IDFA Daily #5 2016 (English) by IDFA International Documentary Film Festival Amsterdam

International Section 25–27 nov 2016

Art of the real In one capacity or other, Barbara Visser has attended every edition of IDFA. The visual artist/filmmaker will be taking over artistic director Ally Derks’ role for next year’s 30th anniversary edition of the festival – and it’s clear she knows the event inside out. By Geoffrey Macnab “I have not missed one festival since the start – and I am not that old!” Visser says. She was a student when IDFA started and “immediately a very big fan.” Unlike her fellow art school students, she was immediately determined to steep herself in the documentary world. Ask her about her personal highlights over the years and she cites Victor Kossakovsky’s Tishe! (2002) as a “revelation.” Here’s a film shot from the director’s window over the course of a year as endless repairs are made in the street below. “I thought any visual artist could have made this, but yet it is here [at IDFA].” For many years, Visser has combined her own art work with stints on boards of art institutions and with her role as a teacher. “For me, it always felt that making things wasn’t enough to make a difference,” she reflects. “Making things possible: for me, that is just as good as making something.” Visser is “interim” IDFA chief, in the post (at least initially) just for a year while Ally Derks is on her sabbatical in Berlin. At the end of the year, there will be an open call for candidates to take over as artistic director. Anyone can apply, including Visser herself. “It’s possible that IDFA says ‘oh, you’re not the one’, or I say ‘oh, this is too much for me.’”

Laura van Halsema and Barbara Visser. Photo: Bram Belloni

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Ask her what the flavour of next year’s festival is likely to be and Visser promises there won’t be “radical” changes. “That’s not a route I would take with a festival that is so successful and so appreciated by the audience and industry.” Her philosophy, at least for now, is “if it’s not broken, don’t fix it.” However, there are some tweaks she is already considering. “Many people I know who like IDFA very much are being put off by the quantity – it is almost too much. If you give people a choice of ten different flavours, they will have a much harder time choosing – and often will choose nothing. The vastness of the programme is quality but perhaps, at the same time, a problem.” Visser won’t necessarily reduce the number of titles but she wants to make the festival easier to navigate.

Cultural diversity

The new festival director is talking alongside Laura van Halsema who has headed up IDFA’s press office for many years but will now concentrate on programming duties. Van Halsema has already been overseeing special programmes and has put together this year’s Shifting Perspectives special focus, looking at how we are used to thinking about and looking at our world from a predominantly white, Western perspective and challenging this by looking at stories from the other points of view. This year, the programme focused on Africa, Europe and the US. Next year, Van Halsema confirms, she will be overseeing a programme that will consider the Arab perspective. The move comes as IDFA looks to place more emphasis on cultural diversity.

Special guests

Van Halsema has confirmed there will be a special sidebar on cinematography in documentary, similar to this year’s event on editing and documentary that brought legendary director Frederick Wiseman back to IDFA.

Special guests at the 30th edition are likely to include key figures from the “digital realm.” One name Visser mentions is American visual artist Jonathan Harris. Intriguingly, she also floats the idea of inviting English comedian John Cleese, who features in a new documentary about “arseholes.” “On the one hand, we are celebrating the legacy of Ally. On the other hand, we want to look at the future,” Visser says.

Next level

Like all good festival directors, Visser will travel widely on the job. “I asked the staff which events I should go to … and it was a long list,” she reflects a little ruefully about an itinerary that will take her from Sundance to CPH Dox and many places elsewhere. Yes, Visser acknowledges, given her background, it is likely that the overlap between art and documentary will be explored. “My dream is not that you have an art section and a conventional documentary section, but that documentary filmmakers are allowed to go to the next level and tell stories in a different way.” Read more at: www.idfa.nl/industry/daily/2016/background/art-of-the-real

Docs for Sale Top 10 Stranger in Paradise Plastic China Nowhere to Hide The Grown-Ups Burning Out Amateurs in Space Machines La Chana The Good Postman How to Meet a Mermaid

75 67 64 56 56 54 53 53 50 49

OFFICIAL SELECTION IDFA 2016 I PANORAMA

Inti Films presents

IDFA 2016 SCREENINGS THU 24/11 Tuschinski 5 - 20.30 SAT 26/11 Brakke Grond Expo - 14.30

DOCS FOR SALE

a film by Mathijs Vleugels editor Kwinten Gernay DOP Erwin Van der Stappen sound Karel Verstreken animation Joost Jansen sound editing & mixing Gedeon Depauw foley Céline Bernard - grading Veerle Zeelmaekers music Elders producer Peter Krüger / Inti Films

with the support of The Flanders Audiovisual Fund (VAF)

AD_IDFA_265x375.indd 1

15/11/16 16:07

IDFA takes it slow As IDFA draws to a close the festival is giving spectators an opportunity to assess the value of slowing down (or even standing still) in the inaugural edition of its new side-bar The Quiet Eye, showing nine films that take a contemplative and “slow-cooked” approach to showing reality.

arl Honoré, a leading proponent of the Slow Movement, kicked off the programme on Thursday with a keynote entitled In Praise of Slowness and will be putting in appearances throughout the event to comment on the films being shown. IDFA head of programming Martijn te Pas says the side bar had been born partly out of his observation that, while many of the documentaries at IDFA focus on dramatic realities, this did not necessarily reflect real life. “It’s quite artificial in a way, because for many people real life itself lacks a lot of drama. There are other things to see, perceive and experience which are just as interesting and relevant to people’s lives as wars and personal dramas,” he says. The side-bar, he says, was also a personal reaction to the way in which modern life is increasingly frenetic, in large part due to the rise of the smartphone and instant communication.

“We have these phones in our pockets which we check constantly throughout the day, more than we connect with our spouses or partners. We’re constantly on and reacting immediately. It’s addictive and perhaps even dangerous in the long-run for our brains and our creativity,” he says. “I don’t like the word ‘Mindfulness’, but it is a sort of ‘Mindfulness’ in a way. These films teach you to sit back and let life just happen and enjoy the little things and what’s little can be big and what’s big can be little in these films and I find that really refreshing.” Among the films screening on Friday will be Japanese director Yoshihiko Sumikawa’s Taimagura Grandma capturing an elderly couple in a mountain village in northern Japan as they harvest their crops, cook traditional miso soup and talk about their lives. Ahead of the screening, food columnist Janno Lanjouw will talk about the art of slow food while a local cook will prepare miso soup in the theatre at the same time as the screening. “Each screening is accompanied by a

something special ... miso soup takes a long time to make, it takes three years to ferment ... we want it to be about taking time and also using the senses so in the case of Taimagura Grandma, towards the end of the film people will start smelling the soup. It’s a fantastic film which took fifteen years to shoot.” Two of the films have had new music composed especially for The Quiet Eye screenings through a joint initiative with CineSonic, an Amsterdam-based organisation offering musicians and composers an opportunity to interact with film – both mainstream and experimental. The screening on Sunday of Swedish director Mikael Kristersson’s film Light Year – capturing the life of his garden over the course of a year – will be accompanied by a new score by German electronic composers Robert Lippok and Barbara Morgenstern, who will perform it live. “We don’t know what it’s going to be so it’s pretty risky,” says Te Pas. Amsterdam-based musicians Yannis Kyriakides and Andy Moor will also play live their original soundtrack for a recut version of French director Antoine Boutet’s 2015 film South to North, capturing China’s ambitious water transfer construction project and its impact on the landscape around the Yangtze River. It marks an international premiere for the new version. Read more at: www.idfa.nl/industry/daily/2016/ background/idfa-takes-it-slow

