told us not to meddle with his personal life ever again, and even banned us from visiting his home for a while. But after some discussion with him, everything got back to normal and we resumed shooting.” A situation that to a Western viewer may seem quite shocking was perhaps less so to the family themselves, the director suggests. “What the film showed was quite normal to them, because they have witnessed all of it before in their real lives,” he says. Having intervened in a family quarrel, Heidari reciprocated by allowing the family to influence the filmmaking process. “They made a few suggestions for the editing of the movie, which I followed,” he reveals. For Heidari’s next project, he intends to return to the theme of music, the director says. “I am very much interested in the music of Southern Iran; I have made a few documentaries about music already. The music of Southern Iran is influenced by African music, and I hope I can show these similarities in my next documentary.”

Ghanoum also secured the support of Berlin-based Dox Box Fund, headed by Syrian producer and filmmaker Diana El Jeiroudi. Working closely with German editor Annette Muff, whose credits include 24 Hours Berlin and more recently Passion for Planet, Ghanoum set about carving a narrative from the raw footage. “Me and my editor selected images to show a small story from the siege. We had a very hard time selecting the less horrible scenes. You can imagine what we decided not to show.” The result is an up-close, raw depiction of life under siege, capturing the death and destruction as well as the ability of human beings to find small pleasures and humour in even the most hellish situations. Chaotic scenes of the field hospital working at full-tilt, walls shaking from the nearby impact of shells, are intercut with a man tending his garden, a snowball fight or a bunch of injured men enjoying a soccer match on TV. Like medics the world over, the young doctors exhibit a healthy dose of black humour and bravado in the face of adversity, at one point taking the viewers on a tour of the cratered, debris-littered streets as if they were a top holiday destination. “We tried to show the other side of the story, which is not shown in the media. There’s death and destruction but also good moments. They are living their day somehow, trying to enjoy every single moment – that’s the real spirit of Homs.” IDFA Competition for Mid-length Documentary Shifting Perspectives: The Arab World

IDFA Competition for Feature-Length Documentary

www. catndocs.com Dailies2017.indd 1

17-11-14 11:40

The Long Season The Long Season follows the daily lives of Syrian refugees in Majdal Anjar, a refugee camp in Lebanon. It started as a TV documentary, but director Leonard Retel Helmrich and producer Pieter Van Huijstee were determined to make it into a full-blown feature. “How is it in Raqqa?” the refugees are asked when they arrive in the camp. “Not so good”, they reply with obvious understatement. Their home city was under ISIS control at the time. Retel Helmrich was co-directing with Syrian artist and sculptor Ramia Suleiman. He spent a year in the camp. As ever, he was using his “single shot cinema” process, shooting in fluid and intimate fashion. The camera always appears to be in the middle of the events it is capturing. It gets very close indeed to the subjects – far closer than any conventional fly-onthe-wall documentary would manage.

Amal

If Egyptian director Mohamed Siam had written the young woman at the heart of his namesake IDFA opener film Amal as a fictional character, she may have seemed too far-fetched.

A defiant force of nature masking a deeper vulnerability behind a bolshie, devil-may-care façade, Amal has experienced more in her young life as a child and teenager in the 2011 Egyptian revolution than most people do in a lifetime. She was 14 years old when Egypt’s popular uprising swept presidential dictator Hosni Mubarak from power in January 2011. Siam joins Amal’s story a year later, as she is making her way in post-revolutionary Egypt. One of the few girls to head to the pro-democracy protests on Tahrir Square, Amal is still healing from the emotional and physical scars of being beaten by riot police in an incident that went viral on YouTube. She is also grieving the recent death of the boyfriend she met at the demonstrations, killed a year later in the Port Said stadium massacre when fighting between rival fans went unchecked after police officers abandoned their posts. Overlaying all of this is the fact that she is growing up in a male-dominated society with little place for strong, independent women. Siam reveals he had originally planned a film about one of the country’s young ‘ultras’ soccer fans (who played a decisive role in the protests) as a means to explore what was happening to 12 to 25 year olds in post-revolutionary Egypt. “This group played a big part in the revolution, and on a number of levels it is also the future of Egypt,” said Siam. “I was curious about what would happen to the younger generation – that had only ever known change and violence – as the revolution died down. I wasn’t really expecting to come across any girls, because it’s a male-denominated scene.”

