IDFA Special 2014/4 (English) by IDFA International Documentary Film Festival Amsterdam

special industry

#4 WED 26 & THURS 27 NOV INCLUDING SCHEDULE

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

The Guardian’s Charlie Phillips at the Short Cuts to Future Industry talk on Monday photo: Bram Belloni

New platforms take off A bunch of “new kids on the block” are making increasing in-roads into the documentary commissioning scene traditionally dominated, in Europe at least, by broadcasters. By Melanie Goodfellow

A number of these relative newcomers took part in the Short Cuts to Future Industry talk on Monday. Among those on stage was former Sheffield Doc/Fest deputy director Charlie Phillips, who recently took up the new position of head of documentaries at The Guardian. “We want to get into stuff early, later than concept, we want to see some sort of research and some material, but we want to be there early in the process. People really can send me lots of ideas because at this early stage when we’re trying to work out what we’re doing, it’s useful,” said Phillips. Although not divulging the department’s exact budget, he said it wanted to commission 50 short film works a year to which it would offer between £5,000 to £15,000 depending on the project. He explained that in the first

“We want to get into stuff early” instance the new department was looking for short 10-minute preview extracts of upcoming documentaries, which could be put up on the newspaper’s burgeoning video platform. “If that ten-minute segment goes out and it’s really popular we are interested in working with longer docs so we might actually say to you we’re interested in working as co-producer on the longer doc and we want to put some money in,” explained Phillips. “That’s slightly down the line and it is something we’re looking for – a subject which is perfect for The Guardian audience, which is liberal and well-informed. We try to talk up the audience rather than down. I can’t show you

examples of what we want to work with because at the moment, nothing I’ve commissioned is online at the moment because it’s so new.” Instead, Phillips showed two current clips on its video page and YouTube page as a taster of The Guardian’s broad range of interest: The Slumgods of Mumbai and the spoof Serial: The backlash and the backlash against the backlash begins. Other speakers at Monday’s talk included: Jason Spingarn-Koff of The New York Times, Sjoerd Raaijmakers of the Dutch branch of Renegade Vice, respected filmmaker Jos de Putter, who lauched the platform de Correspondent, and Jigar Mehta of Al Jazeera’s youth-focused AJ+. De Putter explained the his crowd-funded, advertising-free platform aimed at high-brow, author driven content also featured a “video garden” for which he was seeking “urgent and personal” short form video stories. He explained how de Correspondent financed Dutch filmmaker Morgan Knibbe’s initial trip to the Italian island of Lampedusa – which formed the basis for his IDFA Feature-Length Documentary title Those Who Feel The Fire Burning, exploring the wave of immigrants trying to illegally enter Europe by the Mediterranean. Over at the Forum, meanwhile, another Norwegian newcomer web-TV channel VGTV made its pitching debut as one of the key backers of Benjamin Rae’s Magnus, about chess grandmaster Magnus Carlsen. “I am so excited be here. This is the crown jewel of our documentary projects. This is the first time we’re here – this is a big milestone for VGTV,” said Head of Aquisition Linn Aronsen. “To prove how much we believe in this project we’ve more into it than all our other documentaries combined.”

Takei doc(k)s at IDFA Star Trek’s George Takei has been in Amsterdam this week, accompanying new doc To Be Takei, which screened as part of IDFA’s Queer Day. By Geoffrey Macnab

Takei, who played Sulu is the long-running TV series, experienced extreme trauma in his childhood. As a five year old, he was interned alongside his family in the wake of Pearl Harbor. As a Japanese-American, they found themselves classified as “enemy non-aliens.”

Hysteria “It was hysteria, totally irrational,” Takei recalls of the events of early 1942 when he, his siblings and parents were taken away from their California home at gunpoint. “It wasn’t the West Coast of the US that was bombed. It was Hawaii that was bombed, but they didn’t intern the Japanese-Americans of Hawaii because they made up about 40% of the population and if they were extracted, the economy would have collapsed. No labour, no consumers – it would have been disastrous for the economy.”

Good man Takei’s grandfather was a farmer in the Sacramento Delta. He was forced to leave his land behind – and to trust in a neighbour (ironically a German immigrant) to look after it till he returned. “He was a good man, he gave it back!”

Campaigning Since he quit the Starship Enterprise, Takei has spent much of his time campaigning on social media and giving public talks in which he has drawn attention to the cruel and outrageous treatment of JapaneseAmericans during the World War II.

Takei has also worked on a musical inspired by his and his family’s grim experiences. Allegiance is now being readied for a Broadway premiere next year. The doc (which premiered in Sundance) was originally intended to end with the Broadway premiere – but that was delayed. “We opened with a world premiere at the San Diego Old Globe Theatre,” Takei recalls. “We opened to a sold-out house and it remained sold out throughout the run.” The run was extended by a week and the play went on to break the theatre’s 77-yearold record for box office and attendance.

Crazy uncle The Star Trek star is “life-long friends” with his fellow crew members from the Enterprise, even if his relationship with William Shatner (Captain Kirk) has its ups and downs. “In a family – and we’re a Star Trek family – you always have that crazy uncle – a member of the family but he is that crazy, eccentric Uncle Bill. We have to take him with a little grain of salt!”

Guests Meet Guests 26/11/2014, 18:00 hours De Jaren Café Hosted by LaScam 27/11/2014, 18:00 hours De Jaren Café Hosted by IMCINE

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RISE AND SHINE

26 NOV, 17:45 TUSCHINSKI 4

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BEFORE THE LAST

OUR CITY

CURTAIN FALLS ELEPHANT’S DREAM

PANORAMA

BEST OF FESTS PANORAMA

BY EVA KÜPPER & THOMAS WALLNER BY KRISTOF BILSEN CO-PRODUCTION (FLANDERS)

MARIA TARANTINO

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SAVAGE FILM PRODUCTION ASSOCIATE DIRECTORS SALES CAT&DOCS SALES CAT&DOCS

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ELEPHANT’S DREAM PANORAMA

NATHAN, FREE AS A BIRD

BY KRISTOF

BILSEN PRODUCTION ASSOCIATE DIRECTORS SALES CAT&DOCS

PANORAMA BY ROEL NOLLET PRODUCTION REDHORSE REPORTERS SALES COCCINELLE FILM PLACEMENT

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dial H-I-S-T-O-R-Y PARADOCS BY JOHAN GRIMONPREZ PRODUCTION ZAPOMATIC (1997)

