CPH:DOX review: A French Revolution by Emmanuel Gras
The iconic luminous yellow sleeveless jackets sported by French protestors helped define the country’s recent grass roots uprising. With elections looming this summer, and France (along with the rest of the world) assailed by financial hardship, this examination of a modern protest movement as seen from the inside makes for timely viewing as it exposes the methods, aims and inner contradictions of the Gilets Jaunes.
CPH:DOX review: All That Remains To Be Seen by Julie Bezerra Madsen
A warm-hearted and delightfully moving mother-and-son story, All That Remains To Be Seen (Mod de blindes verden) manages to be both informative and gently uplifting as it details the story of a blind mother and her seven year-old son whose own vision slowly starts to fade, a new and challenging life opening up before him.
CPH:DOX interview: Ben Rivers
British filmmaker Ben Rivers and French musician and artist Félicia Atkinson are yet to meet in person - but audiences at CPH:DOX last week enjoyed an unusual collaboration between the duo. Atkinson provided new voice-over and musical accompaniments for two of Rivers’ films, Urth (2016) and Look Then Below (2019). The soundtracks were performed ‘live.’ Rivers was too busy with other work to travel to Copenhagen but he made time to speak to Business Doc Europe.
CPH:DOX review: They Made Us The Night by Antonio Hernández
There is a striking unworldly quality to They Made Us the Night which trades on folk myths and supernatural visions despite its core story being about the challenges faced by the inhabitants of a small Mexican town which, according to the maps, does not even exist. Playful, elusive and engrossing the film allows its protagonists to tell their own story even if that means heading into the realm of magical realism at times.
CPH:DOX Forum pitch: The Gospel According to Matthew by Renzo Martens
Dutch firebrand and iconoclast Renzo Martens is taking on Jesus in his next project, which he pitched at CPH:FORUM 2022. Part fiction/part documentary, a key driver for Martens is to enable the Congolese cast and crew, led by Matthieu Kasiama (who will play Jesus), to buy back the land stolen from them over 100 years ago, using their participation fees paid to them up front.
CPH:DOX 2022: And the winners are…
The main Dox:Award goes to The Eclipse by Nataša Urban (Norway). The F:act Award is won by Black Mambas by Lena Karbe (Germany/France) and the Nordic:Dox Award goes to the The Last Human by Ivalo Frank (Denmark/Greenland). Politiken:DOX Award: is won by A House Made of Splinters by Simon Lereng Wilmont (Denmark). All awards plus citations…
The Last Nomads wins Eurimages Co-pro Development Award at CPH:FORUM 2022
The ninth Eurimages Co-Production Development Award for best pitch, valued at €20,000, was handed March 30 to Biljana Tutorov and Petar Glomazić for their co-production The Last Nomads, a co-production between Serbia, Montenegro, Croatia, Belgium and France.
Georgian industry responds to Gaga Chkeidze dismissal
CPH:DOX guests from Georgia issued a statement March 31 in response to the March 14 dismissal of Gaga Chkeidze, director of the Georgian National Film Center (GNFC), and the suspension of funding for the country’s major international film festivals. “Chkeidze’s sacking coincided with his open letter demanding the suspension of the process of bringing back restored Georgian cinema classics from Russian state archives - due to the Russian invasion of Ukraine,” the statement reads.
CPH:DOX review: Under the Sky Shelter by Diego Acosta
A dreamlike documentary that weaves together the timeless, historical and experimental qualities of shooting on 16mm black-and-white film in its observation of mountain shepherds and their flock. The combined effect of image and sound is a mix of direct, ethnographic observation and dreamlike, manipulated reflection.
CPH:DOX Forum pitch: Copa 71 by Rachel Ramsay, James Erskine
The World Cup. 1971. Crowds numbering in excess of 100,000 in Mexico City’s iconic Azteca stadium. But you’ve never heard of it. Why? Because it was a women’s tournament, and one conveniently airbrushed out of history. Until now. “I think it's no exaggeration to say that we have actually uncovered one of the greatest secrets in sport,” Copa 71 co-director Rachel Ramsay told the professional audience at Forum 2022.