Carl Honoré giving his keynote. Photo: Nichon Glerum

by Melanie Goodfellow

Filming the process Dutch/Brazilian filmmaker Maria Ramos speaks about progress on her latest documentary The Process, about the impeachment of Dilma Rousseff, Brazil’s first female President. “The film portrays the ‘judicial political’ trial, first at the House of Representatives and then in the Senate, focusing on the President’s defence team, her charismatic lawyer and three left-wing senators who struggle to prove the President’s innocence against a majority vote by a Congress riddled with corruption,” she says. The Process will be ready April 2017.

Everyone’s a winner at the IDFA 2016 Documentary Ball on Wednesday night in the Amsterdam Stadsschouwburg. Photo: Felix Kalkman

Shorts launched The Guardian and the Bertha Foundation officially launched their new co-funded short documentary strand at a special presentation at IDFA this week.

ntitled Guardian Bertha documentaries, the strand, first announced in September, features 12 short documentaries financed on a fifty-fifty basis by the newspaper and the foundation. “The idea behind the strand is to support global voices telling international stories that reveal something new and surprising about the world and bring new stories to the awareness of The Guardian audience,” explains The Guardian’s head of documentaries Charlie Phillips. He is overseeing the initiative alongside Rebecca Lichtenfeld of the Bertha Foundation. “We’ve

re-launched our documentary strand to encompass these films. They have higher production values; are longer, at twenty to thirty minutes, and show a commitment on both our parts to these sorts of urgent works. They can be original works or works-in-progress of longer documentaries, but the important thing is that they feel like a standalone work,” said Phillips. The first two films to go up on The Guardian site were Zed Nelson’s Gun Nation – in which the photojournalist revisits gun owners and people impacted by guns he first took pictures of some 20 years ago – and Desert Fire following the Iraqi Kurdistan football team’s participation in a World Cup aimed at unrecognised territories. Upcoming titles due to arrive on the site as part of the strand include On the Road, about sex workers in Italy, Radical Monarchs and Quipu, about the sterilisation of Peru’s indigenous population in the 1990s. Melanie Goodfellow

Ramos seeks to offer a unique insight via behind-the-scenes meetings between the defence team and the senators, as well as conversations with President Rousseff at the Presidential Palace as she awaits trial. The film will be wholly observational, the director points out, without interviews or narration. “The camera captures telling physical and conversational interactions in the private and political sphere while offering viewers a glimpse of the mass demonstrations outdoors,” she adds.

“The interim President immediately proceeded to impose a rightwing, radically neo-liberal agenda that the Brazilian population would never accept. These policies have plunged the country into a state of social unrest. The film witnesses how the impeachment process triggers a new political earthquake in Brazil. It proposes a reflection on the dangers and challenges facing Latin-American democracy.”

Ramos tells how she remains concerned about potential recriminations from politicians Ramos has cut a Brazilian diswho have consistently tried to tribution deal for the film and is block attempts to make the film. currently finalising negotiations “I am still fearful, even though for Brazilian broadcast, as she has we have finished filming. A group done on all her previous films. of pro-impeachment politicians These include Justice (2014, Grand tried to prevent us from having Prix at Visions du Reel), Behave access to Congress. As a result, It (2011, Grand Prix at One World, was quite difficult to get authoFipresci Award at Dok-Leipzig) rization to film there. These are and Hill of Pleasures (2013, Best powerful politicians who resented Director at Brasilia Film Fest). our presence at the impeachment “As soon as Rousseff was suspend- proceedings. They accused me of ed from office, it became clear that being paid by the Worker’s Party. those who impeached her have no This, of course, was not true. It interest in clean government but took some time for them to unonly in seizing power that they derstand that The Process was an could never obtain democrati‘independent’ film.” cally,” Ramos further comments. Nick Cunningham

www. catndocs.com

Justice at last

Daniel Gordon should have been at Hillsborough Stadium in Sheffield on Saturday April 15, 1989, for the FA Cup semi-final between Liverpool and Nottingham Forest. He was a Sheffield Wednesday fan and used go to most matches at Hillsborough, often stewarding or selling programmes. However, at that time he was a teenager, preparing for important exams. Late on the Friday night, he decided he wouldn’t attend. Gordon has now made a documentary about the tragic events of that day, when 96 Liverpool fans died. His film Hillsborough is a European premiere in IDFA’s Masters section.

Daniel expected that his father was about to tell him it would be an all-Merseyside final, between Liverpool and Everton. Instead, he learned that there had been deaths at Hillsborough. “As a football fan, you know exactly what they were going through in terms of the crush outside [the ground] and the police behaviour,” Gordon reflects on the

Gordon’s documentary was actually completed two years ago. It was only after new inquests into the disaster concluded last April that the 96 victims were “unlawfully killed” that the film was finally broadcast on British TV. (It went out in early May.) “We made the bulk of it for the twenty-fifth anniversary. It was meant to go out in 2014,” Gordon recalls. “There was so much publicity and focus about Hillsborough at that time that you want it out … but then you just think the families have had to wait twenty-five years for justice thus far. For me, to put a film on the shelf is no hardship whatsoever.” When the film finally aired, it had a massive impact. Gordon didn’t have to change the film at all other than to update it. “If the police had just stood up at the very beginning and said ‘we made a horrific mistake’, it would have made things so much easier,” Gordon reflects of the victims’ families and their long-running fight for justice. Geoffrey Macnab

First Hand Films MD Esther van Messel has issued a stark warning that a gap is opening up between the aims of documentary filmmakers and the actual needs of distributors and broadcasters who show their work. By Geoffrey Macnab

“

e have four films in the festival but we have rejected around ten that are in the competition. They are brilliant and we love being here but we just find the gap so large between the filmmakers and the buyers.” Van Messel points out that the festival is full of deeply felt and often very well-crafted “personal” films but warned “the slots that we can sell stories of human interest for have mainly disappeared. It has become really impossible to sell the small human, character-driven stories.” The First Hand boss adds: “… (but) if you deal with documentary films, you’re not in this for the money; you’re in it for the passion.” The company continues to pick up films that its principals are passionate about – and continues to represent in particular “feminist and anti-capitalist” titles. Here at IDFA, First Hand is representing Almost There in the First Appearance competition, about three men in the “autumn” of their lives, looking for meaning and happiness. Another First Hand title in official selection is Life to Come (in Panorama) about premature twins. (The film is partly shot from the point of view of the tiny babies.) The company has also announced multiple deals on its current slate. Among the many deals First Hand has sold is Belgian series Barber Shop to ZDF in Germany. The project Nothing is Forgiven was bought by SRF in Switzerland and SVT in Sweden. New series Reporters Against Power was bought by VRT in Belgium. White Rage has gone to ORF Austria and NRK Norway.

