IDFA Industry Special 2015-2 by IDFA International Documentary Film Festival Amsterdam

special industry

INCLUDING SCHEDULE

SAT 21 & SUN 22 NOV

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

Crowd Assessment, a social research project on human behaviour involving hoodies and headphones by Amsterdam-based design studio Moniker commissioned by IDFA DocLab & De Brakke Grond bedazzled and beguiled attendees at the opening of DocLab’s Seamless Reality programme on Thursday night. photo: Nichon Glerum

Tip of the iceberg Victor Kossakovsky is shortly to take up residence on top of an iceberg. The maverick Russian documentary maker (at IDFA this year with Kids & Docs entry Varicella) plans to spend “a few months” living on the ice as part of the shooting of his ambitious new feature doc, Aquarela. “I will spend a few months on top of an iceberg drifting from the North Pole to the Equator,” Kossakovsky says. “I am going to be living there.” He will be accompanied on the iceberg by some close friends, Kossakovsky says. Aquarela is being made through Aconite Productions as a co-production with Berlin-based ma.ja.de, Louverture Films and Danish Documentary Production. It has development support from Creative Scotland, Tribeca Film Institute and Eurimages. A huge production with involvement from Scotland, Germany, Denmark, the USA and Mexico, the film is billed as a doc about water, “the beauty of this essential life-giving element, as well as its shattering power.”

“We don’t have the culture to see documentaries for kids” This is not the only new project Kossakovsky is hatching. He is also planning a “very tough” film for adults about the “new situation” in Russia. The director wouldn’t reveal specific details about the Russian doc (which is yet to be titled), but spoke out against the recent changes in Russian society. “I used to be very far from politics. I never wanted to touch it but now, what is happening is over the limit,” the director comments. “I have to do it.”

By Geoffrey Macnab

Russia, Kossakovsky explains, has been an independent country for 24 years, since the Soviet Union collapsed. “For 24 years, they didn’t find any idea that would consolidate society and [bring] all Russians together; what we are doing and who we are.” Suddenly, after the conflict with Ukraine and the Russian annexation of Crimea, Kossakovsky suggests, the Russian people have found common cause in aggressive patriotism. “90% agreed with what happened,” the director states of the Russian response to the situation in Ukraine. In spite of the new Russian project, Kossakovsky remains critical of many contemporary polemical docs. In recent years, he has been devoting his time to making films for kids. Varicella features two sisters studying at the Boris Elfman Dance Academy in St Petersburg. “What is interesting in documentaries for kids is that, if you read books for kids – Hans Christian Andersen or the Grimm brothers or Pushkin – if you read them by yourself, you probably will not finish them. You will read a couple of pages and say oh, naive, silly, sweet! But if you read the same book with your kid, you will say wow – it is an amazing book… it is the same with films for kids. We don’t have the culture to see documentaries for kids.” Read more at www.idfa.nl/industry/daily

Top TEN

Docs for Sale 1

S onita Rokhsareh Ghaem Maghami

2 Snow Monkey

George Gittoes

3 Thy Father’s Chair Antonio Tibaldi, Alex Lora

4 Holy Cow

Imam Hasanov

5 Guantanamo Child

Patrick Reed, Michelle Shephard

6 Hot Sugar’s Cold World Adam Bhala Lough

7N ext Stop: Utopia

Apostolos Karakasis

8 C hechen

Beata Bubenets

9 A Strange Love Affair with Ego Ester Gould

10 I n California

Charles Redon

As of 4 pm, Friday 20 November

Route to the Oscars On Sunday morning (Nov 22), industry guests will have the chance to find out how to make sure their docs qualify for the Oscars. At an Industry Office event, running 11.30-12.30 and organised in collaboration with EYE International, special IDFA guest Tom Oyer, awards manager at the Academy of Motion Pictures, Arts and Sciences, will explain the qualifying criteria for doc features and shorts. “There is a lot of misinformation out there,” Oyer recently commented. At his IDFA session, he hopes to correct some of the misunderstandings about what doc makers need to do get their films into the running. “A documentary feature does require a theatrical release in the US, in both New York and Los Angeles,” Oyer says. “For the documentary short subject category, there are a couple of different ways films can qualify. They can qualify through a theatrical release in either New York or Los Angeles, but we also have a qualifying festival list. There are a number of juried awards at those festivals – films can qualify through that process.” Oscars have been awarded to documentaries since the early 1940s. What has changed in recent years is the number of feature docs being submitted (there are 124 in contention this year), from all over the world. The doc branch at AMPAS includes directors, producers, editors, cinematographers from the doc world – “a whole community” as Oyer puts it. Some top Dutch doc filmmakers are in the Academy, Heddy Honigmann and Leonard Retel Helmrich among them. “They key thing is that they all have a background and experience in the documentary community.” The Oscar doc winners are voted for by the entire Academy, not just its doc branch. Geoffrey Macnab

SANT & USANT

PRESENTS 3 FILMS AT IDFA 2015

by ERLEND E. MO

WORLD PREMIERE

SAT 21.11 18:45 TUSCHINSKI 2

VA R I C E L L A

by VICTOR KOSSAKOVSKY

I N T E RNATI ONAL PR EM I ER E

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

MAIKO

D A N C I N G C H I L D by ÅSE

MEET DIRECTOR FOR Q &A SUN 22.11 22:15 MON 23.11 11:15

MUNT 5 MUNT 10

S. DRIVENES

Data Clash

Broadening Autlook

a idf ws e n Austrian outfit Autlook Filmsales has closed multiple deals on its bursting IDFA slate, comprising a dozen films. CEO Salma Abdalla has confirmed that Alexander Nanau’s Toto and His Sisters (in Docs For Sale and a former Forum title) has been sold for theatrical release to Japan (Golem).

Swiss filmmaker David Bernet’s Democracy, which makes its English-language premiere at IDFA, has gained fresh relevancy following the Paris terror attacks.

The film – developed and shot over a five-year period – explores the work of the European Union and its law-making processes through its reform of data protection laws for the digital age, which is due to be finalised in the coming weeks. “The question of where the line is between privacy and non-privacy will stay for us the rest of our civilisation,” says Bernet. “It’s really a question of whether you want security or freedom and how to strike a compromise.” The killing spree in Paris has enflamed the debate on data protection and what matters most – privacy or security – as governments across Europe call for more access to their citizens’ data – from what they web-surf to who they chat to on the internet – as part of efforts to thwart future attacks. One of the documentary’s key protagonists is Jan Philipp Albrecht, the 32-year-old EU rapporteur charged with listening to all the stakeholders impacted by the reform and reporting back to parliament. This youthful, bespectacled pro-civil liberties Green MEP, who prefers slogan t-shirts to suits and ties, is eyed with suspicion by the likes of John Boswell of US statistics consultancy SAS, who believes access to data is essential for commerce and innovation. Democracy initially grew out of Bernet’s desire to capture how the EU works in a compelling way after spending time inside its “Kafkaesque” institutions for his 2005 work The Whisperers, on interpreters. “Law-making is the central task of these institutions, so I decided the film had to revolve around a law-making process, but one that would still be relevant when the film was released,” explains Bernet. “After talking to a lot of experts and politicians in Brussels, it became clear that data protection was going to become an increasingly important issue even though at the time there was

Meanwhile, JHR, the new distribution outfit set up by Jane Rogers, has taken all rights on the film for France, with release scheduled for early 2016. Further TV deals have been made with VRT Belgium, DR Denmark, ETV Estonia, VGTV Norway, RTL pay TV Germany, TRT Turkey. Toto and His Sisters had already received 24 awards since it premiered at San Sebastian 2014. Another Autlook title, Land Grabbing, a new doc by award-winning journalist Kurt Langbein, has gone to Movienet for Germany/Switzerland.

photo: Felix Kalkman

little public debate,” says Bernet. “It was a risky choice, but a calculated one.” Shot in black and white, the film has the feel and look sometimes of a stylish legal thriller, laced with moments of humour such as a scene in which Albrecht and thrice EU commissioner Viviane Reding spend 20 minutes wandering up and down the back stairs of the European parliament in Strasbourg looking for the right meeting room. “I find the EU institutions are incredibly ugly places; switching off the colour in the editing process changed the aesthetic. It made the whole film more cinematographic, almost like a film noir,” says Bernet. Bernet and Albrecht will be present at the IDFA screening of Democracy in De Brakke Grond for an extended Q&A on 23 November. Melanie Goodfellow

The deals come as Autlook looks to expand its sales team. Abdalla has now taken over as CEO from Peter Jäger, who remains a shareholder in the company. Earlier this week, Autlook announced the appointment of Liselot Verbrugge as sales manager and promoted Andrea Hock to head of sales. Liselot Verbrugge will work from Amsterdam overseeing Australia/New Zealand, Asia & Oceania, MENA & Eastern Europe and will develop a strand of kids’ docs for Autlook. Underlining its growing appetite for kids’ docs, Autlook is representing several titles from its Sport Kids series in IDFA’s Kids & Docs strand. These include Victor Kossakovsky’s Russian-set ballet movie Varicella, Erlend E. Mo’s folk dancing film Dancing For You and Hanna Heilborn’s Ruth, about a young Swedish cheerleader. The films are being sold individually but can also be acquired as a series. Later in the week, Abdalla will be giving an industry talk on film rights (21 November in the NH Carlton hotel). “This is for young producers (about) how to release a film,” Abdalla explained the subject matter. “It is about [using] festivals. What is new is that you already determine where you can release the film in your financing process. You have to negotiate good theatrical and festival windows if you want to go into cinemas with your financing partners very early.” Geoffrey Macnab

Polish pick-ups Prior to IDFA, Polish festival/distributor Docs Against Gravity picked up competition titles Natural Disorder by Christian Sønderby Jepsen and Ido Haar’s Thru You Princess, as well as Erik Gandini’s Swedish Theory of Love, Patricio Guzmán’s The Pearl Button (both selected for Masters 2015), Imam Hasanov’s Holy Cow (First Appearance), as well as Mor Loushy’s Censored Voices and Human by Yann Arthus-Bertrand, both in Best of Fests.

