IDFA Industry Special 2015-01 by IDFA International Documentary Film Festival Amsterdam

special industry

INCLUDING SCHEDULE

THURS 19 & FRI 20 NOV

For more news & full industry programme, see www.idfa.nl/industry

Filmmaker and consultant David Wilson of the First Appearance jury, critic Jonathan Rosenbaum, who is on the Feature-Length jury, with documentary great Errol Morris at the VIP drinks ahead of Wednesday night’s festival opening. photo: Nichon Glerum

Winning ways

Rofekamp takes on new role

“I’ve said this before, but when I do have a good Dutch

Films Transit chief Jan Rofekamp is at IDFA this year with a new string to his bow as the newly appointed head of studies at the Documentary Campus Masterschool.

film, I want to open the festival with it. IDFA is in the Netherlands,” Festival director Derks declares of her decision to kick off the festival with A Family Affair by Tom Fassaert, a young, local director. “We have a good documentary tradition and this is a way to promote Dutch documentaries abroad”, Derks continues. Anyway, A Family Affair is just the kind of film you want to open a festival: funny, emotional, personal and it should strike a chord with every spectator, she says. “We all have grandmothers. It is kind of weird when your grandmother falls in love with you though!”

“It is kind of weird when your grandmother falls in love with you” As ever, the festival has attracted some of the biggest names in the documentary world to Amsterdam. Oscar winner Errol Morris will present his Top 10 and hold a masterclass, moderated by Bill Nichols. Many of Morris’ films have screened at IDFA over the years and Derks is delighted that the man himself will be in town for a full 6 or 7 days. “It took me a couple of years to get him here. I am happy we finally succeeded.” Alongside Morris and Bill Nichols, various other big beasts of the documentary jungle are due to visit IDFA this year, including Barbara Kopple and Naomi Klein. Renowned film

By Geoffrey Macnab

critic Jonathan Rosenbaum is on the jury of the feature-length competition and Stanley Nelson and Victor Kossakovsky (“the unavoidable Victor” as Derks refers to him) are also festival-bound. Derks is heartened by the increasing prominence of documentaries on cinema screens, but wary of the very short runs many of them have, and their struggles to find audiences. “The same goes for fiction. There are so many films out there and all these cinemas are very competitive,” Derks reflects. “It is very difficult, but I do think if docs could stay in the cinemas a little longer, they would really profit from this.” Derks points out that docs benefit from word of mouth. If they’re given time on the screen, audiences tend to increase. The IDFA ‘brand’ can also help attract spectators. Docs shown as part of IDFA on Tour tend to be sold out, but “when you put on the same films without the IDFA ‘quality stamp,’ there is nobody there.” This year’s prizes are being awarded earlier in the festival (on Wednesday 25) and there is a new awards structure. Instead of a single winner, juries will give two awards: one for best documentary, and a special jury award. “The whole background is that we don’t have losers. Now, we only have winners!” Read more at www.idfa.nl/industry/daily

Organised by Berlin-based training and development agency the Documentary Campus, the Masterschool selects 16 director-producer teams a year and helps them develop their projects over the course of four five-day workshops running over a 10-month period. As well as selling his slate, Rofekamp will also be keeping an eye out for suitable projects for the programme. The deadline closes just after IDFA, on November 30. “I think one of the reasons they picked me is because of my long experience in sales. I know inside-out the process of financing, selling and getting a film to a festival and what to do once it’s selected,” says Rofekamp. Recent alumni of the Masterschool include Polish Hanna Polak, who developed IDFA Special Jury Award winner Something Better to Come with the support of the programme. The veteran salesman says he did not think twice about accepting the role when Documentary Campus director Donata von Perfall approached him at MIPTV this year to see if he would be interested in replacing Elizabeth McIntyre, who is taking over the reins of the Sheffield Doc/Fest as of 2016. The timing was perfect, notes Rofekamp, coming just as he was in the throes of restructuring 30-year-old Films Transit. “The company is doing well but I’ve decided to rein in our activities a bit and handle somewhat less films a year, with the focus on high-profile titles and maybe a bit more from the art

sector,” he explains. Over the summer, he also took the decision to stop handling library sales, brokering his 200-title back catalogue to Israel-based educational rights Filmplatform.net and Ellen Windemuth’s Amsterdam-based Off The Fence. Rofekamp will be busy at IDFA with four festival titles: Guantanamo’s Child: Omar Khadr (Masters); Requiem for the American Dream (Best of Fests) and two IDFA Competition for Dutch Documentary contenders: Inside the Chinese Closet and Jheronimus Bosch, Touched by the Devil, which will be released to coincide with 500th anniversary of the 16th-century master’s death and is the directorial debut of prolific Dutch documentary producer Pieter van Huystee. Inside the Chinese Closet is a first-time work by Italian director Sophia Luvara, produced by Boudewijn Koole and Iris Lammertsma’s Amsterdam-based Witfilm, and explores the challenge of being homosexual in China. Melanie Goodfellow

Guests Meet Guests 19/11/2015, 18:00 hours De Jaren Café Hosted by the Documentary Filmmakers’ Association 20/11/2015, 18:00 hours De Jaren Café Hosted by IMCINE

SANT & USANT

PRESENTS 3 FILMS AT IDFA 2015

by ERLEND E. MO

WORLD PREMIERE

SAT 21.11 18:45 TUSCHINSKI 2

VA R I C E L L A

by VICTOR KOSSAKOVSKY

I N T E RNATI ONAL PR EM I ER E

S AT 2 1 . 1 1 1 8 : 4 5 T U S C H I N S K I 2

MAIKO

D A N C I N G C H I L D by ÅSE

MEET DIRECTOR & MAIKO F R I 2 0 . 1 1 1 7: 0 0 B R A K K E G R O N D

S. DRIVENES

Expanding industry IDFA’s Industry Office has expanded its activities this year to offer a new range of consultancy services to all its guests, ranging from co-production advice to rough cut editing support. These can be found at a new hub in the NH Carlton Hotel.