Memorial to a dream By Geoffrey Macnab

It’s the end of a beautiful dream. Cinema Jenin, the movie theatre in Jenin, Palestine, which opened in August 2010, has closed to make way for a shopping mall.

he story of the rebirth of Cinema Jenin stretches back a decade. In 2005, Ismael’s 11-year-old son was shot and killed by the Israeli army. In spite of his overwhelming grief, Ismael offered his son’s organs to be used to save the lives of Israeli kids. IDFA regular attendee Marcus Vetter told Ismael’s story in his 2008 film The Heart of Jenin. Then, Vetter stayed

around to become one of the moving forces behind the non-profit organisation that re-launched a local cinema in Jenin. He told the story in a documentary (Cinema Jenin) that screened here at IDFA. The hope was that rebuilding the cinema would be a bridge to peace, reconciliation and Palestinian re-empowerment. It has now emerged that Cinema Jenin was demolished last Sunday. Speaking here at IDFA, Vetter expressed his dismay that the movie theatre he fought so hard to re-open no longer exists. “We were refurbishing a cinema for over five years – and this story is over,” a visibly emotional Vetter stated.

Cinema Jenin

Almost There

“I was meant to be there,” Gordon remembers. “My friends were actually in the gymnasium when they brought the bodies

in. They were counting programme money. That is probably where I would have been, which is a sobering thought.” Instead, he was in Manchester, where he then lived, and spent the afternoon delivering leaflets for his mum’s tennis club’s open day. He phoned his father to get a lift home. He’d seen television footage of a Norwich player walking off the pitch at Villa Park in tears after the second semi-final, between Norwich and Everton.

experiences of the supporters. “If you were a proper football fan and you went home and away, you knew exactly what happened on that day.” Two and a half weeks after the tragedy, Gordon was back at Hillsborough for Sheffield Wednesday’s next home game, against Millwall. “It was horrible,” he says of the atmosphere. He walked up the gangway and looked over at the section of the ground where the fans had died. There was tarpaulin over the fencing. He remembers feeling sick to his stomach. “It was a real numb first 45 minutes for everyone.” He felt his passion for football ebbing away. (It would eventually return when Sheffield Wednesday escaped relegation by a whisker.)

Passion First

“They [the Palestinian owners] took the money; they sold it; they said it was better to make a mall in that place.” “It is very depressing,” Vetter continues. “It is so hard to make a difference with films … as much as you fight, you lose your battle very often. Nothing is for granted. It is very hard to make a change.” The Cinema Jenin film had the under-title ‘the story of a dream.’ The one consolation that Vetter can take is that the film Cinema Jenin will endure. It stands as a memorial to the dream. Cinema Jenin screened at IDFA in 2011. It also screened in Dubai and at the Geneva Human Rights Festival.

Fonko was bought by FilmIdeas in the US, ARTE France and NINA in Poland. South Korean diving doc Breathing Underwater was bought by RSI in Switzerland and UR in Sweden. Peter Lindbergh – The Eye was bought by AVRO in the Netherlands. YLE in Finland bought Henry Miller and Reflections. Dark Side was bought by Polsat in Poland. Against Gravity in Poland acquired Doing Good and Best of Fests title Ambulance was sold to Channel 8 in Israel and VPRO in the Netherlands. Meanwhile, through its distribution arm, First Hand Films is releasing various titles in Swiss cinemas this autumn, some from its own catalogue and some new acquisitions. The releases are Presenting Princess Shaw, The Florence Foster Jenkins Story, Almost There (screening in IDFA’s First Appearance competition) and Risk by Laura Poitras (CitizenFour). VOD may be growing and offering new releasing opportunities but, Van Messel cautions, it is “not making any money for the filmmakers.” First Hand has done some eye-catching deals with Netflix (for example for Presenting Princess Shaw for rest of world.) Nonetheless, Van Messel notes that other buyers, for example Al Jazeera, have been lowering their prices. “That’s a big challenge for the filmmakers.” Van Messel was speaking having just arrived in Amsterdam at the start of the week. She missed the beginning of this year’s festival to sit on the “pre-jury” of this year’s Emmies for international documentary.

Casa Tarรกntula, Nicolas van Hemelryck and Clare Weiskopf present

amazona

She left to find answers. Now her daughter wants some.

A film by Clare Weiskopf

edited by

GUStAVO VASCO

CineMAtOGrAPHy by

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nArrAtiVe COnSUltAnt

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Anne FAbini

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PrOdUCed by

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amazona.co

THE HANDSHAKE PRODUCTIONS present

RESURRECTING

HASSAN a documentary by CARLO GUILLERMO PROTO

featuring DENIS HARTING / LAUVIAH HARTING / PEGGY ROUX editors STEPHANIE LEEST / CARLO GUILLERMO PROTO / LORENZO MORA SALAZAR composer OLIVIER ALARY re-recording mixer CORY RIZOS, CSA sound recordist PAUL DUFRESNE-LAROCHE / PABLO VILLEGAS executive producers MARIA PAZ GONZALEZ / CARLO GUILLERMO PROTO / ROXANNE SAYEGH / PABLO VILLEGAS producer CARLO GUILLERMO PROTO associate producers JESSICA DYMOND / STEPHANIE LEEST director CARLO GUILLERMO PROTO

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All Governments Lie: Truth Deception, And The Spirit of I.F. Stone

Nowhere To Hide It’s late 2011, and the Americans are about to leave Iraq. The local people are rejoicing. “The whole country is now independent and free,” the radio announcer proclaims.