Atomic: Living in Dread and Promise

Highly charged Atomic: Living in Dread and Promise is a departure for filmmaker Mark Cousins. Unlike his other projects, for example his epic The Story of Film: An Odyssey or A Story of Children and Film, this wasn’t a documentary he originated himself. Cousins was approached by Heather Croall and asked if he was interested in making an “atomic” film with Scottish band Mogwai as collaborators.

“It was just the word ‘atomic,’” Cousins recalls of the initial brief. There were no restraints put on him as to whether he should deal with physics or politics. The doc is full of archive material drawn from NASA and BFI archives. Cousins realised early on he wanted a “paradise lost, paradise regained” structure – a sense of wonder combined with a sense of dread. Hiroshima, Nagasaki, Fukushima and Chernobyl represent the apocalyptic side. The very word “atomic” can induce dread – grim memories of Cold War paranoia, radiation and disease – but Cousins’ doc, “a fiery portrait of our age,” also sets out to induce a sense of wonder.

Archive material, the director suggests, has its original, “intended” purpose but also often takes on “an unconscious life.” He talks of sitting for days watching old footage without finding anything, before stumbling on magical moments. “It’s quite a long, slow process, with moments of excitement.” Cousins met with Mogwai early in the process. The band sent initial sketches. “Then, only towards the end of the process, they started to tailor the music carefully to the images and layer it. It was fascinating for me to watch.” In spite of the circumstances in which it was commissioned, Cousins says the film feels “very personal” and “cinematic.” Cousins is now finishing his first fictional film, Stockholm My Love, a musical with pop star Neneh Cherry. The film has been shot by Christopher Doyle, the brilliant cinematographer on many of Wong Kar-Wai’s greatest films. Cherry plays a Stockholm-based 47-year-old architect still traumatised by a traffic accident that left a man dead. Cherry herself provides the music and Cousins promises a bittersweet film with a flavour of Jacques Demy’s The Umbrellas of Cherbourg. Geoffrey Macnab

The company’s Artur Liebhart expressed yesterday his strong interest in Mads Brügger’s Forum 2015 project Cold Case Hammarskjöld and is confident of coming on board other IDFA titles before festival end. “We have taken care of all Gandini’s fims in Poland,” Liebhart says. “He is one of our signature directors. His new film proves his original approach to the subject and attractive style, which can reach beyond the festival circuit.” In late November, Hanna Polak’s IDFA 2014 hit Something Better to Come will be released on 28 screens across Poland. “It is the first time a HBO Europe co-produced film will have wide theatrical release prior to pay TV broadcast. Hanna and I convinced HBO to do it for the sake of the film and documentary film culture. The interest of major Polish media is huge.” All acquisitions start their Polish run at the Docs Against Gravity Film Festival which is run across four cities simultaneously: Warsaw, Wrocław, Gdynia and Bydgoszcz. Another IDFA 2014 film selected for the fest and subsequent distribution was Morgan Knibbe’s Those Who Feel the Fire Burning which screened at the European Center of Solidarity in Gdansk, with Lech Walesa in attendance. “Documentary film is not a strange thing in Polish cinemas anymore, as it was years ago,” claims Liebhart. “Some fiction distributors reach for documentary films with no hesitation. Searching for Sugar Man (Malik Bendjelloul) blew the box office away with 110,000 tickets sold. Pina reached 60,000. My best result for 2015 comes with Salt of the Earth, also by Wim Wenders, with 25,000 admissions and still screening regularly in cinemas.” Nick Cunningham

IDFA

Feature-Length Competition: Don Juan by Jerzy Sladkowski

Best of Fests: Every Face Has a Name

Kids & Docs Competition:

I Am Dublin

Masters:

Nice People

Ruth by Hanna Heilborn

by Magnus Gertten

by Ahmed Abdullahi, David Aronowitsch, Sharmarke Binyusuf, Anna Persson

Becoming Zlatan

by Anders Helgeson, Karin af Klintberg

Ingrid Bergman – In Her Own Words

Panorama: Martha & Niki

by Fredrik Gertten, Magnus Gertten by Stig Björkman

The Swedish Theory of Love by Erik Gandini

sfi.se

M A R T H A & N I K I BY TO R A M Å R T E N S , P H OTO : M E I V I S I O N S

by Tora Mårtens

Say Something by Åsa Ekman

Double Impact Thursday in De Brakke Grond, industry experts offered an evaluation of impact production on the European doc industry. Moderator Patricia Aufderheide (Senior Research Fellow, CMSI) spoke to the IDFA Daily before taking to the stage in order to debunk some of the myths and prejudices she regularly encounters.

“One myth is that impact biases towards social issue films, but we know that so much impact measurement activity is [already] being done around purely commercial projects,” explains Aufderheide, citing the US soap series Scandal, written by and featuring African Americans, which was returned to the airwaves after a successful campaign by African Americans. “And some people think that art and philosophy are not advocacy topics and are going to get slighted because they cannot be measured as clearly, and people worry that their efforts to change hearts and mind are going to be turned into cold hard numbers that won’t be able to measure what it means to have a shift in opinion. These are real concerns, but concerns that people in the panel have dealt with in a really sophisticated way.” Panel members were Jessica Clark (Dot Connector), Patricia Finneran (Story Matters), Beadie Finzi (BRITDOC), Klara Grunning-Harris (Swedish Film Institute), Leevi Kokko (YLE). “IDFA has been a leader in promoting these discussions, but this

is taking the discussion further. In the past it has been ‘here is what we are doing about impact’. Now we are confronting the backlash. What we are reporting here are the things that people are saying, which is about filmmaker resistance to impact. Let’s talk about that directly and why it is counter-productive to be in a defensive crouch about this tendency towards impact.” Meanwhile, elsewhere at IDFA 2015, Dutch producers Hasse van Nunen and Bernadette Kuiper are running the inaugural Impact Academy crash course dedicated to documentaries that strive towards social and cultural goals, and whose success can be measured in the impact they make. The programme enables five film teams, consisting of director, producer, impact producer and broadcaster, to develop their own impact production. The course runs to November 22 and offers up expert advice from media strategists Jennifer McArthur and Jon Reiss, social-change communication specialist and producer Caty Borum Chattoo, filmmaker Alex Kelly and Ben Kempas, Producer of Marketing and Distribution at the Scottish Documentary Institute. Commented founder Van Nunen ahead of IDFA: “Why give years of your life making a film when the only result is a single television broadcast or theatre release? That is no longer enough. Not for me as a producer and not for the directors I work with either. All of us want to make a difference with our films. The Impact Academy can help us do that.” Nick Cunningham

Sean McAllister, director of A Syrian Love Story, with protagonist Amer Daoud and Benjamin Barber at the Democracy & Media panel

First Hand releases

Underlining the long-term appeal of docs with a topical resonance, Swiss outfit First Hand Films has announced plans to re-release Laura Poitras’ Oscar-winning Citizenfour, about whistle-blower Edward Snowden, in early 2016. The intention in putting the film back in theatres is to capitalise on the intense new interest expected to be generated in Snowden’s story by Oliver Stone’s new biopic. Snowden, which stars Joseph Leonard Gordon-Levitt and Melissa Leo as Poitras, is due out in cinemas in the spring next year – which is when First Hand will re-issue the doc.

