IDFA Daily #4 2016 (English) by IDFA International Documentary Film Festival Amsterdam

International Section 23/24 nov 2016

Fisk hits the Forum Renowned Middle East correspondent Robert Fisk put in an appearance at the Forum on Tuesday for the pitch of ChineseCanadian director Yung Chang’s This Is Not A Movie, exploring journalism in the region through the veteran reporter’s 40-year career in the Arab world. By Melanie Goodfellow Fisk told documentary professionals gathered at the Compagnietheater that he had initially turned the project down when Chang and producers Allyson Luchak and Nelofer Pazira first got in touch with the idea. “When I was first asked to get involved I said ‘Absolutely not. I don’t do face-to-cameras, I don’t flap my hands around to make a point, I hate clichés, I am a journalist!” said Fisk. “This was pretty pompous and hypocritical of me, because then I took a look at Yung and said, ‘This guy is fresh and new to the Middle East, he’s an innocent guy, unencumbered by the clichés of doves and hawks and terrorists and democracy’. So I said, ‘Look let’s have a go, but no face-to-camera. You put your camera over my shoulder. I’ll do my job as a correspondent and you do your job as a film director, but don’t interfere.’”

Man without a newspaper

Fisk added that the demise earlier this year of the print edition of The Independent – for which he has been the Middle Eastern correspondent for more than 30 years – had further boosted his desire to be involved. “It dissolved around me. I am now the Middle East correspondent of The Independent website. I’ve still got the same job, same place, same assignment, same region – the Middle East – and many more readers, millions more. I thought there is something interesting here – a man

Robert Fisk and Yung Chang at the Forum. Photo: Ruud Jonkers

without a newspaper, being filmed by a camera crew who can’t put cameras in my face,” said Fisk.

Rare access

Over the course of 40 years, during which time he has covered the massacres at the Palestinian refugee camps of Sabra and Chatila as well as both Gulf Wars, the US invasion of Afghanistan and the more recently the Syrian conflict, Fisk has built up rare access. He was the only Western journalist to have interviewed Osama Bin Laden on three separate occasions. In the backdrop, he has often courted controversy for his refusal to take an unbiased, balanced approach to stories he is covering.

Frontlines

Fisk said he was planning to take Yung to places where many journalists no longer get to, such as the frontlines of Syria, from the Turkish border to the Golan Heights, and bring him into contact with people who normally do not either get access or give interviews to Western television. In the process, the film will also look back at Fisk’s career as current day events resonate with stories he covered in the past. Yung stressed that rather than being a biography about Fisk the film was more a study of the Middle East region and the need for responsible on-the-ground reporting in an age when journalists are obsessed with social media. “I have to say this is going to be a marriage made in heaven or a marriage made in hell, we’ll give it go,” he concluded.

Cross-media

The National Film Board of Canada has already put up 400,000 Canadian dollars, representing some 30% of the budget and at Tuesday’s pitch several broadcasters including Arte said they were interested in coming on board. Principal photography is due to start next summer for a late 2018, early 2019 delivery.

This Is Not A Movie was among 15 projects presented in the Forum’s Central Pitch section this year, three of which were cross-media productions for the first time.

Praise

Other popular projects pitched on Tuesday included Steven Bognar and Julia Reichert’s Chinese Factory: USA about an Ohio factory which is bought by a Chinese billionaire; Argentine director Lola Arias’s Veterans, a hybrid work combining a theatre play about a group of UK and Argentine veterans of the Falklands War who meet up thirty-five years after the conflict, and their real-life encounters. Brazilian director Petra Costa also won praise for her upcoming work Impeachment exploring the events surrounding the removal of Brazil’s first female president Dilma Rousseff from office in 2016 on charges of corruption, particularly for the level of access to the subjects involved. “The quality of the pitches this morning was very high. There were some very strong projects and a lot of interest,” commented IDFA industry chief Adriek van Nieuwenhuyzen.

Docs for Sale Top 10 Stranger in Paradise 60 Plastic China 48 Burning Out 48 Amateurs in Space 45 Machines 44 The Grown-Ups 42 How to Meet a Mermaid 38 The Good Postman 37 Venus 36 La Chana 32

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Serial promise

The Promise, the new crime documentary from Markus Vetter and Karin Steinberger, seems bound for a very long afterlife. A new radio series is being developed that will take the story forward. (This is being done with NDR and the BBC is also in discussion to offer support.)

As Vetter has revealed at IDFA, the film is being made available in many different versions. It is also screening here in a 131-minute cut. There is a 170-minute cut. Several broadcasters will be showing The Promise in series form, as either 2 x 90 or 3 x 60.

“Why did we do that?” the director asks himself of the multiple cuts of the film before answering that crime stories lend themselves to endless tweaking and revising. A two-hour documentary is often difficult to shoehorn into the schedules. It would make no sense to show a film as embroiled and complicated as The Promise in a 60-minute version – but 3 x 60 is an acceptable alternative. If that doesn’t work, Vetter and his team can offer a 6 x 30-minute version instead. “Creatively, we could do more with the material and so we took advantage of that,” the German director said of the many different versions of The Promise now in circulation. The film explores the case of Jens Soering, the teenage son of a German diplomat who was convicted in a Virginia court of the murder of his lover Elizabeth Haysom’s parents. That was way

back in the mid-1980s. He has languished in an American prison ever since. It is well over a decade since a German priest first approached Vetter’s co-director Steinberger to tell her that he thought Soering was innocent. Having watched 170 hours of the court material, Vetter has long believed in his subject’s innocence and is dismayed to see him still behind bars. The German director doesn’t generally make “true crime” films. His earlier work includes several docs about Palestine and a film on the International Criminal Court. “When we met him [Soering] for the first time in prison in 2013, this interview with him was incredible.” The interview, which lasted for several hours, forms the core of the documentary. (Since 2013, Soering hasn’t been permitted to give any further interviews.) Another key part of the story is the love letters between Soering and Haysom (who once likened herself to Lady Macbeth). “These love letters are incredible. You can feel how two youngsters are competing with each other in expressing their love and their thoughts about their families; that they want the world to be a better place; that they want to be different from their families. It was a folie a deux and at the same time, a feverish love story.” The heady romance came to a very abrupt end when the lovers were arrested in London for cheque fraud. They had “escaped” to the UK after the murders. “Suddenly, this love collapsed,” Vetter says. Soering and Haysom realised they would be on their own. “Both finally understood that it was the end of the road.” She betrayed him, cutting a deal with the prosecution. He stayed loyal to her, confessing to a murder that he almost certainly didn’t commit, only much later retracting his confession. By Geoffrey Macnab Read more at: www.idfa.nl/industry/daily/2016/background/serial-promise.aspx

dok.incubator turns 5

Single shot China

Prague-based dok.incubator celebrated its fifth birthday at IDFA on Monday night with some of the makers of the films it has helped complete since its launch in 2012. By Melanie Goodfellow

Doc auteur Leonard Retel Helmrich talks about the upcoming focus on Dutch documentary at China’s Guangzhou International Documentary Film Festival (12-16 December). The focus will comprise a selection of recent Dutch films, including Touched by the Devil (Pieter van Huystee); A Boy’s Dream (Walter Grotenhuis and Cinta Forger); Young Wrestlers (Mete Gümürhan) and Morgan Knibbe’s Those Who Feel The Fire Burning, as well a co-production pitch session. Confirmed co-pro projects include Frank Scheffer’s He Duoling – The Painter from Chengdu. There will also be a number of industry and filmmaker workshops. The event is organised by the Netherlands Film Fund, EYE and IDFA.

