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IDFA laat de hele wereld zien Het documentairefestival IDFA bouwt bruggen tussen werelden. Tussen actualiteiten en achtergronden. Tussen kunstenaars en kijkers. Tussen ideeĂŤn en kansen. IDFA brengt de wereld samen. Daarom steunt VSBfonds dit festival. Ook mooie plannen voor kunst en cultuur? Kijk op vsbfonds.nl


de bezoekers van het Over het IJ Festival, de ouderen van Zona’s Kiosk, de studenten van de beurs, de vrijwilligers van d Voorleesexpress de acteurs van Toneelvereniging NieuwLeven, de dansers van Ven Danst, de vrouw van het Tienermoederproject, d bezoekers van d Kunsthalkade, d leerlingen van Pr sHeerlijk, Het pu liek van Holland Opera, de reizige van Zeereis in he Scheepvaartmuseum, de zanger van Popkoor The Happening, de buurtgenoten de Vonk, de kindere Hoedje van Papi de gebruikers van Dorpshuis Schingen-Slapterp, de jonge talenten van het Grachtenfestival de deelnemers a de Lang Eettafel de bewonderaar van de Hermitag jongeren van het Young Art Festiv de kanshebbers de Nationale Zor vernieuwingsprij



by Jerôme le Maira Competition for Feature-Length Documentary



LIKE DEW IN THE SUN by Peter Entell

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Competition for Feature-Length Documentary



by Jacqueline Zünd First Appearance Competition



First Appearance Competition





May 12–21 2017 • 10 cash awards • distribution in Poland for awarded films guaranteed •  masterclass: Helena Třeštíková and Hubert Sauper •  concerts — parties — networking NO MARKET! submission till February 3 2017: submission@againtgravity.pl www.docsag.pl | fb: Docs Against Gravity rd



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Sheffield Doc Fest 9 14 June


Film, Interactive & VR Submissions Open until 23 February sheffdocfest.com info@sidf.co.uk @sheffdocfest

IDFA Com p e titio n P ro g ra m s 2 01 6


International Documentary Film Festival Amsterdam


6 8 9 10 10 12

Introduction Organization Thank You! Partners of IDFA Catalogue Credits Jury Members

Competition Programs 19 IDFA Competition for Feature-Length Documentary 35 IDFA Competition for First Appearance 51 IDFA Competition for Mid-Length Documentary 67 IDFA DocLab Competition for Digital Documentary Storytelling 79 IDFA Competition for Dutch Documentary 87 IDFA Competition for Student Documentary 95 IDFA Competition for Kids & Docs  on-Competitive Programs N 103 Masters 115 Best of Fests 139 Panorama 167 Paradocs 175 Music Documentary

Special Focus 185 Sergei Loznitsa’s Top 10 193 Sergei Loznitsa Retrospective 199 DocLab: Elastic Reality 209 Paradocs: Amsterdam Art Weekend 217 Shifting Perspectives 227 Assembling Reality 233 The Quiet Eye Offscreen Activities 242 Docs for Sale 242 IDFA Forum 243 IDFA Bertha Fund 244 IDFAcademy 245 IDFA Education 246 IDFA Media Talks 246 Industry Office 247 DocLab Immersive Network Index 250 Award Winners 1988-2015 254 Addresses Print & Sales 262 Premieres 265 Films by Country 268 Directors 270 Films


International Documentary Film Festival Amsterdam

photo: Bert Nienhuis


International Documentary Film Festival Amsterdam

Introduction The 29th IDFA is here, and it’s solid as a rock. We’ve put together a fantastic program, with the best, the most innovative and the most outstanding documentaries of the past year. As always, making the selection was difficult, especially given all the great documentaries that have been produced this year, all over the world. Out of the 3,500 submissions, a total of 300 films, multimedia projects and installations have won a place at IDFA 2016. In our selection process, we were inspired by some issues that have high priority at IDFA, such as diversity and gender. As in previous years there will be special theme programs to complement the annual competitions and the Masters, Panorama and Best of Fests sections. Assembling Reality is devoted to documentary editing, and Shifting Perspectives explores our perceptions of the world around us: our take on race and identity, the perspectives we adopt, and the age-old relations between Africa, Europe and the United States. Lastly, The Quiet Eye takes time for the slow documentary, turning our attention to rest, reflection and real-time experiences. And as if that weren’t enough, it’s time for celebration: this year DocLab, IDFA’s highly successful new-media program, is 10 years young! Working in collaboration with De Brakke Grond, DocLab is presenting Elastic Reality, its own theme program with interactive documentaries, VR experiences and live performances that test the boundaries of the internet. In this catalogue, you’ll find all the background information you need about DocLab festivities. My hearty congratulations to Caspar Sonnen and his team for reaching this milestone. IDFA’s Bertha Fund has been playing its part, too, because this year’s program features no fewer than 15 films that received financial support from the Fund. They include two films competing for IDFA’s Feature-Length Documentary award: The Grown-Ups by Maite Alberdi (Chile) and Machines (India).

We’re very proud that the renowned Ukrainian director Sergei Loznitsa agreed to take on the Top 10 this year. He has put together a selection of truly remarkable films that rarely get shown. He’s also presenting a retrospective of his own work, including his latest film Austerlitz, and he’s giving a master class on how he went about choosing his Top 10. This is the very last time I will be writing a foreword for the IDFA catalogue. Although new challenges await me, it’s with a heavy heart that I must bid you farewell. I’m hugely grateful to have been able to head the best festival in the world for so many years. They have been wonderful years in which I’ve made many friends among all the people I’ve worked with: the fantastic directors, producers, distributors, commissioning editors, sales agents and festival directors. The documentary family (yes, it really is a family) is a close-knit community with committed, loyal and extremely nice people—the sort who soon become more than just collaborators. A festival isn’t something you organize alone. It’s teamwork. I’m often the one who gets the credit, but of course it’s really all down to my fantastic colleagues, the people I’ve been working with for the last 29 years. The festival only exists thanks to their tireless efforts. Thank you, all of you, from the bottom of my heart. I know that IDFA is in good hands. In the past 29 years, more than 6,000 volunteers have helped IDFA run smoothly. That’s a mind-boggling amount of people. Many, many thanks to you all! It would have all been impossible without you. All that remains is to thank the board members for their enthusiasm, commitment and unconditional support over the last three decades. Walter Etty and Derk Sauer, thank you. I could not have wished for better board chairs. I wish you all an amazing festival. Let’s make it a great one! Ally Derks


International Documentary Film Festival Amsterdam

Organization IDFA Board Chairman Derk Sauer Treasurer Anton Kramer Members Sonja Barend, Jacqueline Gerritsma (until June 1), Bessel Kok, Marischka Leenaers, Barbara Visser Advisors: Jan Rofekamp, Jess Search, Diane Weyermann Recommending Committee H.C. Becht, Prof.Ir. M. van den Berg, E.I.R.M. de By, M. van Heijningen, Dr. M. de Keizer, B. Lubberhuizen, Dr.Ir. J.M.M. Ritzen, F. Rottenberg, Prof.Dr. A. de Swaan Director Ally Derks Managing Director Cees van ’t Hullenaar Program Department Head of Program Department Martijn te Pas Senior Programmers Joost Daamen, Raul Niño Zambrano Special Programs Coordinator Laura van Halsema Junior Programmers Jasper Hokken, Eveline Kaethoven Assistants Viktoriya Kalashnikova, Chia-Wei Tung Producer IDFA.tv Jasper Hokken Contributing Programmers: Advisors Competitions Ilma van de Beek, Kees Brienen, Henk Camping, Callum Cooper, Joost Daamen, Ally Derks, Jan Pieter Ekker, Wessel van der Hammen, Ingrid Harms, Jannie Langbroek, Andrea Manneke, Martijn te Pas, Raul Niño Zambrano, Caspar Sonnen, Randy Vermeulen Advisors Isabel Arrate Fernandez, Peter van Bueren, Lee Ellickson, Anna Germanidi, Mariska Graveland, Maureen Ho, Jasper Hokken, Fleurie Kloostra, Dimitra Kouzi, Andrea Meuzelaar, Pamela Pianezza, Rada Sesic, Ileana Stanculescu, Meike Statema, David Teigeler, Wotienke Vermeer, Frans Westra Top 10 Sergei Loznitsa Shifting Perspectives Isabel Arrate Fernandez, Joost Daamen, Laura van Halsema The Quiet Eye Raul Niño Zambrano, Martijn te Pas Assembling Reality Joost Daamen, Laura van Halsema Paradocs: Amsterdam Art Weekend Adriana Gonzalez Hulshof, Bart Rutten


Industry Office Head of IDFA Industry Adriek van Nieuwenhuijzen IDFA Industry - IDFA Forum Coordinator Yorinde Segal IDFA Industry - Docs for Sale & Guest Services Coordinator Laurien ten Houten Industry Office Coordinator & Industry Panels Producers Stien Meesters, Jelte Zonneveld Guest Services Manager David Leenders IDFA Forum Producers Marloes den Hoed, Duygu Özer de Kruijf, Charlotte Reekers Docs for Sale Producers Nadine Maaraba, Janske Stoop Industry Office Producer Maik Mirkovic Guest Services Producers Maaike Allard, Florina Vilgertshofer, Clémence Girard, Anneleen Naudts, Lara Sitruk Delegate Guide Producer Lauren Murphy Carservice Producer Roos Rodenburg Industry Office Matchmaker Hanna Mattes Sponsoring & Fundraising Senior Sponsoring & Fundraising Martijn van Dijk Sponsoring & Fundraising Suze van Bohemen  Producer Brigitte Ravensbergen Communication Head of Communication Cathalijne de Wilde Press Coordinator Laura van Halsema Web Editor Liselotte Brand Editor Industry Office Joost Broeren Editor IDFA.tv Nicole Santé Communication Assistant Silvie van Oost Press Assistant Maartje Piersma  Web Editor & Press Assistant Anna Lillioja Catalogue Coordinator Sasja Koetsier Design Sjoukje van Gool, Gerald Zevenboom IDFA Poster Cape Rock IDFA Logo Design Jan Bons, Jeroen Bons  IDFA Website 3PO IDFA commercial and leader Cape Rock

New Media Head of New Media | IDFA Doclab Caspar Sonnen New Media Researcher & Producer Wotienke Vermeer New Media Assistant Mikey Zbieranowski Immersive Network Producer Lieven Heeremans DocLab Events Producer Jonas Kraft DocLab Exhibition Producer Lara Coomans Website DocLab Upian DocLab: Elastic Reality Caspar Sonnen, Wotienke Vermeer, Veerle Devreese

IDFA Daily BAFA, Mark Baker, Sjaan de Bruijn, Nick Cunningham, Olga van Ditzhuijzen, KEES Driessen, Hugo Emmerzael, Melanie Goodfellow, Sasja Koetsier, Wendy Koops, Resi Lankester, Geoffrey Macnab, Sietse Meijer, Maricke Nieuwdorp, Nicole Santé, Stijn Schenk, Anke Teunissen Photographers  Bram Belloni, Nichon Glerum, Ruud Jonkers, Felix Kalkman, Corinne de Korver, Nadine Maas Design Sjoukje van Gool, Gerald Zevenboom

Education Head of Education Meike Statema Education Producer Marije Veenstra IDFAcademy Producer Dymme Plomp Assistant Producers Martijn van Dussen, Eline Warnier Docschool Online Producer Eline Makker

Production & IT Head of Production & IT Dirk Blikkendaal Production & HR Coordinator Annabet Langkamp Producers Roos Dickhout, Laura Springer, Fleur Welter Festival Location & Infrastructure Producer Misja Starink

Volunteers Producer Rosa Lohman Volunteers Assistant Amarins Beiboer Supervisor Pathé Cinema’s Erik Pijpers A-team Coordinator Matthijs Rietveld Festival Dressing Maurice Potemans Jury Assistants Pieter-Jan van Damme, Roos Hekkens, Andrea Manneke, Ena Omerovic, Rada Sesic (Coordinator), David Teigeler, Rafaella Wang Audience Award Producer Annelie Loos Office manager Hanneke Heeremans Office Producer Babak Andishmand Office Assistant Marit van Reems Application Manager Leo Bosch Audio-Visual Manager Jason Langdon Festival-app Producer Eline Makker IT Advisors Nathalie Scholten, Ronald Vendelmans Financial Controller Clarissa Riemersma  Administration Edgar Witteveen Box Office Coordinators Annekoos Logtenberg, Marco Oudewortel  Festival Tickets Marie-Louise Calame, Mark Stegweg Active Tickets Arvid van Bokhorst Filmtechniek BV Martin van Broekhoven Technical Supervisors Rembrandt Boswijk, Frank van der Horst Film Control Coordinators Polona Kuzman, Kathinka Verhoeven Talks Talks Coordinator Ans van de Weerdhof Talks Producer Hidde Bisschop  Q&A & Premiere Producers Jillis Boost, Floor van Donselaar   

IDFA Bertha Fund

IDFA Bertha Fund Board Chairman Walter Etty Members Adrienne van Heteren, Jan Hoekema, Marischka Leenaers, Marijn Wiersma (starting October 2016) Margje de Koning, Marry de Gaay Fortman, Cees van ‘t Hullenaar Managing Director IDFA Bertha Fund Isabel Arrate Fernandez Project Manager Mélanie de Vocht Assistant Producer Marloes den Hoed Selection Committee IBF Classic 2016 Isabel Arrate Fernandez, Uldis Cekulis, Rebecca Lichtenfeld, Fleur Knopperts, Steven Markovitz, Adriek van Nieuwenhuijzen, Christian Popp, Rasha Salti, Rada Sesic, Alex Szalat Review Committee 2016 Isabel Arrate Fernandez, Joost Daamen, Laura van Halsema, Laurien ten Houten, Malka Jonas, Judy Kibinge, Yorinde Segal, Rada Sesic, Ileana Stanculescu, David Teigeler, Mélanie de Vocht, Raul Niño Zambrano Selection Committee IBF Europe 2016 Adriek van Nieuwenhuijzen, Isabel Arrate Fernandez, Andrea Hock, Siniša Juricic, Orwa Nyrabia, Ana Vicente, Andy Whittaker, Anais Clanet

International Documentary Film Festival Amsterdam

Volunteers Aaltsje Visser, Abbey Hurley, Adrian Vilas, Aleid Bisterbosch, Alejandra Saldaña, Alessia Acone, Alexandra Greene, Alexandra Mantovanelli, Alice Buhrmann, Alisa Bik, Almicheal Fraay, Alwin Helmink, Amanda Gowland, Amanda Perino, Amine Willemse, Amy Janna Pfeiffer, Andre van der Putten, Andrea Spoon, Angela Nolles, Angeline Lim, Anita Mizrahi, Anita Verhoeven, Anje Wiering, Anke Söentken, Anna Dekker, Anna Lakmaker, Anna Nawrocka, Anna Vámos, Anne Kleisen, Anne Rhebergen, Anne van Oudheusden Stodel, Annebel Albers, Annefie Sint, Anneke de Leeuwe, Annelous Stiggelbout, Annemarie van Pagée, Anouk Balvers, Anton Visser, Arand Hovakimian, Arend de Geus, Ariska Rietveld, Arjen Monfrooij, Arlette Lafère, Aubéry Escande, Ayla Bongaertz, Ayman Sandok, Babeth M. Vanloo, Babs Anemoon Pol, Barbara de Wijn, Barbara Lommen, Bart Mackenzie, Bart van Maanen, Bas van Son, Baukje Faber, Bee Gee Giri, Ben Bunink, Benjamin Snippe, Bep Duys, Bernadette Kroon, Bettina Merten, Biserka Suran, Bloem van der Linde, Bob Aronds, Bouchra Darouani, Brenda Driessen, Brigit van Tongeren, Brit de Jong, Britt Stenberg, Caatje van Leeuwen, Camilla van Rheenen, Carlin van ’s-Gravenmade, Carlo Valerio, Carolien de Groot, Carolien Oosterhoff, Caroline Hoebens, Catherine Nael, Charlotte Schepers, Chiara Feliciani, Chris van Rooijen, Christian Groot, Christopher de Gast, Chun Lai, Cindy Dian Zahaque, Clarels van Zwetselaar, Claud Biemans, Claudia Goehnert, Connor Blackmore, Conny van Manen, Cootje louwerse, Corrine van Huet, Cristina Buta, Cristina Sfiligoj, Daan Faber, Damian de Vries, Damiet de Wit, Daniel van den Ham, Daniela Navarrete, Danielle Beek, Daniëlle Bruinendael, Daphne de Koning, Daphne Krijnen, David Barnouw, David Robb, David Teigeler, Davinia Croes, Delano Natawidjaja, Denisha Folkes, Dette Glashouwer, Diana Jasperse, Diane Lobet, Dick Muller, Dilruba Tayfun, Dominique van Varsseveld, Donny Sandel, Dorenda van der Wenden, Dorien Theuns, Dunja Cuculovic, Durk Jellema, Edward Maddocks, Edwin Bruseker, Edwin van Andel, Eef Bisseling, Elies Miller, Eline Flipse, Eline Makker, Elinor Gittins, Elisabeth van der Linden, Elise Van Iterson, Eliska Melicharova, Elita Cannata, Ella Stoffers, Ellen Romeijn, Elroy van der Leij, Els Hamer, Els van Oost, Emma Greenwood, Emma Stroet, Emma Veldboer, Emma Zorgdrager, Esther Frank, Esther Goedvolk, Esther Ruijter, Eva van Laar, Evangelina Loguercio, Evelien Frenkel, Evelien van de Sanden, Evert Engwerda, Facila Nanhekhan, Fatima Aadan, Femke Buma, Fien de Leeuw, Fleur Beentjes, Floor van den Biesen, Flore Deroose, Foteini Georgaki, Frances Welling, Francisco Lazaro Rafael Morea, Frans Rodenburg, Frederik Danjo, Frederique Donker, Frieda Jacobowitz, Gabriela Gutierrez Gomez, Gabriëlle van Lakwijk, Gertie Ligtermoed, Gert-Jan van Rooijen, Ghieslaine Guardiola, Giacomo Tirelli, Gideon Burger, Giorgio Aside, Guilherme Carréra Campos Leal, Guus Bruin, Habiba Kader, Hanna Smit, Hanna Steenstra, Hannah Fraza, Hanneke Vink, Hans Buijze, Haris Mujovic, Harro Presser, Heaven Yobo Ghebremichael, Helen-Anne Ross, Hélène van der Knaap, Helge Prinsen, Henri Grotens, Ika Dirks, Ilaria Forciniti, Ilse Stofmeel, Ilse van Kessel, Imad El Jarroudi, Ineke in ‘t Veld, Inge Helena Rietjens, Inge Mathijssen, Inraini Ramos, Iona Sharp Casas, Irena Kristofiakova, Irene Hagemans, Irene uit den Bosch, Iris Grob, Iris Mikulic, Irma Kerkhoven, Irma Koning, Ismail Pektas, Iva Kuncheva, Jacoba Arens, Jacqueline Schoonheim, Jade Uitdewilligen, Jahaga Bosscha, Jaks Schuit, Jakub Wyszkowski, Jamie Betz, Jan Bergmans, Jan Planthof, Jan van Galen, Janna Besamusca, Janna Bijzen, Janna Rovira Marès, Jannie Langbroek, Janny Ramakers, Jasmijn Schrofer, Jasna Bastic, Jasper Jacobs, Jeanette Gerritsma, Jelle Bosma, Jelle Toonen, Jenske Penkalla, Jeroen Rietbroek, Jesse Hellendoorn, Jessica Reilly, Jessica Ritsema, Jessica Sies, Jet Homoet, Jetske van Velsen, Jihyun Youn, Jitske Kuiper, Jocelyne Smit, Johan Zwaan, Joram Pach, Joris Hallensleben, Jory Tousijn, Jos Motshagen, Jose Recio, Josephine Timmers, Josse Wiering, Julia de Breed, Julia Strijland, Julianne Rooney, Jur Kous, Jurgen Albers, Juultje Reijnders, Karel de Greef, Karen Knottenbelt, Karin Meerkerk, Karin Spiegel, Kas van der Linden, Kate Grebeniuk, Katinka Baehr, Kattie Schoot, Kelly Splinter, Kevin Apeldoorn, Kiechendew Mohabir, Kiek Bigot, Kim Bakker, Kirsten Sleven, koen van heijgen, Kris Petrasova, Krista Keller, Larae Malooly, Larissa Quaak, Laura Cristina Cabrera Revilla, Laura Klompenhouwer, Laura Mul, Laura Slager, Lauren Comiteau, Laurens Prins, Lea Grosse, Lea Kloosterman, Lelia Cartesan, Lenie van der Pols, Lennart Rusman, Liesbeth Jimmink, Liesbeth van Loon, Liese Molenaar, Linda Duits, Linda Vermaat, Linnet Deen, Lisanne Wetemans, Liselotte Roodbol, Lisette Molenaar, Loes van Ark, Lonneke van Merwijk, Lorenzo Besse, Lorenzo Schmidt, Lotte Duursma, Lotte Notenboom, Lotte van der Molen, Louise Weenink, Luc Leijtens, Lucia galindo martinez, Lucia van den Bergh, Luciano Baarn, Lucile Pingaud, Luzan Werts, Lydia Unsworth, Lysbeth Witteveen, Maarten Kal, Maarten van Rouveroy van Nieuwaal, Maartje Hensen, Macha van Beusekom, Machiel van den Heuvel, Maite Theze-Lassus, Majanka Timmers, Manja Jordans, Manjit Kaur, Manon Masteling, Mara Lin Visser, Marc Stakenburg, Mare Groen, Maren Gedenk, Margot Vieverich, Margreet van der Lijn, Maria Asouhayli, Marian de Louw, Mariana Ledesma, Marianne Kastein, Mariano Slutzky, Marie Helene Mertens, Marieke Baan, Marielle Prick, Mariëls Braat, Mariette Groenland, Marije Frijlink, Marije Schuurman Hess, Marina Kopier, Marios Spindler, Mariska Castelijn, Marius Hrdy, Marjolein Miltenburg, Marjolein Pel, Marjolein Sprenger, Marjon Boost, Marleen Herbrink, Marlies Peeters, Marlijn Sonne-Gooren, Marthe Zeldenrust, Martien Weber, Martje Bakker, Mary de Bruijn, Massimo Benvegnu, Mathieu van der Sluis, Mayke Hoynck van Papendrecht, Mees Porschen, Meike Korpershoek, Melissa Strassner, Melodi Tamarzians, Melody Jap-Sam, Merel Oenema, Micha de Groot, Michael Muller, Michael Schaap, Michał Brzozowski, Michal Siarek, Michèle Thijssen, Michiel de Graaff, Mieke van Groenestijn, Mikel Rijsdijk, Mila Rijkhoff, Miriam Hafkemeijer, Miriam Schröer, Miriam van Oort, Miriam Vries, Mirjam Groen, Mirjam Mulder, Mirjam van Tiel, Mirte Dokter, Mohammad Alzoabi, Moniek Mewafi, Monique Doppert, Monique Terwindt, Morgann Brun, Morris Jansen, Muhammet Karaburun, Myrthe Peek, Myrto Muller, Nadine Verschoor, Nathalie Noach, Natnael Nezerab, Neeltje van der Vlugt, Nelson Van den Berg, Nevena Bajalica, Nicholas Middleton, Nick Schoemaker, Nicola Cross, Nicolien Janssens, Niels Grootveld, Niels Kaptein, Niels Scheele, Nina van Oort, Nina Worst, Noa Johannes, Noa Sussenbach, Noelia Nicolás, Nollie van Gool-Slot, Nora Maartense, Nurah Abdulkadir, Olga Sakka, Olivier Zaoui, Pat Shak, Pat Ulrici, Patricia Gravemaker, Patrick Laboyrie, Paul van Dijken, Paul van Zon, Paula Martone Montero, Perla Thissen, Petra Kroon, Petra Modderkolk, Petya Tsekova, P.G. Vonsée, Philip Chemayel, Piet Kooij, Pieter Lammers, Pieter Marcus, Pieter van der Laan, Pieter Verhoeff, Plien Niven, Polina Medvedeva, Puck Mennen, Puck van der Meet, Quinten Olij, Ralph Edelstein, Ramiel Patto, Reidar Plokker, Reinier Schat, Remco Dam, Rene Rood, Renée Janssen, Renske Luca, Ria Gaanderse, Ricardo Scholten, Richard Leeuw, Richard Smolenaers, Rick van der Plas, Rieke Evegroen, Robert Hardy, Robin Hugers, Rodrigo Cortes Rios, Roger Tyers, Rogier Jacobs, Roland Simons, Rolf Hoekstra, Romy Visser, Roos Korrel, Roosa Himma, Rosa Koenen, Rosa Stienstra, Rosanna Hulsman, Rosanne Veger, Rossy Caicedo, Roxanne Kok, Ruben Hendrix, Runa Stam, Ruslana Zwart, Ruta Marija Vinceviciute, Rutger Bruinenberg, Ruth van der Grift, Saara Mildeberg, Sam McCabe, Samantha Robinson, Samuel Coehoorn, Sander Kouwenberg, Sandra Smits, Sarah Faye van der Ploeg, Sarah Vasen, Saskia Boerma, Saskia Kroonenberg, Saskia Reynolds, Selena Jonkers, Selma Boesenkool, Seppe Van Grieken, Silvany van Velsen, Simone de Vries, Sinah Truffat, Sjaak Besseling, Soek Yi Tong, Sofie Degenaar, Sofya Postnikova, Sonja Claassen, Sophia Cramer, Soukaina Belahnichi, Stan Eefting, Stan Truijens, Stanny Steens, Stefan Schoorl, Steph van Bommel, Stéphan Heins, Stephanie Meens, stephanie nieuwenhuisen, Stephanie Welvaart, Sterre de Jong, Stijn Belder, Susan Nicolas, Susannah Herman, Susanne Donders, Suzy Raber, Svetlana den Heijer, Taco Mansens, Tamara Vuurmans, Tanja de Vette, Tanja Matic, Tara Phillips, Tatiana Scheltema, Theo Maandag, Theresa Gyamfuwaa, Thijmen Blom, Thomas Huisman, Thomas Verra, Ties Slenders, Tijs van der Weele, Tim de Vries, Tim Tuijtel, Timo Millitz, Tineke Oosterhof, Tjoet Dwi Septiasari, Tom Meulenbroek, Tomas Rooimans, Ton de Jager, Tonnie Bakkenist, Tonny van der Lee, Toos Vos, Urszula Kahul, Varvara Nazarova, Vera Eibrink, Vera Molenaar, Veronique van Schaick, Viktorija Draciuk, Vincenzo Zaccaria, Vivianne Coco Venema, Wendy Duyker, Willeke Noldus, Willem van Leuven, Willemien Jacops, Wilma van Geemert, Wim de Jong, Wouter Knol, Yvette IJland, Yvon Scherf, Yvonne Liew-On, Zaher Sandouk