“These new services will be accessible to all our guests, not just those with market or Forum passes,” explains IDFA’s Head of Industry Adriek van Nieuwenhuijzen. “Guests can either book a one-on-one meeting or attend one of the group sessions on topics like sales or how to submit to the Oscars, which will run once or twice a day.” The new range of consultants includes Catherine Olsen, who left her role as head of documentary at Canada’s CBC New Network earlier this year to set up her own production company. She is participating as a script consultant. Other advisors will include Julie Vanherck of EU MEDIA Programme and digital rights specialist Wendy Bernfeld. “The only type of consultancy we had in the past was the First Aid Doc Clinic, which was really well attended. We still have that, but we thought it good to expand into other areas”, adds Van Nieuwenhuijzen. Docs for Sale will remain in the Arti et Amicitiae arts club which has been its home for the last few years. New activities at the market include the new Rough Cut Project section, which replaces the Forum’s Rough Cut sessions featuring a 20-minute screening and a panel discussion on the material with producers and potential buyers. “We decided that it was too time-consuming for attendees, so we’ve put it online this year before the festival started although we still organise individual

meetings with the teams for interested parties during the festival,” says Van Nieuwenhuijzen. The first projects to be selected for the new online version include Raoul Peck’s homage to African American writer James Baldwin, Remember This House, and Marco Williams’ Crafting an Echo, about the creative method of Greek choreographer Andonis Foniadakis. Van Nieuwenhuijzen is expecting attendance of the market to be higher than last year with increased interest from the US as well as China. “We’ve sold at least 50 more market passes than last year and expect the number of attendees to be in excess of 2,600, compared to 2,300 in 2014. It’s quite a jump,” says Van Nieuwenhuijzen. “I think the festival and the market is recognised as a place to network with people in the industry and people want to be part of that,” she says. “The appetite for documentary is still growing, which is why we continue to expand. I think one of our strengths is that we’re not focused on Europe but also do a lot to reach out to the other continents.” Notable US companies attending for the first time this year or with a bumped presence include Netflix, represented by Jason Spingarn-Koff, former commissioning editor for The New York Times’ Op-Docs, who moved LA to work for Netflix over the summer. Cinetic founder John Sloss will speak about how to be successful in the American market at IDFA Industry Talks, taking place once again in De Brakke Grond. From China, a large delegation is attending under the auspices of the Beijing Documentary Development Association. “It’s an association of bigger independent producers. They really want to reach out to learn how the international and European market works.” Melanie Goodfellow

Taskovski ramps up

a idf ws e n London-based sales and production outfit Taskovski Films has been ramping up its slate in advance of IDFA. The company has a number of new projects and will be representing five docs that are in official selection at the festival.

Taskovski’s most recent pick-up is feted Georgian doc When the Earth Seems to Be Light, screening in the IDFA Competition for First Appearance and directed by Salome Machaidze, Tamuna Karumidze and David Meskhi. “What is beautiful about this film is it gives the point of view of the youth of Georgia today. It is very cinematic with a strong director’s touch, but also deals with social issues,” Managing Director Irena Taskovski commented of the doc, which examines the plight of young Georgian skaters, artists and musicians who feel squeezed between the powers of the church and political world. Another world premiere at IDFA on Taskovski’s slate is Ukrainian Sheriffs by Roman Bondarchuk, which the company helped produce. Taskovski started a production company in Berlin two and a half years ago – Bondarchuk’s film is one of its first projects. Another IDFA title co-produced by Taskovski as well as handled internationally is Surire, the Chilean-made doc by Ivan Osnovikoff and Bettina Perut, which was supported by the IDFA Bertha Fund. Among the more topical titles on Taskovski’s IDFA slate is Lampedusa in Winter (Winner of Viennale 2015 Best Documentary award), which looks at life on the Italian ‘refugee island’ from the point of view of the African boat people and the local fisherman. Meanwhile, showing the scope of its appetites, Taskovski has also picked up Olmo and the Seagull, a more personal, feminist doc looking at the challenges facing Olivia, a free-spirited stage actress preparing for a starring role as Arkadina in a theatrical production of Chekhov’s The Seagull. As the play starts to take shape, Olivia and her boyfriend, Serge, whom she first met on the stage of the Theatre du Soleil, discover she is pregnant. Another doc that Taskovski will be selling in Amsterdam is Chloe Ruthven’s Jungle Sisters. This is the story of two girls, Bhanu and Bhuntu, from rural India who travel to the big city in search of work. Ruthven’s sister, Orlanda, works with a company that places girls in textiles factories to produce clothes for corporate giants such as Gap. As Bhanu and Bhuntu travel to the city to take their places as part of India’s businessfriendly future, the reality of life on the factory floor forces all three of them to confront questions of social justice, family loyalty and the role of corporate responsibility. Geoffrey Macnab

First among equals Zurich and Berlin-based doc sales and distribution powerhouse First Hand Films is turning up the volume on its crowd-pleaser Thru You Princess. On the eve of IDFA, the company closed an eye-catching US deal on the film with Magnolia and Participant. Now, First Hand is fielding offers and expecting to close further deals on the film, which received glowing reviews in Toronto and is already being talked up as an Oscar contender for next year.

photo: Nadine Maas

No Kidding “There is no talking down to them. There are no taboos. It is all about taking the audience very seriously,” is how Kids and Docs head Meike Statema underlines the commitment both of the festival and the doc sector to youth audiences. This year, the Kids and Docs programme of features and shorts has been elevated to competition status, with twelve films competing for a €2,500 prize. Saturday 21 November sees the start of the competition with three Scandinavian co-pro titles. One of these is Victor Kossakovsy’s Varicella, pitched at the Forum in 2014. Four of the six Dutch films in competition were developed at the Kids & Docs Workshop 2014/2015, a joint venture between IDFA, Amsterdam-based kids fest Cinekid and the Dutch Cultural Media Fund. A fifth Dutch doc, Ninnac by Niki Padidar, was developed during the 2013/14 programme. “Our dedication to documentaries for children is part of the same Dutch tradition that started in the 1970s of making quality kids films for television and fiction,” says Statema. “What I really like now is that there are higher budgets, which means that documentaries

can be made in a more cinematic way. If you look at the Scandinavian co-productions in the programme (Varicella, Dancing for You and Ruth), you see they are very innovative in their storytelling and cinematic approach and show ambition for the big screen. Don’t think because it’s for kids you can make it on the cheap. The audience may be young but they deserve high-quality films too.” The Norwegian/Dutch kids doc Tongue Cutters, about young kids working in the fishing industry, will be pitched November 25 at Forum. Following this, an industry talk will assess shifting landscapes in terms of emerging platforms and new sources for funding, and as well as roundtable co-pro and distribution sessions. “Our focus on kids is getting bigger every year, especially with the support from Creative Europe,” continues Statema. “It’s really good that the industry gets to know the genre better. And we have to acknowledge that television is not necessarily the main platform anymore, so what are the new ways to reach audiences? That’s something everybody has to think about for this specific audience.” Nick Cunningham