OUR CITY

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PANORAMA PRODUCTION

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25 NOV, 14:15, MUNT 10 NOV,LAST 18:00, TUSCHINSKI 4MING OF HARLEM BEFORE27THE 28FALLS NOV, 12:00, EYE CINEMA 1TWENTY STOREYS IN THE AIR CURTAIN

dial H-I-S-T-O-R-Y

NATHAN, FREE AS A BIRD

BEST OF FESTS

PARADOCS

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BY EVA KÜPPER & THOMAS WALLNER CO-PRODUCTION (FLANDERS)

BY PHILLIP WARNELL CO-PRODUCTION (FLANDERS)

BY JOHAN GRIMONPREZ PRODUCTION ZAPOMATIC (1997)

SAVAGE FILM SALES CAT&DOCS SCREENINGS

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GLADIATORS, A DIFFERENT WORLD GLADIATORS, A DIFFERENT WORLD

FORUM PROJECT FORUM PROJECT BY ROEL NOLLET BY ARUNAS MATELIS PRODUCTION REDHORSE REPORTERS (FLANDERS) BY ARUNASCO-PRODUCTION MATELIS SALES COCCINELLE FILM PLACEMENT ASSOCIATE DIRECTORS CO-PRODUCTION (FLANDERS) ASSOCIATE DIRECTORS SCREENING

27 NOV, 22:45, TUSCHINSKI 6

25 NOV, 15:10, ZUILENZAAL

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Forum spotlights younger audiences The Forum launches its brand new RealYoung event on Wednesday, aimed at encouraging more co-productions in the younger generation genre. By Melanie Goodfellow

“We want to try to stimulate more connections in Europe between countries doing this genre,” says IDFA industry chief Adriek van Nieuwenhuyzen. “If we can encourage co-productions, it will also increase the chances of these works being seen in multiple territories.” The initiative – spearheaded by Van Nieuwenhuyzen and Meike Statema, who oversees the festival’s respected Kids & Docs strand as well as the IDFAcademy – is a joint venture with the European Documentary Network (EDN) and Sweden’s Financing Forum for Kids Content, held in Malmo every March. The tie in with Sweden’s Financing Forum makes sense because alongside the Netherlands, and increasingly Germany, Scandinavia is one of the key territories producing documentaries for younger audiences, says Statema. “I couldn’t be more excited about this initiative. I’ve wanted to investigate how we can stimulate cross-border cooperation in the genre, especially with Scandinavia and Germany which are also increasingly active in the field, for some time,” says Statema.

Growing demand A number of Europe’s key commissioners, producers and sales agents in the younger generation field are due to attend

Wednesday’s event. They include Nadine Zwick, commissioner of Franco-German broadcaster Arte’s recently launched youth branch Arte GEIE Junior; Dutch producers Willemijn Cerutti of Cerutti Film and Albert Klein Haneveld of Hollandse Helden, who are passionate about the genre, and sales agent Kaisa Kriek of NPO, the sales arm of state Dutch broadcasting. “Alongside our mainstream documentaries, I handle a fair amount of documentaries in this genre, because it’s a field in which we’re strong,” said NPO’s Kriek. “There’s a growing demand for documentaries aimed at the younger generation as more and more broadcasters open up youth-focused slots. I recently had interest, for example, from Mexico and Argentina, which is an interesting development.”

Great opportunity “I think a meeting like this is timely and it’s great to have an opportunity to meet other industry professionals handing these sorts of works – the world seen through children’s eyes is very different and often focuses on different issues such as bullying or parents’ divorces.” The meeting will be preceded by a pitch of Victor Kossakovsky’s upcoming Varicella, which is part of a six-part series of high-end documentary films for children about sport set in six different countries (see the story below). Commissioners due to sit in on the pitch include Oscar van der Kroon of NTR, Iyabo Boyd of Chicken & Egg Pictures, Fiona Lawson-Baker of Al Jazeera English and Daniel Pynnönen of Swedish Educational Broadcasting Company (UR).

First Hand picks up

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Fresh from winning a Prix Europa Iris for Sound of Torture, Zurich-based sales and distribution outfit First Hand Films has taken rights to a number of IDFA titles. By Geoffrey Macnab

The company is handling Ida’s Diary, screening in the midlength competition. First Hand has also taken on rights for Forum title Through You Princess, about musical web project Thru You Too by Kutiman. Meanwhile, the company has confirmed a number of new deals on its IDFA slate. SRF (CH) and CBC-SRC (CA) have bought the series Death – A Series About Life. Prisa/DTS (ES) has snapped up Finko by the award-winning makers of Concerning Violence and The Black Power Mixtape 1967-1975. Neneh Cherry narrates the film about the next music revolution coming from Africa and becoming a means of expressing the identity of an entire generation. CBC-SRC (CA) and Telesur (Venezuela) both acquired Footprints of War, concerned with the alarming consequences military attacks have on our ecosystem. Happy Movie Media in China has taken rights for CCTV (CN) to Mona Lisa Is Missing – The Man Who Stole A Masterpiece, investigating the mystery of the man who stole the Mona Lisa from the Louvre in 1911, hid it in his flat for two years and brought it back to Italy. The company has also taken Radical Evil, by Oscar winning director Stefan Ruzowitzky, who discusses why normal people become mass murderers. Speaking in Amsterdam, First Hand Films boss Esther van Messel acknowledged that television sales still “account for more than 90%” of the company’s turnover. The company “passed” on more than half a dozen films in the main IDFA competition because of wariness about being able to secure them TV slots and represent them effectively at Mip TV.

“This is our reality. We love IDFA”

Anita Rehoff Larsen, Victor Kossakovsky, Ruben Wilmont and Monica Hellstrom Weston

photo: Bram Belloni

Through the eyes of a child Further details have emerged about Ultra Sports Kids, the ongoing series of 6 high-end sports-oriented documentary films for kids originally conceived by Danish filmmaker Simon Lereng Wilmont at Final Cut for Real. The films are being sold by Autlook. Geoffrey Macnab reports

The idea is to put the films together as a series, but at the same time to work with big name individual filmmakers. As Monica Hellström (producer at Final Cut for Real) points out, financing high-end docs for kids remains a formidable challenge. It proved “impossible to sell one documentary for TV.” However, once the six Ultra Sports Kids films were bundled together, it was possible to pitch them as a series with a global reach. Three of the docs are Scandinavian based. The other three were made in Russia, South Africa and Japan. Danish-based Final Cut for Real has collaborated with Sant & Usant in Norway and Swedish outfit Story.