Thank You! Absaline Hehakaya, Amsterdam, Amy Dotson, Silverspring, Anaïs Clanet, Paris, Andrea Posthuma, Amsterdam, Andrea Prenghyová, Prague, Anna Pedroli, Amsterdam, Anne Marie Kürstein, Copenhagen, Anne Vierhout, Amsterdam, Atze de Vrieze, Amsterdam, Axel Arnö, Stockholm, Aynouk Tan, Amsterdam, Bahram Sadeghi, Amsterdam, Barbara Truyen, Amsterdam, Bart van den Broek, Amsterdam, Bass Beek, Amsterdam, Bojan Bajic, Vlieland, Bregje Wigersma, Utrecht, Britte Sloothaak, Amsterdam, Carl Honoré, London, Carlo van Putten, Odijk, Carmen Cobos, Amsterdam, Casper Thomas, Amsterdam, Catherine Olsen, Toronto, Catherine van Campen, Amsterdam, Cecilia Lidin, Copenhagen, Cecilie Bolvinkel, Copenhagen;, Charlie Phillips, London, Chris Keulemans, Amsterdam, Chris Kijne, Amsterdam, Christian Pazzaglia, Amsterdam, Christina Jul Gregersen, Copenhagen, Christine Camdessus, Paris, Christine Otten, Amsterdam, Claire Aguilar, Sheffield, Claire Diao, Paris, Clément Le Penven, Paris, Cynthia Kane, New York, Daan Heerma van Voss, Amsterdam, Daan Vermeulen, Amsterdam, Dan Nuxoll, New York, Daniel Salzwedel, Berlin, Daniel Tsuff, Amsterdam, Daniela Elstner, Paris, David Kleijwegt, Amsterdam, Debra Zimmerman, New York, Derk Sauer, Domburg, Diane Weyerman, Beverly Hills, Dominic Davis, New York, Don Edkins, Cape Town; , Douwe Bob, Amsterdam, Edwin van Andel, Amsterdam, Elif Rongen, Amsterdam, Emmy Oost, Gent, Ernestine Comvalius, Amsterdam, Ezra Edelman, New York, Fako Kluiving, Amsterdam, Felix Maginn, Amsterdam, Jan Röfekamp, Montreal, Jan Roekens, Amsterdam, Fleurie Kloostra, Amsterdam, Florian Pfingsttag, Freiburg, Frank Ortmanns, Amsterdam, Frans Timmermans, Nijmegen, Frederick Wiseman, Paris, G.J. Bogaerts, Hilversum, Geert van Italie, Amsterdam, Gerald Zevenboom, Amsterdam, Giovanca Ostiana, Amsterdam, Hans Kerkhof, Amsterdam, Harm Ede Botje, Amsterdam, Heino Deckert, Leipzig, Henk Klein-Wassink, Groningen, Henri Sandront, Amsterdam, Hester Tiggeloven, Amsterdam, Iikka Vehkalahti, Helsinki, Ikenna Azuike, Amsterdam, Ingrid van Tol, Amsterdam, Irene van der Linde, Amsterdam, Jan Doense, Amsterdam, Jan Herman den Hertog, Amsterdam, Jan Pieter Ekker, Amsterdam, Jan Röfekamp, Lorraine, Jannie Langbroek, Amsterdam, Janno Langjouw, Amsterdam, Jess Search, London, Jessica Edwards, London, Jim Kolmar, Austin, Job de Wit, Amsterdam, Joep Wijffels, Amsterdam, Johan Grimonprez, Brussels, Johan van Aalst, Amsterdam, Jón Björgvinsson, Nyon, Joost den Hartog, Unley, Juliette Jansen, Utrecht, Karolina Lidin, Oslo, Katinka Baehr, Amsterdam, Katja Draaijer, Amsterdam, Kirsi Nevanti, Stockholm, Klara Grunning, Stockholm, Kristin Johnson, New York, Liddie Austin, Amsterdam, Lisa Linde Nieveld, Amsterdam, Lize Korpershoek, Amsterdam, Louise Rosen, Brunswick, Maarten Schmidt, Amsterdam, Maëlle Guenegues, Paris, Margaux Missika, Paris, Maria-Paola Lussana, Brussels, Mario Steenbergen, Amsterdam, Marja Pallasalo, Helsinki, Mark Bremerkamp, Amsterdam, Mark Edwards, Paris, Marlies Pinksterboer, Amsterdam, Martichka Bozhilova, Sofia, Martin Rogge, Amsterdam, Max van Weezel, Amsterdam, Menno Boerema, Amsterdam, Meral Polat, Amsterdam, Michel Schöpping, Amsterdam, Mikael Opstrup, Copenhagen, Milton Tabbot, New York, Mira Mendel, Amsterdam, Moniek Busman, Amsterdam, Murielle Daenen, Feluy, Nadia Moussaid, Amsterdam, Natalie Beckers, Amsterdam, Nathalie Scholten, Amsterdam, Nathalie Windhorst, Hilversum, Nels Bangerter, New York, Nicolaas Kroone, Amsterdam, Nicolaas Veul, Amsterdam, Nicolas Rapold, New York, Niels Pagh Andersen, Copenhagen, Nienke van der Fange, Amsterdam, Niki Padidar, Amsterdam, Nuno Jorge, Nottingham, Oscar van der Kroon, Hilversum, Ove Rishøj Jensen, Copenhagen, Özgür Canel, Den Haag, Paul Pauwels, Copenhagen, Peter Jäger, Vienna, Peter Lataster, Amsterdam, Petra Lataster-Czisch, Amsterdam, Philippa Kowarsky, Tel Aviv, Pieter van Huystee, Amsterdam, Rada Sesic, Utrecht, Rahul Jain, Valencia, Renzo Martens, Amsterdam, Rieks Hadders, Amsterdam, Roberto Payer; Amsterdam, Rokhsareh Ghaem Maqhami, Tehran, Ronald Vendelmans, Amsterdam, Rudy Buttignol, Burnaby, BC, Ryan Harrington, New York, Salma Abdalla, Vienna, Sander Heijne, Amsterdam, Sandi DuBowski, New York, Sandro Fiorin, Los Angeles, Sara Rüster, Stockholm, Sarah Vanagt, Brussels, Sènami Awunou, Amsterdam, Shilan, Järfälla, Sigrid Dyekjaer, Copenhagen, Sophie Dros, Amsterdam, Stefan Kloos, Berlin, Sue Turley, Sausalito, Suzanne van Voorst, Amsterdam, Takahiro Otsuki, Tokyo, Tambay Obenson, New York, Tessa Boerman, Amsterdam, Thomas Doebele, Amsterdam, Thomas Heerma van Voss, Amsterdam, Torstein Grude, Stavanger, Tue Steen Müller, Copenhagen, Twan Huys, Amsterdam, Vanya Kaludjercic, Amsterdam, Victoria Belopolskaya, Moscow, Virág Szentkirályi, Amsterdam, Wendy Bernfeld, Amsterdam, Wessel van der Hammen, Hilversum, Wilfred de Bruijn, Paris, Wouter Hamel, Amsterdam, Xandra Schutte, Amsterdam, Yael Bitton, Pantin, Yanting Yuen, Amsterdam

Organizations 3PO, Rotterdam, Allrent ICT Solutions, Almere, Alvero, Oosterhout, Art Support, Amsterdam, Beamsystems, Amsterdam, Boels, Amsterdam, Burgerbar, Amsterdam, Café de Paris, Amsterdam, Captain Video, Amsterdam, CineSonic, Amsterdam, The Citizens, Nootdrop, Cramgo B.V., Utrecht, Cultuur + Ondernemen, Amsterdam, Cultuurfabriek, Amsterdam, Dany Lademacher’s Wild Romance, Amsterdam, DPN, Amsterdam, EDN- European Documentary Network, Copenhagen, Eetcafé de Brakke Grond, Amsterdam, Ellis Gourmet Burger, Amsterdam, Event Engineers, Enschede, Festivalroosters.nl, Delft, Festivaltickets, Rotterdam, The Financing Forum for Kids Content, Malmö, Flowerpower, Amsterdam, Food Jazz & DJ’s, Utrecht, Gerda’s bloemen, Amsterdam, Haghefilm Digitaal, Amsterdam, Hapéco, Weesp, IndyVideo, Utrecht, Ibis Amsterdam Centre Stopera, Amsterdam, IFP-Independent Film Project, New York, KPN Event, Utrecht, Lichtwerk, Amsterdam, MacBike, Amsterdam, Mausolos, Amsterdam, MeneM Systemen, Amsterdam, Mediafonds, Amsterdam, Mercure Hotel Amsterdam Centre Canal District, Amsterdam, NBF, Amsterdam, NCE, Amsterdam, NH Hotel Group, Hoofddorp, Rex International, Weesp, Ristorante Isola Bella, Amsterdam, Scooterrent, Amsterdam, The Screening Factory, Cannes, Sieraad, Amsterdam, Salsa Shop, Amsterdam, Toltech Solutions B.V., Amsterdam, Unbranded, Hilversum, UNIGLOBE Smart Business Travel, Amsterdam, VBVB Cultuurautomatisering, Amsterdam, Vrachttaxi, Amsterdam, Wagamama, Amsterdam,

Special thanks to All co-operators of Bijlmer Parktheater, Booking.com, Café De Jaren, Compagnietheater, De Balie, De Kleine Komedie, DeLaMar Theater, EYE Film Institute, Groninger Forum, Hampshire Hotel Prinsengracht, Het Ketelhuis, Koninklijk Theater Carré, Le Club Accor Hotels, Lux Nijmegen, Melkweg, Nederlandse Film & Televisie Academie; NH Hotel Group, Pathé de Munt, Pathé Tuschinski, Podium Mozaïek, Podium Vlieland, Sociëteit Arti and Amicitiae, Stadsschouwburg Amsterdam, Stedelijk Museum Amsterdam, Sluizer Restaurants, Tolhuistuin, Vlaams Cultuurhuis De Brakke Grond, Vogue, Amsterdam, Volkshotel, Zuiderkerk.


International Documentary Film Festival Amsterdam

Partners of IDFA

Premium partner of the 29th International Documentary Film Festival Amsterdam

Main Partners


IDFA is subsidized and funded by

Catalogue Credits Coordinator Sasja Koetsier Assistent Coordinators Babak Andishmand Anna Lillioja Marit van Reems Senior Editor Andrew Maggiore


Editors Saskia Gravelijn Mark Mallon Film Description Writers Leo Bankersen Florence van Berckel Veerle Corstens Edo Dijksterhuis Olga van Ditzhuijzen

Hugo Emmerzael Sacha Gertsik Mariska Graveland Mirjam Groen Marjanne de Haan Nienke Huitenga Viktoriya Kalashnikova Pauline Kleijer Wendy Koops Resi Lankester Omar Larabi

Maricke Nieuwdorp Marijke Ottema Lot Piscaer Sietse Meijer Ronald Rovers Nicole SantĂŠ Jelle Schot Annelotte Verhaagen Kelli van der Waals AndrĂŠ Waardenburg

Kim van der Werff Karin Wolfs Contributors Claire Diao Mariska Graveland Ronald Rovers William Urichhio

International Documentary Film Festival Amsterdam

IDFA-Mediafonds Workshop is supported by


ABN AMRO Bank NV, Being There, Brand New Telly, De Breij Evers Boon, Houthoff Buruma, JBR, Jean Mineur Mediavision, M.N. Léons BV, Rabobank Amsterdam, Rotaform, Weekbladpers Media

Donations to IDFA

AVROTROS, BNNVARA, EYE International, Embassy of the United States of America, EO, Goethe-Institut, Happinez, HUMAN, Institut Français des Pays-Bas, KRO-NCRV, NPO Sales, OUTtv, Pauwhof-fonds, P.W. Janssen’s Friesche Stichting, Stichting Elise Mathilde Fonds, Stichting VEVAM Fonds

IDFA Forum is supported by


3PO, Arti and Amicitiae, Art Support BV Theaterproductiebureau, Bijlmer Parktheater, Booking.com, Café de Jaren, Citroën, Compagnietheater, De Balie, De Kleine Komedie, DeLaMar Theater, Event Engineers, EYE Film Instituut, FestivalTickets, Haghefilm Digitaal, Hampshire Hotel Prinsengracht, Het Ketelhuis, IndyVideo, Koninklijk Theater Carré, Le Club Accor Hotels, Lichtwerk, MacBike, Melkweg, MeneM Systemen, NH Hotel Group, Podium Mozaïek, Rex International, The Screening Factory, Sluizer Restaurants, Stadsschouwburg Amsterdam, Stedelijk Museum Amsterdam, Tolhuistuin, VBVB Cultuurautomatisering, Volkshotel, Vlaams Cultuurhuis De Brakke Grond, Zuiderkerk

IDFA Bertha Fund is supported by

Festival Trailer

Cape Rock, Jean Mineur Mediavision

IDFA would like to thank all friends of the festival.

Translators Mark Baker Michael Blass Steve Green Photographers Nichon Glerum Bert Nienhuis

Photo Coordinator Joost Daamen Cover Design Sjoukje van Gool Lay-out Sjoukje van Gool Gerald Zevenboom

Printing Drukkerij Damen, Werkendam Acquisition Virtu Media International Sales Nick Cunningham

Editorial Adress International Documentary Film Festival Amsterdam Frederiksplein 52 1017 XN  Amsterdam The Netherlands phone: +31 20 627 33 29 email: info@idfa.nl website: www.idfa.nl

This is a publication of the International Documentary Film Festival Amsterdam. No part of this publication may be reproduced by print, photo print, microfilm, or by any other means, without the permission of the authors and IDFA. ISBN 978-90-78741-08-4


International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for Feature-Length Documentary Yuri Ancarani is an Italian video artist and filmmaker. His works come from a continuous mingling of documentary cinema and contemporary art. They are the result of research aimed at exploring regions that are not very visible in daily life, realities in which the artist delves in first person. His works have been shown at museums and exhibitions in Italy and abroad, including the Venice Biennial, the R. Solomon Guggenheim Museum New York and MoMA. Film festivals such as the Venice Film Festival, Locarno Film Festival, International Film Festival Rotterdam, IDFA, Hot Docs, Cinéma du Réel and South by Southwest have screened his films. Among the many awards he received are the Talent Prize 2012 (Guido Talarico Editore), the Grand Prix for Il Capo in Lab Competition at the Clermont-Ferrand Film Festival 2012 and the Grand Prize for Da Vinci in the Short Film Competition at IndieLisboa 2013. Jordana Berg has worked as a film editor since 1988, and has edited more than 70 documentaries. In the 1990s, she worked as an editor at UNESCO in Paris. For 20 years she worked alongside Eduardo Coutinho, one of the most important documentary filmmakers in Brazil. She edited his last 12 documentaries, including Última’s conversas, finished after his death. She has worked with many Brazilian directors, including Carlos Nader, Walter Carvalho, Silvio Tendler, José Joffily, Eduardo Escorel and Flavia Castro, and the Oscar-winning American director Megan Mylan. She has given master classes on editing and Coutinho’s work in Canada, the United States, France, Argentina, Uruguay and Brazil. Berg is currently editing the new documentary by Petra Costa, about the impeachment of President Dilma Roussef. Tom Paul is a two-time Emmy Award-winning sound designer and rerecording mixer, as well as a composer. The last few years have been filled with working on wonderful films including Weiner (Josh Kriegman and Elyse Steinberg), winner of the 2016 Sundance Grand Jury Prize, Cartel Land (Matthew Heineman), The Wolfpack (Crystal Mossel), winner of the 2015 Sundance Grand Jury Prize, and The Square (Jehane Noujaim). Paul got his professional start as a boom operator in 1988, moving on to production mixing in 1991. Some notable titles of his early years in production sound include Trust by Hal Hartley, and Ang Lee’s The Wedding Banquet and Eat Drink Man Woman. In 1994, his passion for sound led him to


the creative environment of post-production. Some highlights of his sound design and rerecording credits include the Academy Awardwinning films The Fog of War (Errol Morris) and Born Into Brothels (Zana Briski and Ross Kaufman). Paul is a partner at Gigantic Post in New York. Ingrid van Tol is head of the documentary department at the Dutch Cultural Media Fund (Mediafonds). Between 2001 and 2009, she was also head of the new media department at this Fund, which provides subsidies for more than 40 documentaries each year. Previously, Van Tol worked as a policy maker and programmer for film, visual arts and new media at the Rotterdam Arts Council, and as a programmer at De Balie, the Amsterdam-based center for culture and politics. Since 2011, she has been an external examiner for the Netherlands Film Academy’s Master in Film, and since 2012 an advisor at the Flanders Audiovisual Fund (VAF). As an expert on interactive documentary, she was a member of the jury at Hot Docs in Toronto (2008) and the Cross Video Days in Paris (2015). She regularly gives guest lectures on documentary and interactive documentary at the University of Amsterdam, Utrecht University, Willem the Kooning Arts Academy and Saint Joost Arts Academy. Debra Zimmerman has been the Executive Director of Women Make Movies, a non-profit New York-based film organization that supports women filmmakers, since 1983. During her tenure, it has grown into the largest distributor of films by and about women in the world, and the internationally recognized Production Assistance Program has helped hundreds of women get their films made. Films from WMM programs win prizes regularly at the Sundance Film Festival and have been nominated or won Academy Awards for 10 of the past 11 years. Zimmerman is a keynote speaker on conferences, lectures regularly at universities around the United States and has moderated panels and given master classes at festivals all over the world. She was a tutor at IDFA’s Summer Film Academy and co-host of the Talk of the Day. In 2013, she received the Doc Mogul Award from the Hot Docs International Film Festival in Toronto.