“If you belong to the refugees, you can only be surprised at the resilience of people in these humiliating circumstances”, Retel Helmrich commented as he set out to give an insight into their lives from their own point of view. “It was a joy to work with him. He was like a child, always sharing. The best way to describe him is that he was like a 50-year-old child”, Van Huijstee says of the actual shooting process.

Most of the material was already shot when, in January this year, the director had a heart attack while in Beirut. He went for several minutes without oxygen and was left in a coma. Now back in Holland and under the care of his family, he is recovering steadily but wasn’t in any condition to finish the film. His body is healing. He is out of the coma and left intensive care in April, moving to a nursing home. He is now in a rehab centre, where he is doing well. “He has opened his eyes. You get the idea he sees you. Whether recognises you is something else,” Van Huijstee says of a recent visit to him. “We have a letter board for him. We sometimes put his finger on a letter and see if he can formulate a word.” When Van Huijstee gave him a phone on a stick, Retel Helmrich began to move his hands around as if he thought he was filming again. Since then, the director’s condition has continued to improve. His sister, Hetty Naaijkens-Retel Helmrich, is confident he will be well enough to assist in the completion of her new documentary, which she is currently editing. About how immigrants from the Dutch East Indies brought American music (in particular rock & roll) to the Netherlands, the film is called Sounds of Origin. Producer Van Huijstee, working with Suleiman, decided to complete The Long Season after long deliberation. A four-hour time line was in place. Retel Helmrich has written and taught widely on his approach to filmmaking. “In that sense, we know his thoughts about how to cut and when to cut and what not to cut”, Van Huijstee says. Retel Helmrich has now seen the completed film. His verdict? “He was able to communicate that it is ‘a good expression of single shot cinema.’ He didn’t give any other comment”, says Hetty Naaijkens-Retel Helmrich. By Geoffrey Macnab IDFA Competition for Feature-Length Documentary IDFA Competition for Dutch Documentary

On meeting Amal, his plans changed. “I had been following a couple of potential characters when I met this short girl wearing a hoodie. She didn’t look like either a boy or a girl. She was very loud and very obscene,” he recalls. “She is a force of nature you simply can’t ignore. Instinctively I knew she had something, but I wasn’t sure what to do with her.” Siam initially thought he might follow her for a year or so, but as he came to see how current events in Egypt were shaping choices and destiny, he hit upon making a coming-of-age tale over a longer timeframe. He followed Amal for six years, filming her progress sporadically as the country witnessed the rise and fall of the Muslim Brotherhood, terror attacks and religious persecution. Beyond the portrait of Amal, Siam suggests the film has a wider message. “It’s hard to pin down one theme in the film but if I had to boil it down, I would say the film is about choices and how Arab youth have so few choices in that part of the world and in this time. Amal is living through this revolutionary period at an age when she is naturally asking questions about identity and the choices that could shape her future; the problem today is the Arab youth don’t really have any choices at home. They either have to leave, or live with a sense of alienation.” By Melanie Goodfellow IDFA Competition for Feature-Length Documentary Shifting Perspectives: The Arab World

Time Trial By Geoffrey Macnab

Filmmaker Finlay Pretsell has been an ardent cycling fan since he was a kid. He competed for Scotland in a mountain bike race and dreamt of racing in the big tours. “But I soon realised that I didn’t have what it takes,” Pretsell says. “The whole thing is in your mind. You have to dedicate everything to the sport. You have to rest properly; you have to train.” Pretsell may not have competed in the Tour de France but his remarkable new documentary Time Trial sees him get as close to the race as any non-competitor can. The film follows the final races of Scottish cyclist David Millar’s career, leading up to his last tilt at Le Tour aged 37. Millar was once suspended for doping. When he returned to the sport, he became an authoritative voice in the anti-doping movement. However, Pretsell’s documentary isn’t another of that spate of recent films and books (like Stephen Frears’ The Program or Alex Gibney’s The Armstrong Lie) looking at cheating in the sport. Instead, Pretsell set out to capture the “meditative” side of cycling. “After a couple of hours on a bike, if you’re on your own, you go into another world almost. You just naturally concentrate on pedalling and looking around. You hear yourself breathing.” The film also shows what it’s like being in the middle of the Peloton. There is a poignant moment early on when Millar tells another rider this is his last Tour. He’s 37 and getting old. It’s a frank and intimate exchange. What makes it startling is that it is taking place in the middle of a race.