“Up until now we’ve supported 44 films, one-third of which have ended up in IDFA. We’ve also had four films at Sundance and I promise you it will be more this year,” project director Andrea Prenghyová told the informal gathering in De Jaren. Speaking afterwards, Prenghyová explained how the six-month post-production and marketing lab involving the producer, director and editor grew out of observaŽofie Strachotová, Andrea Culková (CZE), in front Tanja Georgieva (Ukraine), tions during a 20-year career Kaarle Aho (Finland), Andrea Prenghyová (head of dok.incubator) and making and supporting documen- Emmy Oost (Belgium). Photo: Nichon Glerum taries in Eastern Europe as well as pressure from a round of cuts and impossible efficiency attending festivals worldwide. drives. “I saw a lot of films which had the elements to be great – The programme also supported Danish First good characters, stories and footage – but somehow fell Appearance titles Venus – exploring female sexualdown in the final stages,” she says. “Often, there were ity through interviews with one hundred women – small changes that could make these films much better. and Amazona, about a director’s attempt to understand I felt bad for the filmmakers who’d poured so much time the motivations of her mother who abandoned her and energy into the work. For the sake of a small shift, child to go and live in the Colombian jungle. the films could have been made so much better.” Good Postman producer Kaarle Aho at Helsinki-based “The idea was to slow down the finishing of the film Making Movies Oy said he was reluctant to join the and get the director along with the producer and editor intiative at first, but did so at the behest of the director to dive into the film and really think about the story. and editor. The film was attached to editor Anne Fabini We also felt it was important for it to be practical rather whose advice, he says, changed the course of the film. than theoretical.” “I didn’t want to go. I felt like I’d had too many of these In its current form, the film team attend three courses in my life. Also, it is three weeks and I didn’t seven-day sessions in Prague in the company of an exfeel able to commit to the time. The director insisted, so ternal editor and marketing teams. “We start with the I eventually agreed and in fact it was fantastic.” rough cut in the first session, followed by the fine cut in He recounts that the advice at the first session of the lab the second session; the third session is to bring the film convinced them to hold off launching the film earlier, onto the market,” she explains. even though they had invitations from film festivals on Titles supported by dok.incubator at IDFA this year the back of the rough cut. “We ended up with the same include Feature-Length Competition contenders story, but somehow we ended up with a much bigger Tonislav Hristov’s The Good Postman about a Bulgarian film with the help of dok.incubator. It forced us to take postman running for mayor in his small village on longer to finish the film and try stuff we wouldn’t have the border with Turkey, and Jérôme le Maire’s Burning Out about the doctors in a Parisian hospital under otherwise.”

etel Helmrich has twice won the top prize at IDFA, with Shape of the Moon in 2004 and Position Among the Stars in 2010, and will give a masterclass on Single Shot Cinema. “I will talk about the cinematographic power of camera movements and the dramatic impact of the long, single take,” he comments. “Single Shot Cinema is a filming method that re-interprets film language based on the technical developments and possibilities of filmmaking in the digital age. What was once only possible with cranes and the Steadicam is now accessible to everybody. I will show how to intuitively move inside real life actions and between characters using smooth and flexible camera movements that express the drama, emotion, and vision of the camera operator. An important tool will be the SteadyWings and the Orbit camera rig, inventions especially made for the Single Shot Cinema methodology and using camera movements to narrate the shots.” “With GZDOC being China’s sole state-level documentary film festival, it has become one of the most important platforms in Asia for documentary industry exchange,” Film Fund head Doreen Boonekamp commented before IDFA. “Aside from showing what the Dutch

documentary industry has to offer, it is an important market and a great opportunity to seek Chinese co-production partners.” Retel Helmrich expresses his desire that the Dutch/China accord will offer international documentary filmmakers better freedom of movement in delivering their works. “It is of course very interesting that there is a co-production treaty between the Netherlands and China now,” he continues, referencing the deal signed between the two countries in October 2015. “I myself once had to deal with the fact that there wasn’t yet a treaty between the Netherlands and China. That was for the film Broken Silence (1995) produced by Scarabeefilms. All the time during filming in China, our crew had to travel with a person from the Chinese government who was checking on them, that they would not film things that were not written in the script. If the treaty means that there will be more freedom in filming in China … then I think [it] will be a great benefit for documentary filmmakers.” An additional series of post-GZDOC screenings will include Jan van den Burg’s Silent Land, Marijn Frank’s Need for Meat, Peter and Petra Lataster’s Awake in a Bad Dream and Strike a Pose by Ester Gould and Reijer Zwaan. By Nick Cunningham

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Blasted illusions

Young Slovakian director Barbora Berezňáková was eight years old when an incident took place which scared and baffled her country. This was in the mid-1990s, just as Slovakia split off from the Czech Republic in the “velvet divorce” and attempted to establish itself as a democratic, sovereign nation. “On the news, there was a story of a guy’s car exploding on the street. He was dead,” Berezňáková recalls of an incident which happened close to where she lived and which she will examine in Never Happen, her debut feature doc.