International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for First Appearance Marjoleine Boonstra is a Dutch film director with over 25 years of experience. The central theme in her documentaries can be described as “what keeps mankind alive”—a line taken from the title of one of her many documentaries, which have screened at international film festivals and have won multiple awards. 2014 saw the premiere of her first feature film Kurai Kurai, awarded with the Prix Emile Guimet. She combines a poetic visual approach with a compassionate view on the world, which makes her documentaries both striking and touching. In 2014-2015, she was a tutor at the IDFA Mediafonds Workshop. Uldis Cekulis created the Latvian independent production company VFS Films almost 18 years ago, and later won the International Trailblazer prize at MIPDoc in Cannes. He has worked on almost 50 creative documentaries and TV projects both as a producer and a cameraman. Many of the films he produced, such as Roof on the Moonway, Theodore, The Deconstruction of an Artist, Double Aliens and Ukrainian Sheriffs, have received awards around the world. They include a nomination for the European Film Academy Documentary Award in 2005 for Dreamland by Laila Pakalnina, and the Lithuanian official Academy Award entry Ramin by Audrius Stonys in 2012 for Best Foreign Language Film. He has co-produced documentaries with production companies throughout Europe. Other activities include tutoring at EDN-organized workshops in Europe and the Caucasus. Cekulis is currently working on five documentary co-productions. Kahane Cooperman is a documentary filmmaker and TV producer from the U.S. Her awardwinning short documentary Joe’s Violin had its world premiere at the 2016 Tribeca Film Festival. She was the executive producer of the TV series The New Yorker Presents and co-executive producer of The Daily Show with Jon Stewart. For her work at the show, she received 11 prime time Emmy awards and three Peabody awards. Cooperman began her filmmaking career at Maysles Films in New York, where she worked with documentary pioneer Albert Maysles. In addition to Joe’s Violin, she has produced and directed several other documentaries including Cool Water, which premiered at the Sundance Film Festival, and Making Dazed about Richard Linklater’s Dazed and Confused, which was broadcast on AMC and acquired by the Criterion

Collection. She also produced Nick Broomfield’s feature documentary Heidi Fleiss: Hollywood Madam. Cooperman has an MFA in Film from Columbia University. Samir Mehanovic´ is a Bosnian-born and UK-based film director, producer and screenwriter. During the Bosnian war, he worked as a theater director and was invited with his theater company to perform at the Edinburgh Festival in 1995. He has been there ever since, directing and producing theater and short films. In 2004, Mehanovic´ completed an MA in Film and TV at the Edinburgh College of Art. The following year, he wrote and directed the short film The Way We Played, for which he won the BAFTA award (2005), and he made his TV debut directing for BBC Artworks in 2008. In 2011, Mehanovic´ attended the Binger Director’s Lab in Amsterdam. In 2015, he shot, directed and produced The Fog of Srebrenica, which had its international premiere at IDFA 2015, winning the IDFA Special Jury Award. He is currently working on several documentary and fiction films within his company Paradiso Films Ltd. Bob Moore is a creative producer and co-president of EyeSteelFilm in Montreal. He specializes in cinematic documentaries, and has had the good fortune to showcase many of them at IDFA over the years. A few highlights include Forest of the Dancing Spirits directed by Linda Västrik, Rip: A Remix Manifesto by Brett Gaylor, Last Train Home by Qi Zhao, Chameleon by Ryan Mullins and I Am the Blues by Daniel Cross. Moore also oversees EyeSteelFilm’s theatrical distribution company and its new Creative Reality Lab, which focuses on meaningful interactive and immersive storytelling. He has degrees in philosophy, fine art and law, and regularly lectures at and consults with film institutions around the world.


International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for Mid-Length Documentary Ryan Harrington is Director of Docs and Specials for Discovery Communications and based in New York. Previously, Harrington served as the Vice President of Artist Programs for Tribeca Film Institute, where he launched many of their worldwide granting and filmmaker support initiatives. He also managed production at A&E IndieFilms, where he championed numerous high-profile feature docs. He is a PGA-nominated and IDA-winning producer as well as a frequent panelist/speaker, jury member, and go-to expert at industry events around the world. Noe Mendelle is the Director of the Scottish Documentary Institute. She has worked in film and TV as a producer and director for over 30 years, for broadcasting companies such as Channel 4, BBC, Scottish Television, ARTE, Radio e Televisão de Portugal, Danmarks Radio and Al Jazeera. In parallel she is a research professor at the Edinburgh College of Art. She set up the Scottish Documentary Institute in 2003 and its diverse award-winning schemes: Bridging the Gap, BtG+, This Is Scotland, Stories and Edinburgh Pitch. Mendelle is very ambitious for Scottish talent to play a creative key role on the international documentary scene, both as filmmakers and facilitators. She is executive producer on most films going through SDI, including Norfolk, I Am Breathing, Future My Love, working with a wide range of emerging and established talent. She has served on juries and panels at festivals around the world and runs documentary workshops, especially in Africa and the Middle East. Jake Perlin is a co-founder and artistic programming director of Metrograph, a cinema in Manhattan, and the executive director of Cinema Conservancy, a film production and consultancy non-profit dedicated to American independent film. Cinema Conservancy’s recent co-productions include Hermia and Helena (Matías Piñeiro) and Peter and the Farm (Tony Stone). Previously, Perlin was programmer-at-large for the Film Society of Lincoln Center, and was awarded the 2015 Film Heritage Prize from the National Society of Film Critics. He also worked as associate film curator at BAMcinematek for eight years. Perlin is also the founder of Film Desk, a film distribution company specializing in the release of new 35mm prints.


Andrea Prenghyová is a director and co-initiator of dok.incubator rough cut workshop, based in Prague. She graduated in journalism at Charles University and in documentary direction at FAMU. She was on hand for the start of the Institute of Documentary Film in 2001, which under her 10 years of leadership has developed into the biggest NGO supporting documentary films in the Eastern European countries. From 2003-2007, she was a member of EDN’s Executive Committee. During this period, she also participated in a working group creating the proposal of the new Czech cinema law, and participated in creating the Audiovisual Training Coalition. In 2011, together with DOK Leipzig, Prenghyová started the dok.incubator workshop, focused on the development of films in the rough-cut stage using new tools of documentary marketing and distribution. In the last few years, dok. incubator has developed into a respected brand with films regularly screened at prestigious festivals like Sundance, IDFA, DOK Leipzig Visions du Réel and Hot Docs. Digna Sinke is an award-winning Dutch film director and producer. She graduated from the Netherlands Film Academy in 1972 in writing and directing fiction films and documentaries. Her first feature film De stille oceaan (The Silent Pacific) was in competition at the Berlinale in 1984. Her feature film Belle van Zuylen—Madame de Charrière won the grand prize at the Mannheim-Heidelberg Festival in 1994. In 2010, she completed her long-term documentary project Wistful Wilderness, which won the prize for Best Documentary at FIFE (Paris) and Neue Heimat Festival in Freistadt. Her latest documentary Under the Surface was nominated for Best Feature-Length Dutch Documentary at the Netherlands Film Festival in 2016. In 2001, Sinke took over the production company SNG Film from her late husband René Scholten. Since then she has produced more than 30 films, including An Angel in Doel by Tom Fassaert (Forum Berlinale 2011), Wavumba by Jeroen van Velzen (Best Young Director at Tribeca in 2012) and En amont du fleuve by Marion Hänsel.

International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for Dutch Documentary Tine Fischer is the founder and director of the international film festival CPH:DOX. She is also the director and founder of CPH:LAB, an international talent development and production program, and CPH:FORUM, an international co-production and financing forum. Prior to running the festival, she worked for five years at the Danish Film Institute, programming the National Cinematheque. For the last 10 years, she has been involved in the contemporary art scene as a partner in the leading Scandinavian art gallery Andersen’s Contemporary, and as curator of a number of exhibitions with specific focus on art-based film practices. In 2009, Fischer graduated from the European producer program EAVE. She is the owner of the film production company Fischer Film, specialized in the crossover between film and contemporary art. Among the projects she has produced in recent years is the Orizzonti Award-winning Accidentes Gloriosos by Mauro Andrizzi and Marcus Lindeen. Maureen Gosling, a filmmaker for more than 40 years, has worked as a director, producer, editor, sound recordist and distributor. Together with Chris Simon, Gosling produced and directed the feature documentary This Ain’t No Mouse Music!, on the life of American roots music record producer Chris Strachwitz. Gosling directed, produced and edited Blossoms of Fire, a feature-length film on the Zapotecs of Oaxaca, Mexico. She is best known for her 20-year collaboration as co-filmmaker, editor and sound recordist with the late director Les Blank, with whom she made more than 20 documentaries. Their best-known film is the British Academy Award-winning “making of” classic Burden of Dreams, on Werner Herzog’s filming of Fitzcarraldo in the Peruvian Amazon. Gosling’s current projects include editing A Dangerous Idea, directed by Stephanie Welch; co-directing and editing The Long Shadow, directed by Frances Causey; and working with Maxine Downs on Bamako Chic: Threads of Power, Color and Culture. Ester Gould is a Scottish-born documentary filmmaker who lives and works in Amsterdam. She studied Film and Journalism in Amsterdam and New York and began her career as a researcher and scriptwriter for acclaimed director Heddy Honigmann. Since 2005 she has been directing her own films and series. A Strange Love Affair with Ego—

her second feature-length documentary—won last year’s IDFA Award for Best Dutch Documentary, a special mention for best femaledirected film and recently, the KNF prize from Dutch film critics. Strike a Pose—co-directed by Reijer Zwaan—won an audience award at this year’s Berlinale, was released successfully in Dutch cinemas and has since been screened at more than 60 film festivals worldwide. This year, Variety named her one of 10 European “Female Filmmakers to Watch.” She is currently working together with Sarah Sylbing on a six-part documentary series about debt. Nilotpal Majumdar is the founder and president of Documentary Resource Initiative (DRI), that seamlessly works with Indian and Asian documentary filmmakers through mentoring, training and co-production. He spearheaded DRI’s intensive incubation cum pitching forum DocedgeKolkata, Asian Forum for Documentary. Majumdar has a postgraduate degree from the Film and Television Institute of India in Pune with a specialization in editing. He has been working as a writer, director, editor and cinematographer for documentary and fiction as well. He attended international festivals and workshops as a jury member, tutor and mentor. Until January 2016 he served as Professor and Dean of Satyajit Ray Film and Television Institute in Kolkata, a premier film institute in India for postgraduate studies. Presently he is the director of Manipur State Film and Television Institute in Imphal, Manipur.   Qi Zhao is a documentary professional based in Beijing. He has worked as a commissioning editor at China Central Television for 20 years. He served as chairperson for the ABU (Asian Pacific Broadcasters’ Union) Prize in 2009 and executive producer of ABU documentary co-production among 15 Asian countries in 2012 and 2013. Qi Zhao directs and produces independent feature documentary films with international recognition. His works include the award-winning documentaries Last Train Home, China Heavyweight and The Chinese Mayor. Qi Zhao works as a senior consultant, jury member and advisor at Asian Side of the Doc, Tokyo Documentary Forum, DMZ International Documentary Festival and Guangzhou International Documentary Festival.


International Documentary Film Festival Amsterdam

Jury Members

IDFA DocLab Competition for Digital Storytelling Brett Gaylor is a Canadian documentary filmmaker and the director of Advocacy Media for the Mozilla Foundation. His most recent project, Do Not Track, is a co-production of Upian, the National Film Board of Canada, Arte France and Bayerischer Rundfunk, in association with Radio-Canada, Radio Télévision Suisse and Al Jazeera’s AJ+ network. It is the recipient of the International Documentary Association Award for Best Nonfiction Series, the Prix Gémeaux for Best Interactive Series, the International Association of Broadcasters Online Factual Prize, the Deutscher Prize for Online Communications, and the 2016 Peabody Award. His 2008 feature documentary Rip! A Remix Manifesto was the recipient of IDFA’s Audience Award. It was broadcast in 20 countries and seen by millions worldwide. Anna Higgs is an award-winning British producer and creative executive who leads groundbreaking work at the intersection of film and digital storytelling. Higgs has recently taken up the position of Creative Director at NOWNESS, a global video channel bringing together the best in culture, with the best of emerging and established filmmaking voices. Prior to joining NOWNESS, she was Head of Digital at Film4, spearheading innovation for the Oscar-winning film fund with projects including Ben Wheatley’s A Field in England, Iain Forsyth and Jane Pollard’s 20,000 Days on Earth, Ken Loach’s The Spirit of ’45 and Lenny Abrahamson’s Frank. Other credits include Ben Wheatley’s High-Rise, Sundance-winner Dark Horse, directed by Louise Osmond, and Peter Strickland’s The Duke of Burgundy. Higgs was named as one of Time Out’s inaugural Culture 100, described as “the innovators, visionaries and pioneers behind what’s now and what’s next,” alongside Danny Boyle and Steve McQueen.


Dutch artist Jan Rothuizen realized at an early age that he would be a better artist wandering the streets of cities than working within the confines of a studio. Since then he has exhibited internationally and published a range of books. In 2009, Rothuizen published The Soft Atlas of Amsterdam, a collection of hand-drawn maps of the city he grew up in. He makes monthly reportage drawings for the Dutch daily de Volkskrant. In 2014, he developed the interactive web documentary Refugee Republic, currently exhibited at the MoMA in New York. Rothuizen won the 2015 IDFA Award for Best Interactive Storytelling with Drawing Room, a hand-drawn VR experience of his artist’s residency on top of Amsterdam’s Dam Square.

International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for Student Documentary Judy Kibinge began her career in advertising as a copywriter at McCann Erickson, working her way up to Creative Director. She left to pursue a second career as a film director. Her first feature film Dangerous Affair (2002) is believed to have ignited the wave of contemporary filmmaking that followed in Kenya, and her third feature Something Necessary screened at Toronto International Film Festival. Her documentaries have been nominated three times for Best Documentary at the African Academy Awards, with Coming of Age winning best short. In 2013, Kibinge established DOCUBOX, an East African Documentary Film Fund that is playing a transformative role in the region’s film industry through grants, training and screenings, and will host Good Pitch2 Kenya in October 2016. DOCUBOX is also raising funds to set up a co-working space for East African filmmakers.

Daan Veldhuizen is a Dutch director, cinematographer and editor. In 2007, he graduated from the Willem de Kooning Academy of Arts in Rotterdam and made his documentary debut at IDFA in 2011 with Stories from Lakka Beach, which he directed, produced, filmed and edited. The film was nominated for Best Dutch Documentary at the Amsterdam Film Festival and has received several awards, including Best Cinematography from the magazine American Cinematographer. In 2014, PBS aired the film in the United States. His second feature documentary Banana Pancakes and the Children of Sticky Rice premiered at International Film Festival Rotterdam in 2015 and was nominated for a Dutch Golden Calf Award. The film was released theatrically in the Netherlands, Belgium and Germany. As an editor, Daan recently worked on this year’s IDFA Panorama premiere The Passing Years, about the renowned Dutch poet Remco Campert.

Salome Machaidze is a Georgian artist and filmmaker based in Berlin. She graduated from the Tbilisi State Academy of Fine Arts in 1995 with a specialization in Stage Design. In Georgia, she had solo exhibitions and was part of the artist group GOSLAB. She worked as a set designer for the Film Actors Theater and was part of the controversial arts movement in Georgia during the 1990s. She graduated from the Berlin University of Arts in 2000 with a degree in visual communication. In 2002, she began studying experimental media at the same university, receiving her masters in 2005. Her thesis, the feature-length experimental movie Trigger Tiger, screened at the Volksbühne in Berlin. Maichadze’s works have been exhibited and screened in Georgia, Germany, France, the UK, Switzerland, Poland, Greece, and Austria. In 2015, her documentary When the Earth Seems to Be Light, co-directed with Tamuna Karumidze and David Meshki, won the IDFA First Appearance Award.


International Documentary Film Festival Amsterdam

Jury Members

IDFA Competition for Kids & Docs Monica Hellström has worked as a producer at Final Cut for Real since 2010. She has a BA in Media Production from the University of Bedfordshire, UK, and a Master’s degree in Film Studies from the University of Copenhagen. In 2010, she graduated from the EAVE (European Audiovisual Entrepreneurs) producers’ workshop. Hellström’s producer credits include Moon Rider by Daniel Dencik, Chikara—The Sumo Wrestler’s Son and The Fencing Champion by Simon Lereng Wilmont and The Massacre in Dvor by Georg Larsen. She co-produced Concerning Violence by Göran Olsson, Ruth by Hanna Heilborn and Varicella by Victor Kossakovsky. Ollie Huddleston is an award-winning film editor with over 25 years of experience working in cinema and TV documentaries. His unique observational style has led to long-standing collaborations with some of documentary’s leading directors, including Kim Longinotto, Adam Curtis, Sean McAllister, Angus Macqueen and Leo Regan. The films he has edited have won prizes at festivals all over the world, including one at Cannes and three at Sundance. He has been nominated for two BAFTA Awards and won two Royal Television Society editing awards.


Niki Padidar is a Dutch-Iranian director. She writes, directs, generates new concepts and produces artwork. Her short documentary debut Ninnoc won the Award for Best Children’s Documentary at IDFA 2015, a special mention at the Berlinale 2016 and three other international prizes.

International Documentary Film Festival Amsterdam

COMPETITION PROGRAMS IDFA Competition for Feature-Length Documentary

Fifteen documentaries are competing in the IDFA Competition for Feature-Length Documentary. A five-member international jury (see page 12) evaluates the films and selects the winners of the IDFA Award for Best Feature-Length Documentary (€12,500) and the IDFA Special Jury Award for Feature-Length Documentary (€2,500). Several films are also part of other selections. Miss Kiet’s Children and How to Meet a Mermaid are also selected for the IDFA Competition for Dutch Documentary (see page 79). Machines, Miss Kiet’s Children and Mogadishu Soldier are also part of the special focus program Assembling Reality (see page 227). How to Meet a Mermaid and The Grown-Ups are also nominated for the IDFA AWFJ EDA Award for Best Female-Directed Documentary.

All competition programs are supported by Ammodo.


IDFA Competition for Feature-Length Documentary

Denmark, 2016 DCP, color, 90 min Director: Max Kestner Cinematography: Max Kestner, Claus Mejling,

Pol Mejer, Kim Høgh Mikkelsen

Editing: Jacob Thuesen Sound Design: Hans Møller Music: Paul Leonard-Morgan Production: Sigrid Jonsson Dyekjær

for Danish Documentary World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales

Amateurs in Space


Max Kestner

In today’s money the Apollo space program would have cost a hundred billion dollars; at its peak, it employed around 400,000 people. Peter Madsen and Kristian von Bengtson are two Danish friends who dream of spending a tiny fraction of that sum, working with the smallest possible team, to build a do-it-yourself rocket for the first amateur mission into space. Madsen himself will have the honor of following in Neil Armstrong’s footsteps, though his chance of success is as slight as an amateur soccer team winning the Champions League. They embark on their crackpot enterprise armed with some serious technical skills and an adventurous spirit. When they need materials they simply go to the local DIY store, and they always find practical solutions to complex issues. Director Max Kestner closely follows the process over six years, recording how—to the astonishment of everyone—the duo and their ever-expanding entourage of enthusiastic fellow amateurs succeed in building a properly functioning rocket. After the first successful test launch, however, a battle for control breaks out, jeopardizing the project.