hree years later, and this optimism is well and truly shattered. Male nurse Nori Sharif, working in central Iraq in a part of the country deemed the “triangle of death” and a complete no-go zone for outsiders, chronicles the slow slide into despair, the increasing sectarianism and the rise of ISIS. The violence seeps into hospitals and schools. Kidnappings shoot up. Kurdish-Norwegian filmmaker Zaradasht Ahmed was “directing” Nori from a distance. (Ahmed himself was in the town of Sulaymaniyah, in Iraqi Kurdistan.) At first, the idea was that Nori would film what was going on around him – he would be the observer, not the subject. “We gave him the camera, we gave him the knowledge,” Ahmed says of Nori. He and his collaborators would tell Nori what to shoot and where to point his camera. All the time, the violence was moving closer and closer to Ahmed. By the end of 2013 and the start of 2014, society was close to collapse. At this point, Sharif himself became the subject of the film. It turned into the story of a man and his family trying to survive. “It was the only

way to justify the work, to focus on Nori,” Ahmed remembers. “All material since about 2013 was twisted again. It was more Nori in front of the camera, teaching him how to film himself, teaching other people how to film him, to angle it more from a personal point of view.” By the end, Nori was isolated. He didn’t know whether to stay or to leave. ISIS was in control. This was a world in which anybody could be a victim – and anybody could be an enemy. Ahmed had between 300 and 400 hours of footage from which to assemble Nowhere to Hide, which runs at 86 minutes. The project involved five years of shooting and a year of research. The director pays tribute to his editor, Eva Hillstöm, and her painstaking work in uncovering the “hidden human feeling” in the story as they attempted to make a “different kind” of war film – one looking at the experiences of “ordinary” people caught up in a conflict they’ve done nothing to provoke. “The film would have been different without her”, the director says. As for Nori himself, he is not expected at IDFA. “When I was last in Iraq a couple of months ago, I suggested to him that we wanted him to come,” Ahmed recalls. However, over the space of a month, Nori lost two of his brothers. One died in a car accident, the other “because of ISIS”. “He was not in the mood to travel. He said ‘I think I should stay here’ ... I wish he could have been here to see his work.” Geoffrey Macnab

f Stone were operating now he would have a website, twitter account and, perhaps, even his own independent media platform, but back in the 1950s and 60s he published a weekly newsletter. “He published for nearly 20 years, from 1953 to 1971. Some of his early subscribers were Albert Einstein, Marilyn Monroe, who was married to Arthur Miller at the time, and Eleanor Roosevelt ... it was journalistic bedrock for me,” says Peabody, who was just starting out in the profession in the 1960s. “Most of his investigative work focused on documents and transcripts of senate hearings which nobody else bothered to read. He was a voracious reader. He also read several European newspapers. So he was reading press coverage which had a different outlook on America and its policies and in some cases was more critical,” continues Peabody. He hit upon the idea of making a documentary about Stone

Winner, IDFA Competition for Feature-Length Documentary

Craigslist Allstars The rules of engagement were quite simple. Place an ad on Craigslist requesting a meeting with people in their homes, then turn up with a camera and see what happens. When recently graduated performance artist director Samira Elagoz did this, the sexually deviant-cumcurious replied in their hundreds, although (just as curiously) not one of the respondents was female. Her resulting film is both fascinating and bizarre in equal measure, not least because of her active participation as protagonist. “It was a quest for insight into the collision and interaction between masculinity and femininity,” says Elagoz. “The fact that it is usually a man depicting a woman, that’s what I wanted to flip around.”

Zaradasht Ahmed

Canadian journalist and producer Fred Peabody explores the work and legacy of I.F Stone, a seminal figure in the world of North American investigative journalism whose guiding principle “all governments lie” remains a mantra of successors such as Glenn Greenwald, Jeremy Scahill and Laura Poitras to this day.

Another key stipulation was that Elagoz’s camera would only be turned on during the initial visit to the subject. No further shooting would take place after she left the house or apartment. Some of her encounters are therefore short, such as with the recently divorced English plumber, while others last for days. The Magician segment is pure cinematic joy, their five days of eating, dancing, fucking, crossdressing, bathing and leg-shaving compressed into a blitz of montage. Conversely, she is very much left to her own devices as an online exhibitionist masturbates to his computer screen in his study. “I tried to make the clips resemble as closely as possible the experience I had,” Elagoz underlines. Some audience members were shocked by the film during IDFA, seeing little more than a procession of lowlifes and perverts, but Elagoz allies herself with her cast,

stressing that the process was very much two-way. She also admits to a previous relationship (although she does not elaborate upon it), the ‘weirdness’ of which puts the excesses of her Craigslisters into the shade. “In that sense I am not very shocked by any of it. When I step into someone’s house I am like ‘ok this is how you live, it is fine’. And I think they realise that,” she comments. “I guess I am fascinated with weirdness, or I have a neutrality to it so I don’t find it bizarre, or I am adapting to it. There are a lot of versions of me in the film but I feel this kind of empathy. If the person I am with is reserved then I become reserved. If they are wild then I become wilder. I always seem to mirror the person.” “But I think they are all very sure of themselves,” she continues. “Although sometimes I wonder if the whole starting point for them is that it started on the internet, because there is an inclination to be more open with online strangers. There is a strange intimacy created by anonymity. I think this still continued [face to face], but no matter how much we shared, we would remain as strangers.” And do these characters retain an interest in Elagoz after her camera is switched off and their exhibitionist tendencies are no longer given full reign? “No, I think it is me who more loses interest in them without the camera. A camera changes things. It heightens a lot of interaction. Romance is definitely more romantic. Excitement is more exciting and embarrassment can become tension or degradation, and the will to present yourself in an adequate way can lead you to perform a worse or better version of yourself.” Nick Cunningham

after going in search of his articles online and connecting with Stone’s son some five years ago. “I found myself missing him and wishing there were journalists like him around today. I discovered there is a site call Ifstone.org where you can read every single copy of I.F. Stone’s Weekly ... and then found out it was funded by his son, Jeremy Stone,” he explains. “I posted a query on site on whether there were any documentaries about I.F. Stone and got a reply back from the son that no there weren’t, but that it was something he wanted to make happen and had been talking to production companies in Hollywood ... I was like, Hollywood is the last place I’d go to for a film about Stone.” Using his network, Peabody was able instead to get Torontobased White Pine Pictures on board, partly because its president Peter Raymont was also a fan of Stone. Rather than focusing only on Stone, Peabody opens the documentary up to explore the journalistic values he represented and why they remain so precious through a series of interviews with top investigative journalists championing independent reporting today. In a sign of the high regard in which Stone is still held, Peabody got access to an impressive roster of interviewees including media critic Noam Chomsky, Michael Moore, Greenwald, Scahill, Rolling Stone correspondent Matt Taibbi – who Peabody describes as a cross between Stone and Hunter S. Thompson – John Carlos Frey and Jeff Cohen, founder of the Park Centre for Independent Media. Breaking up these talking heads, Peabody follows the journalists as they work, accompanying Taibbi, for example, on the US presidential campaign trail and Frey as he conducts a long-term investigation into the circumstances surrounding the secret mass burial in Texas of the bodies of Mexicans who perished trying to get into the US illegally. “It was amazing to discover that so many well-known people were inspired by a guy who isn’t that well known today,” says Peabody. Melanie Goodfellow

Program TUSCHINSKI TUSCHINSKI 1 1

Saturday 26 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

Compilation Compilation program program put up put up by editors by editors of deofVolkskrant. de Volkskrant. Tickets Tickets available available on on www.idfa.nl/volkskrant. www.idfa.nl/volkskrant.