The media treated the story as if this was some Mafia drug deal gone wrong. The early post-Soviet era was a very “wild time”. The country was adjusting to capitalism and there was a lot of violence and disruption. It seemed that the victim Róbert Remiáš was simply in the wrong place at the wrong time. The crime was never solved. The idea that the country’s leaders might have been involved seemed far-fetched in the extreme. What Berezňáková realised (and what her film will show) is that Remiáš was a key figure in a lawsuit which appeared to implicate the prime minister, Vladimír Mečiar, in the kidnapping of President Kovac’s son. His friend Oskar, who had witnessed the kidnapping, was in hiding. This in itself is extraordinary enough: a politician targeting a colleague from the same party in a criminal act in order to intimidate

and discredit him. The President’s son was eventually released, but was traumatised by his experience and doesn’t want to rake over it now. Berezňáková’s father was a Slovakian intelligence office in this period. He was growing disillusioned with the machinations of the state. So were a younger generation who had believed that, after Communism, this would be an era of freedom, opportunity and new tolerance. “When I grew up, I had certain illusions about the world, some expectations,” the director reflects on her own state of mind in the 1990s. “To some extent this was caused by the post-revolutionary enthusiasm. Then I was confronted with the reality around me; how things should be and how things are.” In the documentary, Berezňáková will ask, twenty years on, just what “imprint” the kidnapping and the killing have left on Slovakian society. “I don’t see myself as a political person, but if you really want to think about the political context you are living in, then politics becomes a really important part of it,” she reflects. “Of course, these post-Communist countries were going through transformations politically and economically. State properties were being privatised.” Wherever there is “a lot of money and opportunity,” crime and corruption is likely to follow. The filmmaker has been presenting the project here at IDFA, where she has also been attending the IDFAcademy. She has a Slovakian producer (Mario Homolka at Leon Productions) and is looking for co-producers. Berezňáková studied film at the New York Film Academy. She is also active as a video artist. Her installation Remembering ’90 was recently showcased at the Visegrad Film Festival in Cork. By Geoffrey Macnab

The Eagle Huntress

Oscar buzz By Melanie Goodfellow

The final announcement for the 2017 Academy Awards nominations is still two months off, but buzz around which documentaries might make it into the final round of voting is already growing.

total of 145 titles have been submitted to the documentary category, a number of which are playing at IDFA this year or have links with past editions. Among the Oscar hopefuls is Kids & Docs title and IDFA Audience Award front-runner The Eagle Huntress, following a young Mongolian girl’s quest to become the first female eagle huntress, against the stunning backdrop of Mongolia’s Altai Mountains. Los Angeles-based Sony Pictures Classics, which has a strong awards season campaign track record, snapped up multiple territories for the film, including North America,

following its premiere at the Sundance Film Festival this year. Director Otto Bell says the distributor is working hard to position it for a nomination. “We’ve done official screenings for the Academy and I screened for BAFTA as well ... They’re pushing it very much,” says Bell, who self-funded the film before first footage convinced Morgan Spurlock to come on board as an executive producer. “I’d love to see Simon Niblett be nominated in the cinematography category too, but I think it’s rare to be nominated for a documentary,” he adds. Other IDFA titles generating Oscar buzz include cinematographer Kirsten Johnson’s Cameraperson in which she explores her role capturing reality through a stunning personal visual archive spanning 25-years. Another awards season player in Amsterdam this year is Ezra Edelman with O.J.: Made in America, exploring race politics in the US

through the rise and fall of the legendary American football player O.J. Simpson. Running at 468 minutes, it would be one of the longest nominated films in the history of the Academy Awards. Other submitted titles with IDFA links this year include The First Monday in May, Shadow World, All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone, and Weiner. Dutch director Tom Fassaert’s A Family Affair, which opened the festival last year, is also a contender. The nominations will be announced on January 24, 2017, and the Academy Awards ceremony will take place one month later, on February 27. In the meantime, the European Film Award nominations were announced on November 5. Nominees in the documentary category include 21 x New York; A Family Affair; Fire At Sea; Mr. Gaga; S is for Stanley and The Land of the Enlightened.

Sealers – One Last Hunt

Trude Berge Ottersen and Gry Elisabeth Mortensen’s Sealers – One Last Hunt is in many ways a very brave film. Together with a team of seal hunters, they set sail into the freezing Arctic waters between Iceland and Greenland, encountering storms and polar bears along the way and getting trapped in pack ice. As importantly, it is a film in which they resist all temptation towards anti-hunt polemic (ignoring the advice of many distributors and buyers), and succeed instead in presenting a warm and moving study of a culture and way of life that is fast diminishing. The documentary, one could argue, is all the better for this editorial decision. “A political dimension would make the film less special because this is a unique chance to be a part of the crew for one and a half hours – the other things you can read about and look up. Here, the focus is on the friendship and the journey and the special bond and the nature experience,” stresses Mortensen. The filmmakers do not shy away from showing the kill, although the moment of impact is deliberately blurred. “The hunters have so much respect for nature and the animals, and they do it with so much knowledge and in a respectful way. So we also wanted to film it this way, not brutally, so the audience could watch the film and see what it is all about without repulsing them,” says Berge Ottersen. The sealing boat becomes a factory during the

two-month voyage, where the seal skins are removed and stored and the steaks and ribs (and flipper meat) are bagged up and frozen. Later, the fat is scraped from the skin for processing as oil. Between periods of shooting, the directors were fully operative crew members and contributed to all tasks. “We could not film every day, as there would be too much material and we had to do something else, and of course we wanted to learn how to hunt,” says Ottersen. The footage they shot is at times stunning, whether from deck level or from the crow’s nest at the top of the ship’s mast. A rolling, temperamental sea is dramatic enough, but when we see crew members cross it by leaping from ice float to ice float, it is thrilling. Inside the ship, it is no less remarkable as the mariners are forced to stand at ludicrous angles to counteract the rolling and tilting of the vessel during a storm. After two months in which firm friendships were made and when all telephonic and digital communication were rendered impossible, Berge Ottersen and Mortensen were left with profound feelings of longing and melancholy on their return to terra firma. “They call it the polar craving. If you have been out there once, you always want to go back. Because it is a special universe it sticks in you like nothing else. They were the best two months of my life,” says Mortensen. “As the skipper says: when you go to the polar ice, your whole identity is erased and a new one rises.” Nick Cunningham IDFA Competition for First Appearance

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Honky Tonk Heaven: The Legend of the Broken Spoke