Revelation Here at IDFA, one of the directors involved, documentary heavyweight and 1993 Joris Ivens Award winner (for The Belovs) Victor Kossakovsky, has

explained what drew him to the series. Varicella, as the film is entitled, is being pitched on Wednesday at the Forum. It is the story of two Russian sisters who dream of becoming ballet dancers. Kossakovsky says that working with kids has been a revelation and that he will now make further docs aimed at children. “My previous film, ¡Vivan Las Antipodas! was four months in cinemas in St. Petersburg,” the director recalls. To his surprise, he discovered the reason it had stayed so long on screen was that kids were watching it. Kossakovsky’s 12-yearold son was encouraging him to make films for children. He was therefore very open to the idea of making Varicella. “At a certain moment when you do films for children, you realise, Wow! this is a challenge. They have a different ability to see things you don’t see. It really provokes you to think a lot.”

Varicella producer Anita Rehoff Larsen (of Sant & Usant) added that “children are the most important audience in the world so they should have the most important films.”

Blessing The other documentaries in the series are Chikara – The Sumo Wrestler’s Son (official selection IDFA 2013), The Fencing Champion (screening at this year’s IDFA), Twisters, Chapter 11 and Dancing For You. Young fencing ace 11-year-old Ruben Wilmont, nephew of Simon Lereng Wilmont and the subject of The Fencing Champion, has given the series his blessing. Acknowledging it was “weird” to be followed around by a doc crew, the Nordic fencing champion nonetheless says he admires the doc and had also enjoyed Chikara – The Sumo Wrestler’s Son.

“This is our reality. We love IDFA,” Van Messel says. “It is very nice to be here. It is exciting, but we have to be able to earn money for the producers. That is our job. That is why they hire us. We have lot of main awards here but in the last few years, the audiences that enable us to live and pay our producers decent amounts for their work – that comes from TV.” Van Messel also points to the slowing down in the decision-making process. “Every decision takes six months or a year,” she says. “Even with big names, even with blue chip hard core investigative documentaries that everybody wants, it takes months to get some things through.” First Hand Films is also active in theatrical distribution in Switzerland, where its recent pick-ups include Iranien and Party Girl.

Industry Talk: A reflection on today’s documentaries by Bill Nichols Film theorist Bill Nichols gives a philosophical insight into how documentaries interact with the world around them. What social forces determine what movies are made in general, and what could that say about today’s world? Renowned documentary theorist, journalist and professor Bill Nichols, writer of the authoritative guide Introduction to Documentary, will reflect on the state of documentary today. Not only in terms of aesthetics but also in terms of content. Has the rise of the documentary to utterly unanticipated heights in the last few decades been at the expense of documentary purity or a liberation from documentary rigidity? Have major funding sources become like major studios: institutions with their own social agendas who find filmmakers to promote their perspective? To what degree are questions of empowerment, effectiveness or impact a double edged sword when they arrive in top down form from funding sources? What is a reasonable expectation in terms of social impact for a film, or for documentaries in general? Nichols will give a philosophical insight into how documentaries interact with the world around them. Moderator: Neil Young (Hollywood Reporter) Guest: Bill Nichols (Film Quarterly, San Francisco State University) Wednesday 26 November, 3 pm, Brakke Grond – Rode Zaal

by Sylvain Biegeleisen

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To Russia With Love Mariya Miroshnichenko, Chief Editor of Russian pay-TV cable and satellite channel 24_DOC, attended Docs for Sale to meet distributors and discuss future collaboration on the projects, as well as choose new films to be premiered on the channel, the company confirmed. 24_DOC is the only 24/7 world current affairs and creative documentary channel in Russia and CIS, and the first online documentary platform in Russia focusing on director-driven films. Miroshnichenko was previously executive

Kim Longinotto

photo: Bram Belloni

True Loves At the end of Kim Longinotto’s Love Is All: 100 Years of Love & Courtship, screening in The Female Gaze, there is a special dedication. By Geoffrey Macnab

The film is dedicated to Farzana Parveen. This is the Pakistani woman recently beaten to death by a mob, including members of her own family, infuriated by her decision to marry for love. The dedication comes as a surprise. After all, this is a very light-hearted, archive-based doc, exploring depictions of love and courtship on screen in Britain. Director Longinotto acknowledges that the dedication wasn’t her idea. It came from musician Richard Hawley, who wrote the music for the film. Hawley (who used to play with Britpop band Pulp) is described by Longinotto as “a real man’s man.” He had read an article about Parveen and asked if her name could be used. The director and her editor Ollie Huddleston grew very fond of Hawley, in spite of their initial wariness about him. “There’s all these myths about rocks stars,” Longinotto reflects. “They’re going to be difficult and have all these diva-ish requests. He wasn’t like that at all.” Hawley turned out to be unexpectedly sensitive. “He is full of contradictions – a really interesting guy.” Longinotto (whose new film Dreamcatcher about a former Chicago prostitute is nearing

completion) is known for her observational docs. Making an archive-based film is a major departure for her. “It was a nightmare!” she jokes of the Herculean task of sifting through hundreds of hours of BFI material in search of the clips she needed. Her choice of material included everything from Chinese-American star Anna May Wong in British silent classic Piccadilly to Hindle Wakes, My Beautiful Laundrette and Brick Lane. At the same time, she loved the idea of the project, which was initiated by Heather Croall at Sheffield Doc Fest. Longinotto and editor Huddleston were determined to make sure the doc had a storyline. “I wanted to do women changing through the century and England becoming a multicultural country, and the third strand was same-sex.” As she pored through archive material (“I think we watched maybe 1,000 hours, we had no researchers”), Longinotto realised that many of the movies were ahead of their time. “In culture, the people who are the forerunners, the visionaries, are often the fiction filmmakers. We kept getting surprised.”