Pretsell equipped Millar with a very sensitive microphone. He also shot Millar and the other riders from the crew’s “own, bespoke” motorbike. Its driver had done 30 Tours and knew exactly where to place himself to film. The filmmakers persuaded cycling’s governing body UCI (Union Cycliste Internationale) to allow them to equip riders with cameras. “We took a bit of a risky position of just filming David the whole time,” Pretsell says. By focusing so intensely on Millar, he was able to capture every conversation the rider had during the races. Pretsell first met Millar ten years ago and they’ve been planning a documentary ever since. “So many years went past, and I just couldn’t work out a way to do it.” Time Trial is being sold internationally by Autlook. It also has an illustrious executive producer: Iain Smith, the Scottish industry veteran whose credits range from Bill Forsyth’s comedies to Mad Max: Fury Road and Cold Mountain. Smith, Chair of the British Film Commission, is an ardent supporter of new Scottish filmmaking talent – and also used to race bikes himself. Pretsell and his team shot well over 500 hours of footage. Winnowing that down to feature-film length was a painstaking business. “It was a nightmare to edit, a nightmare to shoot,” he exclaims. “It’s not like we had a team of 200 researchers. The editor had the patience of a saint!” In his darker moments, the director was consoled to hear from Iain Smith that when he was producing Mad Max: Fury Road, they too shot over 500 hours. IDFA Competition for Feature-Length Documentary

Norwegian Films

IDFA COMPETITION FOR FEATURE-LENGTH DOCUMENTARY GOLDEN DAWN GIRLS

Dir: Håvard Bustnes Prods: Christian Falch, Håvard Bustnes for Faction Film

KIDS & DOCS COMPETITION TONGUE CUTTERS

Dir: Solveig Melkeraaen Prod: Ingvil Giske for Medieoperatørene

BEST OF FESTS 69 MINUTES OF 86 DAYS

Dir: Egil Håskjold Larsen Prod: Tone Grøttjord-Glenne for Sant & Usant

DRIB

Dir: Kristoffer Borgli Prods: Magne Lyngner, Riina Spørring Zachariassen for Bacon Osl

PANORAMA ALEPPO’S FALL

Dir: Nizam Najar Prods: Henrik Underbjerg for Stray Dog Productions Tore Buvarp for Fenris Film

MOLDOVAN MIRACLE

Dir: Stian Indrevoll Prod: Johnny Holmvåg for Flimmer Film

RECRUITING FOR JIHAD

Dirs: Adel Khan Farooq, Ulrik Imtiaz Rolfsen Prod: Lars Løge, Jonathan Borge Lie for Volt Film, Ulrik Imtiaz Rolfsen for Curry Film

CO-PRODUCTIONS AMAL

(IDFA competition for feature-length documentary) Dir: Mohamed Siam Prods: Myriam Sassine for Abbout Productions Mohamed Siam for ArtKhana Co-prod Norway: Ingrid Lill Høgtun for Barents Film

RAGHU RAI, AN UNFRAMED PORTRAIT (IDFA competition for mid-length documentary) Dir: Avani Rai Prod: Iikka Vehkalahti for IV Films Co-prod Norway: Torstein Grude for Piraya Film

SEE YOU TOMORROW, GOD WILLING!