First Hand CEO Esther van Messel describes the doc as “a very modern fairy tale, like Romeo and Juliet but with music instead of love.” The film, directed by Ido Haar, is about the collaboration between Israeli remix artist Kutiman and the talented but unknown and impoverished New Orleans singer and YouTuber, Princess Shaw. All the key protagonists behind the film are coming to Amsterdam and there will be a special concert with the Princess herself performing. Thru You Princess headlines a packed First Hand slate. Another IDFA-bound film is doc-comedy Nice People, about Somali refugees living in a small backwater town in Sweden who form a “bandy” ice hockey team. First Hand has already sold the film, described by many as a doc version of Cool Runnings, to Canada (KinoSmith). Also new on First Hand’s slate is Erik Gandini’s new feature doc, The Swedish Theory of Love, a quizzical look at the realities of Swedish society where emphasis on individualism is causing isolation. Meanwhile, First Hand is aboard Forum project Ambulance, being made together with Norwegian outfit Jabfilm Production about a young Palestinian working in an ambulance crew in Gaza in the midst of war. Also in the Forum, First Hand has boarded Zhang Nan’s Stammering Ballad about a young Chinese folk singer who heads to the big city to pursue his dreams. A topical new film on the company slate is The Crossing, about Syrian refugees fleeing their war-torn homeland and embarking on an epic journey toward Europe. Several broadcasters have already snapped up the film and it has been shown in some territories – only three weeks or so after First Hand launched it. First Hand is “more and more coordinating” the twin sides of its business – international sales and domestic distribution. Van Messel acknowledged that the summer has been relatively slow. “What has been happening is that the industry is going in a very slow rhythm,” she observed. Even so, the First Hand boss is confident in her ability to negotiate an upside. “The Hebrew word for negotiation is to give and to take. We are doing that. We love that and that is what our filmmakers hire us for.” Geoffrey Macnab Read more at www.idfa.nl/industry/daily

RETURN OF THE ATOM

by Mika Taanila & Jussi Eerola

The construction of a nuclear reactor in the Finnish town of Eurajoki degenerates into a farce on administrative failings. IDFA 2015 / Best of Fests 19.11. / 12:45 Tuschinski 4 20.11. / 14:00 EYE Cinema 1 22.11. / 21:00 Munt 12 24.11. / 15:45 Munt 9 29.11. / 14:30 Ketelhuis Zaal 1

produced by Kinotar / Finland in co-production with Blinker Filmproduktion / Germany, YLE, WDR and ZDF in collaboration with ARTE advertisement supported by the Finnish Film Foundation

World Sales: Deckert Distribution GmbH, www.deckert-distribution.com

Reaching further 2015 is shaping up as a vintage year for the IDFA Bertha Fund (which supports documentary filmmakers in developing countries). The richness of this year’s selection is attested to both by the number of IBF films in the festival – a full 12 – and by their quality. “I truly believe that this is the strongest harvest we have ever had,” declares Fund manager Isabel Arrate Fernandez. She points to the amount of “author-driven films” that IBF has backed – docs with real cinematic power. There are three very strong IBF-backed titles in the feature competition alone: Ukranian Sheriffs from Roman Bondarchuk, Surire from Bettina Perut and Ivan Osnovikoff and Sonita from Rokhsareh Ghaem Maghami. Several other titles arrive in Amsterdam having already shown at major festivals. For example, Liang Zhao’s Behemoth was one of the hits of this year’s Venice festival. Checks and Balances was chosen for Locarno. Now, with support from Creative Europe – MEDIA programme of the European Union – the IDFA Bertha Fund has been expanding its reach yet further, with the introduction of ‘IBF Europe’, the new scheme to foster collaborations between European documentary producers and producers from developing countries. Six projects have now received €40,000 each toward their production costs. Just as important as production support, Arrate Fernandez suggests, is the backing now available for distribution. The first round of distribution funding will be made in February next year. “I am very curious to see how that will go,” she reflects. “The idea is to create a space for trying out new ways of distributing a film.” Applicants (likely to be sales agents or coalitions of

Reality Check

DocLab’s Seamless Reality exhibition, exploring the blurring between physical and virtual realities in the digital age, opens its doors at Flemish Arts Centre de Brakke Grond Thursday evening.

“It looks at how virtual and digital realities are converging with our physical reality and how it’s becoming harder and harder to actually distinguish between the two. The internet is no longer a place you visit, it’s become a part of us,” explains DocLab director and curator Caspar Sonnen. “Part of my memory has shifted from my brain to the phone I’m holding in my hand, only it’s not stored in that phone anymore but on a server somewhere. The internet is changing the reality we inhabit. It’s a topic we see a lot of New Media artists exploring.” In Super Stream Me, for example, Dutch Tim den Besten and Nicolaas Veul stream their lives non-stop for 15 days to see what happens when life becomes one big ‘share’. Other exhibits in the Seamless Reality line-up include Koert van Mensvoort’s Bistro in Vitro, revolving around a fictional, online restaurant serving lab-grown meat; That Dragon, Cancer, a Kickstarter-funded videogame devised by Ryan Green and Josh Larson as a way for Green to deal with his son’s terminal cancer, and war photographer Karim Ben Khelifa’s The Enemy, a virtual reality installation bringing the user into a potential mortal combat situation. The latter is among a number of VR works featured at DocLab this year. “We looked at VR last year, but since then the scene has exploded”, says Sonnen. “What’s interesting is that it’s a very distinct new medium, unlike a lot of interactive story-telling projects which are harder to pin down.” A number of the contenders in the IDFA DocLab Competition for Digital Storytelling have a VR component, including Dutch artist Jan Rothuizen’s and Sara Kolster’s Drawing Room, which enables the viewer to seemingly step into one of his detailed interior illustrations; Gabo Arora’s and Chris Milk’s Waves of Grace, capturing the reality of a village wracked by Ebola in Sierra Leone and Canadian Loïc Suty’s The Unknown Photographer, recreating an atmospheric old house in which a collection of forgotten WWI photographs is found. The interactive, digital scene has exploded since Sonnen launched DocLab in 2007 to explore how the internet and digital revolution are impacting documentary storytelling. “Interactive docs are growing up fast, and are at a crossroads: either join that undefined space where pop-up books, installation art and immersive theatre live – amazing and unique, but hard to turn into a broadcast medium industry – or become something more standardized and formatted, like multimedia publishing, 360 video and apps.” Melanie Goodfellow

Polar apposites

a idf ws e n

The IDFA Paradocs programme has historically looked to the poles and peripheries of the doc-making community to find those cavalier filmmakers whose sense of daring and lunacy is equaled only by their vagabond mastery over the medium.