Max Kestner: Max by Chance (2004) Me and You (2006) Dreams in Copenhagen (2010) I Am Fiction (2012)

IDFA Competition for Feature-Length Documentary

Belgium, France, Switzerland, 2016 DCP, color, 85 min Director: Jérôme le Maire Cinematography: Jérôme le Maire Editing: Matyas Verres Production: Arnauld de Battice & Isabelle Truc for AT-Doc Co-Production: Zadig Productions, Louise Productions World Sales: CAT&Docs Screening Copy: CAT&Docs Involved TV Channels: ARTE, RTBF, RTS

Burning Out


Jérôme le Maire

Over a two-year period, filmmaker Jérôme le Maire captured everyday life in the surgical department of a Parisian hospital. A combination of heavy workloads, intense stress, low staffing levels and budget cuts has deeply undermined the atmosphere. We see doctors almost fighting to get into the operating room, and the nursing staff is having a hard time as well. Everyone is at the end of their rope. “We cram, we cram, we cram,” sighs one overworked doctor after glancing at the schedule. Meanwhile, management is pushing for even more efficiency and cost cutting. How long can this go on? Le Maire paints a disconcerting picture of the imminent burnout threatening the healthcare system. No door was closed to him, and we see operations, discussions around the coffee table and countless meetings. He places emotions center stage and clearly sides with the staff, sometimes joining in conversations. One doctor takes six months off to avoid a total breakdown. When he returns refreshed, Le Maire is still filming, but has anything changed?

Jérôme le Maire: Under the Mask (2003) Where Is Love in the Palm Grove? (2006) The Big Trip (2011) Tea or Electricity (2012)


IDFA Competition for Feature-Length Documentary

Georgian Republic, Croatia, 2016 DCP, color, 72 min Director: Levan Koguashvili Cinematography: Gigi Samsonadze Screenplay: Levan Koguashvili Editing: Levan Koguashvili Production: Levan Koguashvili for Kino Iberica Co-Production: Tato Film World Sales: Tato Film Screening Copy: Tato Film

Gogita’s New Life


Gogitas akhali tckovreba Levan Koguashvili

After 14 years in prison, the time has come for Gogita to return to his normal life. His wishes seem modest enough: a home of his own and then marriage to a nice woman. But who would be interested in a poor farmer and ex-con who still lives with his mother? Then he meets Maka on the internet. She’s not that young anymore, and she’s not the prettiest girl in the world, but she can bake delicious cakes. They’re soon making grand plans without even having met. Gogita’s mother isn’t happy about it. “Why don’t you get yourself a pretty young girl? Maka is too fat!” she exclaims. Some of the brief, commentary-free scenes are purely observational. Others feature stylistic interventions that make the subjects appear to be playing themselves. What unfolds is a tragicomic tale of a simple man and woman looking for love in a world that’s placing high demands on them. Together, the impressions of daily life in rural Georgia, of solitary entertainment in coastal towns, and of family dinners in Georgian style provide a tender and humorous glimpse into the life of a Georgian man.


Levan Koguashvili: The Debt (fiction, 2006) Women from Georgia (2008) Street Days (fiction, 2010) Blind Dates (fiction, 2013)

IDFA Competition for Feature-Length Documentary

Finland, Bulgaria, 2016 DCP, color, 82 min Director: Tonislav Hristov Cinematography: Orlin Ruevski Editing: Nikolai Hartmann, Tonislav Hristov Music: Petar Dundakov Production: Kaarle Aho for Making Movies Oy Co-Production: Soul Food World Sales: CAT&Docs Screening Copy: Finnish Film Foundation

The Good Postman


Tonislav Hristov

In an almost deserted Bulgarian village on the border with Turkey, known for centuries as “The Great Gate,” there are only 38 voters left. Among the candidates running for mayor is Ivan the postman. He has come up with an unconventional and generousminded plan to breathe new life into his village. Since the times of the Roman and Ottoman Empires, refugees have been entering Europe through this “gate.” So why not offer the passing Syrian refugees a home and a new beginning in the empty village? Ivan’s main rival is against the idea, and it’s not entirely clear what the incumbent mayor thinks. The film follows the three candidates’ campaigns as they attempt to appeal to their elderly electorate. In this tragicomic portrait of a sleepy village that suddenly finds itself at the center of current affairs, we see how the villagers’ fears and worries compete with their hope and compassion.

Tonislav Hristov: Perhe (2009) Rules of Single Life (2011) Soul Food Stories (2013) Love and Engineering (2014) Once Upon a Dream (2015)


IDFA Competition for Feature-Length Documentary

Chile, The Netherlands, France, 2016 DCP, color, 80 min Director: Maite Alberdi Cinematography: Pablo Valdés Screenplay: Maite Alberdi Editing: Menno Boerema, Juan Eduardo Murillo Sound Design: Ranko Paukovic Music: Miguel Miranda Production: Maite Alberdi for Micromundo

Producciones, Denis Vaslin for Volya Films Co-Production: Mandra Films World Sales: CAT&Docs Screening Copy: CAT&Docs Involved TV Channels: TVN, EO Pitched at the Forum 2014

The Grown-Ups


Los niños

Maite Alberdi Anita, Rita, Ricardo and Andrés have been attending a school for children with Down syndrome for 40 years. After all this time, they are starting to tire of this safe, familiar environment. Now over 45 years old, some of them feel that working in the school bakery is no longer a challenge. They also yearn for freedom on a more personal level. Anita and Andrés are in love but still live with their families. They dream of finding a quiet place to be alone together, and they want to get married and raise a family. Sadly, the society they live in is not equipped to cater to their desire for more independence. In spite of the training they receive on becoming “responsible adults,” all four of them remain dependent on others to make decisions for them, much to their frustration. Director Maite Alberdi draws us into the microcosm of these four “young adults” through her intimate observation, free from commentary. A moving—and at times confrontational—portrait made with great compassion and a sharp eye for composition.


Maite Alberdi: The Hair Dressers (2007) The Lifeguard (2011) Tea Time (2014)

IDFA Competition for Feature-Length Documentary

The Netherlands, Denmark, Belgium, 2016 DCP, color, 90 min Director: Coco Schrijber Cinematography: Lars Skree Screenplay: Coco Schrijber Editing: Gys Zevenbergen Sound: Tim van Peppen Sound Design: Vincent Sinceretti Music: Marc Lizier Production: Frank van den Engel for Zeppers Film & TV Co-Production: House of Real, Off World Executive Production: Judith Vreriks for Zeppers Film & TV Distribution for the Netherlands: Mokum Filmdistributie Screening Copy: Zeppers Film & TV Involved TV Channels: VPRO, DR Website: www.howtomeetamermaid.nl

How to Meet a Mermaid


Coco Schrijber

Lex Schrijber went on a diving trip to Egypt in October 2000, but he never returned. His shoes, clothes and diver’s knife were found—stacked neatly—on a Red Sea beach. A diver never dives without his knife, and this fact alone was proof enough to filmmaker Coco Schrijber that her brother had made a fateful decision that day. Fifteen years later, she returns to the place where Lex was last seen, to find out why he disappeared and whether there were witnesses to his final hours. As in her previous work (including First Kill and Bloody Mondays & Strawberry Pies), Schrijber takes a multilayered, essaylike approach complemented by a lavish soundtrack, with the sea both alluring and repelling. Scenes of her search are juxtaposed with gorgeous seascapes that capture both the beauty and the destructive power of the ocean. She broadens the narrative from the personal perspective on Lex’s story by connecting it with the tales of Mexican surfer Miguel as he prepares his flight across the ocean, and the tragedy surrounding Rebecca, who disappeared from a cruise ship.

Coco Schrijber: In Motion (1994) First Kill (2001) Bloody Mondays & Strawberry Pies (2008)


IDFA Competition for Feature-Length Documentary

Ireland, Spain, 2016 DCP, color, 103 min Director: Neasa Ní Chianáin Co-director: David Rane Cinematography: Neasa Ní Chianáin Editing: Mirjam Strugalla Sound: David Rane Sound Design: Reto Stamm Music: Eryck Abecassis Production: David Rane for Soilsiú Films Co-Production: Grismedio Screening Copy: Soilsiú Films Involved TV Channels: RTE, TVE

In loco parentis


Neasa Ní Chianáin

A year in the life of two passionate and inspiring teachers (one of music, Latin and math, the other of literature) working at the only boarding school in Ireland for children ages 7 to 12. Headfort School, a huge building set in idyllic surroundings, is their life. John and Amanda Leyden met there in their twenties, married and have since lived their lives on the school grounds. The current headmaster, a passionate and progressive teacher himself, is a former student of John’s. In addition to teaching, John and Amanda serve as mentors, inspirations and surrogate parents for the children. Their workdays are long and they are both getting on in years, so the couple starts making cautious preparations for the end of their tenure at Headfort. But will they be able to live without the school? Filmmakers Neasa Ní Chianáin and David Rane follow the goings-on in the school in fly-on-the-wall style, to poignant, unpredictable and surprising effect.


Neasa Ní Chianáin: Frank Ned & Busy Lizzie (2004) Fairytale of Kathmandu (2007) The Stranger (2014)

IDFA Competition for Feature-Length Documentary

Switzerland, 2016 DCP, color / black-and-white, 108 min Director: Peter Entell Cinematography: Jón Björgvinsson Editing: Elizabeth Waelchli, Peter Entell Sound: Blaise Gabioud Sound Design: Denis Séchaud, Peter Entell Production: Peter Entell for Show and Tell Films Screening Copy: Show and Tell Films Website: www.dewinthesun.com

Like Dew in the Sun


Comme la rosée au soleil Peter Entell

The father of documentary filmmaker Peter Entell was born in Ukraine, but in 1914, at the age of two, he fled the war-torn country with his parents. On his first visit there, Entell asks a soldier to whom he has just shown a childhood picture of his father why there’s so much misery in the country. The soldier cannot answer. Entell is trying to track down his Jewish forebears, and along the way he sees how the ongoing civil war is ripping the country apart. Sometimes, he even gets breathtakingly close to the heat of battle. Operating as an engaged outsider, he mingles with both pro-Russian separatists and Ukrainian nationalists, talks with victims on both sides and reserves judgment at all times. This war, like others before it, leaves only losers. In Ukraine it has left deep divisions along ethnic and religious lines—each group harbors its own traumas and is accumulating new ones.

Peter Entell: Moving On: The Hunger for Land in Zimbabwe (1983) Shifting Sands (1986) Depending on Heaven (1987-88) The Testimony of Four South African Workers (1988) Waiting for the Caribou (1991) La maison du grand âge (1992) Skaters Hit the Town (1994) Martha (1995) Rolling (1997) The Tube (2001) Josh’s Trees (2005) Shake the Devil Off (2007) A Home Far Away (2012) a.o.


IDFA Competition for Feature-Length Documentary

India, Germany, Finland, 2016 DCP, color, 71 min Director: Rahul Jain Cinematography: Rodrigo Trejo Villanueva, Rahul Jain Editing: Rahul Jain, Yael Bitton, Robert Fenz Production: Thanassis Karathanos for Pallas Film,

Rahul Jain for Jann Pictures, Iikka Vehkalahti for IV Films World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales



Rahul Jain

To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch—such as when we see a boy nodding violently in his struggle to stay awake.


Rahul Jain: directing debut

IDFA Competition for Feature-Length Documentary

The Netherlands, 2016 DCP, color, 115 min Director: Petra Lataster-Czisch, Peter Lataster Cinematography: Peter Lataster Screenplay: Petra Lataster-Czisch Editing: Mario Steenbergen Sound: Gertjan Miedema Sound Design: Hugo Dijkstal Production: Peter Lataster for Lataster & Films Executive Production: Marty de Jong for Lataster & Films Distribution for the Netherlands: Mokum Filmdistributie Screening Copy: Lataster & Films Involved TV Channel: KRO/NCRV

Miss Kiet’s Children


De kinderen van juf Kiet

Petra Lataster-Czisch, Peter Lataster Imagine if you can’t understand a word the teacher is saying on your first day of school. This is the experience of most of the children who join a special introductory class at the elementary school in the Dutch village of Hapert. Coming from countries like Syria and Iraq, they have all been through a lot. Fortunately, their teacher is Miss Kiet—strict but fair, patient, kind and concerned. Nevertheless, the teacher only plays a supporting role in this observational documentary by Peter and Petra Lataster, who followed the class for a year. They filmed everything from the perspective of the children—little Leanne, traumatized Jorj, feisty Haya—not only in the classroom, but also during recess, out of the teacher’s sight. The result is moving, often funny and sometimes sad, but most of all it gives cause for hope. Miss Kiet doesn’t just teach the children Dutch and math, she also shows them how to help each other. She sees who needs to have a talk, or who could use a new pair of glasses. By the end of the school year, the class has become a safe and close-knit community.

Petra Lataster-Czisch & Peter Lataster: De bekoring (1991), Tales of a River (1994), Call It Sleep (1996), River of Time (1999), Fragile Happiness (2001), Dreamland DDR (2003), Birth-Day (2004), This Will Never Go Away (2005), Ojuna (2005), I Like to Touch Everything (2006), If We Knew (2007), The Things You Don’t Understand (2010), Not Without You (2010), Jerome Jerome (2011), We (2012), Dutch Masters of the 21st Century: Auke de Vries (2013), Tomorrow Will Know (2013), Awake in a Bad Dream (2013), The Need to Dance (2014) www.latasterfilms.nl


IDFA Competition for Feature-Length Documentary

Norway, Finland, Denmark, 2016 DCP, color, 88 min Director: Torstein Grude Screenplay: Torstein Grude Editing: Niels Pagh Andersen Sound Design: Olli Huhtanen Production: Bjarte Mørner Tveit & Torstein Grude

for Piraya Film, Kaarle Aho for Making Movies Oy, Peter Engel for Wingman Media ApS Executive Production: Joshua Oppenheimer, Iikka Vehkalahti World Sales: Piraya Film Screening Copy: Piraya Film Involved TV Channels: NRK, YLE, DR, SVT

Mogadishu Soldier


Torstein Grude

Since 2006, the radical Islamists of Al-Shabaab have been fighting to overthrow the Somali government. Under the UN flag, the African Union is now engaged in a peacekeeping mission (AMISOM), with soldiers from Burundi and Uganda. These troops are fighting Al-Shabaab in the center of Mogadishu, Somalia’s capital city, with a population of two million. Documentary filmmaker Torstein Grude gave two African Union soldiers a camera with instructions to film whatever they felt was important. For an entire year, they documented diverse aspects of warfare, from firefights in trenches and life on the base to the dead and wounded lying in the streets. They also filmed conversations with local people hoping for food and water, soldiers fantasizing about women, and the arrival of an embedded journalist. War is shown to be banal and chaotic, with periods of boredom and instances of both compassion and gross inhumanity. Taken from no fewer than 523 tapes, this compilation gives an honest and sometimes revealing glimpse behind the scenes of war.


Torstein Grude: Satan Rides the Media (1999) Instant Happiness (2001) Heaven Inside Us (2004)

IDFA Competition for Feature-Length Documentary

Norway, Sweden, 2016 DCP, color, 86 min Director: Zaradasht Ahmed Cinematography: Zaradasht Ahmed, Nori Sharif Screenplay: Zaradasht Ahmed Editing: Eva Hillstöm Sound Design: Rune Hansen Music: Ciwan Haco, Gaute Barlindhaug Production: Mette Cheng

Munthe-Kaas for Ten Thousand Images Co-Production: Pasaremos, Mantaray Film World Sales: East Village Entertainment Screening Copy: Ten Thousand Images Involved TV Channels: NRK, SVT

Nowhere to Hide


Zaradasht Ahmed

After the Americans left Iraq in 2011, a male nurse named Nori Sharif was asked to report on the state of his country, providing unique access into one of the world’s most dangerous and inaccessible areas—the “triangle of death” in central Iraq. Working in the local hospital in Jalawla, he filmed the victims of war over the course of five years. The shocking images show families torn apart, maimed and damaged by the violence in Iraq. And every day more arrive, as the conflicts continue and life is disrupted by attacks over and over again. Often it isn’t even clear who the adversaries are. But the threat level increases, and when the Iraqi army pulls out in 2013 because of militant groups, the population flees—accompanied by the majority of the hospital staff. Sharif is one of the few who remain. When IS advances on Jalawla in 2014 and finally takes over the city, Sharif continues to film. Then he too has to flee at a moment’s notice, to bring himself and his family to safety.

Zaradasht Ahmed: Norway Better for All (2006) Persecuted (2009) The Road to Diyarbekir (2010) Fata Morgana (2012) Cambodia - Getting Out of the Mud (2014)


IDFA Competition for Feature-Length Documentary

China, 2016 DCP, color, 88 min Director: Jian Fan Cinematography: Ming Xue, Jian Fan Editing: Matthieu Laclau, Jian Fan Sound: Isabella Zang Sound Design: Danfeng Li Production: Hongmiao Yu & Zitao Xu for Youku Tudou Inc. Executive Production: Wei Ming & Wang

Ping for Youku Tudou Inc.

Screening Copy: Jian Fan

Pitched at the Forum 2015

Still Tomorrow


Jian Fan

When one of her poems is shared more than a million times on Chinese social media, Xiuhua Yu suddenly finds that she is famous. The contrast with her previous life could not be greater. Yu has lived and worked all her life on her parents’ simple farm, and is disabled by cerebral palsy. Twenty years ago, her parents arranged for her to be married to a laborer who has no feelings for her. Fame brings her financial freedom: suddenly, Xiuhua Yu is able to think about a different future, freed from her husband. In this frank and intimate portrait, we follow her in the year of her breakthrough. Yu is painfully aware that for a woman with a disability, life will never be simple. However pragmatically she speaks about it, and however eloquently she writes about it, she still struggles to escape her physical and emotional chains.


Jian Fan: Dancing in the City (2006) Taxi (2008) The Next Life (2011) Manufacturing Romance (2015) My Land (2015)

IDFA Competition for Feature-Length Documentary

France, 2016 DCP, black-and-white, 71 min Director: Fanny Tondre Cinematography: Fanny Tondre Editing: Vincent Trisolini Sound: Yves Grasso Sound Design: Nadège Feyrit Music: Charlie Nguyen Kim Production: Matthieu Belghiti for What’s Up Films World Sales: What’s Up Films Screening Copy: What’s Up Films

What We Have Made


Quelque chose de grand Fanny Tondre

The world of construction is a very male one. If a woman does appear in this domain at all, she’s usually naked, with a fold somewhere around her navel and a thumbtack stuck above her head. Men, on the other hand, are represented in all shapes, sizes and colors at the construction site where What We Have Made was shot: old, young, black, white and many shades in between. From rookies to hardened old hands, from the strong silent type to those that simply can’t shut up, all of these guys have their own role in the creation of this gigantic edifice. This beautiful, crisp black-and-white film not only captures the choreography of construction and the logistical tour de force, but also these men, who spend long, laborious days out in all weather among the scaffolding, cranes, concrete mixers and their coworkers. Some of them are picked out in miniportraits. Young João, for example, has finally been accepted into the construction family after completing his first year on the job. And Tardiveau, who hides his sensitive side behind a big mouth, compares himself to rough concrete as he affectionately pets his woolly white dog and worries about the prospect of retirement in 10 years’ time.

Fanny Tondre: Mr and Mrs Zhang (2013) Maroc (2014)


IDFA Competition for Feature-Length Documentary

Poland, 2016 DCP, color, 80 min Director: Pawel Lozinski Cinematography: Kacper Lisowski Editing: Dorota Wardeszkiewicz Sound: Sofia Morus, Justyna Musialska Production: Pawel Lozinski for Lozinski

Production, Agnieszka Mankiewicz World Sales: KFF Sales & Promotion Screening Copy: KFF Sales & Promotion Involved TV Channel: TVP Website: www.youhavenoideafilm.pl

Awards: Silver Hobby Horse Best Polish Documentary Krakow International Film Festival


You Have No Idea How Much I Love You Nawet nie wiesz, jak bardzo cie kocham Pawel Lozinski

Relationships with the people you love most are often the most complicated. This is the problem Hania and her mother Ewa face during their sessions with a psychotherapist, filmed intimately and with the utmost respect by director Pawel Lozinski. The camera always focuses on one person at a time, revealing every emotion hidden behind the words and silences. The empathetic therapist carefully but purposefully peels away the hard layers under which mother and daughter shield themselves. Little by little, the personal tragedies that hamper their communication rise to the surface, as well as the source of the longing for love and acknowledgement that they find so hard to fulfill. The documentary takes place within four walls and a tight framework, yet at the same time it makes a long and fascinating journey to the inner recesses of the human mind: sometimes dark, sometimes warm, always familiar.


Pawel Lozinski: Structure(1989) Birthplace (1992) 100 Years at the Cinema (1995) The Way It Is (1999) The Sisters (1999) A Woman from Ukraine (2002) Slawomir Mrozek Presents (2007) Kitty, Kitty (2008) Chemo (2009) Inventory (2010) Father and Son (2013) Werka (2014)


IDFA Competition for First Appearance Fifteen documentaries by directors making their first or second feature-length documentary are competing in the IDFA Competition for First Appearance, aimed at supporting talented new filmmakers. A five-member international jury (see page 13) evaluates the films and selects the winners of the IDFA Award for Best First Appearance (€7,500) and the IDFA Special Jury Award for First Appearance, in memory of Peter Wintonick (€2,500). Several films are also part of other selections. Stranger in Paradise is also selected for the IDFA Competition for Dutch Documentary (see page 79). A Memory in Three Acts is also part of the special focus program Shifting Perspectives (see page 217). Five of the films are also nominated for the IDFA AWFJ EDA Award for Best Female-Directed Documentary: Almost There, Areum, The Girl Down Loch Änzi, Sealers – One Last Hunt and Venus.