The Joy of Sound Panamanian director Ana Endara Mislov was “thinking about happiness” when she had the idea for her new documentary, The Joy of Sound, an international premiere in the mid-length competition. DOCTV had just launched a call for filmmakers from Latin America to make documentaries and Endara was keen to apply for funding. “They wanted us to treat the subject of happiness. I was giving company to a friend of mine who was broken hearted,” the director remembers. This friend, who appears in the movie, had just ended a relationship. He was trying to console himself by listening to music played through his brand new pair of hi-fi speakers. A phrase came into Endara’s head … “la felicidad del sonido” (“the joy of sound”). This, she decided, would be her subject. The film would explore just how sound gives us pleasure – and also how it sometimes fills us with dismay. Characters in the doc include a blind woman (“a sensory presence, she just absorbs sound”); a musician who is also a firefighter and lives to drive around in his car blasting music from his speakers; and a man launching his own pirate radio station. “They have this common obsession … this passion for sound,” the director says. Making the film was a “very playful process.” She edited it with artist friend Jonathan Harker. Together, they looked to give the documentary “musical rhythm, emotional rhythm.” Endara believes that documentary makers don’t pay enough attention to sound. “It’s also in life. We are very centred and driven by our visual sense. If you think about it, we get more information from sound than visuals … if you pay attention to sound and

to the soundscapes around you, you are somehow anchored to the present because you are not thinking about the past or the future. You are in the moment. It is a really nice exercise.” The director has some advice: if you’ve got a broken heart, listen to something to console yourself. Sound “can be good for the heart.” Endara’s 2013 doc Majesty was in Docs for Sale. Joy of Sound, though, is her first film in competition at the festival. She studied at Cuba’s renowned Escuela Internacional de Cine y Television de San Antonio de Los Baños. “What took me to Cuba? The chance to study film,” she answers her own question. (There is, as she points out, no film school in Panama.) After leaving Film School, she spent several years working in publicity until she received a grant to make her first documentary, Curundu (2007). “Earning a living from making documentaries in Panama is impossible,” she sighs. Nonetheless, there is now a national film fund in place (administered by the Ministry of Commerce and Industry) and prospects are looking up. The Panamanian director has several other projects in development, among them one very intriguing animated project about the craze among Panamanians to get into the Guinness Book of Records. Called Panamazing, the film looks at the desire of Panamanians to prove to the outside world that their homeland is, indeed, amazing. Other projects are Memory Loop, about Señor Loop (one of the country’s greatest rock bands) and Flying Blind, about an elderly woman who turns her house into a museum celebrating her life and work. Geoffrey Macnab

By Melanie Goodfellow Her latest work Zaineb Hates The Snow is an affectionate, bittersweet portrait of a young girl uprooted from her native Tunisia to begin a new life in Canada shortly after the death of her father. The film was shot over a six-year period. Ben Hania started filming Zaineb, the daughter of a cousin, shortly after her father’s death. “It was a difficult period. I wasn’t quite sure where it was going, but after three days of shooting I looked at my images and I knew I had something.” The filmmaker decided to work on the project alongside other fiction features she was developing. “It can take a really long time to get a film off the ground, so I tend to have a number of projects at various stages of development on the go. I decided whenever I was blocked on the fiction projects, I would turn to Zaineb. It helped alleviate the frustration,” explains Ben Hania. She also completed mockumentary Le Challet de Tunis, about an attempt to track down a man who was slashing women, and Beauty and the Dogs, her debut fiction feature about a girl trying to get justice after being raped by the police which is in post-production, at the same time as shooting the documentary. As a result of the six-year arc, we see Zaineb develop from a bubbly,

The venue is the subject of Honky Tonk Heaven: The Legend of the Broken Spoke, the very affectionate new documentary from Brenda Greene Mitchell and Sam Wainwright Douglas (a European premiere in IDFA’s Music Documentary strand). In the film, Jesse Dayton (a regular performer at the Spoke) suggests that a dance hall is where you go to dance with your wife, while a Honky Tonk is where you go to dance “with somebody else’s wife.” According to Mitchell, this isn’t entirely the case. “You dance with your own wife [at the Spoke]. That’s what it is all about … I think Jesse was just having fun.”

IDFA Competition for Mid-Length Documentary

Zaineb Hates the Snow Kaouther Ben Hania belongs to a generation of young Tunisian directors who have come into their own following the country’s 2011 popular uprising.

If you’re in Austin, Texas, and you want to listen to authentic country music, there is only one place to go – the Broken Spoke. This is the good ol’ fashioned dance hall where you can get cold beer, good whisky, some of the best fried chicken steak in town and the finest music to tap your feet to.

Arabic-speaking nine-year-old dealing with her father’s death and the curveball of her mother’s decision to hook up with an old flame living in Canada, to a moody yet good-natured teenager jumping between Quebecois and Canadian English to express herself. She has that bounce-back resilience of a child, but it is clear by the end that the ups and downs of her family life and the move from Tunisia to Canada are beginning to weigh heavily. “It was like a little laboratory for me in more ways than one. I couldn’t really bring a crew – strangers – into the family home, so I had to both film and do the sound myself. It’s an artisanal film which I created scene by scene, all by myself,” says Ben Hania, who was supported by the IDFA Bertha Fund. The work screens in Panorama at IDFA after a prize-winning run on the Arab film festival circuit. It recently won the Grand Prize at Tunisia’s Carthage Film Festival, as well as the best documentary prize at

the CineMed film festival in the Southern French city of Montpellier. Ben Hania suggests it is the film’s mix of universal subjects like growing-up, adolescence and family combined with current themes such as the ‘recomposed family’ and immigration, that make it interesting to audiences. “I think people are really touched by the film. It’s very emotional. I was in tears myself sometimes when I was making it,” she adds. She is now mulling a fiction feature inspired by Zaineb and her relationship with her stepsister. On the documentary front, she is developing a work about a Tunisian mother’s struggle to get her teenage daughters back after they became radicalised and followed ISIS militants to the group’s former Libyan stronghold of Sirte. Long-time collaborator Habib Attia of Tunis-based Cinetelefilms will produce. Panorama

A Honky Tonk is an intimate, smoke-filled bar which has soul, atmosphere and plenty of live music. As real estate prices escalate in Austin, a boom town whose population has almost doubled over the last fifteen years, such venues are being forced out of existence by crippling property taxes. The Broken Spoke is one of the few still in business. Run by James and Annette White, it has a history that stretches back over 50 years, to 1964. According to the filmmakers, it hasn’t changed in the slightest over those years. (“We ain’t changing nothing” is a sacred manta for owner James White.) “It’s like walking into 1965. It’s a time capsule – a true time capsule with the dust on the pictures to prove it” Douglas suggests. “It’s like a living museum.” Mitchell first visited the Spoke in the 1970s. Douglas has been visiting since his college days. “I actually had the idea nine or ten years before we started the documentary. I was at the Broken Spoke dancing. I had that flash, at that moment, that this place has got to be documented” Mitchell remembers. She had been around long enough to see other venues she loved “taken down, destroyed” and replaced with apartment buildings or parking lots. “That was the gut feeling, that this is special and we need to preserve it through film.” James White agreed and was fully supportive. Honky Tonk Heaven premiered at SXSW in the company of many country singers. It also screened in Nashville, where it was warmly received. However, speaking to the filmmakers it is obvious that there is at the least a mild tension between the Texans and their near neighbours in Tennessee. The Texans don’t accept that they’re second best. Both directors “love” country music – and they love the Spoke. They argue it’s the only place in Austin – or in almost any other city in the State – in which the true spirit of Texas lives on. “Austin is so urban now. That’s why people, when they walk into the Spoke, they just start smiling. They feel as if they’ve found the real Texas,” Mitchell declares. Geoffrey Macnab Music Documentary

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Too Black To Be French?

photo: Nadine Maas

French-Ivorian filmmaker and writer Isabelle Boni-Claverie is the granddaughter of one of France’s first black magistrates – Alphonse Boni, who left his native Ivory Coast to study law in the 1930s, when it was still a French colony.