Isabel Arrate Fernandez

photo: Nadine Maas

distributors) stand to receive grants of up to €30,000 each. They are being encouraged to come up with bright ideas for outreach programmes, or for getting docs onto new VOD platforms or alternative screenings or publicity initiatives. “We are really open to seeing how people make use of it”, Arrate Fernandez says of the distribution support. Criteria are deliberately being kept flexible – although applicants are expected to be distributing in at least three territories. The IBF hasn’t applied this year for lottery funding. Year after year, the Fund made its applications alongside the Hubert Bals Fund from Rotterdam. And year after year, in spite of encouraging noises about these applications, no awards were made. As ever, Arrate Fernandez has been travelling widely throughout the year on Fund business. Her itinerary has taken in such locations as Ramallah (where she attended a pitch event) and Mexico, where she was at a workshop for Central American projects. Not so long ago, IBF (previously known as the Jan Vrijman Fund) was in a state of near permanent siege as government funding threatened to dry up. Thanks to support from the Bertha Foundation, the Fund has stabilised. Even so, IBF is looking for new partners to enable it to resume ‘open calls’ for festival support. The Fund also faces losing support from aid organisation Hivos, which itself is facing drastic cuts. Arrate Fernandez and her team are therefore on the lookout for new backers. Geoffrey Macnab

This year is no different, points out programme chief Joost Daamen, who has compiled a programme of 15 features and shorts comprising five world and six international premieres. “I don’t want to measure the quality of the programme by the number of premieres, but I am happy,” he stresses. “Paradocs is the section for those brilliant off-the-frame and experimental documentaries, and video art. That’s how we make our selection.” Daamen cites Mark Cousins’ Atomic both as an astounding piece of filmmaking and, within the context of the programme, a work that is itself a paradox. “It is a foundfootage, non-narrative, beautiful essayistic film on what atoms do in our lives – not just the cons but the pros, and with very impressive sound design and soundtrack. It was made for BBC television and just shows that this kind of film [made for a mainstream platform] is interesting enough to show in the Paradocs programme too.” Another film that the Paradocs chief flags up is On Football by Sergio Oksman, director of the multi award-winning short doc A Story for the Modlins (2012). “This is his first feature, a beautiful film about the love of football, even though there is no football in the film. It is more about his troubled relationship with his father. It is an incredible film, I think.” “The films in the programme stand out because of their extraordinary or unusual form, or their relationship to the other arts, and they all try to say something about the world but not always in a straightforward way – you can call it poetic,” Daa men continues. “It’s also about using the elements of film, camera work, exceptional editing or use of sound, but with a different, stronger accent.” Another key element of Paradocs 2015 is the Amsterdam Art Weekend, running during the final weekend of IDFA and organized in association with Amsterdam galleries De Rijksakademie and De Ateliers. Contributors include Dutch artist, filmmaker and IDFA regular Barbara Visser, who reworks four of her iconic pieces from the 1990s. Nick Cunningham

Cinephil picks up Snow Monkey Cinephil has snapped up world rights to Australian activist, artist and filmmaker George Gittoes’ Afghanistan-set Snow Monkey ahead of its international premiere in IDFA’s Feature-length Documentary Competition.

Revolving around three street kid gangs in the Eastern Afghan city of Jalalabad, this is the final film in a trilogy inspired by Gittoes’ experiences in Pakistan and Afghanistan over the past decade. Philippa Kowarsky, MD of Tel Aviv-based Cinephil, negotiated the deal with Snow Monkey producers George Gittoes and Lizzette Atkins of Unicorn Films. Norway’s Torstein Grude and Bjarte Mørner Tveit executive-produced for Piraya Film. “We are thrilled to be working on this outstanding film, which offers an unprecedented understanding of the lives of the people of Jalalabad, breaking through stigmas and stereotypes using arts, music and fun. The film’s pace, colour and intellect truly captivated our hearts,” said Kowarsky. Although based mainly in Jalalabad, Gittoes will flying into the Netherlands from Australia, where he has just received the Sydney Peace Prize for “exposing injustice for over 45 years as a humanist artist, activist and filmmaker.” Previous recipients include Bishop Desmond Tutu, Noam Chomsky and Arundhati Roy. This will Gittoes’ second visit to IDFA. He previously showed Miscreants of Taliwood at the festival, capturing the fate of Taliban-besieged filmmakers in Peshawar. Other films on Cinephil’s IDFA slate include David Osit and Malika ZouhaliWorrall’s Thank You For Playing. The work, which is screening in the Best of Fests sidebar, revolves around a game designer who devises a game called That Dragon, Cancer to help him cope with his son’s battle with terminal cancer. To see the actual game, IDFA attendees can head to IDFA DocLab’s Seamless

Snow Monkey

Reality exhibition in Flemish Arts Centre de Brakke Grond. The company is also representing Tamar Kay’s short film The Mute’s House, about eight-year-old Yousef and his deaf mother Sahar, who are the last Palestinian residents in an abandoned building in the contested city of Hebron. The work will screen in the IDFA DOC U programme. Melanie Goodfellow

“A space between fiction and nonfiction that I never dreamed possible”

OLMO THE SEAGULL JOSHUA OPPENHEIMER

OLMO AND AND THE SEAGULL

Director of The Act of Killing

a film by PETRA COSTA and LEA GLOB

SCREENINGS

International Documentary Film Festival Amsterdam NOVEMBER 2015

Fri 20 13:45 MUNT 9

Sun 22 16:15 Thu 26 18:30 Fri 27 20:15 EYE CINEMA 2

MUNT 12

TUSCHINSKI 6

International Sales:

Taskovski Films - irena@taskovskifilms.com IDFA_2015.indd 1

11/16/15 2:27 PM

Sonita

Thy Father’s Chair

WORLD premiere

Sonita is the first feature-length documentary by Iranian-born filmmaker Rokhsareh Ghaem Maghami, who studied filmmaking and animation at Tehran Art University. Her 2007 short doc Cyanosis combined these, animating the work of Tehran artist Jamshid Aminfar. Maghami’s work tends to focus on ‘outsider artists’. For Sonita, she stuck to a more traditional documentary format. “Animated documentary is my passion,” the filmmaker says, “because I want to show people’s inner life, memories, dreams, nightmares... but when I meet somebody whose story catches my eye and mind, I just try to find the best way to tell that story.” This is clearly the case with the protagonist of Sonita – a double outsider, as an Afghan living illegally in Iran and a young woman interested in rap music in a culture that does not permit this. “My cousin, a social worker, told me about Sonita,” Maghami recalls. “This girl who needs help recording music and making music videos. So I met Sonita, and started teaching her the basics of filmmaking. I also helped her make music videos. She was very clever, but cold and distant at first. She was obviously traumatized; it took a long time before she came to trust me as a friend.” Maghami’s friendship and involvement with Sonita end up going much further than either of them anticipated at the beginning of the film; at a certain point,