Eastern promise HBO Europe has reaffirmed its commitment to documentary. The company, which produces docs in Poland, the Czech Republic, Hungary, Romania, Bulgaria and further afield in eastern Europe, is in Amsterdam with several titles in official selection. By Geoffrey Macnab

“We want to build a portfolio of roughly twelve a year,” Antony Root, Executive Vice President of Programming and Production at HBO Europe, comments. “We will draw them from the four larger territories, but also from some of the other territories as well.” One intriguing forthcoming title backed by the powerhouse TV network is Chuck Norris vs. Communism. Romanian-produced, the film tells the story of Irina Nestor, a female dubber in the Eastern Bloc who dubbed more than 5,000 foreign movies that entered Romania illegally. Another new HBO doc generating buzz is Houston We Have A Problem, a new doc looking at the conspiracy theory behind the Yugoslavian space programme. The director is Ziga Virc, an Academy Award-nominated director for his student film Trieste is Ours! Here at IDFA, HBO is one of the backers

of Hanna Polak’s Something Better To Come (screening in the feature-length competition and sold by Films Transit). HBO is also involved in Agnieszka Zwiefka’s The Queen of Silence (also in the feature-length competition and sold by Deckert Distribution). Meanwhile, another HBO title, Marcell Gerő’s Cain’s Children is screening in Best of Fests. All three projects are co-productions. HBO Europe’s Executive Producer, Documentaries Hanka Kastelicová, points out that HBO is in a position to fully finance docs when necessary. HBO Europe is ready to back docs from filmmakers outside eastern Europe – as long as the film has a relevance to the region. Kastelicová is on the lookout for new directors. “We at HBO every year try, in every country, to have some debuts. Working with young filmmakers is really exciting.” Alexander Nanau (who won an Emmy for the HBO-backed The World According to Ion B) recently completed Toto and His Sisters (sold by Autlook.) The film premiered in San Sebastian and went on to win prizes in Zurich, Leipzig and Warsaw and elsewhere. It will have its Dutch premiere at the International Film Festival Rotterdam early next year.

The Crash Reel

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producer of the Watching and Discussing series created by director Sergey Miroshnichenko (Emmy Award Winner for Born in USSR: 14up) and producer Grigoriy Libergal, who run the documentary sections of the Moscow International Film Festival together. Every episode features an international creative documentary followed by an in-studio discussion. Over five seasons Watching and Discussing has premiered more than 90 documentaries, including 3 Academy Award winners (9 nominees), 3 BAFTA Award winners and a slew of nominees and winners from festivals such as IDFA, Berlinale, Cannes, Sundance and Tribeca and Full Frame. “We are planning to program more than 600 hours a year of a high-quality creative documentaries,” she said. “To reach this, we are going to participate in the most important film pitchings and do pre-buys at production stages. At the same time, our films would be screened not only on TV. At the beginning of December we are starting theatrical distribution of two ‘extreme’ documentaries – The Crash Reel and Addicted to Life, in 27 cities in Russia.” Nick Cunningham

Fertile collaboration South African director/producer team Ryler Grunenwald and Odette Geldenhuys have only ever met face-to-face three times, but they still managed to make feature doc The Shore Break in time for a world premiere in IDFA’s First Appearance competition.

“We met at Hot Docs in 2012,” explains producer Geldenhuys. “Ryler made a fantastic pitch. I was looking for a project and she needed a producer, so we started speaking. I moved from Durban to Cape Town. She moved from Jo’burg to France, and she decided to have a baby as well as make her film. So we communicated all the time by Skype and now it’s in competition – I think that’s pretty damned good.” Grunenwald is 34 weeks pregnant. The film examines the conflicting emotions within a close-knit community when plans are unveiled to open a titanium mine on South Africa’s beautiful and hitherto unspoiled Wild Coast. “I discovered that it would have some pretty hectic implications and consequences on the lives of the people who are living there,” says director Grunenwald. “Initially I only met the peo-

ple who were against the mining, but then when I met the people who wanted it that put a whole different spin on things, and I actually realized that they had some good points too.” Producer Geldenhuys confirmed that the film has already been picked up by Canadian broadcaster Knowledge Network, and that the pair are assessing their broadcast, festival and outreach strategies while at IDFA. “And what is really undervalued is the importance of being at a film festival and watching just what is being created around the world at the moment, and really being inspired by different approaches.” South Africa has five films at IDFA 2014. François Verster’s The Dream of Shahrazad plays in Masters while Beats of the Antonov, Unearthed and The Other Man – FW de Klerk and the End of Apartheid are selected for Best of Fests. “South Africa has some really great advantages that make co-producing with its producers very attractive and one of these is our Department of Trade and Industry’s tax incentive scheme, where you can get some really generous tax incentives for money that is spent in South Africa,” stresses Grunenwald. Nick Cunningham

Odette Geldenhuys and Ryler Grunenwald

photo: Felix Kalkman

Diskin launches Remembrance series

Doc & Film sales

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Paris-based Doc & Film has been enticing buyers at Docs for Sale with its culinary title L’Amour Food (The New Foodies) by French director Olivier Joyard. By Melanie Goodfellow

Ruth Diskin Ruth Diskin Films has launched sales on Boris Maftsir’s six-film The Guardians of Remembrance series, uncovering the history of the holocaust in former Soviet Union countries. By Melanie Goodfellow

The first film exploring World War II persecution of the Jews in Belarus has already been completed and a second episode focusing on the Ukraine is in production for a May 2015 delivery. “This is a huge project which we have taken on on the back of Boris’ instalment,” says Ruth Diskin, who signed the series just before IDFA and is launching the project here.

photo: Ruud Jonkers

The completed series will give a comprehensive picture of events that took place in the former Soviet Union from the summer of 1941 until the liberation at the end of the war. Other titles on her slate include Yossi Aviram’s The Polgar Variant, about 1970s Hungarian chess prodigies Judit, Susan and Sofia Polgar, which premiered in the Jerusalem Film Festival’s Israeli Documentary Competition. It has recently sold to Canal+ in Poland where it will be broadcast this December. She also reports good business on An Apartment in Berlin, revolving around the fact that some 20,000 Israelis have moved to the German capital in the last few years. It has recently sold to Switzerland’s RSI and France Histoire.