Compilation Compilation program program put up put up 10:30 by editors by editors of deofVolkskrant. de Volkskrant. 10:30 Tickets Tickets available available on on In Loco In Loco Parentis Parentis www.idfa.nl/volkskrant. www.idfa.nl/volkskrant. Neasa Neasa Ní Chianáin Ní Chianáin

10:00 10:00

Volkskrant IDFAIDFA DayDay Volkskrant Volkskrant IDFAIDFA DayDay 10:00 10:00Volkskrant

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

11:00 11:00

Remember Remember Me?Me?

Ragnhild Ragnhild NøstNøst Bergem Bergem Student Student Competition, Competition, 35’ 35’

IconIcon

Wojciech Wojciech Kasperski Kasperski

Mid-Length Mid-Length Competition, Competition, 52’ 52’

12:00 12:00 Almost Almost There There

KidsKids & Docs & Docs Competition Competition 2 2

Jacqueline Jacqueline ZündZünd

13:00 13:00

Sacred Sacred

Panorama Panorama , 86’ , 86’

Daphne Daphne Matziaraki Matziaraki Panorama Panorama , 22’ , 22’

Mid-Length Mid-Length Competition, Competition, 55’ 55’

Death Death in the in the Terminal Terminal Nicolas Nicolas Pradal, Pradal, Pierre Pierre Selvini Selvini

12:30 12:30

Audrius Audrius Stonys Stonys

Best ofBest Fests of, 94’ Fests, 94’

TheThe Hanging Hanging

15:00 15:00

Geoffrey Geoffrey Feinberg Feinberg

Close Close TiesTies

ZofiaZofia Kowalewska Kowalewska

Student Student Competition, Competition, 19’ 19’

Coeurope Coeurope

Panorama Panorama , 15’ , 15’

TheThe Road Road Movie Movie Dmitrii Dmitrii Kalashnikov Kalashnikov

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

Giovanni Giovanni TroiloTroilo

14:00 14:00

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

ClareClare Weiskopf Weiskopf

Areum Areum Parkkang Parkkang

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

16:00 16:00

Feature-Length Feature-Length Competition, Competition, 80’ 80’

Coco Coco Cabasa Cabasa

18:00 18:00

18:30 18:30

TheThe FirstFirst Monday Monday in May in May

Amateurs Amateurs in Space in Space

Fests of, 90’ Fests, 90’ 19:00 19:00Best ofBest

MaxMax Kestner Kestner

Feature-Length Feature-Length Competition, Competition, 90’ 90’

Best ofBest Fests of, 87’ Fests, 87’

16:00 16:00

Abacus: Abacus: Small Small Enough Enough to Jail to Jail

19:15 19:15

Stéphane Stéphane Malterre Malterre

Austerlitz Austerlitz

Panorama Panorama , 120’ , 120’

Sergei Sergei Loznitsa Loznitsa

16:45 16:45

Gogita’s Gogita’s NewNew LifeLife

18:15 18:15

Best ofBest Fests of, 85’ Fests, 85’

18:30 18:30

Feature-Length Feature-Length Competition, Competition, , 71’ , 71’ Assembling Assembling RealityReality

Dil Leyla Dil Leyla

Asli Özarslan Asli Özarslan

21:00 21:00

November November December December

StillStill Tomorrow Tomorrow

21:30 21:30

Jian Fan Jian Fan

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

22:00 22:00

Happily Happily EverEver After After

Bruno Bruno JorgeJorge

21:30 21:30

Paradocs Paradocs , 23’ , 23’

Chasing Chasing Trane: Trane: TheThe JohnJohnSmoke Smoke

TheThe Grown-Ups Grown-Ups Feature-Length Feature-Length Competition, Competition, 80’ 80’

Panorama, Panorama, Shifting Shifting Perspectives Perspectives , 67’ , 67’

Yuri Ancarani Yuri Ancarani Paradocs Paradocs , 69’ , 69’

TheThe Offended Offended

Zaineb Zaineb Hates Hates the the Snow Snow

Claire Claire Simon Simon

Panorama Panorama , 94’ , 94’

Lea Glob, Lea Glob, Mette Mette CarlaCarla Albrechtsen Albrechtsen

20:30 20:30

Masters Masters , 122’ , 122’

20:00 20:00

Lucija Lucija Stojevic Stojevic

Who’s Who’s Gonna Gonna LoveLove Me Me Now? Now? Beware Beware the the Slenderman Slenderman Tomer Tomer Heymann, Heymann,

22:30 22:30

IreneIrene Taylor Taylor Brodsky Brodsky

Beauties Beauties of the of the Night Night

Best ofBest Fests of, 114’ Fests, 114’

Maria Maria José José Cuevas Cuevas

21:00 21:00

La Chana La Chana 22:00 22:00

Panorama Panorama , 83’ , 83’

22:15 22:15

Best ofBest Fests of, 91’ Fests, 91’

Barak Barak Heymann Heymann Masters Masters , 86’ , 86’

22:00 22:00

All These Sleepless Sleepless 22:00 22:00All These Nights Nights

22:30 22:30

Michal Michal Marczak Marczak

House House CallCall

Paradocs Paradocs , 100’ , 100’

NetaNeta Shoshani, Shoshani, David David OfekOfek Mid-Length Mid-Length Competition, Competition, 62’ 62’

23:00 23:00

ISIS,ISIS, Deserters Deserters Speak Speak OutOut

MusicMusic Documentary Documentary , 105’ , 105’

Daniel Daniel Gordon Gordon

21:30 21:30

Masters Masters , 119’ , 119’

JasnaJasna Krajinovic Krajinovic , 16’ , 16’

19:00 19:0019:15 19:15 Hillsborough Hillsborough

Kaouther Kaouther Ben Hania Ben Hania

Venus Venus

MusicMusic Documentary Documentary , 82’ , 82’

Rikun Rikun Zhu Zhu

My My Daughter Daughter Nora Nora

18:00 18:00

18:15 18:15

TheThe Graduation Graduation

22:45 22:45

17:30 17:30

James James Payne Payne

21:15 21:15

MusicMusic Documentary Documentary , 99’ , 99’

TheThe Rolling Rolling Stones Stones Olé Olé Olé Olé Olé!: Olé!: A Trip A Trip Across Across Latin Latin America America 23:00 23:00Paul Paul Dugdale Dugdale

17:00 17:00

Far Western Far Western

Paradocs Paradocs , 20’ , 20’

22:30 22:30

Reber Reber Dosky Dosky

19:30 19:30

Panorama Panorama , 91’ , 91’

Welcome Welcome

Radio Radio Kobanî Kobanî

TheThe Challenge Challenge

19:45 19:45

First Appearance First Appearance Competition, Competition, 80’ 80’