WORLD premiere

Maghami becomes a character in her own film, stepping out of the role of filmmaker to intervene directly in Sonita’s problems. “This caused me a lot of tension and concern”, Maghami says. “Somehow I was happy with this crisis I needed in my movie. Friends warned me that I could be ripped off. But I asked myself, what will Sonita think about me if I don’t try to help? Won’t she think that I only used her for my movie and abandoned her when she was in trouble?” “In terms of thinking about stepping into the movie physically, I worried about making a narcissistic movie about a filmmaker acting like an ‘angel’ and saving her protagonist. If it wasn’t Sonita who was my protagonist, I am not sure if I would have helped her. I hope the

A Family Affair “Grandma is a great manipulator. First, you’re king and then you’re gradually relegated to a pawn,” Tom Fassaert is warned about his grandmother in his new feature doc, A Family Affair. The filmmaker’s grandmother was indeed an extraordinary woman: glamorous and very sophisticated but strangely distant and even cruel toward her own family. She blithely abandoned Tom’s father as a child, to be brought up in a home. In A Family Affair, Fassaert explores his family’s complex and often fraught relationship with the grandmother. Over the eight years he spent making the film, Fassaert experienced the full force of the old lady’s charm. She took a particular – and sometimes passionate and cloying – interest in him. “She was absent for most of my youth. I grew up thinking my father didn’t have any parents,” the director recalls. Tom noticed, though, that his father was sending videos and tape recordings to a mysterious woman in South Africa. Eventually, the father decided to leave the Netherlands and take the family

audience will come to its own decision about this. Also, I felt free to help Sonita because when I entered the movie, helping Sonita was not ‘interfering in the protagonist’s life’ anymore: Sonita and I are both protagonists.” As well as sharing the role of protagonist, “the main way I relate to Sonita – and this is also the main theme of my previous movies – is the liberating power of art and being an artist in spite of the realities of your own life”, Maghami reveals. “Living as an artist when everything is against you. This is also my own story – I had, and still have, a lot of difficulties living as a filmmaker in my country.” Mark Baker IDFA Competition for Feature-Length Documentary IDFA Bertha Fund

WORLD premiere

to South Africa to build a new life, close to the mother who had abandoned him so many years before. “Maybe the urge grew that he wanted to have a family again,” Fassaert speculates on the circumstances that led his father to South Africa. It wasn’t a happy arrangement. Soon, the father and his mother were arguing. “What happened was, they broke up again,” the director recalls. Tom’s own parents were later to break up too, partly as a result of the “tremendous stress” put on the family by their time in South Africa. When he retired in 2007, Tom’s father announced his intention to write a book about his mother. This prompted Tom to start his own “digging up” of the past. Tom’s first impressions of the grandmother were “this grand lady who had control of everything and everyone, this larger-than-life figure. She didn’t feel like a mother to my father.” In description, she sounds like a real-life Cruella De Vil. Fassaert drew on material stretching back to the 1920s – the tapes and videos his father

Carolina’s World Mariana Viñoles’ Carolina’s World may be stark in composition, but the film nevertheless packs a considerable emotional punch. Throughout its 70-minute duration it is shot from a single, static point and the frame is continually filled by the expressive face of Carolina, who has Down’s Syndrome (DS). Carolina is happy to talk on a range of subjects, from her parents’ divorce to the ways she prefers to be kissed. She discusses sex with director Viñoles (Carolina acknowledges the meaning of the new word ‘virgin’) and worries that her musing to camera will get her into trouble with the Down’s Syndrome Association. All the time we are given a unique glimpse into Carolina’s world, and before the film’s end we discover director Viñoles’ true reason for choosing her as a subject.

a idf s film

IDFA Competition for Feature-Length Documentary

WORLD premiere

The project originally started out as a study of a group of DS people learning to dance the tango. On the face of it, this initial approach had everything going for it. Carolina was a core element of the group and the story of triumph over adversity had an obvious commercial pull. “But I was not happy with this,” stresses Viñoles. “I didn’t want to do another film about disabilities where you can see how they are great because they can be on stage dancing the tango or whatever. I wanted a special point of view.” Hence her pared down approach, which excises everything extraneous to Carolina’s nuanced articulation of her life story. There are no shots of her “brushing her teeth” and there is minimum interaction with her family. And no tango shots. “I didn’t want

For screenings, see the schedule in the middle of this paper

had sent out to South Africa, as well as home movies shot by his great-grandfather almost 90 years ago. One of the key themes of the film is the “longing for love” every child feels. In “unmasking” his grandmother, Tom was able to see beyond her outer persona and understand the grief and pain she too had endured. The director is delighted, but a little intimidated, to have A Family Affair opening IDFA. “One of the programmers saw the film at an early stage. He was very enthusiastic but had to show it to Ally Derks. On the final deadline, we presented the edit to Ally and the rest of the team. They were very quick deciding. The day after, they came back and said ‘OK, we want this as the opening film’,” Fassaert remembers. “Apart from the pressure, I feel, to say the least, happy and blessed that my film is getting this podium. I put my everything into it. I am very proud, but I’ll be very nervous too.” Geoffrey Macnab

to lose time through these superficial things. I really wanted to get in deeper with her. That way we got closer and she opened her heart to me, as I did to her at the end of the film.” The film was offered up to numerous festivals before IDFA gave it the nod. “I put a lot of myself into this little film. We knew that we had arrived with a film that was special and different but told in a different way, but we knew also that it was going to be hard to get it seen. All the other film festivals in the world, less important than IDFA, gave me this answer hundreds of times, that my film is great – but they never chose it. So IDFA is a great surprise for us. We worked very hard on it. It is a great moment.” Nick Cunningham IDFA Competition for Feature-Length Documentary

When filmmaker Antionio Tibaldi took the subway to Brooklyn to visit twin brothers Abraham and Shraga in their apartment for the first time, he didn’t know what to expect. He was there on behalf of a businesswoman acquaintance who had two companies – Bedbug 911 and Home Clean Home. She was keen to have a film made about her business. Tibaldi told her that he didn’t have any interest in shooting an “info-mercial.” Nonetheless, when he saw images of the brothers’ apartment, he was intrigued. Abraham and Shraga were living in a supreme state of chaos and mess. It turned out that they had stopped throwing anything away after their parents died. In clinging to their possessions, they were trying to protect their memories. Tibaldi sees this as a very natural instinct. “There is a universality there that everybody should be able to relate to…” The first meeting with the brothers, when Tibaldi “crunched” his way through the apartment, was nervous and awkward. Nonetheless, the filmmaker realised that these elderly Orthodox Jewish brothers were potentially fascinating subjects for a documentary. In spite of the conditions in which they lived, they were smart, welleducated and honest. “As I was walking out, I thought ‘ah, this is an interesting set-up’.”

