Visions du Réel 26

Visions du Réel unveiled April 22 the winners of the 24th edition of VdR–Industry. More than CHF 80’000 in cash and in-kind prizes were awarded to 12 projects during the awards ceremony in Nyon. The Eurimages Co-Production Development Award, which grants €20,000 to support international co-productions at an early stage, was handed to Uganda by Daniel Mann. The final visions sud est Award, which has long encouraged independent film production in countries with low production capacities with a CHF 10'000 prize, went to Job 1:21 by Samuel Suffren.

In Nyon, the producer/director team of Johnny Brewin and Laura Plancarte presented their project Boom!, the story of George and Sonia, a boxing couple in West London. The pair run a successful gym. They’ve got kids and are very much in love. They are also hyper competitive. “We are chasing the rush,” notes director Plancarte, who identifies closely with her subjects. “Obviously, I don’t put myself at risk like they do. But as an independent filmmaker, you need to do 10 roles yourself…and it is exhausting. Why do I choose this [as a career]? I am the same as them…I cannot think about everything else!”

In Small Talk, director Mateo Ybarra turns his attention toward the mysterious world of a Swiss finishing school - a place where women come to learn those last lessons in etiquette that will enable them to thrive in high society. “For me, it was really important to be as transparent as possible and to open a dialogue,” the director insists to BDE. He may not share the school’s values but he was determined to treat his subjects with respect. “To make fun of people or to be condescending was not of interest to me.”

Summer Drift (aka Virages) was presented this week in Vision Du Reel’s “Swiss Films Presents” showcase. A few minutes of footage were shown but audiences and buyers will have the chance to see the entire movie next month when it has its world premiere in the Cannes Festival Acid section. “I would say it’s a documentary-comedy, a ‘fiction-réel’ as we say in France, turned into a summer comedy,” producer Aurélien Marsais suggests to BDE.

“It’s always good to tell sad stories with a glimpse of burlesque humour,” Italian-Swiss director Davide Tisato reflects on his new project Two Donkeys and a Saint (Il Nostro Miracolo, presented this week in Visions du Réel’s ‘Swiss Films Previews’ strand). In the film, a motley crew of inhabitants from rural Tuscany set out on a 200km walk to the Vatican in Rome to petition the Pope to intervene on behalf of their struggling community. They’re accompanied by two donkeys and a statue of a local saint, ‘Santa Caterina.’

US indie cinema’s most fastidious (and ostensibly fiction) director Kelly Reichardt talked at length about her love of small things and her “granular” approach to filmmaking during her VdR Masterclass, presented April 21. “While we were having lunch, Emilie [Bujès, VdR Artistic Director) was trying to convince me that there is not a difference [between documentary and fiction]. As I said, I don’t know how documentaries are made. It is such a different process. I love watching them…[but] everything I do, it’s all made up!”

In Edgar Hagen’s new film, The Roots Of Madness (screening in The National Competition at Visions Du Réel), the filmmaker accompanies the near-legendary German war reporter Ulrich Tilgner on a journey back to Afghanistan, Iraq, Syria and beyond. “The special thing about him is that he always tried to understand the people, not only the politics,” Hagen observes of the journalist’s humanistic, ground-level approach to his work.

In his essay-style documentary, director G. Anthony Svatek uses the story of Alexander von Humboldt, once the world’s most famous scientist, as a way of exploring contemporary environmental issues. “I thought the strongest way to do that is in the form of a love letter from me to him, showing him what is left of his vision of an interconnected world and how technology has totally changed this idea of a holistic ecology that he proposed.”

Ghost Town (screening in official selection in Vision Du Réel) joins the growing ranks of documentaries and docudramas set in taxis. The setting is Kamaishi, a small Japanese town where the locals haven’t been able to exorcise memories of the devastating 2011 tsunami. As we discover, the catastrophe still dominates the conversations and even the dreams of the local people. Director Katharine Round discusses her new work with BDE.

A Fire There (sold by Filmotor) sees Montreal-based filmmaker Marlene Edoyan venturing to the remote village of Gandzani, a predominantly Armenian enclave within southern Georgia. Her three main characters are young men on the cusp of adulthood and facing familiar decisions about their future. “It was like finding a part of my past almost,” Edoyan says. “I came across a group of people [and] recognised something very familiar, maybe a fragment of my story of displacement.”