Coeurope

As its clever title suggests, Giovanni Troilo’s Coeurope is an ode to Europe, but one firmly located in the Belgian city of Charleroi. Kaleidoscopic in form, the film is reminiscent of the evocative Amsterdam Global Village (Johan van der Keuken, 1996) and more recently Our City (Maria Tarantino, IDFA Panorama 2014). In the film, Troilo discovers the essence of the city through exploration of its underbelly. We meet a patriarchal rag-andbone man who removes and sells contents belonging to the recently deceased. We encounter a dominatrix who sodomises men using a variety of dildos sized to meet all needs. An adolescent boy is proud of his newly acquired facial scar, gained by throwing himself through a plate glass window after an argument with his dad. A highly camp, ageing rocker performs karaoke at home, while an equally camp seller of marital aids shows off his wares to parties of women (and their young kids) in their homes. This group of characters may be lowlifes to some, but to Troilo they are worthy of any ballad. “For me, it is an ode to the city, but also an ode to Europe,” he confirms. “Charleroi in a way represents Europe nowadays. It is this post-industrial city that grew up during the start of [modern] Europe, but which also suffers from all the problems we know across Europe, like unemployment, the decline of heavy industry, immigration and also nowadays the connection to the terrorist attacks in Paris and Brussels.” “But it is also an ode d’amour,” he adds. “It’s

not just a negative view of the city, it is also an aspect that you like and love and appreciate, which is why I wanted to make a contemporary portrait and grasp the atmosphere in all its grim and positive aspects, and its sense of hope. From the ruins, hope for the future can be found.” Hailing from Friuli in northern Italy, Troilo has close associations with Charleroi. His grandfather moved there in 1955 to work in the mining industry as part of the Belgian/ Italian WWII reparation agreement. Many uncles and aunts, nephews and nieces, still live there. Coeurope is the middle part of a triptych in praise of Charleroi in all its grime and beauty. In 2015, Troilo won the World Photo Press Photo contest for his twelve-photo The Dark Heart of Europe series, but was later stripped of the prize after one of the pictures was deemed to have been taken outside Charleroi. “It was very tough and personally very upsetting because I suffered many different attacks, both politically and from journalists who tried to accuse me, but in that way it was also a good experience because I learned about the power of images. In trying to censor or limit the circulation of the photos, you discover that more people saw them in the end, across the world. It was very bizarre. It looked like a deliberate communication strategy, but it never was.” The third part of the Charleroi/Europe trilogy will be a feature film, which Troilo hopes to deliver in 2019. Nick Cunningham IDFA Competition for Mid-Length Documentary

In 1937, he married a white French woman, Rose-Marie Galou. The union, one of France’s first mixed marriages, was so controversial the ceremony took place in the dead of night. Some 80 years later, Boni-Claverie explores what it means to be black in France today, examining how racism in the country is intertwined with its colonial past. Her perspective is unusual. Brought up in Paris by her aunt Danielle Boni-Claverie, a former journalist and today prominent Ivory Coast politician, and her adopted father jurist George Claverie, she grew up in a wealthy, privileged environment. Early on in the film, she reveals she used to holiday with Netherlands monarch King Willem-Alexander, showing a snap of them on a boat together as children. But this background did not protect her from discrimination. She recalls being mortified after she was cast in the role of Balthazar in the school nativity play because she was black. “This is a subject which has affected me directly throughout my life, and something I have reflected on for a long time,” says Boni-Claverie. “There’s this belief, in France at least, that race discrimination is in some way a class issue and that as people of colour rise up the social ladder they no longer come up against discrimination. But my personal experiences show this is not the case,” she says.

“Even when you come from a privileged background like me, you’re discriminated against because you’re perceived first and foremost as black, which gives you an inferior status in the French imagination.” The catalyst for the film came in 2011 after she helped mobilise public protests on the Champs-Elysées in Paris against perfume-maker Jean-Paul Guerlain when he made racist comments on a prime-time news show. She ended up getting involved in negotiations with parent company the LVMH group to introduce measures promoting diversity. “At the end of this process, it seemed to me the best way for me to engage in this issue was as an artist and through my creativity, and that’s how the film came about,” explains Boni-Claverie. Alongside recalling her own personal journey and that of her grandparents, Boni-Claverie looks at the wider context of France, its colonial past and the situation today. She intercuts the film with a series of sometimes shocking testimonies from young black French citizens, subtitled ‘You Know You’re Black When...’. They range from a waitress who recalls being insulted by a party of far-right National Front members to a man who was spat at when he offered his seat to an elderly lady on a bus. The film first aired in France in the summer of 2015 but the global expansion of the Black Lives Matter movement, as well as the rise of racist sentiment across Europe and the US – which is impacting long-time ethnic minority citizens as well as new arrivals – keeps its relevance fresh for domestic and international audiences today. With that in mind, Paris-based documentary sales specialist Wide House recently acquired international rights and expects it to sell well to broadcasters worldwide. Melanie Goodfellow

Hotel Sunrise Maria Rumanova’s mid-length contender Hotel Sunrise, which world premiered at IDFA on Friday, grew out of her graduation film at the Academy of Performing Arts in Bratislava. An evocative, compellingly poetic exploration of the lives of a motley collection of characters in run-down Slovak border town Čierna nad Tisou, the film has more than a touch of the slow cinema presented in this year’s Quiet Eye programme. It was the location and its ‘faded glory’ that first appealed to the director. Formerly an important rail freight terminal serving the Soviet Union, the town and its inhabitants now seem mired in post-Soviet gloom. Young people hang about drab high-rise flats, humming techno tunes. Flocks of crows circle overhead, cawing menacingly. Halfempty trains roll indifferently by. Smuggling and other illegal activities are commonplace. The hotel of the title, where the locals once relaxed and partied, is now a ramshackle, graffiti-covered shell. Rumanova’s aim with her film was not, however, to focus on the socio-economic malaise. “I find that a lot of ‘social’ films I see are too focussed on telling the story,” she comments. “I wanted to focus more on the emotional life than on the social conditions. A good documentary should provide the viewers with the space to think about these things for themselves. I try to find an equal balance between a poetic approach and the story. Although they are in a difficult situation, the characters in my film are not so busy with this. They are busy with real problems, like relationships and love. The important things. In the film, and in life.”