All competition programs are supported by Ammodo.

IDFA Competition for First Appearance

Switzerland, 2016 DCP, color, 83 min Director: Jacqueline Zünd Cinematography: Nikolai Von Graevenitz Editing: Gion Reto Killias Music: Max Avery Lichtenstein Production: Aline Schmid for Intermezzo Films,

Thomas Thümena for Hugofilm Productions World Sales: First Hand Films Screening Copy: Hugofilm Productions Involved TV Channels: SRF, RTS, ARTE

Almost There


Jacqueline Zünd

It’s evening in an empty parking lot, and we see the motorhome in which a retired man will go on a long journey and leave his old life behind. He runs through a checklist of all the things that need to be done before he leaves his hometown. Although clearly a metaphor for taking stock as the end of life approaches, it is used with subtlety. Almost There is a portrait of three men searching for happiness and a meaningful existence in the autumn of their lives. The camera records them with patience and an eye for detail as they talk about the choices they made—they may not have been easy choices, but they brought many good things later in life. We see the American traveling across his country, a British drag queen doing a standup comedy routine in Benidorm, Spain, and a Japanese gentleman reading books to children—beaming with pride, he describes how a teacher paid him a compliment. It’s only now that he has come to understand how to get along with children.


Jacqueline Zünd: Goodnight Nobody (2010)

IDFA Competition for First Appearance

Colombia, 2016 DCP, color, 82 min Director: Clare Weiskopf Co-director: Nicolas Van Hemelryck Cinematography: Nicolas Van Hemelryck Screenplay: Clare Weiskopf, Nicolas Van Hemelryck,

Gustavo Vasco Editing: Gustavo Vasco Sound: Nicolas Van Hemelryck Sound Design: Andres Silva Music: Camilo Sanabria Production: Nicolas Van Hemelryck & Clare Weiskopf for Casatarantula World Sales: Cinephil Screening Copy: Casatarantula Website: www.amazona.co



Clare Weiskopf

What makes someone a good mother? After the tragic death of her eldest daughter, Val left her kids and family behind and escaped into the Colombian jungle to search for her identity. Clare Weiskopf, the director of this film, was 11 years old at the time and couldn’t understand what her mother was looking for. Thirty years later, when she becomes pregnant, she decides to confront her mother, heal the wounds of the past and try to define motherhood on her own terms. She visits Val in her heavenly habitat in the Amazon region of Colombia and films her weaving bracelets in her timber hut, driving her moped to the market and cooking fish on a wood-burning stove. Why did Val hit the road when her two children needed her so badly? This is a fascinating tug of war between freedom and responsibility—with all the guilt and sacrifice they entail. Should you follow the accepted course, act selflessly and devote yourself to your children, or is your own life the most important in the end?

Clare Weiskopf: directing debut


IDFA Competition for First Appearance

France, Frans Guyana, 2016 DCP, color, 112 min Director: Nicolas Pradal, Pierre Selvini Cinematography: Tarek Sami Editing: Fabien Daguerre Sound: Cesar Mamoudy Sound Design: Pierre Selvini Music: Pierre Selvini Production: David Crochet for Chercheurs d’Autres Screening Copy: Chercheurs d’Autres Awards: Special Jury Award International Environment Film Festival


Anuktatop: The Metamorphosis Anuktatop: la métamorphose Nicolas Pradal, Pierre Selvini

Down on the banks of the Maroni River, little Derreck dreams of heroic warriors. He’s a member of the Wayana tribe in French Guyana. In this film, Derreck is not our only portal into another world. His sister Sylvana also dreams—of an impossible love, who belongs to a different tribe. Their grandmother Malilou takes us back to her youth in the 1950s. It seems that everyone wanders off now and again into a parallel, at times almost ghostly world. Whereas the youngest members of the tribe can still lose themselves in boundless flights of fantasy, the older generation contemplates more existential questions. How do dreams of the future relate to identity? What makes you a real Wayana? This magical realist glimpse of the life of this native tribe in the Amazon balances on the edge of fiction, showing how change is inevitable even in this remote village. (In Wayana, Anuktatop means metamorphosis.)


Nicolas Pradal & Pierre Selvini: The Youth of the River (2013)

IDFA Competition for First Appearance

South Korea, 2016 DCP, color, 93 min Director: Areum Parkkang Cinematography: Areum Parkkang Editing: Areum Parkkang Production: Moonkyung Kim for Areum Film Screening Copy: Artist Group 3355



Areum Parkkang

When her blind dates continue to lead nowhere, South Korean teacher Areum Parkkang seeks the advice of students and friends. Despairingly, she asks them why she has never had a boyfriend. They don’t beat around the bush when they tell her it’s because of her appearance. They explain that she should make herself attractive to men by dressing in a more feminine way, losing weight and wearing makeup. Areum decides to take on the challenge and drastically alters her appearance. She starts wearing earrings, nail polish and contact lenses, and dressing like a carefree hippie or a sexy seductress. Along the way she realizes that by trying to satisfy an idealized notion of beauty imposed on women, she has internalized the merciless and judgmental gaze of the outside world. From the very start of the experiment, she lets us in on all her insecurities by filming herself. At the same time, she is holding a mirror up to the viewer, because aren’t we judging her just as brutally as she, her students and her friends do?

Areum Parkkang: directing debut


IDFA Competition for First Appearance

Denmark, 2016 DCP, color, 73 min Director: David Borenstein Cinematography: Lars Skree, David Borenstein Editing: Anders Villadsen, Christian Einshøj Production: Jesper Jack & Christian von

der Recke for House of Real World Sales: Gunpowder & Sky Screening Copy: Danish Film Institute Involved TV Channels: VPRO, Al Jazeera, WDR/ARTE, DR2 Pitched at the Forum 2013

Dream Empire


David Borenstein

IDFAcademy Results Director David Borenstein paints a portrait of his Chinese employer Yana, a 24-year-old woman who moves from the countryside to Chongqing in the hope of making it there. She sets up a talent agency for foreigners; Borenstein gets booked as one of her “white monkeys.” He is hired to go around China promoting the real estate developments that are shooting up all over the place. No talent is required, and the mere presence of a white man can lend status to a project, stimulating the sale of homes. As David and Yana market property in remote areas, an uncomfortable truth creeps into the film: the new houses aren’t really selling, and China’s surreal property boom is just leading to more and more ghost cities. Borenstein tells his employer’s personal story against the backdrop of a country obsessed with economic growth. When it finally becomes clear that there really is no future in this market, Yana faces a dilemma: should she stick with the company or look for another way of fulfilling the Chinese dream?


David Borenstein: directing debut

IDFA Competition for First Appearance

Switzerland, 2016 DCP, color, 87 min Director: Alice Schmid Cinematography: Aurelio Buchwalder Screenplay: Alice Schmid Editing: Anja Bombelli Sound: Patrick Becker Sound Design: Rolf Büttikofer Music: Thomas Jeker, Rea Dubach Production: Alice Schmid for Ciné Screening Copy: Ciné Involved TV Channel: SRF

The Girl down Loch Änzi


Das Mädchen vom Änziloch Alice Schmid

Twelve-year-old Laura lives in the Swiss hills on the family farm, surrounded by animals and nature. She is fascinated by a local legend about a maiden who is supposed to be held captive in the caves close to where she lives. But she wouldn’t dare go check out the story on her own, and this summer there are no other kids around. She whiles away the lonely days birdwatching, helping out on the farm and faithfully entrusting everything to her diary. This is the only place she can express her loneliness, concerns about her weight, dreams and nightmares. Then a boy from the city comes to work on the farm. Will he be a new friend and take her to the famous cave where no one else dares to go? This sensitive, respectful film tells Laura’s story through significant details: the all-seeing eye of a horse, rutting turkeys and rubber boots in muddy puddles. All of these aspects of Laura’s life are cleverly intercut with fictional elements that are hardly distinguishable from what is real.

Alice Schmid: The Children from Mount Napf (2011) www.aliceschmid.ch


IDFA Competition for First Appearance

Mozambique, 2016 DCP, color / black-and-white, 64 min Director: Inadelso Cossa Cinematography: Inadelso Cossa Editing: Inadelso Cossa Narration: Inadelso Cossa Narrator: Inadelso Cossa Production: Inadelso Cossa for 16mmfilmes Co-Production: Weltfilm World Sales: 16mmfilmes Screening Copy: 16mmfilmes

A Memory in Three Acts


Uma memória em três atos Inadelso Cossa

Mozambique gained independence from Portugal in 1975, following a bloody struggle that lasted more than a decade. In three acts (plus a poetic prologue and epilogue), some of those who lived through it tell their story about the struggle for independence. A former political prisoner returns to the building named Villa Algarve, where he was tortured—though dilapidated now, it is still maintained as a monument to what took place. There were many who did not survive the torture. We also get to hear the other side of the story, as told by the daughter of an agent of the secret police who was murdered before her eyes following the fall of the Portuguese dictatorship. This striking mix of archive footage, shots of present day and the pervasive soundtrack give us the feeling that past and present are inextricably linked. The oral testimonies bear witness to a multifaceted colonial trauma, and the wounds are still fresh.


IDFAcademy Results

Inadelso Cossa: directing debut

IDFA Competition for First Appearance

Romania, 2016 DCP, color, 90 min Director: Andrei Dascalescu Cinematography: Andrei Dascalescu Screenplay: Andrei Dascalescu Editing: Mircea Olteanu, Stefan Parlog,

Marieta Manolache, Andrei Dascalescu Sound: Andrei Dascalescu Sound Design: Dan Stefan Rucareanu, Ioan Filip Production: Anamaria Antoci for Filmlab Screening Copy: Filmlab Involved TV Channel: HBO Europe Website: www.planetapetrila.ro

Planeta Petrila


Andrei Dascalescu

As miners in the Romanian town of Petrila go down into the mine for the last time, artist and ex-miner Ion Barbu is working on his mission: preserving Petrila’s coalmine as cultural heritage. But in accordance with EU agreements on the closure of the mine, the authorities are committed to demolishing it completely. This would bring an abrupt end to a history with which the mining community still feels a deep affinity, but one that doesn’t appear to interest the politicians in the slightest. Barbu refuses to back down, doing all he can to keep the memories of the mine alive. He covers the mine buildings in murals and organizes performances, street protests and an underground theater festival. His resolve is a match for that of his opponents, and his art, which samples freely from art history, is charged with an absurdism well suited to the situation. Nonetheless, his actions prove to be more than just a frivolous protest; they become a channel for the collective mourning of a redundant industry.

Andrei Dascalescu: Constantin and Elena (2009)


IDFA Competition for First Appearance

China, 2016 DCP, color, 81 min Director: Jiu-liang Wang Cinematography: Jiu-liang Wang Editing: Bob Lee, Jean Tsien Production: Ruby Chen for CNEX,

Benjamin Guan-ting Yue for Beijing TYC Media, Jing Liu for Oriental Companion Media Executive Production: Ben Tsiang, Jean Tsien, Chao-wei Chang, Hsiao-Ming Hsu Screening Copy: CNEX

Plastic China


Su liao wang guo Jiu-liang Wang

Yi Jie’s uneducated parents left the area where they grew up, looking for work. They now sort and recycle plastic waste from Europe, the United States and other parts of Asia. The family literally lives among mountains of plastic and the disgusting stench from incinerators. Nevertheless, the children always manage to find hidden treasures: a bag of balloons, or some nice magazines to cut pictures out of that they use to make stories. This gives them a glimpse of a different, much richer life—one full of opportunities they will never have. Yi Lie can’t even go to school—according to her father, it’s because he can’t afford it, but his boss says it’s because he drinks his salary away. It seems like a hopeless situation. The boss and his family do dream of a better future. When they take Yi Jie and her father to a flashy car show, the two of them just stand there, completely lost, in a world they will never belong to. This poignant film, in which the camera stays very close to the protagonists, needs no explanations: the images tell a universal story of social inequality.


Jiu-liang Wang: Beijing Besieger by Waste (2011)

IDFA Competition for First Appearance

Canada, Chile, 2016 DCP, color, 100 min Director: Carlo Guillermo Proto Cinematography: Carlo Guillermo Proto Editing: Carlo Guillermo Proto, Lorenzo Mora Salazar Production: Carlo Guillermo Proto for The Handshake

Productions, Roxanne Sayegh, Maria Paz GonzĂĄlez

World Sales: Cinephil Screening Copy: Cinephil

Resurrecting Hassan


Carlo Guillermo Proto

An intimate portrait of the Hartings, a blind Canadian family. Denis, Peggy and their daughter Lauviah make their living singing in the metro stations of Montreal. Their world has been changed forever by the loss of their sighted son, Hassan, who drowned when he was seven. Denis and Peggy are constantly bickering—their relationship has clearly suffered from the tragic accident. The couple are followers of the Russian mystic Grigori Grabovoi, who claims that people can rise from the dead. As Denis devotes himself to bringing their son back to life, he barely notices that Peggy has quite a different preoccupation: her own personal resurrection. Meanwhile, Lauviah is left to find her own way. In this Direct Cinema documentary, the camera captures unfolding events up close, from the intense resurrection sessions with a Grabovoi disciple to vulnerable moments of grief and violent arguments. The beautiful, heartrending singing of Denis and Lauviah is particularly unforgettable.

Carlo Guillermo Proto: The Horseman (2011)


IDFA Competition for First Appearance

Belarus, Russia, Serbia, Bosnia-Herzegovina, Croatia, 2016 DCP, color, 67 min Director: Dmitrii Kalashnikov Editing: Dmitrii Kalashnikov Production: Volia Chajkouskaya for Volia Films Co-Production: Novi Film, Eight and a Half Studio Screening Copy: Volia Films

The Road Movie


Dmitrii Kalashnikov

If you like car crash compilations and Russians with foul mouths, you will love this fascinating mosaic of asphalt adventures and landscape photography, in which video footage from a variety of dashboard cameras presents the absurd and frightening nature of Russia. Alongside a series of bizarre car accidents on the country’s roads, the dashboard cameras also capture other spectacles through the windshield, such as a hysterical wedding guest, a confused man and a horse-drawn sleigh. More than once, angry motorists brandish axes, pistols or sledgehammers at the camera, and at times the camera itself seems to come to life, when it is chucked out of the car or stolen by someone breaking in. The footage of spectacular trips through a forest fire, tall snowdrifts or flooded streets is almost poetic—and what’s that up there in the sky? Is it a plane crashing, or could it be a comet? Bemused commentary from unseen drivers and passengers or the sound of the car radio provides unintentionally comical moments. Would someone please call 911?


Dmitrii Kalashnikov: Waiting for the Show (2015)

IDFA Competition for First Appearance

Norway, 2016 DCP, color, 98 min Director: Trude Berge Ottersen, Gry Elisabeth Mortensen Cinematography: Trude Berge Ottersen Editing: Anders Teigen Sound Design: Rune Hansen Production: Gry Elisabeth Mortensen &

Trude Berge Ottersen for Koko Film Screening Copy: Koko Film Involved TV Channel: NRK

Sealers – One Last Hunt Trude Berge Ottersen, Gry Elisabeth Mortensen

Due to a European ban on seal products and increasing protests, seal hunting in Norway is in decline. An old Norwegian skipper and experienced sealer named Bjørne takes no notice and sets out as usual in the spring to go hunting in the Greenland Sea northeast of Iceland. The documentary follows him and his crew during the preparations and on what might be their very last seal hunt. In magnificent shots of a white and ice-blue landscape, the spattered blood of hundreds of seals makes a grim contrast. Life at sea is hard, especially when the temperature plummets, the ship steers a treacherous course through the ice, and the men have to jump from floe to floe to give the seals killed by gunshot a final blow with their hakapik, a club with a hammer head and a sharp metal hook. But when the trip is over and the pelts and meat have been sold on the dock, Bjørne and his crew are sorry to say goodbye.


IDFAcademy Results

Trude Berge Ottersen: directing debut Gry Elisabeth Mortensen: Eagle Boy (2013)


IDFA Competition for First Appearance

The Netherlands, 2016 DCP, color / black-and-white, 72 min Director: Guido Hendrikx Cinematography: Emo Weemhoff Screenplay: Guido Hendrikx Editing: Lot Rossmark Sound: Taco Drijfhout Sound Design: Tijn Hazen Music: Ella van der Woude, Juho Nurmela Production: Frank van den Engel for Zeppers Film & TV Executive Production: Elize Kerseboom & Julia van Schieveen

& Fleur Welter for Zeppers Film & TV, Erik Glijnis Screening Copy: Zeppers Film & TV Involved TV Channel: VPRO

Stranger in Paradise


Guido Hendrikx

“We don’t want you. We just can’t do it.” In a classroom, a teacher uses math to explain to a group of refugees what their arrival will cost society. The asylum seekers try to refute the figures. They will work, won’t they, and contribute to society? The teacher shatters their illusions: half of them will never find work. In three acts, director and screenwriter Guido Hendrikx explains the European view of the refugee crisis. The man receives three groups of migrants, each time adopting a different attitude: dismissive in the first part, then full of empathy and good will in the second. In the last part, he represents actual European immigration policy, with all its complex rules. Hendrikx shows where the refugees’ dreams clash with reality and forces us to think hard about our own position. Is it human to categorize someone else’s life? The absurdity of the dilemma is expounded upon in the prologue and epilogue to this political essay.


Guido Hendrikx: directing debut

IDFA Competition for First Appearance

Denmark, Norway, 2016 DCP, color, 80 min Director: Lea Glob, Mette Carla Albrechtsen Cinematography: Cathrine Coleman Editing: Signe Rebekka Kaufmann Music: Ola Kvernberg Production: Kirstine Barfod & Jesper Jack &

Anna Ljungmark for House of Real Co-Production: Faction Film World Sales: DR International Sales Screening Copy: Danish Film Institute Involved TV Channels: DR, SVT, NRK, RUV



Lea Glob, Mette Carla Albrechtsen

During casting sessions, young women from Copenhagen talk candidly about their sexual experiences. Initially, the two female directors wanted to make a film as a way of better understanding their own sexual desires and frustrations. In response to a casting call, more than a hundred ordinary young women turned up and talked straight into the camera about their erotic fantasies. As shooting progressed, the filmmakers realized that these intimate casting sessions should in fact be the final film. The interviewees gradually open up: one shy woman discovered that she gets aroused watching two men having sex. Another woman talks about how she finds it difficult to submit to a man. A recurring frustration is that women are supposed to be simultaneously innocent and wild, often an impossible combination. Because the man is supposed to actively take steps—you don’t kiss him, he kisses you—his intentions and motivations are easier to understand. The bare surroundings of a casting studio allow Venus to pierce these female passions.

Lea Glob & Petra Costa: Olmo & The Sea Gull (2014) Mette Carla Albrechtsen: Rogue Girls (2012)


IDFA Competition for First Appearance

Denmark, 2015 DCP, color, 82 min Director: Sine Skibsholt Cinematography: Sine Skibsholt Editing: Steen Johannessen Sound: Rasmus Winther Jensen Production: Helle Faber for Made in Copenhagen World Sales: LevelK Screening Copy: Danish Film Institute Involved TV Channel: TV2

Who We Were


Dem vi var

Sine Skibsholt Sine Skibsholt’s documentary debut opens with an emergency call for an ambulance. A sudden stroke is about to put Mette Line and Kristian’s relationship to the test. Photographs show what this Danish couple’s life was like before the stroke: vacations, parties, a new home, two children. All this happiness now makes way for visits to hospitals, rehabilitation centers and therapists. Skibsholt follows the family for a year from spring to spring. Kristian’s body begins to recover but his brain refuses to cooperate. A third of it has been destroyed, and he no longer recalls the life he once lived with Mette. His minor mental and physical triumphs are shadowed by doubts, disagreements and arguments. Who We Were reveals just how much patience the couple needs to make it through the rehabilitation process. The damage is irreversible, and life as they knew it forever gone.


Sine Skibsholt: directing debut

COMPETITION PROGRAMS IDFA Competition for Mid-Length Documentary

Fifteen documentaries between 40 and 60 minutes in length are competing in the IDFA Competition for Mid-Length Documentary. A five-member international jury (see page 14) evaluates the films and selects the winners of the IDFA Award for Best Mid-Length Documentary (€10,000) and the IDFA Special Jury Award for Mid-Length Documentary (€2,500). To Stay Alive – A Method is also selected for the IDFA Competition for Dutch Documentary (see page 79).

All competition programs are supported by Ammodo.