Stone’s Snowden, like Robert Zemeckis’ 3D The Walk (partly inspired by James Marsh’s Man on Wire) and the recently announced Kirsten Sheridan biopic of Amy Winehouse, to which Noomi Rapace is attached (following on from Asif Kapadia’s Amy), is an example of a fictional feature directly inspired by a doc. Esther van Messel, CEO of Zurich and Berlin-based First Hand Films, has also confirmed a raft of new deals on the company’s current slate. First Hand’s crowd pleaser (and IDFA feature-length competition entry) Thru You Princess from director Ido Haar has gone to Against Gravity for Poland. This follows on from the US deal with Magnolia/Participant announced last week. George Kurian’s The Crossing, which follows a group of Syrians fleeing war and persecution, has gone to VRT for Belgium, ORF for Austria, NHK for Japan, ERR for Estonia and DR for Denmark. Luc Vrydaghs’ Barber Shop has gone to UR (Swedish Educational Broadcasting Company) for Sweden. Faith Love Desire – World Religions and Sexuality has gone to Against Gravity for Poland and Alexander Street Press for the US. First Hand Films handles its own theatrical releases of docs and selected fictional films in Switzerland. Its own current upcoming releases include My Skinny Sister, Nice People, Una Noche Sin Luna, Swing It Kids and Thru You Princess. Geoffrey Macnab

Unmuzzled

a idf ws e n

UK docs sales and distribution powerhouse Dogwoof has announced several deals on its IDFA slate which includes such titles as Censored Voices by Mor Loushy, 3 ½ Minutes, Ten Bullets by Marc Silver, Docs for Sale title Unbranded by Philip Baribeau and Dreamcatcher by Kim Longinotto. The deals were brokered by Vesna Cudic, Head of TV Sales and Acquisitions and Ana Vicente, Head of Theatrical Sales.

Unbranded has been sold in all-rights deals to Madman (Australia & NZ) and Germany, Austria (NFP). The epic story of four friends who travel across the American West, from Mexico to the Canadian border on wild mustangs, Unbranded opened in North America in September with Gravitas as US distributor and Mongrel in Canada. Dogwoof will release in the UK on November 27. Censored Voices, which premiered at Sundance and Berlin and which recounts the horrors of the Six-Day War through previously censored voice recordings from veterans, has gone to: DR (Denmark); SVT (Sweden); NRK (Norway); SIC (Portugal). These are in addition to the previously reported all-rights deals with Music Box (US); Blue Ice Docs (Canada); Feltrinelli (Italy) and Films Distribution (France), among others. 3 ½ Minutes, Ten Bullets by Marc Silver has now been snapped up by Madman (Australia & NZ) and for television by DR (Denmark) and DBS (Israel). The UK release was handled by Dogwoof itself while Participant had the film for the US. Kim Longinotto’s Dreamcatcher has gone to CBC (Canada); Foxtel (Australia); EBS (Korea); AMC Global (Latam, Asia, CEE, Iberia.) Longinotto tells the story of Brenda MyersPowell, an ex-prostitute who now works to break the cycle of neglect and violence in her community. “It has been a terrific year. We loved the films but also fell for the filmmakers: Kim Longinotto; Mor Loushy; Marc Silver and Philip Baribeau. What a pleasure to collaborate with them and their producers to strategise distribution and market the films from launch,” Ana Vicente says. Geoffrey Macnab

Reaching out New York-based film foundation Cinereach is making a high-profile appearance at IDFA this year with the world premiere of US director Mike Plunkett’s Salero in Panorama.

Set against the backdrop of the Salar de Uyani salt flats in Bolivia, the film follows the changing fortunes of a traditional salt collector whose way of life is threatened by the government›s decision to develop lucrative lithium mining in the area. Plunkett says it was the vast expanse of the salt mines that first attracted him to the area rather than a desire to explore the politics surrounding the development plans. “For me, it was this alien landscape that was somehow alive and had something to say about this situation. The Salar is this amazing blank canvas and being able to capture it was really very exciting to me,” says Plunkett. Cinereach co-founder and creative directive Michael Raisler says he was attracted to Plunkett’s aesthetic ambition for the project. “I hadn’t come across a film like this for quite some time. We’d done other films where documentary filmmakers were exploring different kinds of formal intentions... other than a verité approach, and we were really attracted to Mike’s visual style and the way he was capturing this gorgeous visceral landscape in a cinematic way. We thought it was very exciting.” Initially awarding Plunkett a development grant, Cinereach decided to take responsibility for financing, bringing the San Francisco Film Society, Tribeca Film Institute and the MacAurthur Foundation on board too. The foundation typically supports 20 to 30 projects a year with average grants of around $30,000, and occasionally assumes responsibility for the financing of the whole project. “It’s rare to find an early supporter who is willing to take that risk when the film is in its infancy. This is instrumental and really important to have in the American market,” says producer Anne Rose Holmes, who lead produced Salero with support from Cinereach’s head of productions Andrew Goldman. “This is the first time one of our productions has been selected for IDFA,” says Raisler, who is also attending for the first time, although other Cinereach staff have attended in the past. The not-for-profit organisation has awarded grants to three other films in the IDFA selection – Best of Enemies, former

Salero

IDFA Forum project Motley’s Law and Thru You Princess – and is also involved in the Forum project, Death of a Child, about people who caused the deaths of their own children. The latter is the latest from Scandinavian husband and wife team Frida and Lasse Barkfors, who made Pervert Park, about sex offenders forced to live in the same area by US laws, which won the Sundance’s Special Jury Prize in the World Cinema – Documentary section in 2014. “They’re really cool filmmakers. They’ve been working on a series of films reflecting on pariahs. With Pervert Park they cracked open a topic that nobody wanted to deal with in the US… I think Death of a Child stems from their anxieties as young parents and that ‘What if something…’ question.” Melanie Goodfellow

PROUDLY PRESENTS AT IDFA IDFA CENTRAL PITCH

IDFA MUSIC DOCUMENTARY

IDFA PANORAMA

IDFA KIDS & DOCS COMPETITION

IDFA PANORAMA

IDFA BEST OF BEST

IDFA SOUNDS REAL

IDFA MASTERS

SALMA ABDALLA ACQUISITIONS +43 676 9003771 SALMA@AUTLOOKFILMS.COM ANDREA HOCK TV SALES +43 676 5563488 ANDREA@AUTLOOKFILMS.COM YOUN JI FESTIVAL SALES YOUN@AUTLOOKFILMS.COM LISELOT VERBRUGGE TV + VOD SALES SALES@AUTLOOKFILMS.COM

a idf ws e n

Viva l’Italia

Ekker says lekker!

The Italian documentary world will be out in force at this year’s IDFA, with one of its biggest delegations in years.

Film critic and IDFA Dutch Competition co-programmer Jan Pieter Ekker speaks about the local films in selection, reserving particular praise for the two Netherlands docs that also made it into the main competition.

By Melanie Goodfellow By Nick Cunningham

“There’s a lot of us this year, around 40,” says producer Simone Catania of Turin-based Indyca Film. “The Italian documentary scene went through a difficult few years, but things are changing. Documentary used to be considered a niche product but mainstream audiences in Italy are starting to pay attention to the documentary genre.” This growing interest, he says, was sparked in part by the 2014 Venice Golden Lion win for Gianfranco Rosi’s Sacro Gra – fly-on-the-wall study of people living or working near Rome’s busy motorway ring road, the Grande Raccordo Anulare – which went on to gross €970,000 in Italy, where it was released by Milan-based Officine Ubu. Catania also points to the work of Bologna-based umbrella group the Documentaristi, also known as doc/it, which has worked hard in recent years to improve the international visibility of Italian documentaries, notably with the Italian Doc Screenings (IDS), which this year were incorporated into the Rome Film Festival’s new MIA audiovisual market. A total of seven productions, led by or involving Italian partners, are screening in IDFA selection this year. Antonio Tibaldi and Alex Lora’s Thy Father’s Chair – about two elderly Orthodox Jewish twin brothers living who are forced to open their squalid home to professional cleaners – screens in the feature-length competition.

Members of the Italian delegation arrive at IDFA. Phot0: Michiel Landeweerd

Playing the medium-length competition are Irrawaddy Mon Amour, a tale of gay love and marriage in conservative post-dictatorship Myanmar by Valeria Testagrossa, Nicola Grignani and Andrea Zambelli of Bologna-based filmmaking collective Teleimmagini, and Mattia Epifani’s The Successor, about a man grappling with the implications of the land-mine manufacturer he inherited from his father. The directors of Irrawaddy Mon Amour will be taking part in the industry session at the Carlton devoted to new talent. “It’s still a struggle to raise the budget, but there is a sense that things are happening. Filmmakers are also getting savvy about sourcing other sources of financing,” says co-director Testagrossa. Alongside producer Enrico Pacciani of production house Alkermes, the directors turned to crowd-funding site Indiegogo to raise €10,000 for the post-production. Elsewhere in the IDFA programme, Ernesto Pagano’s Napolislam, exploring the Muslim communities living around the city of Naples, will screen in

Panorama. The film’s Italian release has recently been postponed following the terror attacks in Paris. One of the key challenges for Italian documentary makers, says Catania, is the lack of support from local broadcasters – partly as a consequence of populist Silvio Berlusconi’s grip on the country’s media. To this end, Italian documentary makers wrote an open letter to broadcasters, both domestic and international, during IDS this year calling for more investment in Italian documentaries. Catania notes, however, that Italian documentary producers are becoming adept at tapping into Italy’s recently revitalised tax credit scheme to raise finance for films, which means they can be credible co-production partners. He was the co-producer, for example, on Fredrik and Magnus Gertten’s IDFA Masters Screener Becoming Zlatan, about Swedish soccer player Zlatan Ibrahimović, bringing on board Rai Cinema, 01 Distribution and also raising money for the P&A through the tax credit. The Italian delegation will be hosting the Guest Meet Guests drinks on Sunday.

