Anders Hammer’s Do Not Split, which won the Special Jury Prize at AFI Docs, takes on even greater significance in the light of renewed protests in Hong Kong, following the passing of the country’s new security laws.
In Carol Salter’s short film Breadline, which world-premieres at Sheffield, we meet the heroic Dave, who dedicates much of his time to helping the poor in a food bank in Fleetwood, in the North-West of England.
Thomas Imbach’s latest feature doc Nemesis, like his previous film Day Is Done which premiered at 2011 Berlinale, observes a changing world from his Zurich studio. He talks to Business Doc Europe.
As Head of International Current Affairs at the BBC, Sarah Waldron is used to commissioning documentaries at very short notice. Even so, the speed with which the BBC got behind Italy’s Frontline: A Doctor’s Diary was impressive.
PARISDOC, the industry arm of Cinéma du Réel, presents four new projects at Cannes Marché, three of which are set in the US, one featuring the niece of murdered Minnesota resident George Floyd.
Mumbai-based Deepti Gupta’s Shut Up Sona (sold internationally by Brighton-based Espesso Media) has provoked howls of fury in India, the director tells Business Doc Europe.
A Black Jesus, directed by Luca Lucchesi and produced by Wim Wenders, poses a poignant and pertinent question. How can the residents of a Sicilian village worship a black Jesus but disregard the refugees who pray in the same church?
“Cinema needs to defend itself like never before,” the IDFA Creative Director tells BDE. “A thousand persons watching the film at home over a week are not equal to 1000 persons in a cinema watching the same film.”
The ‘fest’ has been taken out of the festival and all the hard work isn’t bringing the expected dividends. “Our real merchandise are emotions, and these are best shared,” First Hand Films boss Esther van Messel tells BDE.
Tel Aviv-based doc sales outfit Cinephil is partnering with French production giant Gedeon Media Group and ARTE on major new TV project, The Ark Of The Covenant (working title). Cannes label Flee also on the company's Cannes slate.
One of the first docs made during the pandemic, London-based Sasha Joelle Achilli was not prepared for what she witnessed when she returned to Italy to shoot Italy’s Frontline: A Doctor’s Diary for PBS/BBC in early 2020.
Swedish docmaker Magnus Gertten tells a gripping story of waiting, hoping and familial devotion…and betrayal. He explains all to Business Doc Europe.
Wolski’s immersion into the Secret Service archives of Poland’s Institute of National Remembrance packs a considerable political punch, and delivers on an aesthetic level too. The director explains all to BDE.
In Altered States of Consciousness, Polish director Piotr Stasik places kids with autism and Asperger’s syndrome centre stage, and offers a unique glimpse into their, at times, captivating and unconventional minds.
In Oscar-nominated Zofia Kowalewska’s feature-length doc debut, the filmmaker travels with her 92-year-old grandfather to a remote village in Kazakhstan, where he was exiled during WWII, in search of his first love.
A documentary project about what the filmmakers claim to be the greatest, unfulfilled dream of Polish cinema, the 1970s science fiction epic ‘On the Silver Globe’. Docs to Go! pitch presentation
Mira Jargil’s film title carries neither a question nor an exclamation mark, so we are kept guessing until the end as to whether a Syrian family divided by war can be united once more.
Tone Grøttjord-Glenne talks about her documentary All That I Am, a story of pain, strength, resilience and hope, world-premiering in Toronto.
Greek director Menios Carayannis’ FIPRESCI Award-winning documentary eschews the spoken word to enable us better to listen and to observe.
It’s a truth universally acknowledged that culture events equate to free food. And if you are organised enough, you can feast very happily on both.
In Katerina Patroni’s moving and profound The Fourth Character, selected for International Competition, three Athenians each reflect on the emotional complexities within their seemingly simple lives.
In her International Competition title The Unknown Athenians, Angeliki Antoniou roams the streets of Athens in the company of the city’s stray canines.
In the 1970s Ulrike Schaz was young, politicised and idealistic. But when she entered the Paris building where, two hours before, Carlos the Jackal had murdered two policemen, her life was to change for ever.
When Michael Kranz saw footage of a girl forced to work in a Bangladeshi brothel, he decided to do something about it, as evidenced in the Munich selection Was Tun.
Visions du Réel Artistic Director Emilie Bujès reflects on the leading Swiss doc event, held online in 2020 due to the ongoing coronavirus pandemic.
'Banksy Most Wanted' grapples with the elusive art phenomenon, genius to some, a Robin Hood-type saviour to others or, to his detractors, a corporate juggernaut who should be unmasked.
Yeon Park orders a unique present for her father’s birthday, a time travel machine. Her short film describes her fascination for the device, and his subsequent reaction to it.
In Le grand viveur, a film that proves that cinema is first and foremost a visual medium, Perla Sardella delivers a beautiful and elegiac (and ostensibly silent) portrait of a mysterious filmmaker from the past.
Valentin Merz Tanören’s Brothers – A Family Film is an intimate if ‘autofictional’ account of a relationship between two siblings who seem perennially at odds.
On the eve of Visions du Réel 2020, Swiss Films Managing Director Catherine Ann Berger talks docs, disruption and the benefits that can be derived from the enforced switch to digital.
