IDFA Special 2015-4 by IDFA International Documentary Film Festival Amsterdam

special industry

INCLUDING SCHEDULE

WED 25 & THU 26 NOV

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

Talking sound: Morgan Knibbe (right), whose refugee doc Those Who Feel the Fire Burning has been entered for Oscar consideration, and his sound designer Vincent Sinceretti, discuss the role of sound in the documentary at the IDFA Friends’ event in the VIP Lounge in Tuschinski on Monday. photo: Bram Belloni

Lestrade steps up Oscar-winning French director Jean-Xavier de Lestrade was in attendance at the Forum on Monday to launch Staircase III, the second feature in his series of works revolving around the case of Tennessee writer and politician Michael Peterson, who was convicted of murdering his wife in 2003.

Peterson, now 71 years old, was freed after the 2011 trial but faces a final, decisive trial early next year. He has always proclaimed his innocence and is asking for all charges to be dropped. The prosecutor, however, is pushing for a plea deal for simple assault, which would result in the case being closed and Peterson avoiding jail. Lestrade said an explosive and unexpected – but potentially plausible – theory to explain the wife’s death is set to be introduced at the new trial, which would bring fresh drama to the story. “I started following this story at the end of 2001,” says Lestrade. “I like to finish the work I’ve begun. I don’t really make documentaries anymore, but this is a story I’d like to follow to its conclusion. The series and film were incredibly popular around the world

Docs for Sale 1 Sonita

Rokhsareh Ghaem Maghami

2 A Family Affair Tom Fassaert

By Melanie Goodfellow

Lestrade has been following the twists and turns of the case for more than a decade, kicking off with the original trial of Peterson for the murder of his wife, who was found at in a pool of blood at the bottom of a staircase in 2001. The new work follows on from Lestrade’s 2004, HBO-backed hit miniseries The Staircase, capturing the original trial, and the 2011 one-off documentary The Staircase – The Last Chance, about a retrial after new evidence emerged.

Top TEN

and audiences want to know what happens next.” The second feature will be produced by Lestrade’s long-time producer Matthieu Belghiti of Paris-based What’s Up Films with the support of the documentary department of French pay-TV giant Canal Plus. IDFA winner Leonard Retel Helmrich was also among the directors presenting at the Central Pitching session on Monday. He unveiled footage of The Camp – about an official Syrian refugee camp on the Lebanese border with Syria, in his characteristic up-close style. “There are no voiceovers. It will just be me shooting like I normally do,” says Retel Helmrich. The project, produced by Amsterdambased Pieter van Huystee with the backing of Dutch broadcaster EO, was one of the most warmly received titles at the Forum this year. Other projects prompting strong interest included Chinese director Hao Wu’s US-produced People’s Republic of Desires, about China’s craze for virtual showrooms in which impoverished youngsters convince wealthy shoppers to buy them virtual gifts. The Forum continues on Wednesday with one-on-one and round table meetings as well as a special session devoted to children’s films.

3 A Strange Love Affair with Ego Ester Gould

4 Thy Father’s Chair Antonio Tibaldi, Alex Lora

5 Holy Cow

Imam Hasanov

6 Among the Believers

Hemal Trivedi, Mohammed Ali Naqvi

7 Ukrainian Sheriffs

Roman Bondarchuk

8 A Syrian Love Story Sean McAllister

9 Walls

Pablo Iraburu, Migueltxo Molina

10 Th ru You Princess Ido Haar

As of 4 pm, Tuesday 24 November

Wild West A theatrical release remains king for America’s A-list doc makers, but it’s a matter of time before SVOD players like Netflix change the release landscape, John Sloss, founding head of New York-based film and media company Cinetic told an IDFA industry talk on Sunday, entitled ‘How to Be Successful in the American Market.’

“You have people like Netflix paying more than anyone for some documentaries and putting more money behind awards…. Then you have people like Amazon with a different model which hasn’t really got into documentary yet, but I believe will do so in 2016; when that happens it’s going to be like the Wild West in the US. There’s a tremendous amount of subscription money for films and it’s going to challenge films that really want theatrical.” Sloss talked about his journey from being an entertainment lawyer to founding film finance, sales, distribution and management company Cinetic Media, which has handled films such as Boyhood, Exit Through the Gift Shop, Amy and Cartel Land. “I saw an imperfect system that rewarded producers who were good at finding money and penalised producers who were good at creative aspects and logistically producing movies. That seemed like an inherent inefficiency to me, because finding money is not the greatest qualification for producing movies.” “I said OK. All the other lawyers I see are very passive and waiting for people to bring them a deal they can document, but I have relationships with all these people who finance movies and distribute movies, so why don’t I go to my clients who I think are valuable and talented and say I would like to be proactive in seeking money for films. The first people I did this for were director John Sayles and Maggie Renzi on City of Hope and that started me on a path.” MG

by Sylvain Biegeleisen

Fearless

a idf ws e Ocean’s Eleven n Adventurous Stockholm based production outfit Fasad is shortly to start shooting on its new feature doc The Acali Experiment. The film tells the story of the five men and six women who set off on a 101day sea adventure drifting across the Atlantic on a raft in 1973. Their expedition was part of an experiment looking at human behaviour set up by anthropologist Santiago Genovés.

It’s another typical month in the life of Kimberley Motley, an American attorney working in Afghanistan since 2008. Monday and Tuesday she is in Amsterdam for the premiere of Motley’s Law, Nicole Nielsen Horanyi’s film about her. She then returns to the States for Thanksgiving, on Sunday flies to a conference in Guatemala, then is off to Dubai, then back to Afghanistan – “and I will be back in the States for Christmas.”

The film is directed by Marcus Lindeen and produced by Erik Gandini (who has been in IDFA this week with his latest doc, The Swedish Theory of Love). “Acali was done to solve the biggest question of the post-war era, which is why do people have conflict,” Gandini explains. “There was this dream of finding the magic bullet theory which would explain why war took place.” The voyagers were risking their lives in the name of science but, to the anthropologist’s annoyance, the men and women on the raft didn’t behave as expected. There wasn’t the sex and violence he had predicted. The Acali Experiment is shortly to start shooting. The filmmakers are building a replica of the raft and will reunite the characters who were aboard during the voyage. Backers include Swedish TV, the Danish Film Institute, DR, Finnish TV and various others. “It is the typical Scandinavian co-production,” Gandini states. Geoffrey Macnab