Wide House launches Man Falling sales Wide House has acquired world rights to Anne Wivel’s Man Falling about internationally acclaimed Danish artist Per Kirkeby’s battle to recover from brain damage he suffered after falling down the stairs. By Melanie Goodfellow

The Paris-based documentary specialist acquired the film at the Toronto International Film Festival, but will launch sales at IDFA. The work, which opened CPH:DOX at the beginning of November, will screen in IDFA’s Sounds Real section, devoted to the use of sound in documentary. Wide House chief Anais Clanet will also be present at the IDFA Forum this year with Danish Lea Glob’s upcoming solo feature documentary Apolonia, Apolonia about a young artist torn between her Parisian bohemian life and a move into the commercial art world. Glob co-directed Olmo and the Seagull – about a highly-strung young actress trying to figure out how she will juggle her acting career with impending motherhood, which is playing in IDFA’s Paradocs section.

Other titles on the Wide House slate include Johan Grimonprez’s Shadow World based on Andrew Feinstein’s book about the international arms trade. Clanet says the documentary, which started its international career at the IDFA Forum in 2012, is finally completed and is now looking for an early 2016 festival slot. The film was pre-sold to Sweden (SVT), Denmark (DR), Australia (SBS) and Israel (YES) and co-produced with ITVS in the US. “We are actively looking for pre-sales during IDFA,” says Clanet, who will be able to show potential buyers the film.

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

She will also be looking to close final deals on German Kral’s Our Last Tango – capturing the world of tango in Argentina through the tempestuous relationship between two of its oldest stars, Maria Nieves Rego and Juan Carlos Copes. The film premiered at TIFF earlier this year before heading to the Yamagata International Documentary competition in Japan in October. Strand Releasing is due to release the film in the US in early 2016 and it is also set to roll out across Latin America in the coming months, kicking off with Argentina on December 3.

Olmo and the Seagull

IDFA opener A Family Affair is, he argues, a film “with guts.” “When I heard about the project at the Media Fund, I was interested immediately. Tom Fassaert worked on it for ten years – I have seen two or three versions already – and it is such a complicated and rich story. It’s very personal, but you see how dysfunctional families can be.” Likewise, Ester Gould’s A Love Affair with Ego, an essay on the ‘self ’, inspired by the director’s observations of her older (and idolised) sister, reminds Ekker of the finer cinematic flourishes within Carlos Reygadas’ Cannes winner Post Tenebras Lux. “Her approach is very visual. You can see his influence.”

Inside the Chinese Closet

The films in Dutch competition are ostensibly Netherlands financed, but the subjects are anything but parochial, ranging instead from the plight of the Eritrean football team after they absconded from an African football tournament (Eritrea Stars, John Appel) to a photographer’s discovery of an elderly muse in Lebanon (The World According to Monsieur Khiar, Sjors Swierstra). Inside the Chinese Closet (Sophia Luvarà) examines gay life in China, while Catherine van Campen’s Garage 2.0, set in a small Dutch family-owned car dealership, is a universal examination of blue-collar life during a recession. “Van Campen knows how to look. The details and discussions in the garage are so precise. The film is about the time we are living in and how we must change. It has humour. She knows where to put the camera and is very patient. She doesn’t need talking heads,” stresses Ekker.

Eritrea Stars

Ekker counters criticism that Dutch funding bodies are not prepared to back controversial projects, citing Morgan Knibbe’s 2016 Oscar entry Those Who Feel the Fire Burning, which was made with Wildcard funding from the Netherlands Film Fund. “I have been on the other side as well, both at the Film Fund and the Media Fund. Funders are happy to fund as long as it’s good, but you [filmmakers] have to stand up for yourself and convince people that your film is important.” “Knibbe’s film is so special and so unique, of course it was made with not that much money, but he knows what he can make in the way he wants to make it. I was there when a sales agent said to him, ‘leave the beginning and start with the part in Lampedusa’, and he said ‘thank you, but I don’t want to do that, I’ll make the film I want to make’. He then won prizes in Holland and the film has been shown all over the world. You always have directors like that who have a great idea, stick to it and find the money to turn their ideas into films.”

by Sylvain Biegeleisen

Holy Cow

WORLD premiere

a idf s film

“Some years ago, I was sent by national Azerbaijan television to report from this typical traditional village; a rural place where daily life hasn’t changed for decades. By chance, I met Tapdiq, a simple farmer who dreams of changing the life of his family by importing a European cow,” director Imam Hasanov says of his debut feature doc Holy Cow – the first Azerbaijan production selected for IDFA.

Don Juan

WORLD premiere

“The best stories usually result from coincidences, accidental meetings and good luck”, says director Jerzy Sladkowski of his feature-length contender Don Juan, a kind of coming-of-age story about 22-year-old Oleg, who undergoes many kinds of therapy in an attempt to ‘make a man of him.’

“The first shooting period was a deep unprepared dive into the world of Russian psychiatric care, with no great expectations,” Sladkowski says. “Russian producer Elena Petlarskaya and I happened to hear Oleg and his mother quarreling in a psychiatric clinic in Nizhny Novgorod about Oleg’s inability to fix up a date with a girl. We introduced ourselves and I shared some memories of my own romantic misfortunes – it was the beginning of a long-lasting friendship.” Oleg is on screen throughout most of the film, so his relationship to the camera was clearly a crucial factor. “The presence of the camera does affect people’s behavior in one way or another,” Sladowski says. “The one character who permanently tried to use the presence of the camera to his advantage was Oleg himself. We learned to ‘read’ Oleg after a couple of days. He always gave us the best material when he fell deeply into the

essence of what was going on with him or around him, so the real shooting began when I let other people start doing things they were meant or expected to do, such as therapy, personal training, conversation, quarrels, flirting, you name it… This was possible thanks to the deep research done before shooting, which gave us knowledge about people’s routines, plans, actions, wishes, expectations and characters.” “By the end of shooting, Oleg was … very precious as a friend, more mature as a human being, and who knows, maybe a better documentary film creator than myself,” the director modestly infers. “What happened? It’s very simple: we learned to ‘read’ him, but Oleg also learned to ‘read’ us. I seriously suspect he wasn’t fooling around as much as we thought – he was testing us as potential friends. I asked him about this. His response? He started to fool around, laughing.” “After all these years, I feel I know less and less about how we affect people through our filmmaking,” Sladowski confesses. “More and more often, I see myself as an entertainer rather than a teacher, taking viewers on a ride through the land of emotions and feelings I am eager to share with them.” Rather than as a ‘feel good’ documentary, Sladowski sees Don Juan as “a ‘feel better’ documentary,” he says. “Hopefully my next film will reach the ‘feel good’ level – or maybe even ‘happy end.’” Mark Baker IDFA Competition for Feature-Length Documentary

Ukrainian Sheriffs They’re not exactly Starchy and Hutch. Victor is a former policeman. Volodya keeps pigs. Together, they enforce the rule of law in the remote Ukrainian village of Stara Zburyivka, which has no official police force. “The parents of my wife have a summerhouse not far from the village. We spent some time there,” director Roman Bondarchuk explains how he came across the unlikely law enforcement duo who feature in his documentary. He had already made a short film about the village mayor and his fight against the oligarchs who were “stealing” the “best lands near the sea shore to build their houses.” In recent years, there have been many documentaries about the political turmoil in Ukraine and the country’s war with Russia. Bondarchuk offers a very different perspective on Ukrainian politics and society. “When we started first shooting, almost four years ago, it was a period of stagnation,” Bondarchuk recalls. “The country was corrupt and it was absolutely clear we [as Ukraine] were not moving anywhere.” Ukraine, he suggests, seemed stuck between its Soviet past and a grim new present, dominated by the oligarchs. Bondarchuk felt it would be “absolutely

WORLD premiere

boring” to make yet another film about then President Viktor Yanukovych and the “corrupted state.” “But later on, when the ‘Maidan’ [Ukrainian revolution] started and when the war started, we realised we couldn’t make a film without political context.” The “sheriffs” initially found it “very annoying” to have filmmakers with cumbersome equipment following them around as they went about their daily tasks. Gradually, though, they began to welcome Bondarchuk’s presence. “We are like friends now,” the director states. Ukrainian Sheriffs (sold by Taskovski and supported by IDFA’s Bertha Fund) is intended to have a comic aspect – but for the humour to remain relatively understated. “It’s a very tricky thing,” the director reflects on the tone he set out to achieve. He wanted audiences to laugh with the sheriffs, not at them. There may be elements of the bizarre in what the officers encounter, but there are very dark aspects to their work too. “We call this movie a tragic documentary comedy,” Bondarchuk cheerfully explains. “This reality is very comical, but from another perspective it is very dramatic… it’s the only way to survive. You look on things with humour. They [the sheriffs] can make jokes out of terrible things. We [filmmakers] from the capital are from another reality. Can we do the same? I am not sure… Westerners accept this film as comedy more than me. I am bleeding when I am there and when I am trying to think about their future and the conditions they live in.” Geoffrey Macnab IDFA Competition for Feature-Length Documentary IDFA Bertha Fund