The film has sold to France (Canal+), Belgium (BETV), Spain (Canal+), Finland (YLE), Israel (Channel 8) and Norway (NRK) and more deals are under negotiation. The company has sold Chus Gutierrez’s Flamenco-themed Sacromonte to Japan’s Uplink, which has taken all rights. The company also continues to do good business on IDFA titles Silvered Water, Syria Self Portrait. The film has recently sold to Spain’s Paco Poch for a theatrical release and also been picked up by Italian publisher Feltrinelli for its new digital platform. French distributor Potemkine is due to release the film in Paris on December 17. Frederick Wiseman’s National Gallery has also sold worldwide including to Switzerland (Xenix), Spain (Surtsey) and Benelux (Cineart), US (Zipporah Films), UK (Soda Pictures), Australia (Vendetta Films), Portugal (Leopardo), Italy (I Wonder Pictures), Germany (Kool Filmdistribution), Austria (Filmladen), Japan (Cetera), Taiwan (Swallow Wings) and Korea (Jinjin). Doc & Films is also at IDFA with Mrs B, a North-Korean Woman by Jero Jun produced by Su:m and Zorba Productions France. “We’ve had good one-on-one meetings and there’s strong interest from Asia,” says Doc & Films chief Daniela Elstner.

Danes back docs Danish docs are on the march. There are a record breaking 15 titles from Denmark at this year’s IDFA – and the new four-year plan (2015-2018) for film funding has guaranteed that documentary will continue to receive strong government support. By Geoffrey Macnab

Protest! Flemish filmmakers are up in arms over the Flemish government’s decision to axe specialist channel Lichtpunt, one of the only television outlets for creative documentaries in Flanders. By Melanie Goodfellow

The move was announced by Sven Gatz, the Flemish Minister for Culture, Youth, Media and Brussels, earlier this year as a part of swingeing cuts to the whole state-backed audio-visual sector. “The future of the Flemish public broadcasting and Lichtpunt in particular is in the midst of a political turmoil. In 2015, we will lose 20% of the budget and the new Flemish Minister of Media doesn’t want to give us a new license in 2016,” explained Lichtpunt chief Wim van Rompaey by phone from Brussels. An IDFA regular, he has stayed away this year due to the situation. “I can’t commit new titles so there’s not much point being at IDFA this year,” he says. Under the cuts, Flemish broadcaster VRT is set to lose €17m in funding and religious and humanist content previously commissioned out to channels like Lichtpunt will be brought in-house. Flemish filmmakers and producers at IDFA say this is a worrying development. “Wim van Rompaey is the only television commissioner travelling to international markets and putting development up front. It’s not just about the money, however, getting money from Lichtpunt is also quality label if you like, on the back of which you can secure other funding,” says producer Maarten Schmidt, who is at IDFA with Maria Tarantino’s Our City. Filmmaker Fabio Wuytack concurrs: “Wim has helped so many directors get their films and careers off the ground. In my case, he put money into my first short film Two Hands which was then picked up by France 2.” “There is much public debate going on and we are not sure yet that the minister will reach his goal. But up until we have a clear sight of what will happen, we are obliged to take no new commitments. We all hope for a positive ending, but it will take some time,” says van Rompaey. Show your solidarity by sending a mail to lichtpunt@ lichtpunt.be stating “Lichtpunt has to stay.”

Always Together

Visible Detaille Belgian sales agent Thierry Detaille has launched a new sales company, called Visible Film, aimed at securing pre-sales for documentaries in development phase. By Melanie Goodfellow

The company helped finance two titles screening at IDFA this year – Always Together, which is competing in the First Appearance competition, and Panorama screener Olya’s Love. “50% of our activity comes from pre-sales and we’re prepared to go in early on a project unlike many other sales companies, which will only look at films when they are in the postproduction stage,” says Detaille. “We present at all the major project markets like the Forum, Dok Leipzig’s market and MIPDoc,” he continues. “On Always Together, we managed to tie down a number of Eastern Europe deals early on which enabled the production to secure Creative Europe Distribution funding.” Detaille said the new approach was a response to the fact that there were more and more films chasing less money. “You need to talk to broadcasters earlier and earlier to stake your claim for a bit of their budget if you can – you have to make sure they know your documentary is coming up,” he explains. Detaille is also working with the Utrecht-based DocsOnline Foundation, an independent, not-for-profit organisation. “We’re experimenting with ways of selling streaming links to non-broadcast platforms, consisting of shortened versions of our content,” reveals Detaille. Other collaborations with the platform include EduDoc, a VOD platform aimed at European educational institutions and libraries.

Speaking at IDFA, Head of Production & Development at the Danish Film Institute (DFI) Claus Ladegaard has given details of future funding plans for docs. Ladegaard confirmed that €7 million per year (roughly the same amount as in the last four-year funding cycle) has been set aside to back docs. This is a quarter of the €28 million invested in features films each year – a higher ratio than in other Nordic countries. “We have grown used to this way of prioritising documentary and we will continue doing it,” Ladegaard explains of the DFI philosophy. “We do think it is a very, very important genre when it comes to film. We think there is a tendency, at least in some parts of the world, in funding systems to put too much emphasis on feature films and not enough on documentary.” The aim is to make between 30 and 35 docs a year. Most of these will be feature length. Foreign filmmakers are eligible to appeal for funding – as long as they are working with a Danish coproduction partner. Alongside the €7 million from the DFI, another €3 million will be invested in Danish docs by the local broadcasters. Ladegaard stated that the DFI wants to see as many docs as possible released in cinemas. “To be realistic, in a country our size, this will be 3 to 5 a year. Hopefully, one every year or second year will do well at the box-office.” A doc that posts between 10,000 and 15,000 admissions will be viewed as having performed in satisfactory fashion. The Danes have two docs in the main competition, Democrats directed by Camilla Nielsson and Hanna Polak’s Something Better To Come. Ask Ladegaard what is driving the Danish doc boom and he points to the collaborative nature of documentary makers in the country – and the increasing crossover between docs and dramatic features. “It strikes me again this year that what is really special about Danish films is not whether it’s personal or not. It’s not whether it’s subject-driven or character-driven. What is the real strength is storytelling,” Ladegaard comments. “They (docs) are told very cleverly. I think it has to do with integration with the fiction business in Denmark… a very key factor to the relative success of Danish film is the system of collaboration. You don’t have strong directors in the auteur sense or strong producers in the American sense. You have a true collaboration.”