A former Wisconsin beauty queen from an impoverished background who is now “the first and only Western litigation lawyer in Kabul,” Motley works in circumstances lawyers back in the US would find startling. The beginning of Horanyi’s doc shows her returning to her heavily protected home in Kabul. In her absence, somebody has lobbed a grenade into the building. Thankfully, it didn’t detonate. Motley acknowledges she had some misgivings when first approached about a documentary. She had been told the film would focus on the Afghan legal system. Instead, Horanyi eventually informed her, she would be the subject. “I was a little concerned about that. I am always happy to talk about my clients and my cases, because I think that is extremely important, but I didn’t want the film to be a commercial about me.” Motley describes herself as “very, very private” and says she is still troubled by her family appearing in the film. “I did not want that to happen … The only reason they are there is they all wanted to be. I was out-voted!” On one level, Motley welcomed the filmmakers’ company. “I am so isolated in Afghanistan.” On another, she saw the doc as an opportunity to study her own behaviour. “I look at the film and how I can improve, personally and professionally... I could do better as a mother, not to pressure my daughter on colleges and things like that. That was the main thing I took away. Now, [daughter] Diva is taking a gap year and travelling with me.” Yes, there is the constant threat of violence in Afghanistan, but Motley tries to put it to the back of her mind. “I can’t work like that; I work better angry than fearful. Fearful just cripples you. I always tell people, I grew up in a tough neighbourhood!” It is instructive to hear the lawyer’s thoughts on the Paris attacks earlier this month. “Obviously, I think it is very cowardly what

ubmarine announces S Mavis! deals

Kimberley Motley – photo: Bram Belloni

happened in Paris. It is awful that there are people in the world who are that evil,” Motley reflects. “Frankly, it is very familiar. One thing that really disappoints me is some of the response to it, which I think has been very racist and very hurtful. A lot of people are being anti-Muslim, especially US politicians, which is really disappointing. I think the people who are saying let’s segregate Muslims – that’s ridiculous…I hope the politicians get off their little racist soapbox.” Geoffrey Macnab

Submarine Entertainment has sold Mavis! to Australia and New Zealand (Madman), Canada (Films We Like), Scandinavia (NonStop) and the Netherlands (NTR). The documentary about American gospel singer and civil rights campaigner Mavis Staples is screening in IDFA’s Music Documentary section. Submarine partner and sales chief David Koh has also secured deals on Don’t Blink – Robert Frank, screening in the festival as a tribute to the filmmaker and photographer, to Germany and Austria (NFP Films), Canada (Films We Like) and Italy (Feltrinelli). Melanie Goodfellow

Hothouse flowers Only four years old, Prague-based DOK.Incubator is having spectacular results helping hatch award-winning new docs. Six films in official selection at IDFA – A Family Affair, Ukrainian Sheriffs, Thy Father’s Chair, Holy Cow, Life of a Butterfly and K2 - Touching The Sky – have had the hothouse treatment from DOK-Incubator.

The initiative was set up by journalist and documentary maker Andrea Prenghyová in 2011 and held its first workshop in 2012. What differentiates the Incubator from almost every other support scheme that its workshops are held in the editing phase. “Of course, the production process is the most difficult. Nobody was helping filmmakers while making the film. Everyone did it before or after,” Prenghyová observes of the many workshops that existed for developing or distributing documentaries. It is during editing, she continues, that documentary makers “discover” their films. She was very struck by remarks she heard from festival directors that they saw “so many good films and so few excellent ones.” So she set out to help documentary makers to raise their films to a new level. DOK-Incubator is highly selective, choosing only eight projects a year. Its programme includes three week-long workshops. Top tutors are drafted in and a special emphasis placed on editing. “We try to combine the editing and the dramaturgical process with the distribution and marketing,” explains programme manager Tereza Šimíková. It isn’t a cheap programme to run. Eight separate editing rooms are set up. The filmmakers are encouraged early to return to “what was so important to you that you decided to dedicate your life to this film.” The workshops give filmmakers a chance to focus intensely on their projects and work out how they “will connect with an audience and make their film universal.” Tutors include such high-level figures as Head of Studies Claas Danielsen, Danish

Taskovski, Dogwoof deals

K2 - Touching The Sky

producer Sigrid Dyekjær, Danish editor Per K. Kirkegaard (Armadillo) and German editor Anne Fabini (whose credits include Return To Homs and More Than Honey). “We’ve discovered marketing is a really great tool of dramaturgy. If you need to say … what is one sentence that says everything, you are actually talking about dramaturgy,” Šimíková says. Films that have passed through The Workshop include Chuck Norris vs. Communism (a premiere in Sundance last year) and Drifter, winner of the 2014 IDFA First Appearance Award. DOK.Incubator has support from the EU Creative Europe MEDIA programme. There are no plans at this stage for the programme to expand. “We decided to be exclusive, to be really individual – every project needs special attention to grow,” says Šimíková. There is also a networking aspect to the workshops. Participants are encouraged to comment on one another’s films and to stay in touch after they leave. “We try to build a community out of them. At IDFA, we are going to have a dinner for the former participants. There will be 60 people, just here in IDFA.” Geoffrey Macnab

UK-based sales agent Taskovski Films has closed sales deals for two of its IDFA titles, Sugar Blues and Horizons (Horizontes), with Japanese theatrical distributor T&K Telefilm. Taskovski has also clinched a theatrical deal for Lampedusa in Winter, Olmo and the Seagull and Sugar Blues in Spain (with Flamedia). Meanwhile, after its world premiere at IDFA, Ukrainian Sheriffs has been picked up for theatrical distribution in Poland by Artur Liebhart (Against Gravity). The film will have its Polish premiere at Planet Doc Festival and then show in cinemas around Poland. Midway through IDFA, Dogwoof has announced its acquisition of Mountain, the latest feature from Jennifer Peedom (director of Sherpa). Dogwoof International Sales is handling sales rights alongside Submarine in the US. Australian and New Zealand rights have been taken by Madman. German rights have gone to DCM. Mountain will be ready late next year, but Dogwoof is beginning pre-sales now. Geoffrey Macnab

NPO sells

Kaisa Kriek of NPO Sales announced yesterday the sale of three Docs for Sale titles to TVN Poland. These are Greece for Sale, The Bitcoin Gospel and The Smart State, all episodes from the VPRO Backlight series and each of 50-minute duration. Nick Cunningham

The Smart State

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

Pien, Queen of the Bee > Producer: Een van de jongens Regisseur: Ellen Vloet

Vimeo on Demand mounts Gertten’s Bikes Vs. Cars Vimeo on Demand has acquired US rights to Swedish Fredrik Gertten’s Bikes Vs. Cars, exploring the bike as an agent for change amid the climate change debate and global concerns over the world’s dwindling resources.