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

“For me, it was important to show the simple, real life of these people,” he continues. “Most movies shot in our country, even documentaries, show a good, happy life, as if we didn’t have any problems ... But this is not reality.” In spite of the various problems the villagers have to contend with, the bucolic splendor of the film’s setting and the good-natured interchanges between the characters, even in dispute, give Holy Cow an optimistic feel. Tapdiq in particular, despite his headstrong refusal to compromise on his dream, comes across as a highly sympathetic character, whose persistence – although infuriating for his family – does bear fruit. “It’s also about never giving up,” Hasanov says. “Ever. And, of course, it is about freedom of choice. It’s all there in the film, because my main protagonist has it inside of him. I think he is a very charismatic person. Everyone loves him.” Winning the trust of the locals was a more difficult and lengthy process – particularly that of the rather insular older men of the village, who act as kind of chorus throughout the film, standing about on street corners or sitting in a café giving their – initially hostile – opinions on Tapdiq’s bovine aspirations. “I think documentary filmmakers should always be cautious but brave; we always have to be able to find a common language with our protagonists – and even with the antagonists,” says Hasanov of building a rapport with the local community, in both the pro and contra-cow camps. “The film is not really about the cow,” the director stresses, however. Deeper undercurrents run beneath the seemingly placid surface: “It is a metaphor: for yesterday and tomorrow; for the past and the future; for the clash of East and West – these two great cultures and their trains of thought, the non-perception of Islam by Christianity, and vice versa.” Stylistically Hasanov’s debut hints, with its reflective stillness, at his influences: “I love Russian documentary,” the director says. “For example, I love the films of Sergei Dvortsevoy, Victor Kossakovsky. In these films, you see life going on as usual. But it is very natural, very real.” Mark Baker IDFA Competition for First Appearance

Natural Disorder

INTERNATIONAL premiere

In Natural Disorder, cerebral palsy sufferer Jacob Nossell sets out his stall good and early. Twenty-seven years of resistance from the world and its residents have made him wonder if his life is really worth living. People have, he says “an instinctive impulse to run away from me, or to kill me.” So, together with filmmaker Christian Sønderby Jepsen, Nossell embarks on an existential journey to evaluate his true worth, and to determine how he can discard his subprime status.

Nossell was also the star of the satirical Danish documentary The Red Chapel (2009) made by maverick filmmaker Mads Brügger, and from the outset it should be stated that, in Natural Disorder, Nossell’s unique talent is underlined. “You’re the superstar of the disabled world,” the poet/novelist/comedian is told by one character. The road he takes in the film is equally unique, seeking confirmation and consolation in equal measure from philosophers, psychologists, neurosurgeons, evolutionists and pro-lifers alike, and with a rich animated sequence which presents a time 200 years in the future when everybody is happy and perfectly proportioned but where malformed babies are discarded on arrival. The whole thing culminates in a hi-tech theatrical extravaganza at the Royal Danish Theatre that unites all the disparate strands of Nossell’s life, as well as a wealth of professional third-party analysis. “I knew it was going to be a film with a lot of layers because I didn’t want to make the ordinary disabled movie,” comments director Sønderby Jepsen. “Our sales pitch was an ‘existentialist sci-fi doc’. Jacob said people cannot listen to me for an hour and a half, so we need to have a lot of people commenting on me and my situation.” But a number of hurdles had to be overcome in the film’s realization. Nossell suffers severe concussion after stepping out in front of a bus, and he suffers an acute lack of confidence ahead of the final performance, requesting that Sønderby Jepsen’s all-encompassing doc reportage is put on hold. “I thought originally it would be more of a comic film on the big universal themes, but it became a more arthouse philosophical film than [one] for the broad audience.” Sønderby Jepsen is reflective on the toll the whole process took on Nossell. “I think he learned his own limitations, but also that he has to work ten times harder [to achieve the same recognition] than other persons. But of course, other people aren’t going to reach the same goals he does. If he wasn’t a disabled person, maybe he wouldn’t be so strong. Jacob without a handicap would not be Jacob.” Nick Cunningham IDFA Competition for Feature-Length Documentary

RETURN OF THE ATOM

by Mika Taanila & Jussi Eerola

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

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

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

Next Stop: Utopia

a idf s film

WORLD premiere

The title is Next Stop: Utopia, but there is nothing heavenly about the abandoned Greek factory we see at the start of the new feature doc from Apostolos Karakasis. The workers there have been laid off. They decide to re-open the factory as a ‘self-managed’ business.

WORLD premiere

A Strange Love Affair with Ego It is hard to define Ester Gould’s debut feature documentary A Strange Love Affair with Ego, which explores the human love affair with ego.

Inspired by the director’s fascination with her older sister Rowan’s big ego, it explores the tragic spiral of events that were set in motion when it spun out of control and into the realms of delusion. The intricate hybrid work interweaves a series of portraits of real-life women – with varying degrees of big egos – with stories from Rowan’s life at its various stages: from confident schoolgirl in Scotland, to provocative art student in London, to bohemian wannabe in Los Angeles. Rowan does not appear in a single frame of the film, but her presence, her psyche and her highs and lows permeate the work. “I call it an ego fairy tale which goes bad,” says Gould. “It’s a struggle to pin down because it’s an odd construction. You end up asking, is it a documentary? Or is it a fiction film?” When Gould first started developing the film, she intended to explore the topic of ego in broader terms and not necessarily allude to her sister, although she was the inspiration for the work. “At the beginning, Rowan’s story was the motivation for the film but I didn’t plan bringing in her story. I wanted to make a film about narcissism.

It was supposed to be much lighter, slightly tongue-incheek, even funny,” says the director. Over the five-year development period, Gould slowly moved away from her original plan to make a work with lots of talking-head interviews with experts on the subject of narcissism to something far more personal. “It became clearer and clearer to me that the personal story was not just the motivation but also the backbone of the story,” she says. The film is produced by Joost Seelen of Zuidenwind Filmproductions, who is also at IDFA with Kids & Docs’ selection Ninnoc by Niki Padidar and Catherine van Campen’s Garage 2.0, about a car dealership struggling to stay afloat, which is in the Dutch competition. Gould was last at IDFA in 2010 with Shout, about two youngsters of Syrian origin living in the Israel-controlled Golan Heights, which she co-directed with Sabine Labbe Bakker. She is finishing Strike a Pose, a former IDFA Forum project about the seven young male dancers who joined Madonna on her controversial Truth or Dare tour in 1990, which has been tipped for a Berlin Film Festival premiere. Reijer Zwaan co-directs. Melanie Goodfellow IDFA Competition for Feature-Length Documentary

Dancing for You Dancing for You is one of three Scandinavian dance films screening in IDFA’s Kids & Doc competition. Erlend E. Mo’s 30-minute short, which world premieres 21 November, follows 11-year-old Norwegian Vilde as she attempts to become the first female Halling champion. Halling was once a male fertility dance, and its latter-day folk expression still retains high levels of physicality and posturing.

“I wanted for the first time in my professional career to make a film close to my own home, because I have been making so many films in Denmark, but I actually live in a mountain farm in Norway,” comments director Mo. He heard from friends about Vilde, a local girl who was both charming and talented. When the

“I had been looking for a story that reflected the Greek crisis. Almost by accident, I discovered that this factory take-over was going to take place in my town, near my house,” director Apostolos Karakasis explains. He adds that he didn’t want to tell “another sad story” about victims of the crisis, but rather to show people struggling and fighting back. Along with the workers, the factory owner is also interviewed. “Good luck to them,” she says of the factory workers’ plans to revitalise the factory, but makes it clear she considers their actions to be illegal. “In another country, they’d be in jail.” Karakasis tries to be balanced in his depiction of everyone. “I wanted to understand them, but that doesn’t mean you accept their point of view all the time. The owner is part of the bourgeois class. She represents people who have to change as well in these times and develop a new identity to make sense of what has happened in their lives.” The workers face all sorts of challenges. They are producing construction materials at a time when, thanks to the financial crisis, few in Greece can afford to build anything. They have to decide who gives the orders and how the factory should be run. Then opposition leader Alexis Tsipras (soon to become Prime Minister) visits the factory. He sees the workers as an inspiration to other Greeks in a similar predicament. The government begins to talk about keeping the factory open. It is not a question of capitalism or socialism, but pragmatism – finding a solution that saves the workers’ jobs. Next Stop: Utopia is an observational documentary addressing pressing questions of the vexed relations between workers and bosses when the Greek economy is shuddering to a near halt. “I really felt I wanted to have a go at a strong story,” Karakasis reflects. He and his assistant would head to the factory at 7am each day. “At the beginning, we were just recording without even trying to think about structure.” They ended up filming for close to 200 days. Karakasis used new music composed by Stavros Gasparatos to “intensify” the experience of watching the film. The factory workers have seen the film in advance of its world premiere at IDFA. “They felt it was not a propaganda film or a film flattering anyone, but at the same time they could see themselves in it – they felt they had been treated in a fair and respectful way.” Geoffrey Macnab IDFA Competition for Feature-Length Documentary