IDFA Competition for Mid-Length Documentary

Sweden, Norway, 2016 DCP, color / black-and-white, 57 min Director: Knutte Wester Cinematography: Knutte Wester, Maja Dennhag,

Fredrik Oskarsson, Simon Öhman Jönsson

Screenplay: Knutte Wester Editing: Jesper Osmund, Dominika Daubenbüchel Sound Design: Rune Hansen, Boris Laible Music: Erik Blennow Calälw, Ludvig Elblaus,

Peter Bryngelsson, Santa Ratniece

Narration: Knutte Wester Narrator: Inga Landgré, Knutte Wester Production: Therese Högberg for Bautafilm Co-Production: Pomor Film World Sales: Bautafilm Screening Copy: Bautafilm Involved TV Channel: SVT

A Bastard Child



Knutte Wester As a child, artist Knutte Wester often visited his grandmother Hervor. She would tell him stories: not about princes or princesses, but about her own turbulent life, which was far from easy. Her descriptions were so vivid that he was able to see it all right before his eyes; years later, he recorded these images in watercolor paintings. In a mix of art and documentary, he retells the story of his grandmother in animations he created from these watercolors. Hervor talks about how she was born a “bastard child” and placed with various foster families and orphanages by her mother, who was too poor to care for her. Illustrated by archive footage, her experiences give an impression of how Swedish society dealt with single mothers and children born out of wedlock in the early 20th century. Hervor became a pioneer of women’s rights, and her story serves as not only a reminder of the mechanisms of social control, oppression and rejection, but also a testimony to the possibility of change within society.


Knutte Wester: Gzim Rewind (2012) Dawn in a City Without Name (2014)

IDFA Competition for Mid-Length Documentary

Spain, 2016 DCP, color, 55 min Director: Alejandro G. Salgado Cinematography: Sergio Caro, David García López de la Osa Screenplay: Alejandro G. Salgado Editing: David García López de la Osa, Alejandro G. Salgado Sound: Carli Pérez, Rafael Martínez Music: Claudio Maestre Narration: Alejandro G. Salgado Narrator: Gloria Ekerewen Animation: David García López de la Osa, Oscar Ortiz Marzo Production: Irene Hens Aumente for La Maleta World Sales: Wide House Screening Copy: La Maleta Creacion Cultural SLL

Bolingo. The Forest of Love


Bolingo. El bosque del amor Alejandro G. Salgado

Share in the lives of these courageous women who left their homes in the heart of Africa for a better future in Europe. But they never made it that far. Now stranded on the northern coast of Morocco and living in their self-built camp, they talk about their perilous journey and their experiences of sometimes forced motherhood. They speak from the darkness, their faces sparingly illuminated, their experiences too painful for daylight. The camera goes in very close: moving lips fill the screen; eyes tell all there is to know. They risked everything for their family so their children could have a better life. In the words of one, “It is better I chase the future than the future to chase me.” The stories they tell about their journey are rendered in animations—the thin strands of white the only light in the blackness. The darkness is a reflection of their skin color, their despair, their hopelessness and the nights that defined their lives. But there is also subtle lighting in the background—they are alive, and they are raising their children.

Alejandro G. Salgado: Among Tissues and Dreams (2009) The Disorder of the Senses (2012)


IDFA Competition for Mid-Length Documentary

Italy, 2016 DCP, color / black-and-white, 61 min Director: Giovanni Troilo Cinematography: Giovanni Troilo Screenplay: Maria Fantastica Valmori, Giovanni Troilo Editing: Maria Fantastica Valmori Production: Andrea Patierno for Todos Contentos

y Yo Tambien, Raffaella Gresele for Magnolia, Annamaria Catricalà & Fabio Mancini for RAI Screening Copy: Todos Contentos y Yo Tambien Involved TV Channel: RAI



Giovanni Troilo

Charleroi used to be known for its thriving coal and steel industries. This city near the Belgian capital of Brussels once attracted people seeking work from all over Europe. But it has now come to symbolize the problems plaguing the entire continent: increasing unemployment, immigration and petty crime—and a growing sense of unease. To make matters worse, rain seems to be constantly falling from the gray blanket of clouds looming over the dilapidated apartment blocks and slumbering factories. Charleroi has become a spooky place, and that feeling is only confirmed by the stories supplied by residents and passersby in this poetic film. Archive footage of vibrant industry is intercut with portraits of people dealing with a changing world. A former migrant worker, a group of men who empty out houses belonging to people who died alone, a sturdy dominatrix and a young man struggling with the widening gulf between sections of the population all speak from the heart about how they’re managing to keep it together.


Giovanni Troilo: Fan Pio (fiction, 2012)

IDFA Competition for Mid-Length Documentary

Estonia, 2016 DCP, color, 51 min Director: Ksenia Okhapkina Cinematography: Vitaly Afanasiev, Maksim Drozdov Screenplay: Ksenia Okhapkina Editing: Mirjam Jegorov, Ksenia Okhapkina Music: Robert Jurjendal Production: Riho Västrik for Vesilind OU Screening Copy: Vesilind OU Involved TV Channel: EBC

Come Back Free


Ksenia Okhapkina

Officially the war with Russia might be over, but in many parts of Chechnya the fighting continues and the shadow of violence is never absent. Chechens take the attitude that to survive, you always have to be ready to fight. Russian director Ksenia Okhapkina shows the impact of war on a village in the Chechen mountains, where the graveyard is a constant reminder of the loss suffered by the community. The gravediggers are always kept busy, as there are many graves and funerals. The numerous mourning women have lost husbands and sons in the war, but they defy despair by dancing out their grief and singing away their sorrow. In a calm, observational style without further explanation, this documentary records everyday life in the village, from Muslim rituals to children at play and a dance at a traditional wedding. The greeting used by the locals reflects their longing for true independence: “Come back free!”

Ksenia Okhapkina: The Smoke (2009) Snowstorm (2010) Liudians (2011) The Night Performance (2012) In the Beginning Was... the Cube (2013)


IDFA Competition for Mid-Length Documentary

Israel, 2016 DCP, color, 52 min Director: Tali Shemesh, Asaf Sudry Cinematography: Asaf Sudry Screenplay: Tali Shemesh, Asaf Sudry Editing: Daniel Sivan Sound Design: Yosi Applebaum Music: Tomer Yosef, Tom Darom Production: Tali Shemesh, Asaf Sudry, Alma Har’el Executive Production: Megan Ellison for

Annapurna Pictures, Mark Boal for Pagel

World Sales: CAA Screening Copy: Asaf Sudry Involved TV Channel: YesDocu

Awards: Best Israeli Film Award DocAviv, The Director Award of Fedeora the Federation of Film Critics of Europe and the Mediterranean DocAviv, Best Original Music Award DocAviv

Death in the Terminal


Mavet be Be’er Sheba Tali Shemesh, Asaf Sudry

A thrilling reconstruction in so-called Rashomon style, with several eyewitnesses offering their own perspectives on a single event. On October 18, 2015, a terrorist started shooting at the bus terminal in the Israeli town of Be’er Sheva, killing an Israeli soldier. This detailed, minute-by-minute reconstruction reveals what happened in the crucial 18 minutes following the attack. Several eyewitnesses discuss the whirlwind of events and the emotions that swept them up. Their accounts and the footage from a variety of camera sources form a painstaking reconstruction of the drama that took place. Some of the images are fluid, sharp and detailed, while others are static and grainy. Other footage shot using mobile phones is just that: very mobile. The intricate editing combines it all to offer a surprisingly thorough account of the situation on the ground. In addition to presenting the facts, Death in the Terminal also raises questions. From which perspective should you draw your conclusions in such an extreme situation? And, based those conclusions, what actions should you take?


Tali Shemesh: Miss Fat & beautiful (1997) T.V Dreams (2001) White Gold-Black Workers (2004) The Cemetery Club (2006) Asaf Sudry: Strangers (1998) Strike (2005) Paradigma (2007) The Prisoner (2008), Tali Shemesh & Asaf Sudry: Awakening (2011) Disintegration (2013)

IDFA Competition for Mid-Length Documentary

Slovakia, 2016 DCP, color, 49 min Director: Maria Rumanova Cinematography: Michal Fulier, Radka Sisulakova Screenplay: Maria Rumanova Editing: Fabian Froncek, Janka Vlckova Sound: Michal Horvath Sound Design: Michal Horvath Music: Vladislav Sarissky Production: Ivan Ostrochovsky for Punkchart films Co-Production: FTF VSMU, Kaleidoscope Screening Copy: Kaleidoscope Involved TV Channel: RTVS

Hotel Sunrise


Hotel Úsvit

Maria Rumanova The small Slovakian town of Cierna nad Tisou is situated in the most easterly corner of the European Union, right next to the border with Ukraine. At one time it was known as the Golden Gate of Socialism, but this once important transshipment center for Soviet freight trains is now a backwater rife with unemployment. Against the backdrop of the dilapidated Hotel Sunrise, the Communist Party is making efforts to get back into the running. But the locals have problems of their own: Viktor’s gambling and alcohol addictions have landed him back in jail, so his wife Veronika has to go to his mother’s funeral alone. Peter is overweight and tries to break the monotony by getting into shape. Meanwhile, Jan’s wife Gizela is gone—apparently taken to Hungary for a reason that remains unclear. Despite the sad circumstances in which they find themselves, they all try in their own way to keep their spirits up, in the hope of new opportunities. The camera calmly observes them as they go about their lives, offering us a close look at the existences of people doing their best to deal with a new reality.

Maria Rumanova: directing debut


IDFA Competition for Mid-Length Documentary

Israel, 2016 DCP, color, 62 min Director: Neta Shoshani, David Ofek Cinematography: Shahar Reznik, Itai Raziel, Ofir Peratz Editing: Oded Tabak Production: Lee Yardeny Buchris & Aviram Buhris for Mytv World Sales: Go2Films Screening Copy: Maya Weinberg

House Call


Bikur bayit

Neta Shoshani, David Ofek Terminal patients living in Israel can choose to die at home, and have a team made up of a nurse, a doctor and a social worker doing everything possible to support and advise them and loved ones in the final phase of life. This is the story of Vika, a single young mother with cancer. Her health is deteriorating by the day. We follow her team—nurse Glynis, doctor Roni and social worker Itzik—on their home visits during Vika’s final days. They deliberate about medication, teach her mother and sister to administer pain relief, and talk with her family about her imminent death. Until the very last, Vika does her best to be nicely dressed and made up, and to stay strong for her two daughters. Her Russian mother is happy to keep caring for her daughter and grandchildren, but she’s worried that she won’t get a visa to stay in Israel. Although the team is experienced and skilled, the confrontation with impending death is onerous for them, too.


Neta Shoshani & David Ofek: In Between (2013) David Ofek: Hi-teq Dreams (1992) Home (fiction, 1994) 5 Love Stories (1999) The Barbecue People (fiction, 2002) No. 17 (2003) A Hebrew Lesson (2006) Melanoma My Love (fiction, 2006) The Tale of Nikolai & the Law of Return (2008) Luxuries (2011) Handa Handa 4 (2014) a.o.

IDFA Competition for Mid-Length Documentary

Poland, 2016 DCP, color, 52 min Director: Wojciech Kasperski Cinematography: Lukasz Zal Screenplay: Wojciech Kasperski Editing: Tymek Wiskirski Production: Magdalena Zielska for Delta Films Screening Copy: KFF Sales & Promotion Awards: Golden Hobby Horse Krakow Film Festival,

Polish Society of Cinematographers Award for Best Cinematography Krakow Film Festival, Award of the Polish Filmmakers Association Krakow Film Festival, Maciej Szumowski Award Krakow Film Festival, FIPRESCI Prize Krakow Film Festival




Wojciech Kasperski The elderly doctor who runs a remote psychiatric hospital in Siberia is like Dante’s Virgil as he guides the viewer not through hell, but through the corridors of the building. He wonders aloud, “Where is the seat of the human soul? In the heart? In the brain? Or is it perhaps elsewhere?” He sighs that it is a great enigma. This mystification of soul and mental illness captured by Polish director Wojciech Kasperski stands in shrill contrast to everyday life in the institution, where the staff struggles to do its job with minimal resources. The doctor contends that he can quickly tell whether a new arrival will ever be able to leave this place. If medication turns out to be ineffective, the only alternative in this crowded building is to restrain the patients. Gandhi said you can tell how civilized a society is by the way it treats its weakest members—what this says about the soul of Russia is for the viewer to decide. In whatever case, Kasperski’s camera observes the hopsital’s inhabitants with compassion and a true feel for beauty.

Wojciech Kasperski: The Seeds (2005) Chasm (2009)


IDFA Competition for Mid-Length Documentary

France, 2016 DCP, color, 48 min Director: Olga Kravets Cinematography: Nikita Pavlov Screenplay: Olga Kravets Editing: Qutaiba Barhamji Sound: Nikita Pavlov Music: Robin The Fog Production: Olga Kravets, Sylvie Brenet

for Les Films du Sillage Screening Copy: Olga Kravets

It’s Getting Dark


Olga Kravets

The setting is a Russian living room. The children are playing a game, their father is cooking and the baby is lying fast asleep. The only one missing is their mother. She has just been arrested and is charged with state treason; she is facing up to 20 years in prison. The camera captures this scene and others like it in four living rooms where fractured families go about their daily lives. It’s the very ordinariness of the images that makes the absence of one parent so tangible. In the background, we hear telephone conversations that betray the feelings of powerlessness and despair. The domestic scenes are intercut with shots of the street through the window, accompanied by the reading of letters from Soviet political prisoners to their children. Blackboard drawings tell the story of the absent parent sentenced to jail terms ranging from four to eight years. Officially, their crime was treason or drug possession, but all they actually did was at some point express criticism of government policy. The domestic scenes draw attention to these ordinary citizens who simply disappear behind bars for years, offering an alternative and poignant perspective on the notion of the “political prisoner.”


Olga Kravets: directing debut

IDFA Competition for Mid-Length Documentary

Panama, 2016 DCP, black-and-white, 61 min Director: Ana Endara Cinematography: Victor Mares Screenplay: Pilar Moreno Editing: Jonathan Harker, Ana Endara Mislov Sound Design: Miguel Caroli Production: Isabela Gálvez for Mansa Productora Screening Copy: Mansa Productora Website: www.lafelicidaddelsonido.com

The Joy of Sound


La felicidad del sonido Ana Endara

Identifying birds by their song, listening to a perfect classical music concert or making a radio show: these are just some of the many ways in which sound—that mysterious, invisible and intangible phenomenon—can give us pleasure. Some remarkable inhabitants of Panama explain why they are so captivated by the effect of those countless combinations of vibrating airwaves, which bring joy and fellowship, not to mention irritation. One man goes around the city giving away his favorite CDs to passersby; another drives in a car with huge speakers that make the doors rattle. Meanwhile, these passionate audiophiles share their perspectives on society, raising intriguing questions. Do you feel physically better when listening to loud music? Who owns sound—or the actual frequencies? Are we hearing all the sound there is to hear? What can dogs hear? Beautifully filmed in tightly-framed black-and-white, this ode to sound will change the way you listen forever.

Ana Endara: Curundú (2007) Reinas (2013)


IDFA Competition for Mid-Length Documentary

USA, 2016 DCP, color, 60 min Director: Jimm Lasser, Biff Butler Cinematography: Jimm Lasser Editing: Biff Butler, Alyssa Oh, Neil Meiklejohn Music: Alison Ables Production: Jimm Lasser, Biff Butler Co-Production: Rock Paper Scissors Entertainment Executive Production: Jason Sterman, Angus

Wall, Linda Carlson, Kathleen Lingo

Screening Copy: The New York Times

Long Live Benjamin


Jimm Lasser, Biff Butler

When artist Allen Hirsch’s wife finds a weak orphaned monkey during their honeymoon in Venezuela in 1997, the newlyweds decide to keep him. A close bond quickly forms between Hirsch and Benjamin, the name they give to the capuchin monkey. Hirsch smuggles him in his pocket onto the plane to New York, and then raises the animal in their apartment. To Hirsch, the monkey is like a child: “With Benjamin, it was the closest relationship I ever had with someone. He became more man, I became more animal.” But when Benjamin starts to reach puberty, he becomes increasingly difficult to handle—the start of a very stressful time for Hirsch, when he has to start letting go of Benjamin. Using poignant, fascinating archive footage, interviews and Hirsch’s artwork within a cleverly constructed narrative, this tragic story deals with the deep bond between man and ape, the impossibility of the two of them really living together, and finding solace in art.


Jimm Lasser: Erected in the Memory (2013) Biff Butler: directing debut

IDFA Competition for Mid-Length Documentary

Sweden, 2016 DCP, color, 54 min Director: Zahavi Sanjavi Cinematography: Hamid Ghavami Editing: Ebrahim Saeedi, Oleg Aleksejev, Zahavi Sanjavi Sound: Serhiy Prokopenko Music: Ersin Bishgen Production: Zahavi Sanjavi for AVB Production Co-Production: Fenixfilm, Layen Film Production Screening Copy: AVB Production Website: www.thereturndoc.com

The Return


Zahavi Sanjavi

What can you say to people who tell terrifying, heartrending stories about what happened to them when members of IS came to their homes? How do you respond to fathers who saw their daughters taken away, to children whose mothers were shot to death before their eyes? There is very little you can say, but a nurse named Shilan takes the time to listen to these people and to help them where she can. She is a young Kurdish woman working as a volunteer for a Swedish hospital in a refugee camp in Iraqi Kurdistan. Here, more than 20,000 Yazidis are living in tents in the mud. Each tent houses a story of loss, violence and hardship. When confronted by a young woman who refuses all contact with the outside world and won’t eat, Shilan takes action. In the conversations she has with the traumatized woman, Shilan’s own story gradually takes shape. This is a portrait of perseverance in the midst of insurmountable grief.

Zahavi Sanjavi: Game and Nothing More (2001) Night Flight (2002) The Border (2005) All My Mothers (2009) Finding My Father (2012)


IDFA Competition for Mid-Length Documentary

Dominican Republic, 2016 DCP, color, 61 min Director: Natalia Cabral, Oriol Estrada Cinematography: Oriol Estrada Screenplay: Natalia Cabral, Oriol Estrada Editing: Oriol Estrada, Natalia Cabral Sound: Natalia Cabral, Jordi Monrós, Yisel Pupo Calles Production: Natalia Cabral & Oriol Estrada for Faula Films Co-Production: DOCTV Latinoamérica Screening Copy: Faula Films Website: www.elsitiodelossitios.com

Site of Sites


El sitio de los sitios

Natalia Cabral, Oriol Estrada The tranquility of a luxury vacation paradise somewhere in the Caribbean is shattered by bulldozers remodeling the beach. The gardener plods away with his leaf blower, and indoors a cleaner removes imaginary dust. Tourists saunter along the ploughed-up waterline. Within a tight framework and without commentary, Natalia Cabral and Oriol Estrada document the activities in this little world of immaculate green lawns and white bungalows under a blue sky, where the reality is actually not as perfect as the backdrop suggests. A young model floats alone in the swimming pool, missing her friends. Two golfers contemplate investments and corruption, and the workmen on the beach discuss their problems with women and love. While the cleaner and the gardener daydream about the beautiful pictures in a magazine, we catch a glimpse of real life on the other side of the fence.


Natalia Cabral & Oriol Estrada: You and Me (2014) Natalia Cabral: Discodécada (2005) Oriol Estrada: Lejos (2010)

IDFA Competition for Mid-Length Documentary

The Netherlands, 2016 DCP, color, 60 min Director: Erik Lieshout Co-director: Arno Hagers, Reinier van Brummelen Cinematography: Reinier van Brummelen Editing: Reinier van Brummelen Sound: Arno Hagers Sound Design: Arno Hagers Narrator: Iggy Pop Production: Marc Thelosen for seriousFilm Co-Production: AT-Production World Sales: CAT&Docs Distribution for the Netherlands: Contact Film Cinematheek Screening Copy: seriousFilm Involved TV Channel: VPRO

To Stay Alive – A Method


Overleven – een handleiding Erik Lieshout

From his sundrenched garden in Miami, Iggy Pop reads from Michel Houellebecq’s “To Stay Alive.” In 1991, Houellebecq wrote this thought-provoking essay on insanity, survival and art, describing it as “a weak but clear signal to those on the point of giving up.” Houellebecq urges poets who are weary of life to “return to the origin; that is, to suffering.” A poet should put his finger on society’s wounds and press down hard, he says. “Be abject, and you will be true.” Director Erik Lieshout and co-directors Arno Hagers and Reinier van Brummelen film Houellebecq in his grandparents’ kitchen and visit the people with psychiatric disorders whose life stories inspired the essay. Reading the work, Iggy Pop immediately recognized his own struggle as a young artist, when he too was close to insanity. Pop speaks to us directly through Houellebecq’s defiant, impassioned words, which call on us to break our chains and go on the attack, even if solitude is the price we pay for it.

Erik Lieshout: Reis naar het einde van de nacht (1984) Ik verlang naar niets dat voorbij is terug (1988) Regrets (fiction, 1989) The Room (fiction, 2002) Laatste woorden (2002)


IDFA Competition for Mid-Length Documentary

Lithuania, Estonia, 2016 DCP, color / black-and-white, 56 min Director: Audrius Stonys Cinematography: Audrius Kemezys Screenplay: Audrius Stonys Editing: Mirjam Jegorov Sound: Riho Västrik Sound Design: Seppo Vanhatalo Music: Robert Jurjendal Production: Radvile Sumile for Studio UKU Co-Production: Vesilind OU World Sales: Studio UKU Screening Copy: Studio UKU

Woman and the Glacier


Moteris ir ledynas Audrius Stonys

The Lithuanian scientist Ausˇra Revutaite has spent 30 years in the Tian Shan mountain range in Central Asia, straddling the borders between Kazakhstan, Kyrgyzstan and the autonomous Chinese region of Xinjiang. Some 3,500 meters above sea level with only her faithful dog and gray cat for company, she studies climate change on the Tuyuksu Glacier at an old Soviet-era research station. She loves the solitude and silence that her painstaking work brings her. Magnificent shots of her surroundings and everyday work are interspersed with archive footage of the people who preceded her by a century. Not much seems to have changed. We see dripping, melting ice in imposing caves, streams flowing through desolate mountain passes, and Revutaite’s pets, playing together almost in silence. Living with Revutaite in the solitude she has chosen for herself, the two animals only have each other. The solemn silence of the mountains is punctuated sparingly by the music of a man far, far below, playing a traditional instrument.