The picture, produced by Margarete Jangård of Malmo-based WG Film, is already available in Sweden, Finland, Iceland and Norway on Vimeo on Demand and will be released in the US exclusively on the platform on December 15. The film, which was partly funded through a kickstarter campaign involving 2,000 backers, premiered at SXSW earlier this year. Gertten, who is at IDFA with his latest film Becoming Zlatan, worked with Vimeo in the past. His short film The Invisible Bike Helmet made its digital debut on the platform, where it generated 13 million views. The filmmaker was also the first Vimeo member to use the platform’s new creator tool – VIP Access – making it easier for filmmakers to share their works with backers, press and contacts. Vimeo is out in force at IDFA this year. Vimeo head of content Sam Toles and director of VOD Peter Gerard hosted a filmmaker dinner on Monday evening attended by a number of directors including Gertten, Leonard Retel Helmrich and Malika Zouhali-Worral, co-director of Thank You For

ne CAT&Docs has picked up sales on Jerzy Sladkowski’s Don Juan, a touching portrait of a shy, young, autistic Russian man whose mother enrols him in drama school to bring him out of his shell, playing in the IDFA Feature-length Competition.

Becoming Zlatan

Playing which is playing in the Best of Fests section. Talking about the Bikes Vs. Cars deal, Gerard said: “We’ve been involved in European documentary in the past, but this is an interesting model. We really believe in Fredrik and his team because they really know how to connect with their audience through direct distribution.” “Rather than actually buying the rights, we’ve offered them a marketing fund to enable them to hire outreach people and launch an outreach campaign. By putting that money upfront, we’re helping them launch a stronger campaign. And we’ll add to it by spending some advertising dollars.” He added that Vimeo would have a limited exclusive window online before Kino Lorber releases it theatrically in the US. “The way we are looking at it is that we’re investing in talent and talent that can bring audiences. There are a lot of other people like Fredrik based in Europe who we’d also like to support,” said Gerard. Melanie Goodfellow

Keep moving EDN’s Cecilie Bolvinkel yesterday expressed her satisfaction about the first six months of the Moving Docs partnership, dedicated to the joint distribution of docs across Europe. Exploiting a wide range of media and platforms, the organization exists to bring docs to the parts of Europe not so well served by the existing delivery network.

“In 2015 we wanted to distribute high profile, theme-based films. Sugar Blues, The Forecaster and Bikes versus Cars were very good examples of this, with themes that have consequences for the daily lives of people… [films] that can attract new audiences,” commented Bolvinkel. Other films released in 2015 included Good Things Await by Phie Ambo; We Come as Friends by Hubert Sauper; Toto and his Sisters by Alexander Nanau and Greece Works in Progress by Elena Zervopoulou. “The Forecaster screened from Athens to multiple countries across Europe. Martin Armstrong [the star of the doc] was there, together with the director. They especially wanted the screening to be based in Athens, with the financial situation and all its implications.”

Bolvinkel and founding partner Rea Apostolides of CineDoc (Greece) are at IDFA both to find more screening partners for the project and to source new films for distribution in 2016. “We will work with three central films around which we will build bigger partner campaigns,” says Bolvinkel. “We are having meetings at the Forum with some of the films that have planned release for 2016; theme-based films with a relevance to European audiences on a bigger scale.” High on the agenda is a project on the Syrian refugee crisis, adds Apostolides. Moving Docs is supported by Creative Europe with funding confirmed until 2017. In 2016, the organisation will present two outreach workshops, one focused on audience engagement and another on marketing. Nick Cunningham

Whites of their Eyes Gaza-based Palestinian fighter Abu Khaled and Israeli soldier Gilad Peled are unlikely to ever come face-to-face in real-life – at least not in peaceful circumstances. But in war photographer Karim Ben Khalifa’s virtual reality work The Enemy, world premiering in DocLab’s Seamless Reality exhibition, the born foes are brought face-to-face.

While both men give their take on the conflict and talk about their mutual fatigue with war and their dreams of peace, the viewer is invited into the room with them, to listen to what they have to say close-up. Describing himself

The Enemy

a CAT&Docs picks up Don Juan idf ws

as “a frustrated 2D guy who decided to explore 3D”, Ben Khelifa says The Enemy was inspired by a desire to explore new ways of story-telling. “I’m interested in long-standing conflict and the cycle of violence,” says Ben Khelifa. “I was curious to see what would happen if the combatants were in the room; what would happen to journalism if there was body language and what would happen to storytelling and the level of engagement if the protagonists were talking to the viewer directly.” Ben Khelifa filmed the interviews with both men in 2014. Little did he realise that less than three months later, the conflict would flare up again and Gilad would be drafted into Gaza for Israel’s Operation Protective Edge. “By that time, Gilad and Abu Khaled knew about one another, even if they didn’t know one another visually. They both had two kids, were both tired of war but had no choice but to fight. They didn’t really want to do it, but they had no escape routes.” The version at DocLab is a prototype for a larger, one-hour production, which will also explore the conflicts of El Salvador, Afghanistan, the Congo and South and North Korea. There will be five versions of the instalment related to Afghanistan, bringing a Taliban fighter face-to-face with coalition soldiers from the US, UK, France, Canada and Germany, depending on the nationality of the viewer. One of Ben Khelifa’s long-term goals for the work is to make people caught-up in long-term conflicts re-assess their enemy. To this end, he wants to premiere the completed work in Congo in January 2017. The Congolese instalment will bring a FDLR rebel face-to-face with a government soldier. “My target audience will be the 17 to 21-year-olds who are going to fight one day. Young Israelis, Palestinians, Congolese, Afghans, Brits, Americans and French people that are potentially going to take up arms.” Melanie Goodfellow

“We screened it here and finalised the deal,” said Maelle Guenegues who handles acquisitions at CAT&Docs alongside founding company president Catherine Le Clef. “We watched it together and immediately agreed it was our type of film. It’s a very intimate documentary about an autistic boy whose mother is putting him through all sorts of treatments to make him a real man. It reads like a fiction. It’s a great story, very well done.” Polish-born, Sweden-based, Sladkowski was last at IDFA in 2007 with Paradise, exploring the highs and lows of a 60-year marriage through a dispute over redecorating. His awardwinning 2010 film Vodka Factory, revolving around factory workers in Russia, was in Docs for Sale. It is proving to be a high-profile IDFA for Paris-based documentary specialist CAT&Docs. Other competition titles on its slate include Thy Father’s Chair and Sonita. Iranian director Rokhsareh Ghaem Maghami’s Sonita, about a female Afghan rapper, is one of the hits of the festival, topping both the audience and Docs for Sales polls. “For Thy Father’s Chair, we have interest from Canada and the UK, Italy and Poland, and for Sonita we have theatrical interest from Belgium, the UK, Poland and Israel,” says Guenegues. Women Make Movies, which is handling the US, has entered the film for the Sundance Film Festival in January, she notes. Other titles in CAT&Doc’s line-up include Sean McAllister’s A Syrian Love Story, winner of the Sheffield Doc/ Fest in June, which has also been packing out screenings. “He’s a major filmmaker and it’s a timely story, which now has a different meaning in the light of the Paris attacks. It brings a human face to the refugee crisis,” says Guenegues. “We are getting a lot of interest for theatrical from various territories and are particularly thinking about the best way to bring the film to the States. It’s especially relevant there right now, where they’re talking about not taking any more Syrian refugees.” Melanie Goodfellow

Talking kids Kids’ docs are on the agenda this afternoon (25 November) at De Brakke Grond as a panel of experts determine the future trajectory of the sector.