TobyToby Oppenheimer, Oppenheimer, DanaDana Flor Flor

Paradocs Paradocs , 63’ , 63’

NadaNada Riyadh, Riyadh, Ayman Ayman El Amir El AmirColtrane Coltrane Documentary Documentary Roy Villevoye Roy Villevoye Panorama Panorama , 68’ , 68’ JohnJohn Scheinfeld Scheinfeld Paradocs Paradocs , 45’ , 45’

Vincent Vincent Moloi Moloi

19:30 19:30

Check Check It It

Ashim Ashim Ahluwalia Ahluwalia

Panorama Panorama , 14’ , 14’

Panorama Panorama , 83’ , 83’

20:15 20:15

21:15 21:15

16:00 16:00

Reber Reber Dosky Dosky

Plastic Plastic China China First Appearance First Appearance Competition, Competition, 81’ 81’

Events Events in ain Cloud a Cloud Chamber Chamber

Yezidi Yezidi GirlsGirls

Marcela Marcela Zamora Zamora Chamorro Chamorro

Jiu-liang Jiu-liang Wang Wang

20:30 20:30

LoveTrue LoveTrue

16:15 16:15

Skulls, Skulls, of My of My People People

19:00 19:00

Maite Maite Alberdi Alberdi

20:30 20:30

Compilation Compilation of short of short filmsfilms about about contemporary contemporary USA.USA. With:With: The Ride The Ride of their of their Lives,Lives, Wolvesmouth Wolvesmouth and Raised and Raised by by Krump. Krump.

17:45 17:45

Machines Machines Rahul Rahul Jain Jain

American American Shorts Shorts

DutchDutch Competition, Competition, 72’ 72’

Valeria Valeria BruniBruni Tedeschi, Tedeschi, YannYann Coridian Coridian

Ah Ah

16:00 16:00

17:30 17:30

A Young A Young GirlGirl in in HerHer Nineties Nineties

Panorama Panorama , 104’ , 104’

20:00 20:00

Best ofBest Fests of, 82’ Fests, 82’

Best ofBest Fests of, 92’ Fests, 92’

Hamid Hamid JafariJafari

Best ofBest Fests of, 58’ Fests, 58’

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

Anastazja Anastazja Dabrowska Dabrowska

Student Student Competition, Competition, 72’ 72’

AlmaAlma Har’el Har’el

Bernard-Henri Bernard-Henri LévyLévy

TheThe Rock Rock

Mohamed Mohamed SiamSiam

CarloCarlo Guillermo Guillermo ProtoProto

SergeiSergei Loznitsa Loznitsa Retrospective Retrospective , 94’ , 94’

21:00 21:00

Peshmerga 15:00 15:00Peshmerga

Whose Whose Country? Country?

Resurrecting Resurrecting Hassan Hassan

Daniel Daniel

19:00 19:00

14:00 14:00

15:30 15:30

Panorama Panorama , 25’ , 25’

16:15 16:15

Mustafa Mustafa ÜnlüÜnlü

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

Feature-Length Feature-Length Competition, Competition, 108’ 108’

Best ofBest Fests of, 100’ Fests, 100’

Gaza Gaza SurfSurf ClubClub

Feature-Length Feature-Length Competition, Competition, 72’ 72’

18:45 18:45 19:00 19:00

Andrew Andrew RossiRossi

GodGod Knows Knows Where Where I AmI Am14:00 14:00 ToddTodd Wider, Wider, JeddJedd Wider Wider TheThe WarWar Show Show Best ofBest Fests of, 99’ Fests, 99’

Andreas Andreas Dalsgaard, Dalsgaard, Obaidah Obaidah Zytoon Zytoon

Levan Levan Koguashvili Koguashvili

Student Student Competition, Competition, 41’ 41’

PeterPeter Entell Entell

13:00 13:00

Philip Philip Gnadt, Gnadt, Mickey Mickey Yamine Yamine

17:15 17:15

InnaInna Omelchenko Omelchenko

LikeLike DewDew in the in the SunSun

13:45 13:45

15:15 15:15

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

Masters Masters , 90’ , 90’

Paper Paper Stars Stars

Student Student Competition, Competition, 53’ 53’

First Appearance First Appearance Competition, Competition, 90’ 90’

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

15:00 15:00

Tonislav Tonislav Hristov Hristov

Student Student Competition, Competition, 24’ 24’

KlaraKlara Til Til

Andrei Andrei Dascalescu Dascalescu

12:30 12:30

TheThe Return Return

TheThe Good Good Postman Postman

SteveSteve James James

Pawel Pawel Lozinski Lozinski

17:30 17:30

12:00 12:00

12:30 12:30

Zahavi Zahavi Sanjavi Sanjavi

All Governments All Governments Lie: Lie: Truth, Truth, Deception, Deception, andand 13:15 the the Spirit Spirit of I.F. ofStone I.F. Stone 13:15 Planeta Planeta Petrila Petrila Fred Fred Peabody Peabody

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

Panorama Panorama , 14’ , 14’

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

YouYou Have Have No Idea No Idea HowHow Much Much I Love I Love YouYou

14:45 14:45

Roger Roger RossRoss Williams Williams

16:45 16:45

17:00 17:00

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

TheThe ManMan Without Without a Mask a Mask

Natalia Natalia Cabral, Cabral, OriolOriol Estrada Estrada

12:45 12:45

Areum Areum

15:00 15:00

SiteSite of Sites of Sites

Student Student Competition, Competition, 73’ 73’

Best ofBest Fests of, 92’ Fests, 92’

A Bastard A Bastard Child Child

Amazona Amazona

Best ofBest Fests of, 85’ Fests, 85’

Shuchang Shuchang Xie Xie

Taggart Taggart Siegel, Siegel, Jon Betz Jon Betz

MayaMaya Zinshtein Zinshtein

per per song song

Feature-Length Feature-Length Competition, Competition,

Remo Remo Scherrer Scherrer

15:00 15:00

First Appearance First Appearance Competition, Competition, 112’ 112’

12:00 12:00

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

14:45 14:45

Tali Shemesh, Tali Shemesh, AsafAsaf Sudry Sudry

Forever Forever PurePure 11:00 11:00

Torstein Torstein Grude Grude

Whatever Whatever the the Weather Weather

14:00 14:00

Panorama Panorama , 30’ , 30’

Anuktatop: Anuktatop: TheThe Metamorphosis Metamorphosis

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

12:00 12:00

, 88’ , 88’ Assembling RealityReality Seed: Seed: TheThe Untold Untold Story Story Assembling

Woman Woman andand the the Glacier Glacier

Knutte Knutte Wester Wester

Rich Rich Williamson Williamson

10:30 10:30

Ana Ana Endara Endara

10:45 10:45

Mogadishu Mogadishu Soldier Soldier

Panorama Panorama , 17’ , 17’