He told the businesswoman, “forget the info-mercial, I want to make a film.” That was how Thy Father’s Chair, which Tibaldi made with Alex Lora, was first conceived. It was a tough film to make – repetitive, painstaking work. The documentary makers were in the apartment for ten days. Tibaldi was acutely conscious of his responsibility to his subjects. The brothers are intensely private individuals. Thy Father’s Chair is an observational film, which is still prising them out into the light. “I know when I am there with a camera it does things,” the director reflects. “I want to preserve their privacy as much as possible.” Inevitably, over the course of the filmmaking, the relationship between Tibaldi and the brothers changed. “An intimacy grew up between us, and that is dangerous. You do want to keep your distance as a filmmaker.” Now the film is complete, Tibaldi is still in touch with the brothers. “When I am in New York, I will go once or twice a month to say ‘hi!’ and to play chess. At first, they are very wary. Sometimes, we have to wait half an hour for them to open the door, but I know they are in there… it’s a very unusual relationship. I kind of care for them and want to know they are OK, but they are in a difficult situation, that’s the truth… I learned a lot from this film as a human being, that’s for sure.” Geoffrey Macnab IDFA Competition for Feature-Length Documentary

by Sylvain Biegeleisen

Clear Years

a idf s film

WORLD premiere

Belgian director Frédéric Guillaume lays his life bare in his intimate debut feature-length documentary Clear Years, charting the twists and turns in his relationship with Claire over a nine-year period.

Patient

WORLD premiere

“Before Patient, I made a film called Birth – Maternity Journal about births in Colombia’s public hospitals”, director Jorge Caballero says of the genesis of his featurelength contender. “I filmed Birth in one of the largest maternity hospitals in Colombia, which is curiously right next to the National Cancer Institute”, he says. “While filming Birth, I noticed many similarities between the way our state welcomes and says farewell to its citizens.” A tightly structured observation of the Kafkaesque trials undergone by the mother of a cancer patient caught up in the bureaucratic Colombian health care system, Patient was “a very difficult film to make”, Caballero says. The title refers not only to the unseen cancer patient, but equally to her mother – “Sometimes the one who cares is as much a patient as the one who has the disease”, Caballero comments. Not only is the mother a ‘patient’ herself, but she has seemingly infinite patience with the slow-grinding wheels of the medical bureaucracy (the double meaning of ‘patient’ conveniently works both in the original Spanish and in the English title of the film). “This is the third movie we’ve made within such institutions”, the director says of filming within the Colombian state health care system. “Entering the institutions is always one of the most complicated production processes; dealing with these different levels

The Road

of bureaucracy. But something curious happens with state systems – responsibility is distributed among many middle managers. So once you have got access, there is a kind of ‘freedom’. Explaining the project with honesty, meeting with many many people and assuring them there is no intention in criticize any specific person really helped. The second step was to explain what we are doing to the doctors, nurses, security, cleaners, etc., making it clear we are not a TV show. That we will be in there for a long time and that there’s nothing to worry about. With time, they forgot about us, then we could film better.” Much more than the feature-length doc competing at IDFA, Patient is also a huge transmedia project encompassing a three-screen video installation with nine short films making use of interviews from the research phase of the project (“a collaborative project edited by nine of the most interesting non-fiction filmmakers in Colombia”), an interactive documentary and “serious games” tackling the subject of public health policy in Colombia, as well as a digital book telling the story of the project. All of which can be accessed at www.pacientedoc.com. Caballero reveals he is now working on “a couple of web documentaries and virtual reality documentaries and a new transmedia project about the last ‘marriage bureau’ in Latin America and a new media documentary about the hidden signs of the cultural fanaticism represented in Christian churches and pyramid schemes, among others.” Mark Baker IDFA Competition for Feature-Length Documentary

The story is told in four chapters, focusing on the locals whose lives are severely affected by the building programme, the disgruntled workers who are continually awaiting payment or injury compensation, and the construction company that offers excuses (to its staff) and bribes (to Party members) in equal measure. The final chapter chronicles the dispute between the construction company and the Public Road Bureau that culminates in an organized and very brutal attack on the workers, which leaves many permanently maimed. “The Chinese people are so familiar… with each other, based on their relationships and family ties and all kinds of emotional connections,” comments Zhang of the scale of corruption in such public works projects. “They [tend to] ignore laws and regulations.” Zhang argues that other provinces, such as Canton, are a lot more law-abiding and less corrupt, while pointing out that the featured highway was one of fourteen under construction in Hunan at the time of filming, suggesting that the corruption we see here is just the tip of the iceberg.

Beyond the big screen, Guillaume says the film helped the couple to come to terms with what happened to their relationship. “We both think it helped keep a dialogue open,” says the director. Looking back over the footage has also helped Guillaume to form a clearer idea of its slow disintegration. “I filmed Claire, for example, when she was in love with another man and asks me to forgive her; if I had not filmed this scene I would have only kept the memory of my anger. But being forced to watch her on the screen has made me aware of her sincerity, the love that was in her voice and the complexity of the situation. The film forced us to see and digest our emotions. It helped us to be at peace with each other.” He admits he is relieved to have finally finished the film and closed that chapter in his filmmaking. “To be honest, I hope I will never have to redo the work that I’ve just completed. It was long and painful and even if it was a therapeutic process that did me good, I wouldn’t recommend it to anyone else... I’m now preparing films in which I am not the subject, and that’s a relief.” Melanie Goodfellow IDFA Competition for Feature-Length Documentary

Snow Monkey

INTERNATIONAL premiere

George Gittoes’ Snow Monkey plunges the viewer into the heart of Jalalabad, the Eastern Afghanistan city that has been the celebrated activist artist’s home for much of the past decade.

The film’s final, untitled, section covers both the celebrations at the time of the road’s opening and the celebrations marking the 90th Anniversary of the founding of the Chinese Communist Party. These scenes find counterpoint in the angry criticism of disgruntled workers. One refers to the Communist Part as the Corruption Party. Another complains about the televised propaganda jamboree as “unconscionable lies” while another warns, “if this was Chairman Mao’s time, you would have been arrested.”

Foreigners are rare in that part of Afghanistan – on the frontline of the conflict between state forces and Taliban militants as well as, more recently, ISIL fighters – but Gittoes is a popular figure in the city where he runs an arts and drama sanctuary called the Yellow House, with partner Hellen Rose, and goes by the affectionate nickname of “Baba”. Snow Monkey homes in on a Dickensian-style gallery of characters including Pul Mina, a five-year-old who spends her days collecting drinks cans for a living; a tiny smiling shoe-shine; a powerful local Taliban leader; Saludin, a stoic polio-stricken beggar, who crawls the streets each day begging, as well as a motley crowd of heroin addicts. Asked if he ever feels in danger while walking about the city, he says: “It’s more than just that, it’s lying on the road and filming little Pul Mina at street level. To get that kind of footage takes a huge amount of time out on the street and, yes, you’re exposed. But we’ve been doing the Yellow House project for about ten years now. The police, the governor, the intelligence services and even the Taliban know us and are very grateful. They love us.” The real stars of the documentary are the members of three child gangs who came to Gittoes with a plan to make an action movie: the ice-creamselling Snow Monkeys; the mystical Kochi outcast Ghostbusters, and the Gangsters, a group of razor-toting petty racketeers led by a ruthless chainsmoking nine-year-old called Steel, who is love with a beautiful young girl called Shazia.