BEATS OF THE ANTONOV HAJOOJ KUKA

I WANT TO SEE JOANA HADJITHOMAS & KHALIL JOREIGE

th 27 20:30 EYE Cinema 2 fr 28 12:00 Tuschinski 3

MOTHER OF THE UNBORN NADINE SALIB

CONGRATULATIONS ARAB-WORLD FILMMAKERS AT IDFA SAKEN SANDRA MADI

SILVERED WATER, SYRIA SELF-PORTRAIT OSSAMA MOHAMMED & WIAM SIMAV BEDIRXAN

WARRIORS FROM THE NORTH NASIB FARAH & SØREN STEEN JESPERSEN

DOCUMENTARY UNCHAINED

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Peter Bleach and Andreas Koefoed

Night Will Fall

a idf s film

British director Andre Singer’s Night will Fall re-tells the making of Sidney Bernstein and Alfred Hitchcock’s post World War II propaganda documentary German Concentration Camps, pulling together several hours of footage shot by the allies as they liberated the likes of Bergen-Belsen and Auschwitz.

photo: Felix Kalkman

The Arms Drop Lauded Danish doc director Andreas Koefoed (Ballroom Dancer, 2011) is at IDFA with his latest feature doc The Arms Drop, about a clandestine operation in 1995 to drops arms to a persecuted religious group in West Bengal, the personal and political ramifications of which are still being felt today. The film views like a tense political thriller, telling the stories of Niels Holck and Peter Bleach, the two unlikely collaborators on the ill-fated drop. Both have since paid a high personal price for their involvement. Bleach, an arms dealer and former British serviceman with links to the intelligence community, assisted Danish idealist Holck in his venture to provide arms to the Ananda Marga movement so they could defend themselves against attacks by the Communist government of West Bengal. Bleach agreed to help in the assumption that the mission would fail and that Holck would be arrested in India. “I thought his aim was good, but his method was bad,” he explains in the film. However, after carrying out the drop, Holck escaped and it was Bleach who ended up spending eight years in an Indian prison. “I met Niels about four years ago, when he was facing extradition to India,” director Koefoed recalls. “I thought the story of this guy with this incredible past now living as a normal family man – then having his back against the wall – was really interesting. But I didn’t know how to tell it. Later on, I found out about Peter Bleach and his role in the affair and I thought, this will

Twisted Sister “They look like women. They play like men,” a bemused presenter announced when make-up wearing heavy rock band Twisted Sister played on British TV show The Tube in 1982.

To non-devotees, the band seemed like a real life version of Spinal Tap – strident, outrageous and just a little bit ridiculous. Andrew Horn acknowledges he wasn’t a Twisted Sister fan himself. The idea for the doc We Are Twisted Fucking Sister! (a world premiere in IDFA’s Music Documentary section) came when he was making his 2004 doc, The Nomi Song, about New York performance artist Klaus Nomi. Nomi had once performed (disastrously) on the same bill as Twisted Sister in New Jersey. Horn had interviewed Jay Jay French of Twisted Sister for the Nomi doc and had been struck by his intelligence and humour. As Horn discovered, Twisted Sister’s motley crew of musicians were outrageous for a reason. “When you’re a bar band, you are playing four shows a night, six nights a week, and a lot of it is just about filling time. They used to do a lot of these really crazy Andrew Horn and Jay Jay French

work really well as a two-character drama.” “After I filmed all of the footage with Niels, I came up with the idea of re-enacting the arms drop itself – the whole story revolves around this one event. In order to make a good film, we need to be on that plane with the two men, to feel how it was to be on that dangerous mission. Of course, in terms of production this meant we needed more funds and a lot of preparation. The process of getting it all done was complicated, but fun. We worked with a scriptwriter and consulted Niels and Peter all the time, to make sure we got the re-enactment as close to reality as possible. “This is a very different approach from my previous films. It wasn’t a conscious decision; I was just fascinated by the story and needed to find the right tools to tell it. I couldn’t tell it the way I normally work, which is observational documentary; here we have this story taking place over twenty years, so I needed different tools. Interviews and re-enactments and so on. But it’s not like I will only make films like this from now on, it’s just what this film needed. Directing actors was a challenge, I’ve never done it before. It was a fun process, but scary. Actually I am also developing a fiction film, but my heart is still with documentaries. At the moment, I am editing a film about refugee children in Denmark, under the working title At Home in the World.” Mark Baker Masters

See the schedule in this paper for screening times.

things onstage just to keep their audience engaged.” This audience, Horn explains, tended to be “more interested in getting drunk and getting laid” than in listening to the band. He saw their stunts (the make-up, the belligerence) as “performance art” for a rowdy, blue-collar public. For a brief while, Twisted Sister became very famous indeed. As the band’s website puts it, “they conquered New York, TV and the world.” The band was at its peak in the 80s, in the heyday of MTV. Their best-selling album Stay Hungry came out in 1984. As Horn’s documentary reveals, the band had been together long before that. By the time the rest of the world discovered them, the band members had already played thousands of concerts. They were incredibly seasoned performers. Lead singer Dee Snyder responded “it’s about time” when Horn suggested his film. “At the same time, I think they were a little bit distrustful in the sense I don’t think they thought I was really going to pull it off.” Yes, there is a lot of comedy in the Twisted Sister story. Excess reigned – and the vomit flew – at many of the band’s early gigs. The musicians were misidentified as racists during their “disco sucks” period, when they hung an effigy of disco star Barry White. Snyder and French were very witty characters with a sense of their own absurdity and a relish for telling stories about the mayhem they left in their wake. “The thing that raises them above the level of Spinal Tap is that they are all really smart. They know what they are doing and they know their effect on the audience,” Horn states. “They play with this idea of being the rock band who get stoned all the time, gets drunk and fuck women and all of that. For them, it was a complete lie. They spent so much time and energy doing what they do that they couldn’t have functioned if they became a band like that.” Geoffrey Macnab Music Documentary

photo: Frauke Havemann

The original film was originally to have been shown to German audiences to drum in what their nation had done during World War II, but these plans were shelved after it was decided such an initiative would have been counterproductive to the rebuilding of the devastated country. “One of the ambitions of the film is to take the philosophy of the message that was in the script of the original film written by Richard Crossman. The words he used at the end of his script in 1945 were, ‘If the world hasn’t learned from these pictures then night will fall’ – which is where the title for our film came from,” says Singer. The director, who is better known these days as the prolific producer of documentary makers such as Werner Herzog, Joshua Oppenheimer and Vikram Jayanti, says he partly decided to go behind the camera for the film because he was keen to turn the work around quickly and could not find any other suitable filmmakers available in the time frame. “One of the essences of the film was to have the people who participated in the liberation of the camps be the ones who told the story, from the cameramen who filmed the scenes in the camps, to the victims – anyone who was involved,” explains Singer. “These people are now in their 90s. It’s the

See the schedule in this paper for screening times.