“The festival is also going to take place in a human way, not just in a click-on-a-link way,” says Emilie Bujès of the online edition of Visions du Réel 2020. “It will still be an exchange among people.”
iHuman, which was screened and discussed by Edward Snowden at CPH:DOX, offers a sobering assessment of AI and its seemingly inevitable trajectory towards a state of self-sufficiency.
Self Portrait tells the immensely moving story of anorexia sufferer Lene Marie Fossen, whose photographic portraits, of herself and others, are acclaimed as latter day masterpieces.
In his Bitter Love Jurek Sladkowski tells us that while the rest of the world takes to the road to deal their problems, Russians take to the river. In this instance on a Volga cruise ship, full of lonely hearts.
David Teboul’s Mon Amour is a paean to both love and grief, one which he journeys to Siberia to try and make sense of the death of his lover Frédéric Luzy.
In Songs of Repression, in CPH:DOX Main Competition, the residents of a notorious German settlement in Chile continue to live with the trauma of the past.
In Jozi Gold (F:ACT Competition), eco campaigner Mariette Liefferink has her sights squarely set on South Africa's gold mining industry.
Three actresses (who can pass as 12-year-olds) take part in an experiment to investigate the level of child abuse carried out online.
Directed by Sasha Litvintseva and Beny Wagner, the UK/Dutch/German doc A Demonstration, which world-premiered in Berlinale Shorts, is described as a “monster film with no monsters.”
The Finnish short film Akiya lacks humanity, but that’s kind of the point. Director Jonna Kina explains why.
Knoxville/Tennessee filmmaker Douglas McDaniel was at Berlinale DocSalon to raise finance on a number of projects, including Löttken: Rising Nationalism Then and Now about a woman who, as a 15-year-old girl acted a courier for the German Resistance during WW2.
Selina Murat and Polina Teif spoke at the end of the 4-day pilot DocSalon Toolbox Programme, designed to deliver doc business know-how and connections to creatives from underrepresented groups.
Andreas Rochholl speaks about his EFM doc The Female Voice of Iran, screening February 26. The film shows the digital methods employed to defy a ban on Iranian women wishing to express themselves via song.
When Miguel Ribeiro proclaims the Doclisboa offer to the documentary world, it reads like a manifesto. He explains all to Business Doc Europe.
In Dark Rider, currently in advanced post-production, self-confessed petrolhead Eva Küpper follows blind motorbike rider Ben Felton in his pursuit to be the fastest non-sighted person ever on two wheels.
Producer Martin Marquet discusses Hubert Sauper’s Epicentro, which won the Grand Jury Prize of Sundance World Cinema Doc Competition, and is sold by Wild Bunch at EFM.
Checkpoint Berlin is both a reflection on the city’s complex 20th Century history and an erudite essay on the Wall and its absence.
Jerry Rothwell’s new doc The Reason I Jump is based on Naoki Higashida’s book about his experiences as a non-speaking autistic person, written when he was just 13.
Norwegian Benjamin Ree’s The Painter and the Thief is audacious and thrilling in equal measure as it chronicles a unique, and highly unlikely, friendship.
Managing and artistic director Christine Camdessus explains the raison d’être of French doc fest FIPADOC, which kicks off January 21.
The Czech director/producer team of Vera Lacková and Jan Bodnár are currently making the feature doc film How I Became a Partisan, about Roma resistance fighters during World War II. The project was selected for the 2019/2020 Ex Oriente Film…
Chinese/Dutch producer Jia Scheffer talks to BDE about one of IDFA 2019’s audience pleasers, debutante Han Meng’s Smog Town, which illustrates the massive problems inherent within the business of environmental protection.
The hidden history of Afghan cinema is revealed in Ariel Nasr’s extraordinary feature documentary The Forbidden Reel, which world-premiered in IDFA Frontlight.
The IDFA Bertha Fund has developed into a powerhouse player for new documentary from Africa, Asia, Latin America, the Middle East and Eastern Europe (the so called IBF regions).
Polish filmmakers Małgorzata Goliszewska and Kasia Mateja tell Business Doc Europe about their Lessons of Love, screening at IDFA 2019
A deeply personal film and testament, Carol Benjamin’s I Owe You a Letter About Brazil tells of three generations of a family living through Brazil’s two-decade military dictatorship (1964-85).
The subject of Somali/Spanish producer Hayat Traspas’ Victims of Impunity is one that she maintains has been kept conveniently hidden for the past two decades.
Jascha de Wilde and Ben Hendriks’ Mad About Truffles, selected for Docs for Sale, illustrates the passions evoked by the most sought-after of culinary delicacies.
Becoming Black has one of those jaw dropping storylines that you find from time to time in documentaries about families.
Laura Herrero Garvin’s impromptu visit to the Cabaret Barba Azul in Mexico City led to her new documentary, La Mami (sold by Dogwoof and a world premiere at IDFA ).
When director Yung Chang was approached about making a film on journalist and Middle East expert, Robert Fisk, he didn’t hesitate to take the commission.
Leading Dutch documentarist John Appel describes his latest feature Once the Dust Settles as a “three-act film with one theme”.
This year's DocLab, IDFA’s showcase for innovation, experimentation and a satisfying touch of weird, moves to the Tolhuistuin in Amsterdam North.
For a man living in exile, who has spent several years in prison and who is on the wrong side of Vladimir Putin, former oligarch Mikhail Khodorkovsky cuts a surprisingly cheerful figure.