“I spent six months scouting there, and the characters just popped out at me,” Rumanova recollects. “Viktor was the first one I picked. But I found his character too dark and pessimistic, so I started looking for a more positive counterbalance. Then I found Peter, the fat guy. The third character was the smuggler, Janči – the one with the big family.” “In the beginning, we filmed a lot of talking heads. I knew I wouldn’t use this, but it was a good way of getting the characters used to the camera. We filmed for about three years. The first year we mostly observed – after that, we knew how they react, how they feel when we are there, and I felt able to direct them a little more, or get them to re-enact certain things. I never told them what to say, but I did set up some situations – for example, I might suggest to one character, maybe you can bring up this topic. So I kind of knew what might happen.” All of the people who appear in the film have seen it, and are happy with how they are portrayed, Rumanova says. “They were afraid that they would be shown as caricatures. They were surprised that they are shown how they are. This to me was the biggest compliment – that I didn’t make them into something else.” Rumanova is currently in the early stages of development on a new documentary project dealing with the Slovak justice system. “They have now come up with a new idea where people convicted of a crime can make a choice between prison and a few years of psychotherapy. The working title is (Con)sequences. I am currently scouting for characters. But I already have permission to film from the authorities”, she says. Mark Baker IDFA Competition for Mid-Length Documentary

Program TUSCHINSKI TUSCHINSKI 1 1

Wednesday 23 November

TUSCHINSKI TUSCHINSKI 2 2

TUSCHINSKI TUSCHINSKI 3 3

TUSCHINSKI TUSCHINSKI 4 4

TUSCHINSKI TUSCHINSKI 5 5

TUSCHINSKI TUSCHINSKI 66

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

EYEEYE CINEMA CINEMA 1

PODIUM PODIUM MOZAÏEK MOZAÏEK

9:00 9:00

10:00 10:00

A Quiet A Quiet Place Place 10:30 10:30

DutchDutch Competition, Competition, 81’ 81’

TurnTurn Over Over the the Stones Stones Nir Dvortchin Nir Dvortchin

Raymond Raymond Depardon Depardon Masters Masters , 83’ , 83’

12:15 12:15

Student Student Competition, Competition, 29’ 29’

11:30 11:30

OlgaOlga Kravets Kravets

Tonislav Tonislav Hristov Hristov

It’s Getting It’s Getting Dark Dark

TheThe Good Good Postman Postman

Mid-Length Mid-Length Competition, Competition, 48’ 48’

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

SergeiSergei Loznitsa Loznitsa Retrospective Retrospective , 17’ , 17’

Ana Ana Endara Endara

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

MattMatt Tyrnauer Tyrnauer

13:45 13:45

withwith Extended Extended Q&AQ&A

First Appearance First Appearance Competition, Competition, 98’ 98’

Morgan Morgan Spurlock Spurlock

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

14:00 14:00

Jérôme Jérôme le Maire le Maire

16:00 16:00

16:30 16:30

and journalist and journalist HansHans Maarten Maarten van den van Brink den Brink and director and director DavidDavid Borenstein Borenstein about about the the Chinese Chinese real estate real estate boom. boom. See See pagepage 116 116

Singing Singing withwith Angry Angry BirdBird Hyewon Hyewon Jee Jee Panorama Panorama , 88’ , 88’

Jiu-liang Jiu-liang Wang Wang

19:15 19:15

Taggart Taggart Siegel, Siegel, Jon Betz Jon Betz

21:00 21:00

17:30 17:30

Laetitia Laetitia Schoofs Schoofs

PetraPetra Lataster-Czisch, Lataster-Czisch, PeterPeter Lataster Lataster

Fallen Fallen Flowers Flowers Thick Thick Leaves Leaves

MissMiss Kiet’s Kiet’s Children Children

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

22:30 22:30

Panorama Panorama , 14’ , 14’

Forever Forever PurePure

On the On the Bridge Bridge of of Death Death andand LifeLife Lola Lola Jia Liu Jia Liu

TheThe Return Return

Zahavi Zahavi Sanjavi Sanjavi

Mid-Length Mid-Length Competition, Competition, 54’ 54’

MayaMaya Zinshtein Zinshtein

90’ 90’ Dutch Dutch Competition, Competition,

AfterAfter the screening, the screening, Gerhard Gerhard Busch Busch (VPRO (VPRO Cinema) Cinema) discusses discus the making the making of the offilm the with film with

director CocoCoco Schrijber. Schrijber. 17:00 17:00director

17:15 17:15

TheThe Pearl Pearl of Africa of Africa

17:30 17:30

Zaatari Zaatari Djinn Djinn

Catherine Catherine van Campen van Campen DutchDutch Competition, Competition, 80’ 80’

Jonny Jonny von Wallström von Wallström

17:45 17:45

Panorama Panorama , 75’ , 75’

17:30 17:30

Dil Leyla Dil Leyla

Asli Özarslan Asli Özarslan

Shingal, Shingal, Where Where Are Are You?You?

Student Student Competition, Competition, 72’ 72’

Angelos Angelos RallisRallis Panorama Panorama , 103’ , 103’

18:00 18:00

Are Are X X 18:00 18:00We We

Stephen Stephen KijakKijak

MusicMusic Documentary Documentary , 93’ , 93’

Feature-Length Feature-Length Competition, Competition, 103’ 103’

19:15 19:15

Gringo: Gringo: TheThe Dangerous Dangerous LifeLife of John of John McAfee McAfee

Kesang Kesang Tseten Tseten Panorama Panorama , 84’ , 84’

Paradocs Paradocs , 7’ , 7’

TheThe Opposition Opposition

Samira Samira Elagoz Elagoz

Panorama Panorama , 76’ , 76’

Valeria Valeria BruniBruni Tedeschi, Tedeschi, YannYann Coridian Coridian

Panorama Panorama , 15’ , 15’

Dmitrii Dmitrii Kalashnikov Kalashnikov

Masters Masters , 98’ , 98’

20:00 20:00

20:15 20:15

TheThe Beast Beast Is Still Is Still Alive Alive

20:30 20:30

MinaMina Mileva, Mileva, Vesela Vesela Kazakova Kazakova

20:30 20:30

Peshmerga Peshmerga

Panorama Panorama , 90’ , 90’

Shot! Shot! TheThe PsychoPsychoSpiritual Spiritual Mantra Mantra of Rock of Ro

Bernard-Henri Bernard-Henri LévyLévy Best ofBest Fests of, 92’ Fests, 92’