Andre Singer

photo: Ruud Jonkers

last major chance for people to tell their own story.

“Also, 27 January of next year is the 70th anniversary of the liberation of Auschwitz and also Holocaust Remembrance Day. Broadcasters are looking for something to put out. This film offers a different approach to Holocaust films,” he continues, revealing he also asked Michael Apted, Paul Greengrass and Stephen Frears if they would direct. Frears, who was tied up with his upcoming feature film Philomena, agreed instead to be an executive producer. Singer’s hunch turned to be correct: Tel Aviv-based sales company Cinephil have just announced that the film will be broadcast in at least 15 countries on January 27 and the film is now packing out festival screenings at IDFA and elsewhere. Melanie Goodfellow Panorama

See the schedule in this paper for screening times.

Our catalogue is available to screen online at www.nposales.com

NPO Sales Bart de Graaffweg 2 1217 ZL Hilversum The Netherlands T. +31356773561 info@nposales.com

Mimoun > BIND and VPRO Television Foto: Ivo de Bruin

Our City

a idf s film

Maria Tarantino’s Our City, which world premiered in IDFA’s Panorama section, is an ode to Brussels, the city she made her home eighteen years ago. Kaleidoscopic in form, the film was shot between 2009 and 2012 before she embarked upon an extensive edit with Belgian Rudi Maerten and the Dutch Menno Boerma. The director offers up myriad and diverse examples of the city that tourists never see, from Asian men playing cricket to a sumptuous Russian ball. We meet a civil servant dealing with clients in an immigration office, a beautiful African seller of jewelry who climbs a silt tip that resembles more a Saharan sand dune. Young boys play at the

Don’t Lose Heart Hella de Jonge’s Dutch Competition selection Don’t Lose Heart sets out to detail her family’s tragic World War II past. In the process it enables her father Eli, a famous Dutch writer, now 90, to be liberated from the feelings of guilt over the death of loved ones he has harboured for the past 70 years. It also helped director De Jonge repair her own fractured relationship with her father. At the beginning of the film, a box containing letters, memorabilia and two video cassettes comes into De Jonge’s possession. These items, collected by her great aunt Ro Miller, along with candid and tearful testimony from her father, form the basis of the story – tales of pursuit, courage and survival, and of death. Hella herself was named after a child-minder named

Hella Simonis who willingly accompanied the children in her charge to a concentration camp where they, and she, were exterminated. “It was like a mission. When the box was open, I couldn’t stop, and if I had kept the box closed then I would never have spoken again with my father,” De Jonge stresses. The videos in the box were testimonials recorded by the director’s mother (now deceased) for Stephen Spielberg’s ‘lest we forget’ Shoah project. “I did not know they were part of it. So when I had these videos and decided to make a film, I wanted to pay for the film myself because I thought if Spielberg did it, so should we. We made so much money with our shows over the years that I wanted to pay for it. (De Jonge is married to the celebrated

Dutch satirist Freek de Jonge, for whom she directs and edits television specials). It was expensive, but it was a mission and I wanted to give back to my heritage.” The film, which will be screened on national television at 11am on May 4 2015 – 70 years after the end of the War – is dedicated to the memory of De Jonge’s very young grandchild Maggie, who died very recently after a complicated heart operation. “I had to hurry to complete the film. I had pressure. I knew that the film would get a life, but that Maggie was going to die.” Nick Cunningham IDFA Competition for Dutch Documentary

See the schedule in this paper for screening times.

Mother of the Unborn Egyptian director Nadine Sahib’s Fipresci prize-winning Mother of the Unborn explores prejudices towards infertile women in Upper Egypt through the plight of Hanan, a childless woman living in an impoverished village in the region. Melanie Goodfellow

“I was intrigued by the Egyptian ancient tradition of naming infertile women ‘Mother of the Unborn’, or ‘Um Ghayeb’ in Arabic,” explains director Nadine Salib on the origin of the documentary. “I’d heard this term used a lot in Upper Egypt and decided to investigate the issue. These women are often stigmatised, even sometimes accused of bringing bad luck.” “I wanted to make a film about the Mother of the Unborn, but I didn’t exactly know what it would be about. Deep in me, I wanted to meditate on why it was so important for the women in the region to have a baby and why the women in the region were so keen to carry on living in such a harsh environment. “There was also this concept of absence. The women are left alone for long periods while their husbands work in the suburbs, as well as identity – why do women there want children. Is it to fit into society or because they really want them?” continues Salib. These women are often forced to partake in traditional fertility rituals carried out by local “midwives” or wise women. It was while researching these that Sahib encountered Hanan.

“The first time I met her she was on her way to take part in one of these rituals. I didn’t know she was going to be my main character. Initially she was my fixer, helping me around the village.” Following Hanan as she goes about her daily life, chats with girlfriends about love and marriage, or sits among the graves of her ancestors in the local cemetery brooding over her infertility, the film also gives a rarely seen insight into female life in Upper Egypt.

The documentary is the latest film to come out of the Cairo-based Hassala Films collective founded by Hala Lofty, director of Coming Forth By Day. Dutch Cairo-based Maartje Alders produced the film for Hassala.

funfair while a reflective refugee tells how he failed in his attempt to join the French Foreign Legion and ended up in a slum apartment in Brussels instead. An Iranian taxi driver walks the empty corridors of the European Parliament narrating a self-penned Farsi poem about freedom. Angela Merkel and François Hollande put in an appearance, but it is the mocking journalists on the sidelines on whom Tarantino’s camera settles. And all the time Brussels is under construction, shifting in form and shape. “My film was a construction too, and these stories are all the pieces of the puzzle,” she comments. “I have been living in Brussels for 18 years. I love Brussels. I think it’s a city that has incredible human potential that is underestimated. That was the starting point of my film,” Tarantino continues. “It is a city that is not so big but is made of compartments, different pockets of humanity, different layers of power and politics, and I tried in my film to connect these in a meaningful way to see how all these different facets cling together.” Our City is bookended by two haunting musical sequences in which a Vietnamese/ French accordionist sings songs in a language of his own devising. “When I work with people, I ask them to do something that really belongs to them, and he said I want to show you a special place where I come sometimes, so he took us to the park and said ‘I will make a tree sing’. He climbed his favourite tree and started playing, and people didn’t know where the music was coming from, and they gathered beneath the tree to fathom out what it was. For me, this is a powerful image, a man that sings in a language that doesn’t exist is the only one that could represent the voice of the city.” Nick Cunningham

IDFA Competition for First Appearance IDFA Bertha Fund Harvest 2014

See the schedule in this paper for screening times.