(IDFA competition for mid-length documentary) Dir: Ainara Vera Prod: Itziar García Zubiri for Arena Comunicación Co-prod Norway: Anita Rehoff Larsen, Tone Grøttjord-Glenne for Sat & Usant

IDFA 2017

Over the Limit Margarita Mamun is a goddess. She has poise, balance and sublime technique – as well as artistry in abundance. But according to Irina Viner, the highly successful (but much feared) head coach of the Russian Rhythmic Gymnastics federation, Margarita is “crap”; a psycho, someone who shouldn’t even think about competing.

photo: Nadine Maas

She is bullshitting everyone, continues Viner, and only wins points because of her pretty eyes. These coaching methods may have delivered numerous European, World and Olympic gold medals, but in Marta Prus’ feature-length competitor, Viner seems like cruelty incarnate. “I just wanted to show the way she is,” says the director. “She is very strict with the girls and maybe that is why they get medals … she [might be] a perfect coach, but not in a humanistic way.” Between the two we encounter Margarita’s personal trainer Amina: at times gentle and maternal, at other times vicious and sarcastic, but similarly crushed by the tsunami of bile delivered by Viner. Yet as much as Amina may get hurt in the crossfire, it is gymnast Margarita who is continually left most traumatised.

Polish director Prus, herself a former gymnast, learned Russian in order to tell this story. She followed her characters for two years, overcoming the initial and persistent resistance of boss Viner. “She said, ‘Go away and don’t come back, you will never make this film’ – but I was determined, and I wanted to show her that I wanted to make this film as much as her gymnasts wanted to win medals”, comments the director. In the film, Margarita must battle performance nerves as well as intense criticism - “Go fuck yourself with your shaking, we need to train [you] like a dog,” Viner says – and her stress levels are compounded by her father’s diagnosis of cancer. Stakes are further raised by a rivalry with fellow gymnast (and then-world champion) Yana Kudryavtseva ahead of their Olympic showdown at Rio 2016. “I knew that one day I would love to make a film about gymnastics, but not just about sport. I was looking for something broader and I found it in Russia, because of the way they rule their training system,” says Prus. “At the beginning, it resembled the way they govern the country. This [was] the metaphor that drove me to make this film.” Later, what interested her more was the triangular relationship between the coaches and the gymnast and “the psychological game they were playing with her.” Margarita, who will be at IDFA this week, has seen the film and her reaction was, according to Prus, very emotional. “She was crying a lot and she said, ‘Ok, when I decide to leave gymnastics I will watch this film and I will know why I don’t want to do it anymore’.” By Nick Cunningham IDFA Competition for Feature-Length Documentary

Incense-Navigator “The smoke which emerges when incense is burned symbolizes a sacrificial prayer – ascending to God”, says Alexander Kuprin, director of elegiac, unsettling featurelength competitor Incense-Navigator.

A “road movie featuring a monk and a movie director – a man of the church and a secular person” in two parts (tellingly titled ‘Peace’ and ‘War’), the documentary follows the filmmaker and his old friend, Orthodox monk Zacchaeus, on a quest for the best ingredients for liturgical incense. “So you could say life itself dictated the script for this film”, he continues. “I often work this way. The filming process helps me understand what happens to me, and to the world around me – then I invite the viewer to participate in this study of life.” The first leg of the journey takes the convivial odd couple on a car journey (set to a fitting soundtrack of eclectic music from the car radio) from Russia, across turbulent, confused borders to Greece, where the best incense secrets are closely guarded in an isolated monastery on Mount Athos. The culmination of this first part of the film is the sale of the resulting incense in America, which we the viewers also experience in quickly edited - almost exultant – flashes. The proceeds from these sales then fund the second part of the journey – to take the incense to somewhere it is really needed (but where the people can’t afford to buy it). This turns out to be the Donbass region of Eastern Ukraine – a ravaged, almost post-apocalyptic, war zone. The contrast between the peace and tranquility of Mount Athos and the menace of the Donbass war zone is striking, and this second part of the journey brought some very real perils for the filmmaker. “The poet and screenwriter Valery Bakirov oversaw all things concerning the crossing of borders and accommodation for our crew in the territory of the Donetsk People’s Republic and the Lugansk People’s Republic”, the