First Appearance First Appearance Competition, Competition, 67’ 67’

Barnaby Barnaby Clay Clay

Documentary Documentary , 98’ , 98’ 21:00 21:00MusicMusic

21:30 21:30

Ashim Ashim Ahluwalia Ahluwalia

A Young A Young GirlGirl in in HerHer Nineties Nineties

Geoffrey Geoffrey Feinberg Feinberg

TheThe Road Road Movie Movie

Events Events in ain Cloud a Cloud Chamber Chamber

21:45 21:45

TheThe Hanging Hanging

Hollie Hollie FiferFifer

21:00 21:00

Nanette Nanette Burstein Burstein

20:00 20:00

20:15 20:15

19:00 19:00

19:15 19:15

Trembling Trembling Mountain Mountain

Life,Life, Animated Animated

Paradocs Paradocs , 20’ , 20’

21:45 21:45

Roger Roger RossRoss Williams Williams

Welcome Welcome Rikun Rikun Zhu Zhu

Best ofBest Fests of, 91’ Fests, 91’

22:15 22:15

Paradocs Paradocs , 63’ , 63’

Prison Prison Sisters Sisters

NimaNima Sarvestani Sarvestani Masters Masters , 90’ , 90’

Roger Roger RossRoss Williams Williams Panorama Panorama , 14’ , 14’

Best ofBest Fests of, 85’ Fests, 85’

TheThe Father, Father, the the SonSon andand the the HolyHoly Jihad Jihad

22:15 22:15

TheThe ManMan Without Without a Mask a Mask

Best ofBest Fests of, 85’ Fests, 85’

Panorama Panorama , 98’ , 98’

Feature-Length Feature-Length Competition, Competition, 71’ 71’

Feature-Length Feature-Length Competition, Competition, Dutch Dutch Assembling Assembling RealityReality , 115’ , 115’ Competition, Competition,

Maarit Maarit Suomi-Väänänen Suomi-Väänänen

Reber Reber Dosky Dosky

Coco Schrijber Schrijber 16:00 16:00Coco Feature-Length Feature-Length Competition, Competition,

Welcome Welcome to the to the Heavenly Heavenly Earth Earth

Neasa Neasa Ní Chianáin Ní Chianáin

Yezidi Yezidi GirlsGirls

22:00 22:00

VPRO VPRO Extra Extra HowHow to Meet to Meet a Mermaid a Mermaid

16:00 16:00

In Loco In Loco Parentis Parentis

21:15 21:15

Remo Remo Scherrer Scherrer Knutte Knutte Wester Wester

Fanny Fanny Tondre Tondre

17:30 17:30

Paradocs Paradocs , 65’ , 65’

21:15 21:15

15:30 15:30

Panorama Panorama , 80’ , 80’

Panorama Panorama , 55’ , 55’

Minispectacles Minispectacles Albuquerque Albuquerque Straight Straight

Marcela Marcela Zamora Zamora Chamorro Chamorro

15:00 15:00

OlgaOlga Delane Delane

17:00 17:00

19:45 19:45

TheThe Offended Offended

Whatever Whatever the the Weather Weather

22:00 22:00

Siberian Siberian LoveLove

Judith Judith de Leeuw de Leeuw

Best ofBest Fests of, 82’ Fests, 82’

Craigslist Craigslist Allstars Allstars

A Bastard A Bastard Child Child

Masters Masters , 91’ , 91’

KeithKeith Maitland Maitland

Panorama Panorama , 88’ , 88’

Panorama Panorama , 83’ , 83’

Student Student Competition, Competition, 11’ 11’

Rachel Rachel Grady, Grady, HeidiHeidi Ewing Ewing

Tower Tower

Bo Jiao Bo Jiao

19:45 19:45

14:00 14:00 15:00 15:00

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

16:15 16:15

My My Father Father andand My My Mother Mother

Fests of, 94’ Fests, 94’ 20:00 20:00Best ofBest

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

15:15 15:15

First Appearance First Appearance Competition, Competition, 81’ 81’

DutchDutch Competition, Competition, 85’ 85’

19:30 19:30

Screening Screening followed followed by a talk by a talk withwith IsoldeIsolde Hallensleben, Hallensleben, SachaSacha de Boer de Boer and several and several guests guests at the attable. the table. See page See page 120 120

Masters Masters , 94’ , 94’

Jian Fan Jian Fan

Feature-Length Feature-Length Competition, Competition, 88’ 88’

MusicMusic Documentary Documentary , 96’ , 96’

Panorama Panorama , 70’ , 70’

CarloCarlo Guillermo Guillermo ProtoProto

Homo Homo Sapiens Sapiens

Plastic Plastic China China

18:30 18:30

Gogita’s Gogita’s NewNew LifeLife Levan Koguashvili Koguashvili Oxfam Oxfam Novib Novib Selection: Selection:Levan Feature-Length Feature-Length Competition, Competition, 72’ 72’ Seed: Seed: TheThe Untold Untold Story Story

Resurrecting Resurrecting Hassan Hassan

Nikolaus Nikolaus Geyrhalter Geyrhalter

18:45 18:45

19:00 19:00

Chairun Chairun NissaNissa

13:30 13:30

What What We We Have Have Made Made

17:30 17:30

18:00 18:00

Paul Paul Fegan Fegan

MusicMusic Documentary Documentary , 77’ , 77’

15:15 15:15

StillStill Tomorrow Tomorrow

Walking Walking in the in the Opposite Direction Direction 13:00 13:00Opposite MarcMarc Waltman Waltman

CutsCuts

14:30 14:30

Kaouther Kaouther Ben Hania Ben Hania Panorama Panorama , 94’ , 94’

Where Where You’re You’re Meant Meant to Be to Be

Masters Masters , 89’ , 89’

15:15 15:15

Best ofBest Fests of, 91’ Fests, 91’

Zaineb Zaineb Hates Hates the the Snow Snow

12:45 12:45

RatsRats

Feature-Length Feature-Length Competition, Competition, 85’ 85’

Deborah Deborah Esquenazi Esquenazi

16:45 16:45

12:00 12:00 13:00 13:00

Burning Burning OutOut

Southwest Southwest of Salem: of Salem: TheThe Story Story of the of the SanSan Antonio Antonio FourFour

Student Student Competition, Competition, 66’ 66’

Panorama Panorama , 56’ , 56’

13:15 13:15

IDFA Competition IDFA Competition for Kids for&Kids Docs&, 82’ Docs, 82’