WORLD premiere

director contacted her parents, it transpired that he had gone to school with her father. “That was a very good coincidence,” Mo underlines. The film is more than a study in dedication to a dancing cause. Vilde’s beloved grandfather, himself a former Norwegian athletics champion and with whom she is very close, is dying of cancer, so her desire to perform well takes on extra urgency as he weakens steadily during the film. “At the first interview with Vilde I asked her what was the most important thing in her life,” explains Mo. “And she said at once it was her grandfather, because he was not very well. She didn’t say it’s the national competition. I really wanted to make this film with that relationship at its heart, because that is far more important. The dance was a secondary thing.” Nevertheless, the dance sequences are thrilling, not least during a bravura sequence when we follow her dancing alongside fjords and waterfalls, through forests and along riverbeds. “That part was shot later because I had the idea that it was just not good enough just to have all these dance competitions located inside, because this was very boring visually. This kind of dance demands nature because it has the rhythm of nature.” Mo therefore spent weeks finding the best locations and enlisted leading photographer Erland Eirik Mo to shoot the sequence. “I wanted a strong visual kick at that part of the film. I knew this sequence would be a kind of climax.” Nick Cunningham IDFA Competition for Kids & Docs

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

Festival Venues

8 3

Take Buiksloterweg ferry

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

Pathé de Munt – Vijzelstraat 15

Pathé Tuschinski – Reguliersbreestraat 26 EYE – Ijpromenade 1

De Brakke Grond – Nes 45

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

Stedelijk Museum – Museumplein 10 Het Ketelhuis – Pazzanistraat 4

De Balie – Kleine-Gartmanplantsoen 10

Podium Mozaïek – Bos en Lommerweg 191

Bijlmer Parktheater – Anton de Komplein 240 Tolhuistuin – IJpromenade 2

DeLaMar Theater – Marnixstraat 402

Industry Venues

Café de Jaren – Nieuwe Doelenstraat 20-22

Festival Cafe & Restaurant/Guests Meet Guests

24 16

Hotel NH Carlton – Vijzelstraat 4, 1st Floor

Compagnietheater – Kloveniersburgwal 50

Industry Office/Guest Services/Guest Box Office

IDFA Forum/IDFAcademy 17

Docs for Sale 18

6 1

Calf & Bloom – Singel 461

IDFA Forum Kick-Off Drinks

25 15

Arti et Amicitiae – Rokin 112

Brasserie Harkema – Nes 67 IDFA Forum Lunches

S luizer – Utrechtsestraat 45 Filmmakers Dinners

21 20

NFA – Markenplein 1

IDFA Film Academy Day

Melkweg – Lijnbaansgracht 234a Awards Ceremony

IDFA Office – Frederiksplein 52

Hotels 24 25

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

11 7

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

International Documentary Film Festival Amsterdam

Program TUSCHINSKI TUSCHINSKI 1 1

Saturday 21 November

TUSCHINSKI TUSCHINSKI 2 2

TUSCHINSKI TUSCHINSKI 3 3

TUSCHINSKI TUSCHINSKI 4 4

TUSCHINSKI TUSCHINSKI 5 5

TUSCHINSKI TUSCHINSKI 66

DE MUNT DE MUNT 4

DE MUNT DE MUNT 5

DE MUNT DE MUNT 9

DE MUNT DE MUNT 10 10

DE MUNT DE MUNT 11

DE MUNT DE MUNT 12 12

DE MUNT DE MUNT 13 13

9:00 9:00

10:00 10:00 Industry Industry Screening Screening

10:00 10:00

Touching - Touching the the SkySky 10:00 10:00K2 -K2

10:00 10:00

Look Look LoveLove

ElizaEliza Kubarska Kubarska

First Appearance First Appearance Competition Competition , 146’ , 146’

TheThe Sniper Sniper of Kobani of Kobani & & At Home At Home in the in the World World withwith Extended Extended Q&A Q&A

11:00 11:00

Best ofBest Fests of, 106’ Fests, 106’

Patient Patient

10:45 10:45

Flotel Flotel Europa Europa

JorgeJorge Caballero Caballero

11:00 11:00

Vladimir Vladimir Tomic Tomic

Followed Followed by anbyin-depth an in-depth conversation conversation between between ChrisChris Keulemans Keulemans and director and director Andreas Andreas Koefoed. Koefoed.

Du Haibin Du Haibin

10:30 10:30

Carolina’s Carolina’s World World

Best ofBest Fests of, 71’ Fests, 71’

Racing Racing Extinction Extinction 10:30 10:30

Crocodile Crocodile Gennadiy Gennadiy

LouieLouie Psihoyos Psihoyos

10:30 10:30 Industry Industry Screening Screening

Best ofBest Fests of, 90’ Fests, 90’

Best ofBest Fests of, 96’ Fests, 96’

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

Feature-Length Feature-Length Competition Competition , 70’ , 70’

Best ofBest Fests, of Benjamin Fests, Benjamin , 98’ , 98’ BarberBarber Program Program

11:45 11:45 Industry Industry Screening Screening

13:00 13:00

12:30 12:30

Robert Robert DrewDrew

Michael Michael Beach Beach Nichols, Nichols, Christopher Christopher K. Walker K. Walker

Austerlitz Austerlitz

13:15 13:15

StanStan Neumann Neumann

No Home No Home Movie Movie

Panorama Panorama , 90’ , 90’

Chantal Chantal Akerman Akerman Masters Masters , 115’ , 115’

Children’s Children’s documentaries: documentaries: Full Full of Dreams, of Dreams, Skatekeet, Skatekeet, Opposites Opposites and Ninnoc, and Ninnoc, 150’ 150’

Welcome Welcome to Leith to Leith

DutchDutch Docs 65-90 Docs 65-90 and Their andShadows Their Shadows , 58’ , 58’

Best ofBest Fests, of Benjamin Fests, Benjamin , 86’ , 86’ BarberBarber Program Program

In Defense In Defense of the of the Rocket Rocket Passing Passing By By Martin Martin Ginestie Ginestie

TrinoTrino Flothuis, Flothuis, Jan de JanBont de Bont

Paradocs Paradocs , 5’ , 5’

Atomic: Atomic: Living Living in in Dread Dread andand Promise Promise

Student Student Competition Competition , 20’ , 20’

15:00 15:00

Class Class Struggle: Struggle: FilmFilm from from the the Clyde Clyde

15:30 15:30

Beata Beata Bubenets Bubenets

First Appearance First Appearance Competition Competition , 76’ , 76’

Paradocs Paradocs Shorts Shorts 2 2

15:45 15:45

DéjàDéjà vu vu

Jon Bang Jon Bang Carlsen Carlsen Masters Masters , 85’ , 85’

Don’t Don’t Blink: Blink: RobertRobert Frank,Frank 5’ , 5’

Don’t Don’t Blink: Blink: RobertRobert Frank,Frank 82’ , 82’ Followed Followed by anbyin-depth an in-depth conversation conversation between between Dutch Dutch magazine magazine Vrij Nederland Vrij Nederland editor editor 18:00 18:00HarmHarm Ede Botje Ede Botje and director and director Nick Nick Read.Read.

Compilation Compilation of beyond of beyond the the frame frame docs:docs: Isabella Isabella Morra, Morra, BloodBlood Brothers, Brothers, Lamentation, Lamentation, The Meadow, The Meadow, Log Head, Log Head, 105’ 105’

Masters Masters , 71’ , 71’

DutchDutch Competition Competition , 70’ , 70’

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

On Behalf On Behalf of...of... TheThe Union Union andand Its Members Its Members

Marijn Marijn FrankFrank

16:30 16:30

Panorama Panorama , 89’ , 89’

Jonas Jonas andand the the Backyard Backyard Circus Circus

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

18:00 18:00

In Transit In Transit

Albert Albert Maysles, Maysles, LynnLynn True,True, Nelson Nelson Walker, Walker, Ben Wu, Ben David Wu, David UsuiUsui Masters Masters , 76’ , 76’

KidsKids & Docs & Docs Competition Competition 1 1

TheThe Many Many SadSad Fates Fates of Mr. of Mr. Toledano Toledano Joshua Joshua Seftel Seftel

Time Time Suspended Suspended

Patience, Patience, Patience Patience You’ll You’ll Go To GoParadise! To Paradise!

Best ofBest Fests of, 64’ Fests, 64’

Panorama Panorama , 85’ , 85’

Best ofBest Fests of, 27’ Fests, 27’

Natalia Natalia Bruschtein Bruschtein

Hadja Hadja Lahbib Lahbib

Suzanne Suzanne RaesRaes

DutchDutch Competition, Competition, MusicMusic , 89’ , 89’ Documentary Documentary

extended extended Q&A.Q&A. Moderator Moderator Student Student Competition Competition , 25’ , 25’ PieterPieter van der vanWielen der Wielen (VPRO (VPRO Double Double Aliens Aliens NooitNooit MeerMeer Slapen). Slapen). UgisUgis Olte Olte

TheThe Russian Russian Woodpecker Woodpecker

21:15 21:15

LiveLive from from NewNew York! York!