directors says. “While working in the war zone, we used only his personal connections. Many issues were resolved with the code of honour of the Russian brotherhood and Russian vodka. There were many difficult situations during the filming process, mostly caused by military action. The most difficult challenge in areas of combat operations is the feeling of extreme concentration, constant tension caused by danger. This psychological state did not pass even after my return to Moscow”, he recollects. Editing the large amount of footage captured during the director and his monk sidekick’s odyssey was a mammoth task, for which Kuprin brought in the services of two editors. “We made the first complete cut of the film with the first editor, Vladimir Dryagin. Editor Yuri Geddert then worked on the rhythm of the movie, and oversaw colour correction. I myself initiated every change in the editing process”, Kuprin says. The completion of the editing process did not mark the end of the filmmaker’s journey, however. He returned to Donbass to show the film to its subjects, in case any of them objected to appearing in it for security reasons. “A special expedition was organized to show the finished film to those people who live in the conflicting republics”, he recalls. “But nothing compromising was found in the video.” In his next project, the filmmaker intends to tackle lighter subject matter. “I see my new documentary, Night Chapel, as an antithesis of the great Federico Fellini’s Orchestra Rehearsal. I adhere to a sincere and romantic view on life, so my new film will be dedicated to music, love and beauty.” By Mark Baker IDFA Competition for Feature-Length Documentary

Primas By Nick Cunningham

It is obvious from the outset that Rocio, from Buenos Aires, is a great kid – optimistic, chatty, sympathetic, sporty and ambitious. And what she pointedly refuses to do is to hide her traumatic past – one defined by rape and an attempt by her assailant to remove all evidence of the attack by setting her body alight. But Rocio’s cousin Aldana was also a victim of sexual torture: in her case continuously, by her father with whom she lived after her parents separated. Laura Bari’s highly poignant and at times beautiful portrait of the girls serves as a powerful testimony to their survival instinct and how a full and vital life is possible post-sexual trauma. As Aldana asks, “Do we let the past control us for our whole lives, or do we decide to grow?” The film’s core scene is a difficult watch. By the time it arrives, director Bari has sown enough seeds to prepare for us for the revelation, but its impact is considerable nevertheless, and is delivered via dialogue. In a single, static 15-minute take, each girl relates her experience – not to camera but to each other, offering tears of condolence and arms for support. Other devices are employed to tell the story throughout the film. Rocio’s diary entries detail the extent of her injuries (60% burns to her body: now her uterus, ovaries and reconstructed

cervix are fine, although she is not sure if she will be able to have children, and she has just one breast). A close-up camera traces the cartography of her scars and grafts. Meanwhile Aldana is given the opportunity to articulate her emotions during a therapeutic performance piece with a Cirque du Soleil workshop in Canada that Bari invited the girls to attend. (In the same show, Rocio is given the opportunity to show off her considerable gymnastic abilities.) All the time we are presented with metaphors to help relate their story, their plight and their recovery. A burning effigy is a positive image, heralding the start of a new life, post-examinations. The show in Canada presents the cyclical complexities of life. Together, Rocio and Aldana brave the ice-strewn waterways of Montreal, before breaking through into clear water. Rocio is also an inspiration to others, most notably the doctors who treated her in the hospital after the assault. According to one, her injuries were so serious they genuinely believed it may be better not to allow her to survive. A little later, she was able to draw picture of how she imagined the operating theatre to look; filled with singing and dancing medical staff. It is a picture the doctors kept, and an experience they now try to physically replicate pre-op to offer hope for each new paediatric patient. IDFA Competition for Feature-Length Documentary

23:00

1:00

11:00

10:00

Susan Lacy12:00

:00

Industry & Press screening: 14:45

14:30

The Distant Barking of Dogs

Industry & Press screening:

16:30

Best of Fests, 92’

16:00 Camilla Magid

Risk 18:30

18:15

18:00

19:00

Mid-Length Competition, 63’

Petr Horky´

Appearance Competition, 79’ BestFirst of Fests , 83’

Melanie Gaertner Theresa Traore Dahlberg The Russian Job

22:00

Joe Berlinger Industry & Press Masters , 115’screening:

15:15

Dutch Competition, 90’ Masters, 127’

João Moreira Salles

The Gospel

Barbara Kopple

RABOZAAL RABOZAAL

Masters, 80’

Phie Ambo

Impreza – The Celebration

19:45 Camera in Focus, 76’

Pirjo Honkasalo

Atman

Best of Fests, 94’

Tony Zierra

Filmworker

17:00

Feature-Length Competition,

Mohamed Siam

+ Doc Talk Amal

Best of Fests, 80’ 19:00

Masters, 100’

19:45

Joakim DemmerBarbet Schroeder

18:30 Dead Donkeys The Venerable W. Fear No Hyenas

18:15

Feature-Length Competition, 81’