“It’s really about exploring new possibilities,” comments event organiser Meike Statema. “Maybe its about finding new platforms and new ways to deliver to new audiences; maybe its new digital channels or VOD whatever – this is what the discussion is about. Documentaries for kids is still a small niche within the festival, but it is getting bigger. The discussion we have in the afternoon will hopefully stimulate new entries for the festival and for the Forum in the future.”

Varicella

Autlook Film Sales’ Salma Abdalla will relate her experiences on selling Sports Kids, a series that includes the three opening international films in the 2015 Kids & Docs Competition: Varicella, Dancing for You and Ruth. ”The interesting thing is that these films had big budgets. That is what we are aiming for. We want to get the same budgets for kids’ documentaries as we do for creative documentaries. There is a good appetite for these films in Asia – Japan, China and Taiwan. We had a very good experience with Sports Kids.” NPO Sales’ Kaisa Kriek will talk from a Dutch perspective. “Holland has a long tradition of youth documentary. Over 25 years, producers, filmmakers and commissioning editors have adopted the genre and have made it what it is today. Also with the involvement of the Dutch Cultural Media Fund, we have seen the strong development of beautiful and cinematic films, some with heavy subject matter but also light films too – films that really stand out internationally.” Nick Cunningham

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

OLMO THE SEAGULL JOSHUA OPPENHEIMER

OLMO AND AND THE SEAGULL

Director of The Act of Killing

a film by PETRA COSTA and LEA GLOB

SCREENINGS

International Documentary Film Festival Amsterdam NOVEMBER 2015

Fri 20 13:45 MUNT 9

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

MUNT 12

TUSCHINSKI 6

International Sales:

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

11/16/15 2:27 PM

Mr Hu And The Temple

WORLD premiere

a idf s film

Not so long ago, filmmaker Yan Ting Yuen’s curiosity was piqued by a short article she read in the Dutch press about plans for the Chinese-Dutch community to build a Buddhist temple in Utrecht. She began to think this might be an interesting subject for a film. At first, the plans were just for a “very small story,” a modest doc that looked likely to find its main audience on the Buddhist Channel in the Netherlands. However, the project expanded in scale.

The Netflix Effect Do they come in peace or are they the alien force that will destroy the traditional doc funding eco-system? Ask IDFA industry professionals about their feelings toward Netflix and you will find very mixed responses to the North American on-demand streaming giant. By Geoffrey Macnab

Most acknowledge that big VOD players like Netflix are a galvanising force, bringing new money and energy into documentary. IDFA director Ally Derks is upbeat about the impact of Netflix on the documentary world. “I can only be very happy. It is good for the filmmakers, it is good for the industry. There is more money around for the filmmakers because companies like Netflix really fund documentaries. I would never beat them – I would rather join them! I don’t feel threatened by them, not at all.” IDFA this year has programmed several films already on Netflix, including What Happened, Miss Simone (about Nina Simone) and Morgan Neville’s Keith Richard: Under The Influence. The thinking here is that there are many Dutch film-lovers who aren’t Netflix subscribers, and such films should still find an audience. Sales agents and producers are more ambivalent about the Netflix effect on their business. “They are a big player, a key player,” Dogwoof ’s Head of Theatrical Sales Ana Vicente comments. “I wish there were other platforms like them that gave this importance to documentary and welcomed documentaries so much.” The downside is that, once a sales agent cuts a deal with Netflix, that will almost certainly mean it won’t be possible to license the film elsewhere. “They have a big price tag, but if you look more precisely at what that price tag actually means, the deals are not that great in what you have to deliver and the rights you are giving up. A lot of people won’t work with you if there is a Netflix tag on a film,” says one leading doc seller. IDFA industry attendees caution that filmmakers need to work with canny, well-informed intermediaries – whether producers or sales agents – to make sure they cut the best deal. “If you think you have a documentary like Dior and I that can gross a high number at the box-office, as it has everywhere, yes, even though you might have a Netflix deal on the table, you

have to know that the potential of this film in cinemas and other ancillaries is so much greater, it doesn’t make sense to go on Netflix,” says Vicente. The rejoinder to this is that very few docs are likely to be big box office successes. In many cases, it will therefore make more sense to take the Netflix option if it is available. Like other observers, Sigrid Jonsson Dyekjær of Danish Documentary Production (the Danish coproducer of IDFA opening film, Tom Fassaert’s A Family Affair) suggests that it doesn’t always make sense to go with Netflix. For example, Dyekjær is currently working on a film called Bugs (sold by Autlook). Directed by Andreas Johnsen, this is about the new fetish for edible bugs. It has many broadcasters and funds supporting it – and a very decent budget of €800,000. There wouldn’t be much sense doing a Netflix acquisition deal on such a doc, given that this would be worth only around a quarter of the budget. “I can actually raise more money myself, selling out all the territories, than I can if it is an acquisition at Netflix,” Dyekjær says. On a more modestly budgeted film from a talented young director (such as Tom Fassaert’s A Family Affair) who wants to reach as big an audience as possible, a different logic applies: the Netflix option will seem much more attractive. Top filmmakers whose docs are made as ‘Netflix Originals’ will be very generously rewarded. These are prestige projects that are expected to have major awards appeal and are likely to have budgets in “the high six figures into seven figures” (according to one source). The hitch is Netflix will control everything and the films will be hard to see anywhere other than on the Netflix platform. Whatever their feelings about Netflix, no-one in the doc community can ignore them. After all, the VOD giant now operates in over 60 countries and, according to its own website, has 69 million members. That is a very big apple for doc makers to try to bite into.

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

The main protagonist in the doc is the colourful Mr Hu, who is part of the Wenzhou community in the Netherlands. A man in his 70s, he had the dream to build the temple and went to extreme lengths to make that dream a possibility. This included him travelling all the way to Mount Putuo, a sacred spot in China, to ask permission from temple elders for the Dutch building to go ahead. “If you’re not that familiar with Buddhism, it is as if Mr Hu would go to FC Barcelona and ask them to open a club in north Utrecht.” Much to Mr Hu’s surprise, the elders accepted the proposal. “What we did was follow the process,” Yuen recalls. Alongside the Dutch scenes, she filmed the daily life of the monks at the temple on Mount Putuo. The director was intrigued by the contemplative life of the monks and briefly adopted their lifestyle. They’d wake up at 3am and have a morning ceremony at 4am. “Having gone to this monastery. I began really to understand the function of rituals and how beautiful this life can be, letting go of all earthly troubles. You just become absorbed by this morning ritual. It is all you need to do. Your head and your heart come to rest.”

