Interviews

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.

Czech producer Alice Tabery discusses her Traces of a Landscape (Int’l Medium and Short Comp), about an artist and the place he returns to again and again for inspiration.

“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.”

A winner at Movies that Matter, Dutch doc Stop Filming Us concerns the stereotypical (some may say lazy) depiction of Africa and Africans by docmakers.

In Eva Marie Rødbro’s feature debut I Love You I Miss You I Hope I See You Before I Die, which screened in Danish:Dox, Betty is a mother of two living on the breadline in Colorado Springs.

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.

Former CPH:DOX winner Mohammed Ali Naqvi returns to Copenhagen (at least in spirit) with The Accused, a film about the febrile debate raging in Pakistan over its blasphemy laws.

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.

Going back to basics in order to understand economic mechanisms is a laudable intention, and one that director Carmen Losmann tackles with vigour, humour...

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.