Mid-Length Mid-Length Competition Competition , 64’ , 64’

TheThe Mute’s Mute’s House House Tamar Tamar Kay Kay

Aracati Aracati

AlineAline Portugal, Portugal, JuliaJulia De Simone De Simone

Feature-Length Feature-Length Competition Competition , 91’ , 91’

PeterPeter Hutchison, Hutchison, KellyKelly Nyks,Nyks, JaredJared P. Scott P. Scott

19:00 19:00

Best ofBest Fests of, 75’ Fests, 75’

Mr. Mr. Gaga Gaga

Mid-Length Mid-Length Competition Competition , 62’ , 62’

18:45 18:45

Wastecooking Wastecooking - Make - Make Food, Food, NotNot Waste Waste

19:00 19:00

Georg Georg Misch Misch

Tomer Tomer Heymann Heymann

Panorama Panorama , 80’ , 80’

19:45 19:45

Alexandra Alexandra Kulak, Kulak,

20:45 20:45

When When the the Earth Earth Seems Seems to Be toLight Be Light

20:45 20:45

On Football On Football

A Walnut A Walnut TreeTree

20:00 20:00YuliaYulia Kurmangalina, Kurmangalina,

Sergio Sergio Oksman Oksman

Ammar Ammar Aziz Aziz

Paradocs Paradocs , 68’ , 68’

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

AnnaAnna Kornienko Kornienko

20:30 20:30 20:45 20:45

Salome Salome Machaidze, Machaidze, Tamuna Tamuna Karumidze, Karumidze, David David Meskhi Meskhi

Natural Natural Disorder Disorder

A Strange A Strange LoveLove Affair Affair withwith EgoEgo

Student Student Competition Competition , 20’ , 20’

20:45 20:45

Irrawaddy Irrawaddy MonMon Amour Amou

TheThe Confessions Confessions of of EsterEster Gould Gould Christian Christian Sønderby Sønderby Jepsen Jepsen Thomas Thomas Quick Quick Feature-Length Feature-Length & Dutch & Dutch Competition Competition , 90’ , 90’

First Appearance First Appearance Competition, Competition, , 75’ , 75’ IDFA DOC IDFAUDOC Competition U Competition

Feature-Length Feature-Length Competition Competition , 97’ , 97’

21:30 21:30

Valeria Valeria Testagrossa, Testagrossa, Nicola Nicola Grignani, Grignani, Andrea Andrea Zambelli Zambelli

21:00 21:00Mid-Length Mid-Length Competition Competition , 58’ , 58’

BrianBrian Hill Hill Masters Masters , 94’ , 94’

Roundabout Roundabout in My in My Head Head

Best ofBest Fests of, 82’ Fests, 82’

Hassen Hassen Ferhani Ferhani

22:15 22:15

ElisaElisa Paloschi Paloschi

Krzysztof Krzysztof Kopczynski Kopczynski

Best ofBest Fests, of IDFA Fests,DOC IDFAUDOC U , 54’ , 54’ Competition Competition

Fests of, 89’ Fests, 89’ 23:00 23:00Best ofBest

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

Student Student Competition, Competition, IDFA IDFA , 31’ , 31’ DOC UDOC Competition U Competition

Driving Driving withwith SelviSelvi

Elizabeth Elizabeth ChaiChai Vasarhelyi, Vasarhelyi, Jimmy Jimmy ChinChin

Panorama Panorama , 20’ , 20’

Next Next Stop: Stop: Utopia Utopia Apostolos Apostolos Karakasis Karakasis

Requiem Requiem for the for the American American Dream Dream

ChadChad Gracia Gracia

21:45 21:45

Meru Meru

Eldora Eldora Traykova Traykova

17:30 17:30 Industry Industry Screening Screening

18:00 18:00

18:15 18:15

20:15 20:15

Victor Victor Alexis Alexis Guerrero Guerrero

22:30 22:30

Cambridge Cambridge

17:00 17:00

OK Good OK Good

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22:00 22:00

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18:30 18:30

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20:00 20:00

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George George Gittoes Gittoes

Panorama Panorama , 100’ , 100’

Masters Masters , 106’ , 106’

Bao Nguyen Bao Nguyen

17:15 17:15

BirdBird SkinSkin

18:15 18:15

16:00 16:00 Industry Industry Screening Screening

Clear Years Years 16:00 16:00Clear

Feature-Length Feature-Length Competition Competition , 75’ , 75’

Feature-Length Feature-Length Competition Competition , 150’ , 150’

18:00 18:00

Mid-Length Mid-Length Competition Competition , 58’ , 58’

17:00 17:00 Industry Industry Screening Screening

Snow Snow Monkey Monkey 17:45 17:45

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Valeria Valeria Testagrossa, Testagrossa, Nicola Nicola Grignani, Grignani, Andrea Andrea Zambelli Zambelli

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18:45 18:45

20:00 20:00

Irrawaddy Irrawaddy MonMon Amour Amour 16:00 16:00

Need Need for Meat for Meat

17:15 17:15 Industry Industry Screening Screening

Sophia Sophia Luvara Luvara

15:30 15:30 Industry Industry Screening Screening

Antonio Antonio Tibaldi, Tibaldi, AlexAlex Lora Lora

DutchDutch Docs 65-90 Docs 65-90 and Their andShadows Their Shadows , 83’ , 83’

DutchDutch Docs 65-90 Docs 65-90 and Their andShadows Their Shadows , 42’ , 42’

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15:00 15:00

ThyThy Father’s Father’s Chair Chair

Pieter Pieter Verhoeff Verhoeff

14:15 Industry Industry Screening Screening 14:00 14:0014:15

Mid-Length Mid-Length Competition Competition , 40’ , 40’

15:15 15:15

Cinema Cinema Action Action

19:15 Children’s Children’s documentaries: documentaries: 19:15 Under the the SunSun Ruth,Ruth, Varicella Varicella and Dancing and Dancing for forUnder Vitaly Vitaly Mansky Mansky You, 120’ You, 120’

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Every Every FaceFace HasHas a Name a Name

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Magnus Magnus Gertten Gertten

23:30 23:30

Grozny Blues Blues 22:00 22:00Grozny

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22:30 22:30

Panorama, Panorama, Benjamin Benjamin BarberBarber Program Program , 85’ , 85’ 23:00 23:00

22:00 22:00

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22:15 22:15

TheThe Dybbuk: Dybbuk: A Tale A Tale of Wandering of Wandering Souls Souls

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My My Enemy, Enemy, My My Brother Brother

23:00 23:00

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23:15 23:15

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23:00 23:00

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Erik Gandini Erik Gandini

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22:45 22:45

Student Student Competition Competition , 77’ , 77’

Stefan Stefan Schwietert Schwietert

Ann Ann ShinShin

24:00 24:00

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Every Every 28 Days 28 Days

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Jørgen Jørgen Leth,Leth, OlatzOlatz González González Abrisketa Abrisketa

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19:00 19:00

13:30 13:30

AidaAida

14:30 14:30

Chechen Chechen

Feature-Length Feature-Length Competition Competition , 92’ , 92’

13:00 13:00 Maysoon Maysoon El-Massry El-Massry

Flamingo Flamingo

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16:30 16:30

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JerzyJerzy Sladkowski Sladkowski

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ThisThis Changes Changes Everything Everything

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13:00 13:00

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14:45 14:45

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ManiMani Y. Benchelah Y. Benchelah

12:30 12:30

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14:00 14:00

11:00 11:00

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12:00 12:00

13:30 13:30

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Cartel Land Land 12:00 12:00Cartel

13:00 13:00

Ukrainian Sheriffs Sheriffs 10:00 10:00Ukrainian

Double Double Aliens Aliens

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10:00 10:00 Industry Industry Screening Screening

10:00 10:00

A Young A Young Patriot Patriot

Yun Ye Yun Ye

10:30 10:30

Best ofBest Fests of, 72’ Fests, 72’

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24:00 24:00

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16:00

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Mor Loushy

15:00

Best of Fests, 84’

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Beata Bubenets

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Déjà vu

Jon Bang Carlsen

Robert Frank

Pietra Brettkelly Pietra Brettkelly

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Masters, 85’

16:30

Trino Flothuis, Jan de Bont

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Atomic: Living in Dread and Promise 14:00

13:00

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14:00

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Don’t Blink: Robert Frank, 5’ Best of Fests, 91’

17:15 Don’t Blink:

Best of Fests, 92’

Best of Fests, 91’

Jonas and the Backyard Circus

17:45

Paula Gomes

First Appearance Competition, 80’

18:00

19:00

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17:00 17:15 17:15 B-Movie: Lust & B-Movie: Sound in Lust & Sound in West-Berlin 1979 West-Berlin - 1989 1979 - 1989 + Live: Mark Reeder + Live: Mark Reeder

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18:15

Kids & Docs Competition 1

In Defense of the Rocket Passing By

Music Documentary, 82’ Music Documentary, 82’