Student Student Competition, Competition, 11’ 11’

TheThe Joy Joy of Sound of Sound

Frame Frame 394394

Alejandro Alejandro G. Salgado G. Salgado

10:00 10:00

10:15 10:15 10:30 10:30

Bolingo. Bolingo. TheThe Forest Forest of Love of Love

Mid-Length Mid-Length Competition, Competition, 52’ 52’

Xavier Xavier Marrades Marrades

13:15 13:15

10:30 10:30

Thomas Thomas Lennon Lennon

Cucli Cucli

AliceAlice Schmid Schmid

First Appearance First Appearance Competition, Competition, 83’ 83’

SergeiSergei Loznitsa Loznitsa Retrospective Retrospective , 82’ , 82’

Children’s Children’s documentaries: documentaries: 1Minute 1Minute Nature, Nature, Che!,Che!, RocknrolRocknrollers, Jesser lers, Jesser and the andSugarcane, the Sugarcane, Naomi’s Naomi’s Secret, Secret, Spotlight Spotlight on on Merna Merna 135’. These 135’. These filmsfilms are are subtitled subtitled in English in English and will andbe will be dubbed dubbed in Dutch in Dutch live during live during this screening. this screening. 12:15 12:15

TheThe GirlGirl down down LochLoch ÄnziÄnzi First Appearance First Appearance Competition, Competition, 87’ 87’

4.1 Miles 4.1 Miles

Sergei Sergei Loznitsa Loznitsa

10:30 10:30

12:30 12:30 12:45 12:45

10:00 10:00

Revue Revue

10:15 10:15

Thomas Thomas Dandois, Dandois, Francois-Xavier Francois-Xavier Tregan Tregan Panorama Panorama , 53’ , 53’

9:00

10:00

11:00

12:00

1:001:00

10:00

anî

on, 72’

10:00 10:00

10:00

Best of Fests, 85’

11:00 11:00

Best of Fests, 85’

Feature-Length Competition, 103’

12:00 12:00

12:30

10:00

Ragnhild Nøst Bergem Student Competition, 35’

Icon

Wojciech Kasperski

Mid-Length Competition, 52’

11:45

To Be a Miss To Be a Miss

Edward Ellis, FlorEdward Ellis, Flor 12:15 Salcedo, Aaron Woolf Salcedo, Aaron Woolf

12:30

Panorama, 84’

Peter Entell

Feature-Length Competition, Feature-Length 108’ Competition, 108’

12:00

Sergei Loznitsa

10:30

Kids & Docs Competition 2

Children’s documentaries: 1Minute Nature, Che!, Rocknrollers, Jesser and the Sugarcane, Naomi’s Secret, Spotlight on Merna 135’. These films are subtitled in English and will be dubbed in Dutch live during this screening.

Thomas Lennon

12:00

12:15

Cucli

Whatever the Weather

Panorama, 86’

11:00

12:00 12:30

Seed: The Untold Story

Panorama, 17’

Woman and the Glacier Audrius Stonys 13:00 Mid-Length Competition, 56’

10:00

Alejandro G. Salgado

Mid-Length Competition, 55’

14:00

14:00 14:00

Amsterdam Art Amsterdam Art Weekend at IDFA: Weekend at IDFA: 14:30 14:30 Familiar Strangers Familiar Strangers Silent Wilderness Silent Wilderness Compilation of video Compilation art in of video art in

15:00

Mathijs VleugelsMathijs Vleugels collaboration withcollaboration Amsterdam with Amsterdam Panorama , 60’ 15:00 Panorama, 60’ Art Weekend: Jokes, ArtKapitalism, Weekend: Jokes, Kapitalism,

Peshmerga The New aan Zee, Dress, Selfies aan Zee,Close Ties 15:00 15:00 Peshmerga The New Dress, Selfies Best of Fests, 92’

Best of Fests, 92’

Giovanni Troilo

16:00

17:00

19:00

Paradocs, 69’

18:00 18:00

16:15

16:30

Feature-Length Competition, Assembling Reality, 88’

16:00

Natalia Cabral, Oriol Estrada

Paper Stars

Student Competition, 53’

18:30

Inna Omelchenko

18:15

Student Competition, 41’

18:30

Mustafa Ünlü The First Monday18:45 An Insignificant AnMan Insignificant Man 18:45 18:45 Panorama, 104’ Khushboo Ranka,Khushboo Ranka, in May China’s Van Goghs China’s Van Goghs The Father, the Son 19:00 19:00 19:00 19:00 19:00 19:00 Vinay Shukla Vinay Shukla Andrew Rossi Haibo Yu, Kiki Tianqi Haibo Yu Yu, Kiki Tianqi and the Holy Jihad Best ofYu Fests, 96’ Best of Fests, 96’ Best of Fests , 90’ Amateurs in Space Lost Project: Dil Leyla Lost Project: A Quiet Place A Quiet Place 19:00 19:00 19:15 19:15 19:15 Panorama, 81’ Panorama, 81’ Stéphane Malterre Max Kestner Asli Özarslan Oostrik Sjoerd Oostrik The Danton’s The Death Danton’sSjoerd Death Panorama, 120’ Hillsborough Hillsborough Austerlitz Feature-Length Competition, 90’

Masters, 122’

20:00 20:00 20:00

20:30

19:30

Alma Har’el

22:00

Best of Fests, 82’

21:00 21:00

22:00

22:30 Michal Marczak Michal Marczak

21:00

Minispectacles Minispectacles Life, AnimatedLife, Animated 21:15 Ross Williams Roger Ross Williams Albuquerque Straight Straight StillAlbuquerque Tomorrow Roger Best of Fests, 91’21:30 Best of Fests, 91’ Maarit Suomi-Väänänen Maarit Suomi-Väänänen Jian Fan Paradocs, 7’ Paradocs, 7’ Happily Ever After Feature-Length Competition, 88’ Nada Riyadh, Ayman El Amir Craigslist Allstars Craigslist Allstars Panorama, 68’ Samira Elagoz

, 100’Stones The Paradocs Rolling Olé Olé Olé!: A Trip Across Latin America 23:00 23:00Paul Dugdale

Paradocs, 100’

23:00

21:00

All These All These Sleepless 22:00 22:00Sleepless Paradocs, 65’ Nights Nights

16:00

Samira Elagoz Paradocs, 65’

Gogita’s New Life Levan Koguashvili 17:00 Feature-Length Competition, 72’

November December 21:30

21:30

Bruno Jorge

21:30 Paradocs , 23’

21:30

Ashim Ahluwalia Paradocs, 20’

Welcome 21:30

John Scheinfeld

Music Documentary, 99’

With theater,Paradocs music With andtheater, music Erikand Lieshout Erik Lieshout , 45’ Mid-Length Mid-Length Competition, dialogue by Lost Project dialogue – aby Lost Project – aCompetition, Dutch Competition, 60’Dutch Competition, 60’ collective of youngcollective theater of young theater makers and performers makersfrom and performers from Amsterdam. Amsterdam. 22:45

My Daughter Nora Jasna Krajinovic, 16’

ISIS, Deserters Speak Out

Music Documentary, 105’

Panorama, 53’

First Appearance Competition, 90’

Feature-Length Competition, Assembling Reality, 71’

19:00

Hamid Jafari

Best of Fests, 58’

First Appearance Competition, 100’

Valeria Bruni Tedeschi, Yann Coridian Best of Fests, 85’

Jiu-liang Wang

23:00

24:00

Compilation of short films about contemporary USA. With: The Ride of their Lives, Wolvesmouth and Raised by Krump.