First , 79’ 19:00 Best Appearance of Fests, 83’ Competition+ Doc Talk

Melanie Gaertner 19:00 Theresa Traore Dahlberg Masters, 100’

Kids & Docs,&IDFA Junior , 5’ Industry Press screening:

The Venerable W. Yves’ Promise Girls Barbet Ouaga Schroeder

18:30 18:30 Horatio Baltz

Industry & Press screening:

17:45

... When You Time Trial Look Away 18:00 Finlay Pretsell

17:45

17:00

Orwa Nyrabia discusses this personal film with director Mahdi Fleifel.

Dutch Competition, 90’ Shifting Perspectives, 93’

Mahdi Fleifel

19:00

Best of Fests, 99’

Best of Fests, 93’

Koki Shigeno

Ramen Heads

Camera in Focus, 76’ Best of Fests, 90’

Feature-Length Competition, Shifting Perspectives, 83’

Stefanie Brockhaus, Pirjo Honkasalo Mohamed Siam Andy Wolff

19:00

18:30

Orwa Nyrabia discusses this personal film with director Mahdi Fleifel.

Shifting Perspectives, 93’

Jean Libon, Yves Mahdi HinantFleifel

+ Doc Talk + Doc Talk The Poetess Amal Atman

19:00

16:00

Best of Fests, 144’

Damon Davis, Sabaah Folayan

Whose Streets?

15:00

An interview with director Sara Ishaq by Isabel Arrate following the screening

Shifting Perspectives, 65’

Sara Ishaq

+ Doc Talk So Help Me God A World Not Ours

16:00

Music Documentary, 103’

Christine Franz

Bunch of Kunst

15:30

+ Doc Talk The Mulberry House

Masters, 107’

12:30 Two documentary classics Beuys by the late Omar Amiralay, Andres Veiel introduced by Orwa Nyrabia.

Shifting Perspectives, 52’

Omar Amiralay

The Misfortunes of Some

Shifting Perspectives, 47’

Omar Amiralay

A Flood in Baath Country

11:00

13:45 Dead Nation

Radu Judeby Selected and introduced Nishta Jain. Masters, 83’

Maryam Goormaghtigh Best of Fests, 80’

13:30

The Visual Voice, 92’ The

Mani Kaul

The Mind of Clay

13:15

Before Summer Ends

14:30

16:00 Best of Fests, 106’ the Limit NPO 2Doc Primeur: 16:00 Marta Prus + Doc Talk Independent Boy Feature-Length Competition , 74’Not Ours A World Vincent Boy Kars

Music Documentary, Over 103’

First Appearance Competition, 90’

18:00 Demons in Paradise True Love in Jude Ratnam Best of Fests , 94’ Pueblo Textil

17:45

The Jewish 19:45 Underground ShaiTold Gal As We’re 20:00 First Appearance Competition, 91’ Erik Holmström, 69 Minutes Fredrik Wenzel of 86 Days , 28’ Short Competition

19:30

Best of Fests, 82’

Elwira Niewiera, Piotr Rosolowski

The Prince and the Dybbuk

Feature-Length Competition, 81’

18:30

Finlay Pretsell

Time Trial

Industry & Press screening:

17:45 Masters, 100’

, 94’ Barbet Panorama Schroeder

Kate Novack The Venerable W.

The Family

15:30 16:00

An interview with director Sara Ishaq by Isabel Arrate following the screening

Christine Franz Industry & Press Rokscreening: Bicek

15:45 Bunch of Kunst

15:30 Masters, 94’

Denis Côté

Simon Lereng Wilmont

The Distant Barking of Dogs

Dutch Competition, 90’

13:45

Best of Fests, 84’

Orban Wallace

Another News Story

Dutch Competition, 75’

15:00 A Skin so Soft

15:00

VincentIndustry Boy Kars & Press screening:

NPO 2Doc Primeur: Independent 16:30 Boy

14:00

Best of Fests, 83’

Vaishali Sinha

Ask the Sexpert

12:00

Impulso Two documentary classics Belmonte by the late OmarEmilio Amiralay, First Appearance Competition, 105’ introduced by Orwa Nyrabia. 13:00

, 115’ Perspectives12:30 Dutch Competition Shifting , 52’

Omar Amiralay

+ Doc Talk Selected and introduced by Industry & Press screening: The Mulberry House Nishta Jain.14:00 The Last Fight Sara Ishaq Victor Vroegindeweij Shifting Perspectives, 65’

Lady the Harbour In theofIntense Now Sean Wang

Masters, 91’ 16:00

17:15 According to André

17:00

Feature-Length Competition, 74’

Marta Prus

GROTE ZAAL GROTE ZAAL

Rok Bicek

By invitation.