Salero

Back in Holland, the atmosphere was very different. The Chinese Dutch are noted restaurateurs, who lead very busy, entrepreneurial lives. They don’t have much time for contemplation or going on monastic retreats. “They are very materialistic. It is all about eating and earning money.” The hope now is that the new temple in Utrecht will change attitudes in the community. As Yuen points out, there are thousands of Chinese Dutch. “Mr Hu wants them all to come to his temple and to convert to Chinese Buddhism!” Geoffrey Macnab IDFA Competition for Dutch Documentary

WORLD premiere

Set against the vast Salar de Uyani salt flats in Bolivia, Mike Plunkett’s Salero revolves around a traditional salt gatherer as he contemplates the implications of the government’s decision to develop lithium mining in the area.

Plunkett’s curiosity about the flats was first piqued around 2010, as the rise of consumer-friendly, electric cars put the spotlight on the area, which contains half the world’s lithium (a key component of the batteries that power vehicles). The filmmaker says it was the landscape, rather than the politics surrounding its development, that fascinated him. “On the surface, there were all these articles on the politics, but for me it was this alien landscape which somehow was alive and had something to say about this situation of development,” says Plunkett. “The Salar is this enormous blank slate, and being able to capture a place like that at the beginning of a huge transformation was really exciting to me.” At the heart of the documentary is Moises Chambi Yucra, a salt gatherer living in the small town of Colchani, whose family has worked on the flats for generations. The film follows him as he processes the implications of the area’s development. He is perplexed and troubled by what is happening – unlike his brother Nico, who abandons the family’s artisanal salt grinding operation to set up a souvenir shop specialising in salt sculptures. “Moises is so poetic and intimately connected with the landscape, meeting him made me think that perhaps I had the basis for a feature-length film rather than a short-form project.” The other key character is Marcelo Castro Romero, the chief engineer and head of operations for the national lithium operation. “When I first started shooting the film I did a number of interviews with lithium experts to give some context, but as the Bolivian

characters grew and came into their own the expert interviews fell away.” Shooting on the flats, which are situated on an Andean plateau more than 3,000 metres high, was complicated recounts producer Anna Rose Holmer. The crew, led by cinematographer Andrew David Watson, took an improvisational approach, using a dolly, for example, made out of a skateboard running along tracks constructed out of salt blocks, she recounts.

Other credits on the film include composer Adam Bryanbaum Wiltzie, best known for projects like Stars of the Lid, and Emmy Award-winning sound designer Tom Paul, whose credits include The Fog of War. Plunkett says the soundscape they created was integral to the film. “From the beginning, I wanted the soundscape to be part of the language of the film. When we’re with Marcelo and the lithium team, we’re in a more sterile industrial environment; when we’re with Moises and the salt gatherers there is a warmer, melodic, harmonised ambiance,” he explains. Melanie Goodfellow Panorama

C&C PRODUCTIONS PRESENTS

DÉ JÀ VU · A FILM BY JON BANG CARLSEN

PRODUCED WITH SUPPORT FROM DANISH FILM INSTITUTE · DRK DA N I S H B ROA D C A S T I N G C O O P E R AT I O N · S W E D I S H T E L E V I S I O N A B

D ES I G N JO N

REALIT Y IS A QUESTION OF FAITH

Becoming Zlatan

WORLD premiere

a idf s film

He is the enigmatic Swedish footballer who, only a week ago, boasted that he had sent Denmark into “retirement” after scoring twice against them in the second leg of a crucial Euro 2016 play-off match. (The remark was a response to Danes’ taunts that they would send him into retirement.) Now, 34-year-old Zlatan Ibrahimovic is the subject of a new doc at IDFA. Becoming Zlatan, a world premiere in Masters, is directed by brothers Fredrik and Magnus Gertten. It offers a very intimate and revealing portrait of Zlatan in his early years, when he was struggling to make the grade at Malmö FF and Ajax in Amsterdam.

The Sniper of Kobani There is an extraordinary backstory to Reber Dosky’s The Sniper of Kobani. To make the film, the Kurdish/Dutch filmmaker travelled to Kobani at a time when Islamic State was in control of most of the northern Syrian city. He came back to the Netherlands with his hard-won footage and then… disaster! On the first day in the editing suite, the editor dropped the hard disk, which was so badly damaged all his footage was lost.

“I decided to go back [to Kobani] because I just wanted to have the story,” Dosky remembers. The Turks wouldn’t give him a visa. That is why, last December, he had to be smuggled into Kobani. This time, when he left the city, he was arrested by the Turkish authorities, given a fine of 800 Euros for not having the right papers and badly beaten up. He was with five other journalists, but he was the only one so badly treated. “I think it was because they were foreigners and I was a Kurd,” he says. To add to his woes, the hospital where he was patched up issued a report saying he had had a fall. “They [the authorities] seemed to have an agreement with the doctors.” The subject of his film is a sniper called Haron; a taciturn loner first seen walking into a barber’s shop for a haircut and shave. The doc lasts for only 12 minutes but includes some

Chechen

WORLD premiere

astonishing footage. There is a grim montage of some of the corpses of Haron’s victims. (He told the director he had killed 23 people.) We also see, in the distance, a huge explosion as the IS-controlled part of the town is bombed by coalition forces. Haron admits that sometimes he has shot children. He has nightmares about his grim work, but knows that IS forces would kill him instantly if they had the chance. The sniper is a distant and aloof man with a painstaking approach to the business of killing. Dosky took time to win his trust. “I really admired him, the way he worked,” the director reflects. “He isn’t in touch with his family, he isn’t in touch with anyone, because he is afraid that as soon as he is in a normal contact with people, it won’t be possible to do this kind of work.” Well-known Dutch filmmaker Jos de Putter heard about the project, which Dosky was then making on his own, and eventually came on board as producer. The plan now is to make a long documentary based on Dosky’s Kobani footage. The director will be returning to the town next year to shoot new material. The sniper material will be one episode of the longer doc, which will be about the inspirational young radio journalist who formed Radio Kobani. Geoffrey Macnab Panorama

WORLD premiere

Beata Bubenets’ Chechen (screening in the IDFA Competition for First Appearance) profiles a man who feels far more at ease in wartime than in peace. Ruslan Arsajev is a hard-bitten Chechen fighter. The young director met him in Ukraine, during the protests at Maidan Nezalezhnosti, or ‘Independence Square’ as it was named.