Does Zhang believe that the characters in his film, especially the party officials openly involved in corruption, are susceptible to legal or political repercussions? “According to my judgement, this cannot be having much effect on the individuals. The first reason is that the things they reveal in the film are not big cases,” he stresses. “Secondly, if the government will take action according to the facts revealed within the film that is really… something good for the locals and for the country; but the government is not going to do this. Generally it’s not going to treat the stories revealed by the film seriously.” Nick Cunningham

The idea for Snow Monkey – the third in a trilogy inspired by Afghanistan and Pakistan – came to Gittoes through the Snow Monkeys themselves. Careering about the streets pushing crudely refrigerated pushcarts, the ice-cream boys attract attention with electronic horns blaring out the Happy Birthday tune, or whatever pop song happens to be in vogue. It was after becoming exasperated with their “aggressive music” that Gittoes came into contact with the group. “We were working on one of our dramas – a comedy in which I get my head cut off – and we couldn’t continue because the kids kept going by with their ice-cream carts, making a racket, so I went to see what could be done,” says Gittoes. “When I started talking to these boys and discovered their stories, I realised I had the makings of a good film.” Melanie Goodfellow

WORLD premiere

At the beginning of Zanbo Zhang’s The Road, we are informed of the Chinese government’s decision in 2008 to invest €568 billion in its highway infrastructure, a measure designed to boost the country’s economy. Zhang’s film, shot in Hunan Province over a turbulent four-year period, is about the construction of a mere 4.2 km of this highway, but it reveals astoundingly high levels of corruption, duplicity and violence on the part of businessmen and Communist Party officials alike.

The idea for the work, says Guillaume, came to him after he filmed his camerawoman partner Claire as she waited for the positive results of a pregnancy test in a mountain chalet. “I filmed it by chance because I had my camera on me but then looking at the images, I said to myself they were really beautiful and I wanted to film her more than any actress,” says Guillaume. “I decided to do a portrait of her during the pregnancy, but I never imagined it would be the catalyst for an autobiographical process that would last so many years.” Guillaume admits the editing process was not always a comfortable one for Claire, but adds he was sensitive to her comments. “I invited her several times to watch the film at its various stages of editing. She would laugh, cry and then say, ‘No Frédéric, the film’s not fair’ or ‘I feel guilty’. I worked a lot on the basis of these comments and then one day she saw the film and said, ‘Bravo, I think it’s right.’

IDFA Competition for Feature-Length Documentary

For screenings, see the schedule in the middle of this paper

IDFA Competition for Feature-Length Documentary

Festival Venues

8 3

Take Buiksloterweg ferry

Festival Venues Cinemas/Theatres 1 2 3 4 5 6 7 8 9 10 11 12 13

Pathé de Munt – Vijzelstraat 15

Pathé Tuschinski – Reguliersbreestraat 26 EYE – Ijpromenade 1

De Brakke Grond – Nes 45

Melkweg – Lijnbaansgracht 234a Kleine Komedie – Amstel 56-58

Stedelijk Museum – Museumplein 10 Het Ketelhuis – Pazzanistraat 4

De Balie – Kleine-Gartmanplantsoen 10

Podium Mozaïek – Bos en Lommerweg 191

Bijlmer Parktheater – Anton de Komplein 240 Tolhuistuin – IJpromenade 2

DeLaMar Theater – Marnixstraat 402

Industry Venues

Café de Jaren – Nieuwe Doelenstraat 20-22

Festival Cafe & Restaurant/Guests Meet Guests

24 16

Hotel NH Carlton – Vijzelstraat 4, 1st Floor

Compagnietheater – Kloveniersburgwal 50

Industry Office/Guest Services/Guest Box Office

IDFA Forum/IDFAcademy 17

Docs for Sale 18

6 1

Calf & Bloom – Singel 461

IDFA Forum Kick-Off Drinks

25 15

Arti et Amicitiae – Rokin 112

Brasserie Harkema – Nes 67 IDFA Forum Lunches

S luizer – Utrechtsestraat 45 Filmmakers Dinners

21 20

NFA – Markenplein 1

IDFA Film Academy Day

Melkweg – Lijnbaansgracht 234a Awards Ceremony

IDFA Office – Frederiksplein 52

Hotels 24 25

Hotel NH City Centre – Spuistraat 288-292 Hotel NH Carlton – Vijzelstraat 4

11 7

Festivalcafé de Jaren All IDFA guests are invited to meet and exchange ideas at the daily Guests Meet Guests cocktail hour November 19 – 26 | 18:00 – 19:30 hours C afé open 09:00 – 01:00; Friday & Saturday until 02:00 R estaurant open 17:30 – 22:30 (1st floor) IDFA daily special €12.50

International Documentary Film Festival Amsterdam

Colofon FESTIVAL INFORMATION

Partners of IDFA

Main partners of the 28th International Documentary Film Festival Amsterdam

BDDA

Partners

IDFA is subsidized and funded by

The festival program is supported by

IDFA-Mediafonds Workshop is supported by

IDFA Forum is supported by

IDFA Bertha Fund is supported by

Club IDFA

ABN AMRO Bank NV, Cardano, De Breij Evers Boon, De Nederlandsche Bank, Houthoff Buruma, JBR, Jean Mineur Mediavision, M.N. Léons BV, Rabobank Amsterdam, Rotaform, Van Caem Klerks Group BV, Weekbladpers Media

Donations to IDFA

AVROTROS, BNNVARA, De Gijselaar Hintzen Fonds, Embassy of Israel, EYE International, Embassy of the United States of America, Goethe-Institut, HUMAN, IKON, Institut Français des Pays-Bas, Kattendijke/Drucker Stichting, KRO-NCRV, NPO Sales, OUTtv, P.W. Janssen’s Friesche Stichting, Stichting Elise Mathilde Fonds, Stichting VEVAM Fonds, Stichting Zabawas

Suppliers

3PO, Arti and Amicitiae, Art Support BV Theaterproductiebureau, Bijlmer Parktheater, Brasserie Harkema, Café de Jaren, Citroën, Compagnietheater, De Balie, De Kleine Komedie, DeLaMar Theater, Event Engineers, EYE Film Instituut, FestivalTickets, Haghefilm Digitaal, Het Ketelhuis, Het Internationaal Danstheater, IndyVideo, Lichtwerk, MacBike, Melkweg, MeneM Systemen, NH Hotel Group, Podium Mozaïek, Rex International, The Screening Factory, Stedelijk Museum Amsterdam, Tolhuistuin, VBVB Cultuurautomatisering, Videodock, Vlaams Cultuurhuis De Brakke Grond

Festival Trailer

Cape Rock, Jean Mineur Mediavision

IDFA would like to thank all friends of the festival.