16:15

Yezidi Girls

16:00

Reber Dosky Panorama, 14’

Radio Kobanî Reber Dosky

17:00 17:30

The Challenge Yuri Ancarani

18:00

18:15

The Offended

19:00 19:30

The Grown-Ups Feature-Length Competition, 80’

19:30 19:45

Venus

Lea Glob, Mette Carla Albrechtsen

First Appearance Competition, 80’

De Jaren CaféDe – 22:00 Jaren Café – 22:00 20:30IDFA Dance Night IDFA Dance Night

1:00

1:001:00

20:00

James nights. Payne Ed plays vinyl nights. singles Ed plays fromvinyl way back singles as from well as way back as well as Music Documentary , 82’tracks.brand brand new Manynew genres, tracks. fromMany 1956genres, till 2016, from inclu1956 till 2016, including soul, rock, new ding wave, soul,reggae, rock, new hip wave, hop and reggae, beyond. hip hop and beyond. 21:00

The Graduation

Admission FreeAdmission Free 21:30

La Chana

22:00

Who’s Gonna Me Now? Beware the Slenderman Love Tomer Heymann, 22:15

Irene Taylor Brodsky Best of Fests, 114’

Best of Fests, 91’

23:00

24:00

1:00

International Documentary Film Festival Amsterdam

ZATERDAG ZATERDAG ZATERDAG 26 NOVEMBER 26 NOVEMBER 26 NOVEMBER

Hillsborough Masters, 122’

Kaouther Ben Hania

, 94’ SOCIALPanorama EVENTS SOCIAL EVENTS

19:15

Daniel Gordon

Zaineb Hates the Snow

Barak Heymann Masters, 86’

Lucija Stojevic

DOCLAB EXPO: DOCLAB ELASTIC EXPO: REALITY ELASTIC REALITY22:00 Panorama, 83’

Brakke GrondBrakke 9:00 – 23:00 Grond 9:00 – 23:00 22:30

22:00

All These Sleepless Nights Michal Marczak

does it feel to How have does someone it feel to follow haveyou someone in the follow you in the HouseHow Call

physical world, physical of just world, oninstead social media? of justOr onto social media? Or to Neta Shoshani, Davidinstead Ofek Mid-Length Competition, 62’ look look for love with yourfor nose, loverather with than your nose, swiping rather profile than swiping profile pictures on Tinder? pictures What would on Tinder? a computer What would brain asay computer brain say 23:00 when it secretly takes whena itpeek secretly at your takes instagram a peek atpictures? your instagram pictures? Trigger your senses Trigger and experience your sensesthirty and experience of the world's thirty of the world's best interactive documentaries, best interactivevirtual documentaries, reality experiences virtual reality experiences and physical installations and physical in theinstallations ten-day DocLab: in theElastic ten-day DocLab: Elastic Reality exhibition.Reality Some installations exhibition. Some have installations varying opening have varying opening 24:00 hours (11:00 – 21:00). hours On-site (11:00reservation – 21:00). On-site may bereservation required. may be required.

Admission FreeAdmission Free

1:00

Paradocs, 69’

Far Western DJ Ed Rock. A regular DJ Ed at Rock. IDFA Cafe A regular and host at IDFA of the CafeDJand host of the DJ 21:15

Masters, 119’

Maria José Cuevas

Bernard-Henri Lévy

Panorama, 83’

Claire Simon

Beauties of the Night

American Shorts

Plastic China

Panorama, 91’

22:30

16:00

Skulls, of My People Panorama, Shifting Perspectives, 67’

Peshmerga Best of Fests, 92’

Dutch Competition, 72’

Vincent Moloi

15:00

Marcela Zamora Chamorro

Check It

22:00

14:00

17:45

19:00

Toby Oppenheimer, Dana Flor

22:00

The War Show

Andreas Dalsgaard, Obaidah Zytoon

17:30

20:00 20:15

21:00

14:00

The Rock

Mohamed Siam

Maite Alberdi

21:00

God Knows Where I Am

15:00

Whose Country?

Resurrecting Hassan

First Appearance Competition, 81’

20:00

Feature-Length Competition, 108’

13:45

15:30

Panorama, 25’

16:15

Thomas Dandois, Francois-Xavier Tregan

24:00 24:00 24:00

Andrei Dascalescu

Peter Entell

13:00

Best of Fests, 100’

Gaza Surf Club

18:00

Rikun Zhu

Chasing Trane: The Lost John Project: Lost Project: To Stay Alive –To, 63’ Stay Alive – Paradocs Smoke Coltrane Documentary Too Black Roy to Be Too French? Black to Be A Method French? A Method Villevoye

Planeta Petrila

Best of Fests, 99’

A Young Girl in Her Nineties

Rahul Jain

Events in a Cloud Chamber

21:00

13:15

Machines 19:00

Mid-Length Competition, 54’

12:30

Like Dew in the Sun

Zahavi Sanjavi

Todd Wider, Jedd Wider

Carlo Guillermo Proto

16:45

12:00

The Return

15:15

18:30

20:30

LoveTrue 21:00

18:00

12:30

Student Competition, 73’

Areum Parkkang

Best of Fests, 87’

19:30

Competition, Dutch Competition, 81’Dutch Competition, 81’ With theater,Student music With andtheater,72’music and Alexei and theAlexei Spring and the Spring dialogue by Lost Project dialogue – aby Lost Project – a Sergei Loznitsa Retrospective, 94’ With an Introduction WithbyanDutch Introduction by Dutch collective of youngcollective theater of young theater filmmaker Ineke Smits filmmaker followed Ineke Smits followed makers and performers makersfrom and performers from by a Q&A with filmmaker by a Q&A with filmmaker Amsterdam. Amsterdam. Seiichi Motohashi.Seiichi See page Motohashi. 109 See page 109

Sergei Loznitsa

Shuchang Xie

Areum

The Good Postman Tonislav Hristov 15:00 Feature-Length Competition, 82’

Best of Fests, 85’

First Appearance Competition, 112’

per song

14:00