“My initial idea was to make a film about people who find war the most comfortable situation,” the young Russian director explains. At first, she wasn’t sure Ruslan was the right subject. After all, he wasn’t a Ukrainian. “But I was attracted by his personality. I thought he could be the hero of my film because he was living his life and reflecting on it at the same time.” At that stage, the director had no idea that what was happening in Maidan would lead to the annexation of Crimea by the Russians and to the war in Ukraine. Ruslan went wherever there was violence and upheaval. By following him with her camera, Bubenets was able to chronicle what was happening in the country as a whole. “Initially, he was very glad I was filming him. He had felt very lonely, but felt better when I started following him with my camera

and documenting his life. To me, the most interesting thing about Ruslan wasn’t his colourful biography, but his personality and the way he deals with life. He has a lot of ambivalent feelings and thoughts about what is going on. I was very interested in seeing that and understanding that as a documentary maker,” the director states. “I think of Ruslan as someone who is not at all integrated into regular civilian life. As he says in the film, through all his life, he has either been at war or in jail.” The paradox about this rugged mercenary is that he craves love and affection. In the film, we see him courting a woman who rejects him. Then, at the end of the film, he finds a partner. “I see this as a chance for him to have a regular life,” Bubenets suggests. “He is not a violent person. I think he breaks the stereotypes. People watching my film expect him to be very violent and aggressive, but he is not aggressive at all.” The director speculates that the reason her subject is so comfortable in a wartime situation is not that he is inherently bloodthirsty – it is simply the circumstances in which he has always lived. “This is the only thing he knows.” Geoffrey Macnab IDFA Competition for First Appearance

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

Early in their career as filmmakers, the Gerttens made “a few films” about their beloved Malmö FF. By coincidence, they were shooting these docs at precisely the moment that Zlatan was first emerging as a professional player. “In the second film, we were focusing on the conflict within the team between the old players and the young. We wanted a player to represent the young… and it happened to be Zlatan,” Fredrik recalls. “In a way, it was just luck. People pointed at him and said, ‘We don’t think he will make it, but he is very, very talented,’” Magnus says. The brothers were among the first ever to interview the precocious young player, who wasn’t yet established in the Malmö first team. Even then, Ibrahimovic was a divisive personality, always getting into disciplinary scrapes. The older players were infuriated by his selfishness and showboating. “Even at that stage, we understood he was great material for a film… he had his own very creative language,” Fredrik recalls. Zlatan hadn’t yet been exposed fully to the “poisonous” world of agents, money and hype. “We were able to get close to him. I think he liked that we were not like the other journalists. We were hanging with

him and interested in so many different things,” Magnus remembers. “Even from the beginning, there was an enigma with him. That still fascinates us today about him as a footballer.” The film shows Zllatan’s egotism and sometimes boorish behaviour, but also his immense charm. The filmmakers had access to him that would be unthinkable today. During the Malmö years, the brothers had shot reams of material, which languished in a basement for over a decade. The Gerttens are highly successful directors with many credits behind them: Fredrik took on the multinational corporation Dole Food Company in his film Bananas!* (2009), and Magnus’ latest doc Every Face Has a Name screens in this year’s Best of Fests. The brothers certainly didn’t want anyone to think they were cashing in on Zlatan becoming one of the most famous players in the world. “But there came a point, a couple of years ago, when we thought if we don’t go into that basement and find the material, we would never be able to do it.” Geoffrey Macnab Masters

EUROPEAN premiere

The Wedding Contract Not all docs screening in IDFA’s first appearance competition are made by a veteran of thirty-odd years’ experience in the film business, or exec produced by the likes of doc legends D.A. Pennebaker and Chris Hegedus. But both are true of American David Dawkins’ The Wedding Contract: A Balinese Love Story. Twenty years in the making, the doc tells the story of Dawkins’ elaborate struggle to marry his Balinese love.

The majority of the footage we see in the film was shot on Bali between 1976 and 1991. The earliest footage was shot by D.A. Pennebaker himself, who had become good friends with Dawkins while filming the theatre group Dawkins was involved with back in the 1970s. “He offered us some 8mm cameras, but we weren’t really interested back then,” Dawkins recalls. “Then I went to Bali and was having this unbelievable experience – I cabled Pennebaker and asked him to send me one of those cameras. He showed up in person, with 12 rolls of film, and we used it all. When I got back to New York, I saw he’d put the wrong music with the wrong footage, so he asked me to sync it up for him. I didn’t know anything about film back then – but I was hooked.” Dawkins went on to collaborate often with Pennebaker and Hegedus (co-directing their 1989 band bio-pic Depeche Mode: 101, for example). But “life took over” and the Bali footage stayed in the can. “Life went on, I had three kids and a business. But that early footage kept the project alive for me,” Dawkins says. “At a certain point, I knocked together an assembly and showed it to Pennebaker and he was so strenuously supportive I got excited and went ahead and finished the film.” Pennebaker and Hegedus came on board as exec producers. “I had worked with them for many, many years and they were close friends – all my film projects have been connected with them in one way or another.

It’s a name people notice,” Dawkins says. Nevertheless, to date he has been finding Wedding Contract something of “a hard sell: TV stations are like ‘Hey, all those subtitles and no terrorists, come on!’” He was slightly surprised when the film was accepted for IDFA: “I got this official-looking e-mail from IDFA; at first I thought, ‘Hell, someone is suing me in the Netherlands!’” His experience here in Amsterdam has been

extremely positive: “Because of the responses we’ve been getting, I think the audience is there,” Dawkins says. “The premiere was completely sold out.” Dawkins is now working on a documentary in New York about campaigners trying to force through immigration reform. “All my sights are on NYC now,” he says. “There are a million stories in the naked city, as they say. I don’t need to go all over the world any more – and it’s more affordable!” Mark Baker IDFA Competition for First Appearance

Word Vriend ! van Ontdek de voordelen op idfa.nl/wordvriend

Vrienden van

Program TUSCHINSKI TUSCHINSKI 1 1

Wednesday 25 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

10:30 10:30

Snow Snow Monkey Monkey George George Gittoes Gittoes

11:00 11:00

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

Flotel Flotel Europa Europa

11:00 11:00

11:30 11:30

Hassen Hassen Ferhani Ferhani

Pankaj Pankaj JoharJohar

JeanJean Counet Counet

Roundabout Roundabout in My in My Head Head 12:00 12:00

12:00 12:00

Welcome Welcome Home Home

Cecilia Cecilia

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

FransFrans Bromet Bromet

12:00 12:00

Panorama Panorama , 49’ , 49’

Saeed Saeed Taji Farouky, Taji Farouky, MikeMike McEvoy McEvoy Best ofBest Fests of, 82’ Fests, 82’