Nettiquette

EXPOZAAL

BRAKKE DE MUNTGROND 11

9:30

1:00

DE MUNT 10 KETELHUIS KETELHUIS

24:00

:00

RODE ZAAL

BRAKKE DE MUNTGROND 12 CARRÉ

IJDAG DAG 15 17NOVEMBER NOVEMBER

:00

23:00

Best of Fests, 106’

norama, 92’

Jean Libon, Yves Hinant

22:30 Best of Fests, 99’

The Family

to Koskinen

22:00

Impreza – The :00 okia Mobile – We inant Celebration ere Connecting Alexandra Wesolowski Student Competition, 75’ ople

2:15 d

So Help Me God

The DocLab: Uncharted

DocLab: Uncharted Rituals & Jonathan Harris Retrospective

Best of Fests, 106’

Rok Bicek

The Family

Shifting Perspectives, 85’

Namir Abdel Messeeh

The Virgin, the Copts and Me

DE MUNT

10:00 10:00

1:00

24:00

23:00

Panorama, 58’

BRAKKE BRAKKE GROND GROND DE MUNT 13 EXHIBITIONS EXHIBITIONS 9:00

Student Competition, 75’

Alexandra WesolowskiNitesh Anjaan 22:30

Dreaming Murakami

22:00

Short Competition, 9’

Panorama, 58’

Nitesh Anjaan

Dreaming Murakami

Masters, 74’

KLEINE KOMEDIE

Shifting Perspectives, 85’

Namir Abdel Messeeh

Copts and Me

Shifting Perspectives, 83’ Nicolas Rapold and Pirjo AsPirjo We’re Told Nicolas Joumana El Zein Khoury The Final YearHonkasalo discuss the 20:00 Rapold and Erik Holmström, Joumana El Zein Khoury Honkasalo discuss the discusses the opening Greg Barker 20:15 20:00 direction and shooting Fredrik Wenzel ature-Length etition Distantand Constellation discusses the opening 20:15 , 95’ :00, 91’ Competition 20:00 direction shooting film of IDFA with director Best of Fests, 90’ Short Competition , 28’ of her award winning Kalès Shevaun Mizrahi film of IDFA with director 20:30 of her award winning Mohamed Siam. Kalès documentary. 20:30 20:30 Laurent Van Lancker Best of Fests, 82’ Rezo 20:30 Mohamed Siam. Egil Håskjold Larsen documentary. Nokia Mobile – Laurent Van Lancker 20:45 Rezo Mid-Length Competition, 63’ Best of Fests, 71’ Nokia Mobile – Drib Insha’Allah Leo Gabriadze Mid-Length Competition, 63’ We Were Connecting Leo Gabriadze Trophy Mid-Length Competition , 63’ Kristoffer Borgli We Were Connecting Democracy 1:00 21:00 21:00 21:00 People Mid-Length Competition, 63’ 21:00 21:00 Shaul Schwarz Best of Fests, 94’ Mohammed Ali Demons Naqvi uest People Solving My Mother Muhi – Generally in Paradise 21:00 Arto Koskinen Best of Fests, 108’ Best of Fests, 85’ Demons in Paradise Quest 21:00 1:00 Arto Koskinen Panorama, 92’ nathan Olshefski Ieva Ozolina Jude Ratnam Temporary Panorama, 92’ Jude Ratnam Jonathan Olshefski 21:30 st of Fests, 105’ First Appearance Competition, 104’ Best of Fests, 94’ Rina Castelnuovo21:30 21:30 Best of Fests , 94’ Best of Fests, 105’ Hollander, Tamir Elterman Fire Mouth 21:45 rman Fire Mouth Devil’s Freedom Best of Fests, 87’ 21:45 Luciano Pérez Fernández The Virgin, the Luciano Pérez Fernández González 22:00 22:00 Short CompetitionEverardo , 9’