Audrius Stonys: Open the Door to Him, Who Comes (1989), Earth of the Blind (1992), Apostle of Ruins (1993), Antigravitation (1995), Flying over Blue Field (1996), Harbour (1998), Fedia. Three Minutes After the Big Bang (1999), 510 Seconds of Silence (2000), Alone (2000), Last Car (2002), Countdown (2004), Uku Ukai (2006), The Bell (2007), Four Steps (2008), I Walked Through Fire, You Were with Me (2010), Ramin (2011), Cenotaph (2013), Riga Boats (2014), The Gates of the Lamb (2014) Audrius Stonys & Arunas Matelis: Baltic Way (1990) www.stonys.lt


COMPETITION PROGRAMS IDFA DocLab Competition for Digital Storytelling

IDFA explores the cutting edge of interactive and immersive storytelling in its new media program DocLab. Twenty interactive documentary projects are competing in the IDFA DocLab Competition for Digital Storytelling. A three-member international jury (see page 15) selects the winners of the IDFA DocLab Award for Digital Storytelling (â‚Ź5,000) and the Scenic IDFA DocLab Immersive Non-Fiction Award (â‚Ź2,500).

All competition programs are supported by Ammodo.


IDFA DocLab Competition for Digital Storytelling

Clickclickclick.click Roel Wouters, Luna Maurer

WORLD PREMIERE You and your mouse—an intimate relationship you seldom really think about. But your mouse behavior can betray as much of your identity as your search terms. With Clickclickclick.click, Studio Moniker gets you clicking consciously. Whenever you open a website, your mouse movements will be explicitly observed and commented on by an expert who talks to you. And he likes to draw conclusions. “Three quick clicks in succession? You have a tendency to be aggressive.” Sound funny? Mouse behavior is being seriously studied by real academics. Moniker picked up on this and added a new chapter to the creative research the studio is undertaking into the social consequences of technology. They previously made PointerPointer and Do Not Touch, also centering on the mouse. The voice continues to talk to you—even if you switch tabs on the website, he’ll try to lure you back. Clickclickclick.click also seeks to stimulate you to explore all the potential interactions of your mouse with the screen. Persistence pays off! Moniker was inspired by the game The Stanley Parable, which comments on your game moves in a similar way, in a sarcastic voice-over.

The Netherlands, 2016 cross-platform, color / b&w Director: Roel Wouters, Luna Maurer Web Development: Tjerk Woudsma, Joes Koppers Production: Roel Wouters & Luna Maurer for Moniker In collaboration with: Jonathan Puckey Screening Copy: Moniker Website: www.clickclickclick.click

Roel Wouters & Luna Maurer:

Robot High School (cross-platform, 2007), Sally (cross-platform, 2007), Grey Movie (cross-platform, 2007), Grip (cross-platform, 2007), abcdefghijklmnopqrstuvwxyz (crossplatform, 2008), Running with the Beast (cross-platform, 2008), One Frame of Fame (cross-platform, 2010), 1234567 (cross-platform, 2010), Now Take a Bow (cross-platform, 2010), What if Google Maps went live... (cross-platform, 2012), Do Not Touch (cross-platform, 2013), Out of Line (cross-platform, 2016)

www.roelwouters.com & www.poly-luna.com

DeathTolls Experience Ali Eslami

With DeathTolls Experience, up-and-coming Iranian virtual reality artist Ali Eslami is seeking to resensitize the general public to the reality behind the abstract statistics on the hundreds of thousands of deaths in the Middle East. When news media bombard us with facts and figures every day, they gradually lose their emotional urgency. Eventually, our brains automatically filter out this dry “data reality,” even though it is crying out for our attention. The war in Syria is a good example. Eslami takes this psychological effect as the starting point for an investigation of how virtual reality can not only restore empathy, but also provide a context to news reports in which the numbers of victims can be counted but not comprehended. On the basis of a virtual journey through the history of European bloodbaths, an ocean filled with body bags containing recently drowned Syrian refugees, and casualties of the Syrian civil war, DeathTolls Experience immerses us in the meaning of these figures, opening up an emotional perspective on this suffering and terror.


Iran, 2016 cross-platform, color Director: Ali Eslami Sound: Nima Pourkarimi Production: Ali Eslami for alllesss Screening Copy: alllesss

Ali Eslami:

Snow VR (cross-platform, 2016)


IDFA DocLab Competition for Digital Storytelling

Deprogrammed Mia Donovan


Canada, 2016 cross-platform, color Director: Mia Donovan Webdesign: Nicolas Roy, Dpt. Production: Bob Moore for EyeSteelFilm, Bob Moore for Dpt. Screening Copy: EyeSteelFilm Website: www.deprogrammed.org

Mia Donovan:

Inside Lara Roxx (2011) Deprogrammed (2015)

Take a virtual walk through the mental landscape of cult indoctrination and deprogramming. Step by step, you progress further into an environment that contextualizes the experiences and recollections of a former member of the Unification Church, a skinhead and a jihadist. They are your guides as they explain in their own words how brainwashing and group pressure made them adopt extremist ideologies. Director Mia Donovan restricts the viewer’s gaze, as a visual metaphor for the limited freedom experienced by the guides; you are confined to a virtual landscape that changes as you drift ever further into indoctrination. Virtual experiences usually invite spatial exploration, but the interaction Donovan offers in Deprogrammed reflects the narrow path the victims were forced to walk. The aim of this meditative and somehow immobilizing journey is to convey a human perspective on the victims’ experiences. How did they fall victim to indoctrination as adolescents, and how did they find their way back?

The Dig

Topaz Adizes, Mike Knowlton, Julia Gorbach, Carla Tramullas, Mark Harris

USA, 2016 cross-platform, color Created by: Murmur Co, The Skin Deep Director: Topaz Adizes, Mike Knowlton, Julia Gorbach, Carla Tramullas, Mark Harris Cinematography: Carla Tramullas Editing: Nicholas D’Agostino, Dane Benko Webdesign: Carla Tramullas, Olivier Beauchesne Web Development: Mark Harris, Mike Knowlton Production: Julia Gorbach Executive Production: Mike Knowlton for Murmur Co, Topaz Adizes for The Skin Deep Screening Copy: The Skin Deep

Topaz Adizes:

Seven Miles Alone (2005), City (2007), Trece Años (2009), Americana (2009), Laredo,Texas (2010), BOY (2011), {THE AND} (cross-platform, 2014) www.topazadizes.com

Julia Gorbach:

A Boy Called Boris (2013), Senior Orientation (2014), {THE AND} (cross-platform, 2014)


Most modern relationships don’t stick to the old married-with-children conventions, but now that we have shaken off rigid attitudes on matters like gender, cohabitation and age, our relationships would seem to present new problems and dilemmas. The web series The Dig explores the future of relationships using interactive audiovisual elements. Piece by piece, a couple’s relationship jigsaw is revealed, you get to know them little by little, and you find out the question they are struggling to answer. The more elements you see, the more you know. In the end you can decide what you think the couple should do, and in doing so you learn something about yourself. The stories of simple questions about often complex problems are told through beautiful cinematography and frank interviews with the people involved. They include a man who’s in love with a life-sized doll, and a couple in which one of the partners is in transition from female to male.

Mike Knowlton:

Him, Her and Them (2009), StoryCode (cross-platform, 2010), The Aatsinki Season (cross-platform, 2012), Futurestates.tv (cross-platform, 2014)


IDFA DocLab Competition for Digital Storytelling

Everyday Everywhere

Bjarke Myrthu, Austin Merrill, Peter DiCampo WORLD PREMIERE A new perspective on the world and the eradication of clichés: this is the aim of the online media network Everyday Projects. “Ordinary people” from all over the world can upload photos of rough-and-ready moments from everyday life; from Latin America to Eastern Europe and from the Bronx to Iraq. This interactive form of street photography shows, for example, Afghan children at school, a man washing his horse in Morocco, traffic chaos at Tahrir Square in Egypt and children playing on swings in the Dominican Republic. An editorial panel makes a selection from the images submitted, which together form a flow of visual stories. In addition to individual images, there are now also series with an umbrella theme: “climate change” and “captivity.” Far removed from current affairs that can be so grim, the photos on this site often reveal the lighter sides of existence, with the aim of promoting greater understanding between people.

Denmark, Sweden, USA, 2016 cross-platform, color / b&w Director: Bjarke Myrthu, Austin Merrill, Peter DiCampo Webdesign: Bjarke Myrthu Web Development: Joachim Boggild, Kasper Lausen Production: Bjarke Myrthu for Storyfriend Executive Production: Austin Merrill, Peter DiCampo for Everyday Projects Screening Copy: Storyfriend Website: www.everydayprojects.org

Peter DiCampo:

Life Without Lights (cross-platform, 2013) What Went Wrong? Foundation (cross-platform, 2016)



Lauren McCarthy INTERNATIONAL PREMIERE Follow or be followed. Online, it’s a signal of interest and respect. So how would it feel to be a real follower—or to have a real follower—for just one day? The choice is yours. Artist Lauren McCarthy has set up a service providing you with your very own, real-life follower for a few hours. At DocLab, Follower will give you an invisible companion to watch over you attentively. In all her work, McCarthy explores how technology raises the possibility of new forms of real-life social interaction. The user gets the opportunity to experiment with how technology might help us to become more social, or more at ease with one another. You can use the Follower app to become part of this performance, which explores the two alternatives: why do you want to follow or be followed? The answers lie in the experience. When the experiment is over you receive a single keepsake: a photograph of your personal follower.


USA, 2016 cross-platform, color Director: Lauren McCarthy Co-director: David Leonard Cinematography: David Leonard Music: Vitaly Beskrovny Narrator: Debra Smalley Webdesign: Michelle Lin Production: Lauren McCarthy Screening Copy: Lauren McCarthy Website: www.follower.today

Lauren McCarthy:

us+ (cross-platform, 2013) LOVEINT (cross-platform, 2014) Social Soul (cross-platform, 2014) Friend Crawl (cross-platform, 2015) pplkpr (cross-platform, 2015)


IDFA DocLab Competition for Digital Storytelling

The Great Animal Orchestra Le grand orchestre des animaux Thomas Deyriès

France, 2016 cross-platform, color

Thomas Deyriès: directing debut

Director: Thomas Deyriès Sound: Bernie Krause, Jean Baptiste Aubonnet Sound Design: Jean Baptiste Aubonnet Narration: Bernie Krause, Eric Drier Webdesign: Thomas Deyriès, Raphaël Orain, Emmanuel Debien, Jérôme Gonçalves Web Development: Nicolas Barradeau Production: Alexandre Brachet for Upian.com Co-Production: Fondation Cartier pour l’Art Contemporain Screening Copy: Upian.com Website: www.legrandorchestredesanimaux.com


What does an ocean sound like? Someone who knows is musician and audio artist Bernie Krause. For more than 40 years, he has been recording the sounds of nature, whether on land or in the water. This website was made as part of an exhibition held in Paris in 2016. It introduces users to five landscapes and their sounds, all of them from Krause’s archive of more than 5,000 hours of recordings. Among them are coastlines that yield a mesmerizing collage of sounds made by fish, waves, coral reefs and the sea mammals. In his infectiously engaging commentary, Krause describes the animal world as an orchestra with basses, sopranos and percussionists. In fact the sea mammals sound more like scattered soloists than an orchestra, but are no less magical for that. Listening to the sounds of nature, one is bound to ask whether we have simply lifted the idea of the orchestra from the fauna around us. Although the website provides a gorgeous visual accompaniment to the sounds, The Great Animal Orchestra is a primarily auditory experience best experienced with eyes closed.

Home: Aamir Rufus Norris


UK, 2016 cross-platform, color, 13 min Director: Rufus Norris Co-director: Toby Coffey, Erfan Saadati Editing: Jack Howard Sound Design: Joel Price Narration: Suhayla El-Bushra Narrator: Sule Rimi Production: Johanna Nicholls for National Theatre, James Louis Hedley for Surround Vision, Richard Nockles for Surround Vision Executive Production: Toby Coffey for National Theatre World Sales: National Theatre Screening Copy: National Theatre

Rufus Norris:

Broken (2012) London Road (2015)

Aamir is a 24-year-old man from South Sudan. Following threats to Aamir’s life, his father has now sold his last valuable possessions to pay human smugglers to help Aamir escape to Europe. In 360-degree imagery, we experience Aamir’s journey by foot: through the desert, via Libya, over the Mediterranean and to the inhumane conditions of the Calais “jungle.” Aamir’s story is a production of the British National Theatre’s Immersive Storytelling Studio. It’s the first of a series of stories about refugees in Calais that explore the meaning of “home.” Actor Sule Rimi provides the voice of Aamir, whose original interview was crafted by Suhayla El-Bushra into a verbatim story. The London theater and studio are pioneering the use of VR technology and 360-degree filming in a theatrical context. In the cinema environment, this innovative application can offer new and powerful perspectives on important topics such as immigration.


IDFA DocLab Competition for Digital Storytelling

I Am Not Home Video Bert Hana

WORLD PREMIERE Director and found footage fanatic Bert Hana has been collecting home videos and answering machines for years. I Am Not Home Video is a virtual translation of a selection of answering machine messages and one very special videotape that Hana found in a second-hand store. In the video, someone is filming his house. It’s 2001, and there’s no one home. The person seems to be recording his house for posterity, or maybe for insurance purposes? To mark the 10th anniversary of DocLab, IDFA and the VRbase Amsterdam co-commissioned Bert Hana and the VR studio Purple Pill to turn this video into a 360-degree experience. Enter a virtual flashback to the end of an era and the beginning of a new one. Like an archeologist, Hana points out the arrival of the brand-new Euro banknotes, the prosecution of Slobodan Milošević and the collapse of the Twin Towers. The filmed house then unfolds around you in three dimensions, in the typical VHS colors. Go ahead and look or even walk around. There’s an answering machine on the table in front of you. You may feel a sense of unease, and curiosity. But should you be listening to these messages?

The Netherlands, 2016 cross-platform, color Director: Bert Hana Cinematography: Thierry Pul, Roelof Terpstra, Bert Hana Editing: Joris Seghers Sound: Spook.fm Sound Design: Spook.fm Web Development: Marijn Willemse, Corin Donders, Bodhi Donselaar Production: Thierry Pul & Cassandra de Klerck for Purple Pill Co-Production: The Virtual Dutch men, Spook.fm Executive Production: Cassandra de Klerck Screening Copy: Purple Pill

Bert Hana:

Papadag (2009) Straatfantast (cross-platform, 2011) Familiebezoek (cross-platform, 2012) #Alleman (cross-platform, 2013) Rebuild Fukushima (cross-platform, 2015)


Meat Puppet Arcade Matt Romein, Joseph Mango

WORLD PREMIERE Matt Romein experiments with virtual copies of his own body. His Meat Puppet Arcade is based on the penny-arcade games we know from fairgrounds—machines for pushing coins or grabbing teddy bears. But Romein’s installation goes a step further, allowing us to actually grab the maker by the collar. In his mini-games arcade, we find digital versions of three of these fairground game machines. In Romein’s version, the balls and coins have been replaced by lifelike 3-D scans of the artist’s naked body. In this digital form, he is able to assume the most impossible positions. At the controller, you can do whatever you like: make him jump, fall and tumble. This is a playful glimpse of the future, when not only our words and photos, but also our own endlessly reproducible bodies will roam around cyberspace. For now, every player can download a copy of Romein’s body as a prize—and then do with it as he or she pleases.


USA, 2016 cross-platform, color Director: Matt Romein, Joseph Mango Animation: Chester Dols Webdesign: Eve Weinberg Production: Matt Romein Screening Copy: Matt Romein Website: www.matt-romein.com

Matt Romein:

directing debut

www.matt-romein.com Joseph Mango: directing debut


IDFA DocLab Competition for Digital Storytelling

News Globus

Charles Gedeon, Sena Partal, Mikio Kiura, Bjørn Karmann INTERNATIONAL PREMIERE

Denmark, 2016 cross-platform, color

Charlie Gedeon:

Director: Charles Gedeon, Sena Partal, Mikio Kiura, Bjørn Karmann Cinematography: Mikio Kiura, Charles Gedeon, Sena Partal, Bjørn Karmann Editing: Charles Gedeon, Bjørn Karmann, Mikio Kiura, Sena Partal Production: Mikio Kiura & Charles Gedeon & Sena Partal & Bjørn Karmann for Copenhagen Institute of Interaction Design Screening Copy: Copenhagen Institute of Interaction Design

Sena Partal:

Ascetic Aesthetic (cross-platform, 2016), Doliio (cross-platform, 2016) Self Awareness Sensory Kit (crossplatform, 2016), On The Origin of Objects (cross-platform, 2016)

Mikio Kiura:

Arcdive (cross-platform, 2016), Metrojector (cross-platform, 2016), Collective Memory / Park Dioramas (cross-platform, 2016)

Google Maps allows us to study the world from frighteningly close up, but for the bigger picture nothing beats the good old-fashioned globe. One glance at the globe and you can understand that, however different our lives may look, in the final analysis we all live on the same planet. The News Globus, developed by students at the Copenhagen Institute of Interaction Design, combines this nostalgic object with modern communications technology, to not only allow you to discover what’s going on in the world at this moment, but also how these events connect different areas of the world. Like a switchboard operator from the pre-automation era, you can connect two regions of the world using a plug, causing a brief news item about countries from both regions to be read out loud. These items are selected on the spot by a webserver from the New York Times database. Travel the globe and discover connections between places that are close together or far apart.

Bjørn Karmann:

Abstract_ (cross-platform, 2015), Trajectories (cross-platform, 2016), PyroGraph (cross-platform, 2016)

The Resistance of Honey Peter Boyd Maclean


UK, 2016 cross-platform, color, 9 min Director: Peter Boyd Maclean Sound: Byoni Samp, Ben Young Music: Byoni Samp Narrator: Byoni Samp Production: BBC Research and Development Co-Production: Peter Passmore Executive Production: Zillah Watson for BBC Research and Development World Sales: BBC Research and Development Screening Copy: BBC Research and Development

Peter Boyd McClean:

The Boot (1998) Greaseland (2004) Japanorama (2004 - 2007) Lummox (2007) In Search of Steve Ditko (2007)


Welcome to the fascinating world of urban beekeeper Bioni Samp. His bees don’t just make honey—they also make music. Always clad in his beekeeper’s suit and mask, Samp makes audio recordings in the hive, then analyzes and processes these. But he doesn’t stop there—even the honey itself makes sound, and Samp has discovered that every honey has a different one. He processes them into experimental electronic music using homemade instruments. Samp regularly uses these sounds in performances, and deejays at ecological festivals. 360-degree recordings from inside the beehive and the shed/ studio of this urban nomad are interspersed with close-ups of the world of the bees. But of course the sound is always the principal factor in this mind-expanding, immersive experience.


IDFA DocLab Competition for Digital Storytelling


Forensic Architecture INTERNATIONAL PREMIERE Apart from a vague satellite photo on Google Earth, there are no pictures of the notorious Syrian prison Saydnaya, around 30 kilometers north of Damascus. Visits are forbidden, and organizations such as Amnesty International and the Red Cross are denied access. To the outside world, the prison is an impenetrable black hole, and the recollections of former prisoners are the only source of information. Amnesty International, in coproduction with Forensic Architecture, has used their testimony to create a virtual 3-D reconstruction of the torture prison. Because the inmates are usually kept in darkness and are blindfolded when they are moved from one wing to another, sound is central to the reconstruction. It creates an impression of everyday existence in a living hell, and the result is shockingly successful. Shudder as you explore this recreation of a horrific reality.

UK, 2016 cross-platform, color Created by: Forensic Architecture In collaboration with: Eyal Weizman, Christina Varvia, Ana Naomi de Sousa, Hania Jamal, Lawrence Abu Hamdan, Gochan Yildirim, Stefan Laxness, Pierre-Francois Gerard, Samaneh Moafi, Simone Rowat, Nestor Rubio,George Clipp, Yamen Albadin, Hala Makhlouf, Mihai Meirosu, Ghias Aljuni, Nadim Mishlawi, Hana Rizvanolli Website: saydnaya.amnesty.org

Forensic Architecture:

Drone Strikes (cross-platform, 2014) Living Death Camps (cross-platform, 2014) Rafah: Black Friday, (cross-platform, 2015) Nabka Day Killings (cross-platform, 2015) Air Strike Atimah (cross-platform, 2015)


Smell Dating

Tega Brain, Sam Lavigne Forget swiping through Tinder profiles. Looks matter, of course, but our sense of smell actually tells us more about who we find attractive. In fact, if you pick a match based on scent, you have a better chance of finding the right partner than if you only go by appearance, social class, age, culture or even sex. Smell Dating is the first online dating service to match subscribers from all over the world on the basis of their body scent. Subscribers exchange worn T-shirts, with no additional information, then make a choice using no more than their noses and molecular intuition. Dating at a distance has never been so intimate. At IDFA 2016, DocLab is inviting you to test your own molecular intuition: there are ranges of samples to sniff, plus a database to discover the identity of the person behind the smell. Are your expectations accurate? Who do you really find attractive?