Kristina Kristina Goolsby, Goolsby, Ashley Ashley York York Best ofBest Fests of, 90’ Fests, 90’

13:00 13:00

Women Women in Sink in Sink Best ofBest Fests of, 37’ Fests, 37’

Cartel Cartel Land Land

14:00 14:00

Matthew Matthew Heineman Heineman

14:00 14:00Best ofBest Fests, of Benjamin Fests, Benjamin

Adam Adam Benzine Benzine

A Walnut A Walnut TreeTree

, 98’ , 98’ BarberBarber Program Program

My My Aleppo Aleppo & This & This Is Exile: Is Exile: Diaries Diaries of of Child Child Refugees Refugees withwith Extended Extended Q&A Q&A

15:00 15:00

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

HotHot Sugar’s Sugar’s ColdCold World World

Children’s Children’s documentaries: documentaries: Adam Adam Bhala Bhala Lough Lough Suburban Suburban King/Top-girl, King/Top-girl, Home HomeMusicMusic Documentary Documentary , 85’ , 85’ SweetSweet Home, Home, I’ll FlyI’llHigher Fly Higher and and Into Darkness, Into Darkness, 135’ 135’

Folowed Folowed by anbyin-depth an in-depth converconversation sation between between former former Middle Middle East East correspondent correspondent Nicole Nicole le le FeverFever and director and director ManiMani YassirYassir 16:00 16:00 Benchelah. Benchelah.

16:15 16:00 16:0016:15

DutchDutch Competition Competition , 55’ , 55’

15:00 15:00

Maysoon Maysoon El-Massry El-Massry

LiveLive from from NewNew York! York! Bao Nguyen Bao Nguyen

17:00 17:00

17:15 17:15

Under Under the the SunSun withwith Extended Extended Q&A Q&A

Under Under the the SunSun Vitaly Vitaly Mansky Mansky

Walls Walls

Fredrik Fredrik Gertten, Gertten, Magnus Magnus Gertten Gertten

Panorama Panorama , 83’ , 83’

Becoming Becoming Zlatan Zlatan

Followed Followed by anbyin-depth an in-depth conversation conversation between between director director18:00 18:00 VitalyVitaly Mansky Mansky and filmmaker and filmmaker Coming Coming of Age of Age PieterPieter Fleury. Fleury. Teboho Teboho Edkins Edkins

18:00 18:00

17:30 17:30

18:15 18:15

CallCall Me Me Marianna Marianna

Student Student Competition Competition , 63’ , 63’

Karolina Karolina Bielawska Bielawska

18:15 18:15

Driving Driving withwith SelviSelvi My My Enemy, Enemy, My My Brother Brother ElisaElisa Paloschi Paloschi Best ofBest Fests, of IDFA Fests,DOC IDFAUDOC U , 54’ , 54’ Competition Competition

Best ofBest Fests of, 17’ Fests, 17’

17:30 17:30

Afghanistan Afghanistan Night Night Stories Stories Alka Alka Sadat Sadat

18:15 18:15

Concerto Concerto - A Beethoven A Beethoven Journey Journey

Panorama , 60’ , 60’ 18:00 18:00Panorama

Phil Grabsky Phil Grabsky

MusicMusic Documentary Documentary , 90’ , 90’

Atlan Atlan

Panorama Panorama , 62’ , 62’

19:45 19:45

20:00 20:00

Kurt Kurt Langbein Langbein

20:15 20:15

DéjàDéjà vu vu

Jon Bang Jon Bang Carlsen Carlsen

VPRO VPRO Extra: Extra: Janis: Janis: Panorama, Panorama, Benjamin Benjamin BarberBarber Program Program , 94’ , 94’ Little Little GirlGirl BlueBlue

10 Billion 10 Billion - What’s - What’s on Your on Your Plate? Plate? Valentin Valentin Thurn Thurn

20:15 20:15

LyariLyari Notes Notes

Apostolos Apostolos Karakasis Karakasis

Panorama Panorama , 80’ , 80’

Maheen Maheen Zia, Miriam Zia, Miriam Chandy Chandy Menacherry Menacherry

Next Next Stop: Stop: Utopia Utopia

Panorama Panorama , 102’ , 102’

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

Don’t Don’t Blink: Blink: RobertRobert Frank,Frank 7’ , 7’

20:30 20:30

I AmI Am Dublin Dublin

David David Aronowitsch, Aronowitsch, Ahmed Ahmed Abdullahi, Abdullahi, Sharmarke Sharmarke Binyusuf, Binyusuf, AnnaAnna Persson Persson

AmyAmy BergBerg

Best ofBest Fests of, 75’ Fests, 75’

MusicMusic Documentary, Documentary, Masters Masters , 104’ , 104’

21:30 21:30

Panorama Panorama , 73’ , 73’

Robert Robert FrankFrank

20:00 20:00

Janis: Janis: Little Little GirlGirl BlueBlue

21:00 21:00

Bernardo Bernardo Ruiz Ruiz

I Remember I Remember

WithWith an introduction an introduction and and extended extended Q&A.Q&A. Moderator Moderator Atze Atze de Vrieze de Vrieze (VPRO (VPRO 3voor12). 3voor12).

Masters Masters , 85’ , 85’

19:00 19:0019:15 19:15 Kingdom Kingdom of Shadows of Shadows

19:30 19:30

19:45 19:45

Land Land Grabbing Grabbing

Best ofBest Fests of, 75’ Fests, 75’

withwith the directors. the directors.

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

Moein Moein Karimoddini Karimoddini

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

20:00 20:00Screening Screening followed followed by a talk by a talk

17:00 17:00

Mid-Length Mid-Length Competition, Competition, , 56’ , 56’ Benjamin Benjamin BarberBarber Program Program

Tamar Tamar Kay Kay

Ann Ann ShinShin

Best ofBest Fests of, 75’ Fests, 75’

Oxfam Novib Novib Selection: Selection: 19:00 19:00Oxfam Requiem Requiem for the for the American American Dream Dream

Kati Kati Juurus Juurus

DOCDOC U U TheThe Mute’s Mute’s House House

Best ofBest Fests of, 92’ Fests, 92’

Panorama , 80’ , 80’ 16:00 16:00Panorama

For For Kibera! Kibera!

17:15 17:15

NiceNice People People

Masters Masters , 106’ , 106’

19:00 19:00

Student Student Competition Competition , 27’ , 27’

Juliana Juliana Gabriela Gabriela Gomez Gomez Castañeda Castañeda

MusicMusic Documentary Documentary , 80’ , 80’

Anders Anders Helgeson, Helgeson, KarinKarin af Klintberg af Klintberg

Georg Georg Misch Misch

Jessica Jessica Edwards Edwards

17:45 17:45

Masters Masters , 110’ , 110’

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

16:00 16:00

Iceberg Iceberg

Mavis! Mavis!