ura Bari

rimas

9:45

:00

Yves’Girls PromiseStudent Competition, 12’ st of Fests, 93’ Ouaga

Laura Poitras I Am , 92’ KidsIndustry & Docs, IDFA Junior,Masters 5’ & Press screening: ki Shigeno Denise Kelm Soares

in Pueblo Textil 8:30 18:30 Horatio Baltz amen Heads

True Love id-Length Competition , 57’

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slan Fedotow

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son Hanasik

The Misfortunes Long Season

Some Leonard Retelof Helmrich 12:00 Feature-Length Competition,

The Visual Voice, 92’

Mani Kaul

Industry 14:45 & Press screening:

14:30

Masters, 52’

Erik Gandini

The Rebel Surgeon

Intent to Destroy: This Is Everything: Death, Denial Gigi Gorgeous 15:45 & Depiction

15:15 Masters, The Visual Voice, 108’

Michael Glawogger, Monika Willi

Masters, 88’ Dutch Competition , 75’ Untitled

14:30Vroegindeweij Raymond Depardon Victor

12 Days The Last Fight

Land of the Free Over the Limit

16:00 Masters, 100’

Agnès Varda, JR

17:00 7:00 Simon Lereng Wilmont ow to Make a Pearl Competition, 90’ First Appearance ndré

7:15

:00

st of Fests, 82’

Taste of Cement

A Flood in Baath Country

11:00

Omar Amiralay Industry & Press Shifting Perspectives, 47’ screening: The

11:30

11:00

12:30 Ziad Kalthoum 12:30 12:45 Best of Fests, Camera in FocusFreedom , 85’ Impulso for the Wolf

12:15

First Appearance Competition, 75’

Maryam Ebrahimi

Stronger than a Bullet

Industry & Press screening:

11:00

10:00

In Praise of Nothing Industry & Press screening: Emilio Belmonte Rupert Russell 13:00 Boris Mitic First Appearance Competition , 105’ Best of Fests, 89’ The Next Guardian 13:00 Masters, 78’ Dorottya Zurbó, Hairat 13:15 Jessica Arun BeshirBhattarai The Mind of Clay First Appearance Competition , 74’ Short Competition, 7’

12:45

Dutch Best ofCompetition Fests, 87’ , 115’

The Work Leonard Retel Helmrich Feature-Length Competition, Jarius McLeary

12:00Season Long

Gloria Carrión Fonseca14:00 14:15 Panorama, 88’ 14:00 Industry & Press screening:

of the Harbour In Lady the Intense Now Sean Wang hose e Prince Streets? and João Moreira Salles Dutch Competition, 90’ 15:00 :00 amon Davis, Masters, 127’ e Dybbuk 15:30 baah Folayan wira : Niewiera, st of Fests , 144’ otr Rosolowski Faces Places

5:00

Monika Industry & PressWilli

Heiress of the Wind

First Appearance Competition 13:45 , 74’

13:00

Best of Fests, 147’ Taste of Cement

12:15

Spielberg

The Next Guardian aire :00Belhassine Dorottya Zurbó, usic Documentary , 85’ Arun Bhattarai

asters ing , 107’

Untitled

11:15

11:30 Michael Glawogger,

Masters, The Visual Voice, 108’ First Appearance Competition , 75’ Competition,screening: The 12:00 Feature-Length 88’

Maryam Ebrahimi Zhiqi Pan

Ziad Kalthoum 12:45 dres Veiel of Fests, Camera in Focus, 85’ e ManBest Behind Industry & Press screening: e Microphone

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2:30

:00

ce, 108’

ama Colonel Industry & Press screening: 11:00 1:00 Hamadi ieudo 11:30 st of Fests, 73’ Stronger than a Bullet 24th Street er,

1:00

:00

KLEINE KOMEDIE

Best of Fests, 106’

Rok Bicek

By invitation.

Rituals & Jonathan Harris Retrospective

DE BALIE GROTE ZAAL

Masters, 126’

Julien Temple

Habaneros