Panorama

See the schedule in this paper for screening

9:00

Program TUSCHINSKI TUSCHINSKI 1 1

TUSCHINSKI TUSCHINSKI 2 2

Thursday 27 November TUSCHINSKI TUSCHINSKI 3 3

TUSCHINSKI TUSCHINSKI 4 4

TUSCHINSKI TUSCHINSKI 5 5

TUSCHINSKI TUSCHINSKI 6 6

DE MUNT DE MUNT 9

DE MUNT DE MUNT 10

DE MUNT DE MUNT 11

DE MUNT DE MUNT 12

DE MUNT DE MUNT 13

MELKWEG MELKWEG RABOZAAL RABOZAAL

9:00

10:00

9:00

10:00

Art and Art Craft and Craft 10:00 10:00

EYE CINEMA EYE CINEMA 1

9:00

10:00 10:00

Sam Cullman, Sam Cullman, Jennifer Grausman Jennifer Grausman Best of Fests, Best 89’ of Fests, 89’

11:00

11:15

NationalNational Gallery Gallery 11:30 Frederick Wiseman Frederick Wiseman

12:00

Masters, 180’Masters, 180’

11:30

Profession: Profession: Documentarist Documentarist

11:15

Putin is Putin Back is Back

Jean Michel Jean Carré Michel Carré Masters, 90’ Masters, 90’

Various Directors Various Directors

CAPTIVATED CAPTIVATED The Trials The Trials 12:00 12:00

The Female Gaze The ,Female 80’ Gaze, 80’

of Pamela of Pamela Smart Smart

11:15

Letting You Letting Go You Go 11:30 11:30 Kim FaberKim Faber The Trouble The Trouble with Raywith Ray 11:45 11:45 Student Competition Student,Competition 18’ , 18’ Travis Johns Travis Johns Naziha’sNaziha’s Spring Spring 12:00 12:00 Ida’s Diary Ida’s Diary Panorama, 23’Panorama, 23’ Gülsah Dogan Gülsah Dogan Hanssen B. Hanssen The Ground The Ground BeneathBeneath August B.August Me Girl,Me MeGirl, Princess Me Princess Dutch,Competition 90’ , 90’ Mid-Length Competition Mid-Length,Competition 61’ , 61’ Dutch Competition Their Feet Their Feet María Aramburú, María Aramburú, Valeria Pavan Valeria Pavan

Jeremiah Zagar Jeremiah Zagar

Of Media andOf Men Media , 98’and Men, 98’

13:00

11:15

Wolflady Wolflady 11:30 11:30 Daan Willekens Nas: Time Nas: Is Illmatic Time Is IllmaticDaan Willekens One 9

Music Documentary Music Documentary , 67’ , 67’

One 9

Music Documentary, Music Documentary, 74’ , 74’ IDFA DOC U Competition IDFA DOC U,Competition

11:00

Paths Through Paths Through the Labyrinth the Labyrinth – – The Composer The Composer Krzysztof Krzysztof Penderecki Penderecki 11:45 11:45 Anna Schmidt Anna Schmidt Always Together Always Together Music Documentary Music Documentary , 88’ , 88’ Eva Tomanova Eva Tomanova

First Appearance FirstCompetition Appearance,Competition 77’ , 77’

11:00

12:00 12:00

NausheenNausheen DadabhoyDadabhoy

FirstCompetition Appearance,Competition 72’ , 72’ Mid-Length Competition Mid-Length,Competition 47’ , 47’ First Appearance

13:00

13:15 13:30

13:30

Cechanok Cechanok Panorama, 72’Panorama, 72’

14:15

Music Documentary Music Documentary , 87’ , 87’

13:30

14:45

Music Documentary Music Documentary , 84’ , 84’

Juan PabloJuan González Pablo González

14:15

Marcel Lozinski Marcel Lozinski

14:45

13:30

Mikael Wiström Mikael Wiström

The Solitude The Solitude of Memory of Memory

Joaquim Castro, Joaquim Eduardo Castro, Eduardo Nazarian,Nazarian, Mariana Aydar Mariana Aydar Music Documentary Music Documentary , 86’ , 86’

How to How Live to Live

Abhay Kumar Abhay Kumar

15:00

Student Competition Student,Competition 20’ , 20’

14:00

13:00

Kids & Docs, 20’ Kids & Docs, 20’

Best of Fests, Best 100’ of Fests, 100’

14:00

Nick andNick Chaiand Chai

Rowena Sanchez, Rowena Sanchez, Charena Escala Charena Escala

Red Army Kamchatka Kamchatka – The – The Red Army Gabe Polsky Gabe Polsky Cure forCure Hatred for Hatred Best of Fests, Best 85’ of Fests, 85’

Mid-Length Competition Mid-Length,Competition 60’ , 60’

Julia Mironova Julia Mironova

13:45

13:15

Rio 50° Rio 50°

13:00

Julien Temple Julien Temple

13:45

13:00 13:15 13:15 Chameleon Chameleon Ryan Mullins Ryan Mullins

Masters, 100’Masters, 100’

Tristia –Tristia – A Black A Sea Black Odyssey Sea Odyssey

Feature-Length Feature-Length Competition,Competiti 78’

14:00 14:00

StanislawStanislaw Mucha Mucha Panorama, 98’ Panorama, 98’

Mid-Length,Competition 45’ , 45’ Paradocs: Curated Paradocs: by Aernout CuratedMik by,Aernout 83’ Mik, 83’Mid-Length Competition

PlaceboPlacebo