LoveTrue LoveTrue

11:00 11:00

Aniela Aniela Astrid Astrid Gabryel Gabryel

Masters Masters , 114’ , 114’

13:15 13:15

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

When When WillWill ThisThis Wind Wind StopStop

Olivier Olivier Jourdain Jourdain

Masters Masters , 76’ , 76’

AlexAlex Gibney Gibney

AnnaAnna KochKoch

15:00 15:00

16:00 16:00

Followed Followed by anbyin-depth an in-depth

ZeroZero Days Days

TheThe B-Side: B-Side: ElsaElsa Dorfman’s Dorfman’s Portrait Portrait 11:45 11:45 Photography Photography Sacred Sacred Water Water ErrolErrol Morris Morris

Panorama Panorama , 17’ , 17’

1Minute 1Minute Nature Nature

Followed Followed by anbyin-depth an in-depth In cooperation In cooperation withwith The School The School conversation conversation between between host host of Life. of Life. Katinka Katinka BaehrBaehr and director and director Mohamed Mohamed Siam.Siam. See page See page 116 116

conversation between between writer writer 17:00 17:00conversation

12:00 12:00

Woman Woman andand the the Glacier Glacier Audrius Stonys Stonys Sealers Sealers – One – One LastLast Hunt HuntAudrius

WinWin by Fall by Fall

14:45 14:45

11:15 11:15

First Appearance First Appearance Competition, Competition, 82’ 82’

SergeiSergei Loznitsa Loznitsa Retrospective Retrospective , 20’ , 20’

Stefanie Stefanie Visjager, Visjager, Katinka Katinka Baehr Baehr

Fests of, 97’ Fests, 97’ 14:00 14:00Best ofBest

Whose Whose Country? Country?

11:00 11:00

Amazona Amazona

12:15 12:15

Trude Trude Berge Berge Ottersen, Ottersen, Gry Gry Elisabeth Elisabeth Mortensen Mortensen

TheThe Joy Joy of Sound of Sound

Student Student Competition, Competition, 53’ 53’

11:00 11:00

ClareClare Weiskopf Weiskopf

Sergei Sergei Loznitsa Loznitsa

13:00 13:00

Citizen Citizen Jane: Jane: Battle Battle for the for the CityCity

TheThe OldOld Jewish Jewish Cemetery Cemetery

Xavier Xavier Marrades Marrades

13:15 13:15

13:30 13:30

Sergei Sergei Loznitsa Loznitsa

10:00 10:00

Coco Coco Cabasa Cabasa

Best ofBest Fests of, 71’ Fests, 71’

Cucli Cucli

Best ofBest Fests of, 84’ Fests, 84’

13:00 13:00

withwith Extended Extended Q&AQ&A

KlaraKlara Til Til

First Appearance First Appearance Competition, Competition, 93’ 93’

Susanne Susanne Regina Regina Meures Meures

Dream Dream Empire Empire

10:00 10:00

Tamar Tamar Tal-Anati Tal-Anati

Shalom Shalom Italia Italia

Areum Areum

Raving Raving IranIran

15:00 15:00

10:00 10:00

Sergei Sergei Loznitsa Loznitsa , 21’ , 21’

Reflections. Reflections. Director’s Director’s CutCut

Areum Areum Parkkang Parkkang

11:00 11:00

11:00 11:0011:15 11:15 France France

12:00 12:00

1 0:00 1 0:00

Letter Letter

Sjoerd Sjoerd Oostrik Oostrik

A Greek A Greek Winter Winter

Panorama Panorama , 120’ , 120’

Ingeborg Ingeborg Jansen Jansen

DutchDutch Competition, Competition, 70’ 70’

SiteSite of Sites of Sites

23:00 23:00

22:00 22:00

Stéphane Stéphane Malterre Malterre

22:30 22:30

23:00 23:00

Natalia Natalia Cabral, Cabral, OriolOriol Estrada Estrada Mid-Length Mid-Length Competition, Competition, 61’ 61’

24:00 24:00

1:001:00

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

PODIUM MOZAÏEK

9:00

10:00

GROND BRAKKE BRAKKE GROND BRAKKE TUSCHINSKI 3 GROND TUSCHINSKI 4GROND MELKWEG TUSCHINSKIMELKWEG 5 KETELHUIS TUSCHINSKI 6 2BRAKKE KETELHUIS EXPOZAAL EXPOZAALRODE ZAAL RODE ZAAL RABOZAAL RABOZAAL

WOENSDAG WOENSDAG23 23NOVEMBER NOVEMBER

9:00 9:00

1 0:00

11:00

11:00 11:0011:15 France

Raymond Depardon Masters, 83’

12:00

12:00 12:00 12:45

13:00

11:30

Nir Dvortchin

11:30

Raving Iran

Walking in the Walking in the Opposite Opposite Direction 13:00 13:00Direction Marc Waltman Marc Waltman

Masters, 122’

16:00

17:00

18:00

14:00

Mid-Length Competition, 61’

14:00

Kids & Docs Kids & Docs Competition 2Competition 2

14:30 Children’s documentaries: Children’s documentaries:

Dream Empire After the screening, After Gerhard the screening, Gerhard 16:45 16:45 16:45 Extended Busch (VPROwith Cinema) Busch discusses (VPRO Q&A Cinema) discusses Nowhere Zaineb to Hide Nowhere Hates to theHide Snow 17:00 17:00 Followed by an in-depth the making of thethe filmmaking with of theZaradasht film with Ahmed Kaouther Zaradasht Ben Hania Ahmed The Borneo Case The Borneo Case between writer director Cococonversation Schrijber. director Coco Schrijber. 17:00 17:00 Feature-Length Competition, Panorama Feature-Length , 94’86’ Competition, 86’

18:00

We Are X 18:00 18:00

Stephen Kijak

19:15

19:15 19:15

All These Sleepless Gogita’s All These NewSleepless Life19:30 19:30 Koguashvili Nights LevanNights Oxfam Novib Selection: Abandoned Land Abandoned Land 19:45 Feature-Length Competition, Marczak 72’ with Extended with Q&A Extended Q&A Seed: The UntoldMichal StoryMarczak Michal Paradocs, 100’ Paradocs, 100’ The With Offended Taggart Siegel, Jon Betz With an introduction byanElsintroduction by Els

20:00 20:00 20:00Best of Fests, 94’

Screening followed by a talk 20:30 with Isolde Hallensleben, Shot! The Sacha PsychoShot! The de Boer andPsychoseveral Spiritual Mantra Spiritual Mantra of Rock guests at of theRock table. Barnaby Clay Barnaby See page 120 Clay

20:30

21:00

Music Documentary 21:00 21:00 , 98’Music Documentary, 98’

21:45