Program Guide HOOFD-/ EINDREDACTIE NL Nicole Santé KEES driessen

INTERNATIONAL EDITION Nick Cunningham Mark Baker Melanie Goodfellow Geoffrey Macnab REDACTIE NL Olga van Ditzhuijzen Omar Larabi Sasja Koetsier Maricke Nieuwdorp Sietse Meijer

FOTOGRAFIE Felix Kalkman Bram Belloni Nichon Glerum Ruud Jonkers Corinne de Korver INTERNET Tisha Eetgerink (eindredactie NL) Sjaan de Bruin (eindredactie ENG) IDFA REPORTS Charlie Dronkers Resi Lankester Anke Teunissen

VORMGEVING Sjoukje van Gool Laurenz van Gaalen Gerald Zevenboom ILLUSTRATIE BAFA (Bas van der Schot en Farhad Foroutanian) Drawing the Times (Stijn Schenk, Mara Joustra, Merel Barends, Gijs Kast, Aart Taminiau)

PRODUCTIE Cathalijne de Wilde

Mediafonds stimuleert 5

IDFA Frederiksplein 52 1017 XN Amsterdam info@idfa.nl www.idfa.nl

ACQUISITIE Daily Productions DRUK Rodi Media

A Family Affair van Tom Fassaert, IDFA openingsfilm Mogelijk gemaakt door het Mediafonds, net als 20 andere Nederlandse documentaires op IDFA 2015

www.mediafonds.nl/idfa

Program TUSCHINSKI TUSCHINSKI 1 1

Thursday 19 November

TUSCHINSKI TUSCHINSKI 2 2

TUSCHINSKI TUSCHINSKI 3 3

TUSCHINSKI TUSCHINSKI 4 4

TUSCHINSKI TUSCHINSKI 5 5

TUSCHINSKI TUSCHINSKI 66

DE MUNT DE MUNT 4

DE MUNT DE MUNT 5

DE MUNT DE MUNT 9

DE MUNT DE MUNT 10 10

DE MUNT DE MUNT 11

DE MUNT DE MUNT 12 12

DE MUNT DE MUNT 13 13

9:00 9:00

10:00 10:00

Compilation Compilation program program put up putbyup by 10:30 mainmain partner partner VPRO. VPRO. For tickets For tickets10:30 see www.vpro.nl/evenementen. see www.vpro.nl/evenementen. Masterclass Masterclass

Eduardo Eduardo Coutinho Coutinho

VPRO Preview Preview 10:00 10:00VPRO

LastLast Conversations Conversations Masters Masters , 87’ , 87’

10:00 10:00

TheThe Black Black Panthers: Panthers: Vanguard Vanguard of the of the Revolution Revolution

TheThe Unknown Unknown Known Known ErrolErrol Morris Morris

Masters Masters , 114’ , 114’

UsingUsing examples examples fromfrom her her work,work, director director Suzanne Suzanne RaesRaes talkstalks about about the art theofart knowing of knowing everything, everything, and then and then forgetting forgetting as much as much as you ascan. you can.

DutchDutch Competition Competition , 85’ , 85’

Jean-Gabriel Jean-Gabriel Périot Périot

Best ofBest Fests of, 76’ Fests, 76’

TheThe Emperor’s Emperor’s Naked Naked Army Army Marches Marches On On

Best ofBest Fests of, 89’ Fests, 89’

Werner Werner Herzog Herzog

Masters Masters , 188’ , 188’

16:00 16:00 Industry Industry Screening Screening

16:00 16:00

17:30 17:30

Alisa Alisa in Warland in Warland

Adam Adam Curtis Curtis

Followed Followed by anbyin-depth an in-depth conversation conversation between between sports sports commentator commentator MartMart Smeets Smeets and and director director Jørgen Jørgen Leth.Leth.

19:00 19:00

Masters Masters , 71’ , 71’

Best ofBest Fests of, 92’ Fests, 92’

Best ofBest Fests of, 89’ Fests, 89’

19:00 19:00

Best ofBest Fests of, 77’ Fests, 77’

A Family A Family Affair Affair

21:00 21:00

Feature-Length, Feature-Length, DutchDutch & & , 110’ , 110’ DOC UDOC Competition U Competition

Pere Pere JoanJoan Ventura Ventura

10:00

stry Screening

d According ur Khiar 11:00 tra

on, 55’

eam

iaoyu Qin

Competition, 96’

15:00

arland

kova, nko

19:00

10:00

The Pearl Button 10:00 10:00VPRO Preview The Pearl Button

12:00 Pieter van Huystee Pieter van Huystee

12:00 12:00

12:00

Dutch Competition, 83’Dutch Competition, 83’ Coming of Age Coming of Age

Teboho Edkins Teboho Edkins

12:30 Student Competition , 63’ Student Competition, 12:30 63’

13:00 13:00

10:00

Last Conversations

The Black Panthers:

12:00 Industry Screening

Best ofBest Fests of, 71’ Fests, 71’

21:00 21:00

22:00 22:00

Oriented 22:00 22:00Oriented

22:15 22:15

Jake Jake Witzenfeld Witzenfeld

Salero Salero

MikeMike Plunkett Plunkett

Panorama Panorama , 80’ , 80’

22:45 22:45

Kingdom Kingdom of Shadows of Shadows Panorama Panorama , 73’ , 73’

Catherine van Campen Dutch 12:30 Competition, 85’

14:00 14:00

Panorama, 80’

23:00 23:00

16:00

Dutch spoken.

Mid-Length Competition Mid-Length , 50’ Competition, 50’

Pelota II with Extended Q&A

Followed by an in-depth Hot Sugar’s Cold HotWorld Sugar’s Cold Worldconversation 18:15 18:15 between sports 18:00 18:00 Adam Bhala Lough Adam Bhala Lough Mart Smeets and Fassbindercommentator Fassbinder Music Documentary, 85’ Music Documentary, 85’ director Jørgen Leth. Annekatrin Hendel Annekatrin Hendel

19:00 19:00

Panorama Pelota II , 92’

Jørgen Leth, Olatz González Abrisketa