PabloPablo Iraburu, Iraburu, Migueltxo Migueltxo Molina Molina

15:30 15:30

16:15 16:15

Sounds Sounds Real, 52’ Real, 52’

17:15 17:15

Student Student Competition Competition , 47’ , 47’

Best ofBest Fests, of Benjamin Fests, Benjamin , 87’ , 87’ BarberBarber Program Program

Sergey Sergey Debizhev Debizhev

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

FelixFelix Röben, Röben, Ajay Ajay Koli Koli

15:00 15:00

Hao Hao ZhouZhou

Best ofBest Fests of, 89’ Fests, 89’

Russian Russian Dream Dream

Ruslan Ruslan Fedotow, Fedotow, Alexandra Alexandra KulakKulak

CoalCoal India India

15:00 15:00

Avi Lewis Avi Lewis

Sounds Sounds Real, 26’ Real, 26’

Salamanca Salamanca

Best ofBest Fests of, 90’ Fests, 90’

Best ofBest Fests of, 79’ Fests, 79’

15:15 15:15

Victor Victor Semeniuk Semeniuk

Student Student Competition Competition , 20’ , 20’

Francesca Francesca Scalisi, Scalisi, MarkMark Olexa Ole

TheThe Chinese Chinese Mayor Mayor

Habitat Habitat

Moriom Moriom

14:00 14:00Panorama Panorama , 12’ , 12’

Parvez Parvez Sharma Sharma

ThisThis Changes Changes Everything Everything

16:00 16:00

AidaAida

13:45 13:45

First Appearance First Appearance Competition Competition , 110’ , 110’

TheThe World World According According 14:15 14:15 to Monsieur to Monsieur Khiar Khiar A Sinner A Sinner in Mecca in Mecca SjorsSjors Swierstra Swierstra

Errol Morris Errol Morris Retrospective, Retrospective, Sounds Sounds Real, 95’ Real, 95’

13:00 13:00

13:15 13:15

Strung Strung OutOut NiritNirit Aharoni Aharoni

Best ofBest Fests of, 27’ Fests, 27’

14:45 14:45

KidsKids & Docs & Docs Competition Competition 3 3

Best ofBest Fests of, 73’ Fests, 73’

Joshua Joshua Seftel Seftel

ErrolErrol Morris Morris

Best ofBest Fests of, 40’ Fests, 40’

Ammar Ammar Aziz Aziz

14:30 14:30

13:45 13:45

TheThe FogFog of Srebrenica of Srebrenica

Samir Mehanovic Mehanovic 12:00 12:00Samir Mid-Length Mid-Length Competition Competition , 60’ , 60’

13:00 13:00

Evangelia Evangelia Kranioti Kranioti

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

Claude Claude Lanzmann: Lanzmann: Spectres Spectres of the of the Shoah Shoah TheThe FogFog of War of War

13:45 13:45

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

Panorama Panorama , 70’ , 70’

Exotica, Exotica, Erotica, Erotica, Etc.Etc.

13:15 13:15

Iris Zaki Iris Zaki

Mattia Mattia Epifani Epifani

Roshmia Roshmia

Salim Salim Abu Abu JabalJabal

Panorama Panorama , 12’ , 12’

Spring Spring NotNot to to According According to Protocol to Protocol Tell Tell Come ThisThis YearYear Anne-Marieke Anne-Marieke Graafmans Graafmans Come

Tig Tig

11:00 11:0011:15 11:15 TheThe Successor Successor

11:30 11:30

Best ofBest Fests of, 71’ Fests, 71’

Calling Calling Ukraine Ukraine

Panorama Panorama , 85’ , 85’

12:30 12:30

Masters Masters , 90’ , 90’

Vladimir Vladimir Tomic Tomic

Crocodile Crocodile Gennadiy Gennadiy

Don’t Don’t Blink: Blink: Robert Robert Frank Frank

20:00 20:00

20:30 20:30

LauraLaura IsraelIsrael

Don’t Don’t Blink: Blink: RobertRobert Frank,Frank 82’ , 82’

BestBest of Enemies of Enemies Morgan Morgan Neville, Neville, Robert Robert Gordon Gordon

21:00 21:0021:15 21:15 In California In California

Masters Masters , 88’ , 88’

21:30 21:30

Charles Charles Redon Redon

Thank Thank YouYou for Playing for Playing

SteveSteve Hoover Hoover

22:00 22:00

Best ofBest Fests of, 96’ Fests, 96’

22:00 22:00

Alisa Alisa in Warland in Warland 22:30 22:30

Maiko Maiko - Dancing - Dancing Child Child Åse Svenheim Åse Svenheim Drivenes Drivenes

Liubov Liubov Durakova, Durakova, AlisaAlisa Kovalenko Kovalenko

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

Motley’s Motley’s LawLaw

Victor Victor Alexis Alexis Guerrero Guerrero

22:45 22:45

Pelota Pelota II II

Panorama Panorama , 70’ , 70’

23:00 23:00

TheThe Load Load

Jørgen Jørgen Leth,Leth, OlatzOlatz González González Abrisketa Abrisketa

Student Student Competition Competition , 25’ , 25’

22:30 22:30

UgisUgis Olte Olte

Ben van Ben Lieshout van Lieshout

Nicole Nicole Nielsen Nielsen Horanyi Horanyi

Double Double Aliens Aliens

Sketches Sketches of Siberia of Siberia

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

Paradocs Paradocs , 73’ , 73’

Panorama Panorama , 85’ , 85’

First Appearance First Appearance Competition Competition , 78’ , 78’

David David Osit,Osit, Malika Malika Zouhali-Worrall Zouhali-Worrall

22:00 22:00

Best ofBest Fests of, 80’ Fests, 80’

22:30 22:30

Chemsex Chemsex

OldOld Wives Wives

William William Fairman, Fairman, MaxMax Gogarty Gogarty

Galina Galina Krasnoborova Krasnoborova Panorama Panorama , 26’ , 26’

Panorama Panorama , 80’ , 80’

23:00 23:00

Grumant: Grumant: Island Island of Communism of Communism

Masters Masters , 71’ , 71’

Ivan Ivan S. Tverdovskiy S. Tverdovskiy

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

24:00 24:00

1:001:00

TUSCHINSKI 2 EYE TUSCHINSKI 3 DE MUNTTUSCHINSKI 13DE MUNT113EYE CINEMA EYE 1 CINEMA 1 CINEMA EYE 2 CINEMA

12 9:00

WOENSDAG WOENSDAG2525NOVEMBER NOVEMBER

9:00 9:00