Man Falling with Man Falling with

Joshua Seftel

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Best of Fests, 64’

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20:00

21:00

21:45

22:00

Nicola Bellucci Nicola Bellucci Best of Fests, 104’22:30 Best of Fests, 104’

Meru

23:00

Best of21:45 Fests, 90’

Ingrid Bergman: Ingrid Bergman: 22:00 Her Own Words In Her Own Words Grozny Blues Grozny BluesIn 22:00 22:00 Stig Björkman Stig Björkman 22:00

Masters, 114’

22:45

Elizabeth Chai Vasarhelyi, Jimmy Chin

23:00 23:00Best of Fests, 89’

23:30

Ann Shin

Best of Fests, 17’

Atlan

Moein Karimoddini

The Mute’s House Tamar Kay

Best of Fests, 82’

Student Competition, IDFA DOC U Competition, 31’

22:15

Elisa 22:45 Paloschi

Krzysztof Kopczynski

Driving with Selvi

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The Dybbuk: A Tale of Wandering Souls

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My Enemy, My Brother

24:00 24:00 24:00

21:45

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Magnus Gertten Best of Fests, 76’

Ido Haar

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INDUSTRYINDUSTRY OFFICE & OFFICE ARTI & ARTI

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10:00 10:30

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10:30

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Marc Silver

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12:00

13:00 13:30

13:30

10:00

Racing Extinction

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10:00

15:00

with various professionals with various for professionals for11:00

11:45 Industry Screening Industry Session: Industry IDFA Session: IDFA Docs for Sale passholders Docs for Sale onlypassholders only Bertha Fund Europe Bertha Fund This Europe Is Exile: Diaries Find out how to apply Find out for this how to apply for this of Child Refugees new funding scheme. new funding scheme. Mani Y. Benchelah

Mid-Length Competition, For all passholders For all passholders

12:45

12:00

Benjamin Barber Program, IDFA DOC U Competition, 56’

Antonio Tibaldi, Alex Lora

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Snow Monkey George Gittoes

Feature-Length Competition, 150’

18:00

Bird Skin

OTHER VENUE OTHER VENUE

18:30

Feature-Length Competition, 92’

13:00

Aracati

Eldora Traykova

Mid-Length Competition, 64’

Aline Portugal, Julia KETELHUIS 19:00 19:00 De Simone

KETELHUIS 19:00

Sketches of Siberia Sketches of Siberia Mr. Gaga Mid-Length Competition , 62’ 19:15 Ben van LieshoutBen van Lieshout Tomer Heymann For Kibera! with For Kibera! with Paradocs, 73’ Paradocs, 73’ Panorama, 100’ Extended Q&A Extended Q&A 19:00 19:15

After the screening After Chris theKijne screening Chris Kijne talks to Benjamintalks Barber, to Benjamin Barber, director Kati Juurus director and Boy Kati Juurus and Boy 20:00 20:15 Dallas, main subject Dallas, of the main film. subject of the film.

For Kibera!

Kati Juurus 20:45

For Kibera! When the Earth Seems to Be Light Kati Juurus

Salome Machaidze, Tamuna Mid-Length Competition, Mid-Length Competition,

Karumidze, David Meskhi ABenjamin Walnut Tree , 56’ Barber Program , 56’ Barber Program Benjamin First Appearance Competition, Ammar Aziz IDFA DOC U Competition, 75’ 21:00 First Appearance Competition, 81’

21:30

Mid-Length Competition, 58’

16:00

DAILY SERVICES DAILY SERVICES My Cancer

24:00

1:00

Panorama, 62’

1:001:00

International Documentary Film Festival Amsterdam

Frédéric Guillaume

17:30 Industry Screening

Next Stop: Utopia

IDFA Writing Room IDFA Writing Room

Apostolos Karakasis

Workspace for all Workspace accredited guests. for all accredited Wifi connection guests.and Wifi connection and computers available. computers available.

18:00

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

SOCIAL EVENTS SOCIAL EVENTS

20:30De Jaren CaféDe – 09:00 Jaren Café – 09:00

20:00

A Strange 20:45 IDFA Love Filmmakers IDFABreakfast Filmmakers Breakfast The DocLab: Seamless The DocLab: Reality 20:45 exhibition Seamless Reality showcases exhibition thirty showcases thirty Affair with Ego by meeting your day byfilmmakers meeting fellow Natural Disorder Thefellow Confessions of filmmakers installations and interactive installations projects, and interactive including projects, experi- including experi-Kick-start your dayKick-start Ester Gould and IDFA staff over and coffee IDFAand staff croissants. over coffee Hosted and croissants. by ARRI. Hosted by ARRI. Sønderby Jepsen Thomas Quick ments with artificial ments intelligence with Christian artificial and smell intelligence as a narrative and smell as aFeature-Length narrative & Dutch Competition, 90’ 21:00 Feature-Length Competition, 97’ Brian Hill means. The selection means. includes The selection a strikingincludes numberaofstriking virtualnumber of virtual By invitation By invitation Masters, 94’

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Docs for Sale &Docs IDFAfor Forum Sale & passholders IDFA Forum passholders 22:45 23:15

The Swedish Theory of Love Erik Gandini Masters, 80’

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24:00

Admission freeAdmission free

1:00

Clear Years

17:00

Meral Uslu

Dutch Competition, 55’

DOCLAB EXPO: DOCLAB SEAMLESS EXPO: SEAMLESS REALITY REALITY

Anne-Marieke Graafmans Anne-Marieke Graafmans New York Cuts Panorama , 49’ Panorama, 49’ Luke Lorentzen

Music Documentary, 86’

24:00

16:00 Industry Screening

Feature-Length Competition, 91’

19:45

Admission FreeAdmission Free 22:15 According to Protocol According to Protocol

Stefan Schwietert

Dutch Competition, 70’

Feature-Length Competition, 75’

17:00 Industry Screening

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Imagine Waking Up 23:00 Tomorrow and All Music Has Disappeared

Sophia Luvara

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Student Competition, 77’

23:00

Inside the Chinese Closet

15:30 Industry Screening

Valeria Testagrossa, Nicola Grignani, Andrea Zambelli

Ukrainian Sheriffs Ukrainian Sheriffs Calling Ukraine Calling Ukraine Roundabout in installations My HeadSome realities. Some realities. have installations varying opening havehours varying opening hours Arti et Amicitiae Arti et – 17:00 Amicitiae – 17:00 With an introduction Withbyan introduction Jeanby Counet Jean Counet Hassen Ferhani On site (11:00–21:00). (11:00–21:00). reservationOn may sitebereservation required. may be required. Docs for Sale Happy Docs for Hour Sale Happy Hour Panorama, 12’ First Appearance Competition, 100’ Benjamin Barber. Benjamin Barber.Panorama, 12’

22:00

14:15 Industry Screening

Irrawaddy Mon Amour

Requiem for the E-floor NH Carlton NH Carlton 10:00 – 17:00 E-floor 10:00 – 17:00 American Dream First Aid Kelly Doc Clinic First Aid18:45 Doc Clinic Peter Hutchison, Documentary Documentary JannieWastecooking Langbroek experts Jannie and Marijke Langbroek Nyks, Jared P. Scott experts - Make and Marijke Best of Fests , 75’ answer your Rawie Rawie questions answer about yourNot all questions aspects of about the all aspects of the Food, Waste

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Cambridge

Don Juan

15:00

18:15

Clara Peltier

12:15 Industry Screening Jerzy Sladkowski

15:15

Thy Father’s 15:30 Comp. Grote 15:30 Zaal &Comp. Foyer Grote 15:30 Zaal &Compagnie Foyer Chair 15:30 - Zuilenzaal Compagnie - Zuilenzaal

16:00

Roman Bondarchuk

Mid-Length Competition, 56’ For all passholders For all passholders Register for short Register meetingsfor short meetings

Michael Beach Nichols, Thank You for Playing 13:00 Compagnie 13:00 - GroteCompagnie Zaal 13:00 13:00 - Grote Compagnie Zaal 13:00 - Zuilenzaal Compagnie - Zuilenzaal 13:00 NH Carlton 13:00 E-floorNH Carlton E-floor Christopher K. Walker David Osit, Malika Best of Fests, Benjamin Road IDFAcademy IDFAcademy The Small IDFAcademy Small IDFAcademy Zouhali-Worrall Small One-on-One One-on-One Barber Program, 86’ Small Zhang Best of Fests, 80’ Session: PitchSession: & PitchZanbo Session: & VR: Beyond Session: VR: Beyond consultancies: consultancies: 13:30 13:30 NH Carlton 13:30 E-floorNH Carlton E-floor Feature-Length Competition, 95’

Masters, 71’

Ukrainian Sheriffs

advice on generaladvice matters onand general matters and 11:30 NH Carlton 11:30 E-floorNH Carlton E-floor specific questions.specific questions.

Jørgen Leth, Olatz González Abrisketa

Barber Program, 87’

10:00 Industry Screening Feature-Length Competition, Benjamin Barber Program, 80’

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9:00

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9:00

Robert Drew

13:00

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12:30

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