USA, 2015 cross-platform, color Director: Tega Brain, Sam Lavigne Production: Tega Brain, Sam Lavigne Screening Copy: Sam Lavigne Website: www.smell.dating

Sam Lavigne:

Stupid Shit No One Needs & Terrible Ideas Hackathon (cross-platform, 2014), Videogrep (cross-platform, 2014), Three Degrees of Separation (cross-platform, 2015), PCKWCK (cross-platform, 2015) a.o.

www.lav.io Tega Brain:

The Phenology Clock (cross-platform, 2014), Keeping Time (cross-platform, 2014), Post the Met (cross-platform, 2014), Unfit Bits (cross-platform, 2015)



IDFA DocLab Competition for Digital Storytelling

So You Still Sort of Have the Same Number Blijkbaar heb je nog ongeveer hetzelfde nummer Nele Eeckhout, Siona Houthuys, Mirke Kist


The Netherlands, Belgium, 2016 cross-platform, color, 50 min Director: Nele Eeckhout, Siona Houthuys, Mirke Kist Production: Mirke Kist & Nele Eeckhout & Siona Houthuys for AudioCollectief SCHIK Co-Production: VPRO, Festival Oorzaken, Gemeente Amsterdam Stadsdeel Centrum Screening Copy: AudioCollectief SCHIK

Nele Eeckout:

Vogelen (2014) Roes (2016) Dit gebeurt niet (2016)

Siona Houthuys: Roes (2016) Speelgoed (2016)

Mike Kist

Twister (2014) Roes (2016)


In his short story The Garden of Forking Paths, Jorge Luis Borges writes about a garden where an endlessly forking garden path symbolizes divisions in time. Our lives are made up of countless moments of decision, in which we take the left path or the right. Will you stay with your partner or leave him? Will you resign or stay in the job you have? The path we didn’t choose constantly recedes from us, disappearing gradually from view. Contact with your ex or your former colleagues becomes less frequent. The audio collective SCHIK has built this into an audio walk in which we look at strangers and familiar faces become strange to us. The walker’s ears become little satellite antennas picking up snippets of conversations. Memories of lost love, family members and friendships, as well as rediscovered strength and comfort all pass by as we wander the canals of Amsterdam. You split up and choose your own path—perhaps one day you’ll meet again, and perhaps you won’t. This is audio therapy for the melancholic soul.

These Memories Won’t Last Stu Campbell

Australia, 2015 cross-platform, color Director: Stu Campbell Screenplay: Stu Campbell Sound Design: Lhasa Mencur Webdesign: Stu Campbell Web Development: Vitaliy Shirokiy Production: Stu Campbell for Sutu Eats Flies Screening Copy: Sutu Eats Flies Website: www.thesememorieswontlast.com

Stuart Campbell:

Nawlz (cross-platform, 2008-12) Neomad (cross-platform, 2012) Ngurrara (cross-platform, 2013) Modern Polaxis (cross-platform, 2014) Razor Legs (cross-platform, 2014) The Ocean is Broken (cross-platform, 2015)


When Stu Campbell found his elderly grandfather on the roof in his underwear, he thought he had finally lost his marbles for good. But what had actually happened? The old man had been repairing the TV antenna when his trousers got caught on a hook. He thought it would be better to take them off so they didn’t tear. A logical decision by a man who always prided himself on his cleverness, right into the early stages of dementia. Campbell tells his grandfather’s story in this interactive web animation. Between periods of confusion, an eventful life bubbles to the surface in lively animations supplemented by explanatory texts. Scroll up to follow the very literal narrative line, which discloses the wonderful, tragic and at times comical events from his grandfather’s life, including tricky misunderstandings concerning stolen caps and dentures. The increasingly large gaps in the old man’s memories are also presented in images, text and sound design. What does slipping into dementia really mean? And what does this disease mean for his loved ones?


IDFA DocLab Competition for Digital Storytelling

Tzina: Symphony of Longing Shirin Anlen

WORLD PREMIERE At the end of 2016, Tzina Dizengoff square, one of Tel Aviv’s emblematic sites, will be demolished. The square became a home for the lonely and marginalized characters of the area. This project tells the story behind the people who gravitated toward the square and spent their days in it. In this interactive webVR documentary, they talk about the square and their lives. Their stories, with the recurring themes of love, longing and loneliness, are interwoven by Shirin Anlen with her personal connection to the same physical and emotional space. Together, they form a poetic musing on lost loves and things that have passed—one of which will soon be Dizengoff Square.

Israel, 2016 cross-platform, color Created by: Shirin Anlen Cinematography: Or Fleisher Script: Udi Ben-Arie Sound Design: Or Fleisher Animation: Laura Juo-Hsin Chen Webdesign: Ziv Schneider Web Development: Or Fleisher, Avner Peled Production: Shirin Anlen Screening Copy: Shirin Anlen Website: www.tzina.space

Shirin Anlen:

TLV CBS (cross-platform, 2013) Companion (cross-platform, 2013) War Dance (cross-platform, 2014)



A Virtual Experience of the London Sewers Francesca Panetta


Beneath London lies a vast network of Victorian sewers—hundreds of miles of ornate brick tunnels. They are still in use today, but few people ever get to experience them. Underworld reveals this subterranean world in an interactive documentary that combines virtual reality, journalism, gaming and audio podcasts. As the VR headset plunges you into darkness, your Daydream controller is your lifeline, your flashlight and your navigator. Guided by the voice of urban explorer Bradley Garrett, you make your way down the old river Fleet, one of London’s lost waterways, walking through the blood sewer under Smithfield Market to reach the floodgates of the river Thames. Along the way you learn of the perils of urban exploring—if it rains the sewer system could quickly fill to the ceiling, and if your flashlight goes, you’ll never make your way out. Historian Richard Barnett joins to explain the impetus for the building of the sewer system—the Great Stink—and Will Self tells of the mythological allure of the underworld as a place for the dead.


UK, 2016 cross-platform, color, 6 min Director: Francesca Panetta Co-director: Nicole Jackson, Adam Grint Animation: Kevin Young, Ed Thomas Production: Jarrad Vladdich for The Mill, Neil Evely for The Mill, Anetta Jones for The Guardian Executive Production: Francesca Panetta for The Guardian, Ollie Allgrove for The Mill Screening Copy: Francesca Panetta

Francesca Panetta:

6x9: A virtual experience of solitary confinement (cross-platform, 2016)

IDFA DocLab Competition for Digital Storytelling

Wifi Whisperer Kyle McDonald


USA, 2016 cross-platform, black-and-white Director: Kyle McDonald Production: Kyle McDonald Screening Copy: Kyle McDonald Website: www.wifiwhisperer.com

Kyle McDonald:

Empathy (cross-platform, 2004), Please Remember Me When I’m Gone (crossplatform, 2008), Portrait Machine (cross-platform, 2009), keytweeter (cross-platform, 2009), Only Everything Lasts Forever (cross-platform, 20082010), Social Roulette (cross-platform, 2013), Conversnitch (cross-platform, 2013-2014), Sharing Faces (crossplatform, 2013-2014), pplkpr (crossplatform, 2014-2015), Exhausting a Crowd (cross-platform, 2015)

In 2016, we go through life pretty much without any real contact, receiving the outside world in the form of push-pull information on all our various devices thanks to invisible, silent technological marvels such as Wi-Fi and Bluetooth. What would the world be like if we could see, and above all hear, these invisible streams of data? What would that say about the human being at the center of all these Wi-Fi-enabled devices? Which news do we follow, where have we traveled, who are our friends and how much do we have in the bank? This installation depicts the Wifi Whisperer, the voice that records all the invisible data flows. With typically robot-like diction, the Wifi Whisperer sounds as comical as it is scary, always able to gather the information about you it needs, no matter how well you have protected it. So just how omnipresent is this all-knowing Wi-Fi spirit? One thing’s for sure: you’ll think twice about doing a quick bit of internet banking in the café on the corner from now on.


Zeki Müren Hotline Zeki Müren hatti Beyza Boyacioglu, Jeff Soyk

USA, Turkey, 2016 cross-platform, color / b&w Director: Beyza Boyacioglu, Jeff Soyk Production: Beyza Boyacioglu In collaboration with: Research Action Design Animation: Hayrettin Gunc Webdesign: Jeff Soyk Web Development: Can Usta Screening Copy: Beyza Boyacioglu Website: www.zekimurenhotline.com

Beyza Boyacioglu:

In A Manner of Speaking (cross-platform, 2012) Toñita’s (2014)

www.beyzaboyacioglu.com Jeff Soyk:

Inheritance (cross-platform, 2015), Hollow (cross-platform, 2013), Wander Wonder Wilderness (cross-platform, 2015)


The Turkish variety artist Zeki Müren was a national phenomenon. Born in 1931, he began his career as a respectable singer on the radio, before shifting direction and becoming a flamboyant nightclub idol. He would dress effeminately, with lots of makeup and jewelry, and while he was never explicit about it, his homosexuality was a public secret. A talented singer, he attracted a broad audience and became a symbol for Turkish unity. After his sudden death in 1996—a heart attack during a TV appaerance—he received a state funeral. Just how deeply Müren affected the lives of different people becomes clear with this interactive telephone hotline. Over 800 people have called in to leave a message for the deceased singer. One seeks support after the bombings in Istanbul, while another thanks him for his inspiring lyrics. These moving, sometimes unintentionally hilarious outpourings (“I was wondering why you wore all these different outfits. I can’t figure it out. So please call me back.”) reflect a nostalgia for a Turkey of bygone days.



THE NETHERLANDS AUDIOVISUAL ARCHIVE Beeld en Geluid IDFA Award for Dutch Documentary 2016

Stichting Dioraphte steunt projecten van hoge kwaliteit op het gebied van kunst en cultuur met een landelijk of internationaal bereik. Steun IDFA ook. Als bezoeker, als Vriend of als Dikke Vriend.

Ook IDFA mag rekenen op onze steun om de creatieve documentaire bereikbaar te maken voor een breed publiek. Niet straks maar nu. Omdat cultuur rijkdom is die je met elkaar deelt.


IDFA Competition for Dutch Documentary Dutch documentaries have always occupied an important position at the festival, which is highlighted with this competition dedicated to them. A five-member international jury (see page 16) evaluates the 15 films in this competition and selects the winner of the Beeld en Geluid IDFA Award for Dutch Documentary (€7,500), provided by the Netherlands Institute for Sound and Vision, and the IDFA Special Jury Award for Dutch Documentary (€2,500). Several films are also eligible for another IDFA Award and can be found in the respective sections of the catalogue. Both How to Meet a Mermaid (see page 25) and Miss Kiet’s Children (see page 29) are also selected for the IDFA Competition for Feature-Length Documentary, while Stranger in Paradise (see page 48) is also selected for the IDFA Competition for First Appearance, and To Stay Alive – A Method (see page 65) is also selected for the IDFA Competition for Mid-Length Documentary. Unknown Brood is also part of the Music Documentary section (see page 175).

All competition programs are supported by Ammodo.

IDFA Competition for Dutch Documentary

The Claim, the Search for Stolen Art from WWII De claim, zoektocht naar roofkunst uit WOII Ditteke Mensink


The Dutch Restitutions Committee investigates the claims of Dutch Holocaust survivors on art treasures stolen by the Nazis during World War II. Museums and private individuals still regularly discover artworks of dubious origin, and trace the rightful owners. To come to a solution for the claim, the Restitutions Committee advises these claimants and museums, and the latter are not always eager to relinquish their artworks. The film follows two claimants, one of whom is Lion Tokkie. Now in his sixties, he is searching for information that will support his claim on Isaac Israels’s painting Children on the Beach, which is currently hanging in a museum in Arnhem. But Israels painted several similar scenes, so if all you have are your father’s childhood memories, how can you prove that it is precisely the same painting that hung above your grandfather’s sideboard? As a child Mrs. Hamburger fled to the United States, where she still lives. She is hoping to recover two 17th-century portraits currently exhibited in Roosendaal City Hall. The stories are related with great energy, using plenty of archive wartime footage, and leading to an exciting and most unexpected climax.

The Netherlands, 2016 DCP, color, 91 min Director: Ditteke Mensink Cinematography: Gregor Meerman Screenplay: Hans Dortmans, Ditteke Mensink Editing: Jelle Redeker Sound: Tim van Peppen, Menno Euwe Sound Design: Mark Glynne, Tom Bijnen Music: Paul M. van Brugge Production: Pieter van Huystee for Pieter van Huystee Film Executive Production: Lotte Gerding & Zoe de Wilde for Pieter van Huystee Film Screening Copy: Pieter van Huystee Film Involved TV Channel: NTR

Ditteke Mensink:

25 Cents (1991) Ariadne’s Thread (1994) Snowwhites (1998) Room with a View (2001) Farewell (2009) Tony (2011) The Studio’s (2015)

Daan’s Inheritance De erfenis Joris Postema


“Even though he’s dead, he can’t escape this confrontation.” Daan van der Elsken has decided the time has finally come to get to know his father, the famous Dutch photographer and filmmaker Ed van der Elsken, who died in 1990. Daan wants to take charge of his life by getting to know himself better. He hopes to find out to what extent his rebelliousness, selfishness and ambition are an inheritance from his father, who didn’t know the meaning of the word enough and with whom Daan frequently clashed. Daan’s good friend, director Joris Postema, follows him on this quest. He portrays Daan struggling with himself and with depression, and captures Daan’s evolving notion of who his father was. In some respects, Daan realizes that he does resemble his dad—a man who was forever directing everyone around him while he filmed and photographed them, as we see in wonderful archive footage. Meanwhile, Daan himself often interferes with Postema’s direction, severely testing the limits of their friendship.


The Netherlands, 2016 DCP, color / black-and-white, 85 min Director: Joris Postema Cinematography: Wiro Felix Screenplay: Joris Postema, Harmen Jalvingh Editing: Danniel Danniel Sound: Hens van Rooy Production: Janneke Doolaard for KeyDocs Executive Production: Sylvia Baan & Harmen Jalvingh for KeyDocs Screening Copy: KeyDocs Involved TV Channel: IKON

Joris Postema:

FC Rwanda (2013)

IDFA Competition for Dutch Documentary

The European De Europeaan Dirk-Jan Roeleven

The Netherlands, 2016 DCP, color, 90 min Director: Dirk-Jan Roeleven Cinematography: Rob Hodselmans, Mark Bakker, Mark van Aller Editing: Hinne Brouwer Production: Monique Busman for De Familie Film & TV Screening Copy: De Familie Film & TV Involved TV Channel: VPRO

Dirk-Jan Roeleven:

Louis van Gaal (1997), Anton Corbijn - No Still Life (2000), Willem Ruis (2003), Willem Wilmink - A Poet in the Javastraat (2004), Death on the F1Circuit (2004), The Widows Sonneveld (2006), Sports History Today - Ajax in the Fog (2006), Sports History Today - Blood, Sweat & Tears (2011), Classic Albums Shocking Blue (2012), Clean Spirit - In the Heart of the Tour (2014), Ben Ali Libi, the Magician (2015), Sports History Today - Forrest Gump at Texel (2015), Young Dancers Revisited (2016)


A WhatsApp message to Dutch politician Frans Timmermans: would he take part in a documentary? “Behind the scenes and up close” is how filmmaker Dirk Jan Roeleven describes the essence of his request. He follows Timmermans for nearly two years, from his appointment as Vice-President of the European Commission to the Brexit referendum. The film moves at the swift pace of Timmermans’s life. We shift effortlessly from an interview with CNN, a visit to a refugee camp in Greece, a meeting with Ban Ki-moon and a deadline for Dutch daily NRC Handelsblad. Timmermans demonstrates that this doesn’t come at the cost of his family life when he buys some sneakers for his daughter during a summit in New York, and makes time for a soccer game with his son. As he is filmed in taxis, planes and cheerless hotel rooms, he talks openly about his assertiveness and the qualities of a good diplomat.

Fallen Flowers Thick Leaves Laetitia Schoofs


The Netherlands, Germany, 2016 DCP, color, 85 min Director: Laetitia Schoofs Cinematography: Benito Strangio Editing: Mario Steenbergen, Barbara Hin Sound: Vera Qiao Production: Jia Zhao for Muyi Film Co-Production: Kobalt Productions World Sales: Films Transit International Distribution for the Netherlands: Mokum Filmdistributie Screening Copy: Muyi Film Involved TV Channels: KRO/NCRV, ARTE/ZDF

Laetitia Schoofs:

Patatje Oorlog (1999) I Won’t Have to Cry, The Hidden Face of Max Tailleur (2005) Nadia Tics (2011) In the Spirit of Zen (2012)

Hongli is a Chinese sexologist who meets women of all ages at her practice in Beijing. Although the stories are wide-ranging, all her clients are struggling with the expectations of society. Thirty-two-year-old Wen-wen, for example, is an attractive and successful single woman, but she is viewed as a “leftover”: if a woman hasn’t found a man by her 30th birthday, she has missed the proverbial boat. Her parents are deeply ashamed. What did they do wrong? Beijing may look modern, but the traditional mores affecting women of all ages and classes are very old-fashioned. In Fallen Flowers Thick Leaves, women talk candidly about being married to a man they don’t love, about being lesbian and finding acceptance, about cautious feminism, and about those who—in utter desperation and shame at their failed love life—decide to become nuns. To what extent do ancient traditions, the Cultural Revolution and the modern economy affect the social status of modern Chinese women?


IDFA Competition for Dutch Documentary

A Greek Winter Griekse winter Ingeborg Jansen


Tasos Pafralides and his sister Evdokia run a small gas station in Thessaloniki. In the wintertime, they also supply fuel oil to many of the apartment buildings and houses in the city. But the deepening economic crisis in Greece means more and more people are unable to pay for the oil. A Greek Winter follows Tasos as he goes about his work in the city. He has to listen to many tales of woe about rising taxes and corrupt politicians, and to pleas for deferred payment. Elderly people in particular—many of whom have been deserted by their own children—are at their wit’s end. As one woman puts it, “We used to be able to take care of ourselves, but now we’ve become beggars in our own country.” Unlike his sister, Tasos seems indifferent and businesslike, consciously choosing not to let any friendship develop with his customers, because “in the end they’ll take advantage of it.” This is a film about coldness and warmth, in a climatic sense as well as in human relationships.

The Netherlands, 2016 DCP, color, 70 min Director: Ingeborg Jansen Cinematography: Ingeborg Jansen, Stephan Polman Editing: Paul de Heer Sound: Christina Pitouli, Susanne Helmer, Jeroen Goeijers Production: Renko Douze & Hasse van Nunen for Een van de Jongens Screening Copy: Een van de Jongens Involved TV Channel: IKON

Ingeborg Jansen:

Sheddwellers, Farmers & Cows (1999) The Day I Decided to Be Nina (2000) Jamila (2005) In the Shadow of a Mosque (2010) Chicago Block, Stories from the Elevator (2008) Almost 18 (2012) Troubled Children (2013) The Final Year (2014) a.o.

Passage – A Boatmovie Jascha de Wilde, Ben Hendriks

WORLD PREMIERE Passage - A Boatmovie takes us on a trip by cargo boat to the south of France. The voyage starts in Amsterdam, where a péniche barge is loaded on a summer’s day. We then hitch along with various Dutch ships and the crews who live on them, passing through ports, cities, industrial areas and beautiful natural landscapes. And then there are all the different locks: narrow, wide, tall, low—from old-fashioned, manually operated locks to an ultra-modern ship lift. Filmed with a great deal of love and eye for detail, the route to the south is presented through an interplay between three screens, which almost never show the same thing at once. Time and space on the screens remain constant, but the perspective is constantly changing. The soundtrack also contributes to this playful form when the ship’s engine suddenly creates a rhythm. The one thing that is constant is change.


The Netherlands, 2016 DCP, color / black-and-white, 55 min

Jascha de Wilde & Ben Hendriks:

Director: Jascha de Wilde, Ben Hendriks Cinematography: Ben Hendriks Editing: Ben Hendriks Sound: Ben Hendriks Sound Design: Ranko Paukovic Music: Marion von Tilzer, Alan “Ganga” Purves Production: Joop van Wijk for Molenwiek Film Co-Production: Second Skin Film Distribution for the Netherlands: Mokum Filmdistributie Screening Copy: Molenwiek Film

Jascha de Wilde & Chris Relleke:

Lou Biou – The Feast of the Fabulous Bull (2009) Dabba Wallahs (1998) Starkiss: Circus Girls in India (2003)

IDFA Competition for Dutch Documentary

A Quiet Place Hier is het nooit stil Sjoerd Oostrik

The Netherlands, 2016 DCP, color, 81 min

Sjoerd Oostrik:

Kookaburra Love (2013)

Director: Sjoerd Oostrik Cinematography: Tim Kerbosch Editing: Saskia Kievits Sound: Lennert Hunfeld Production: Olivia Sophie van Leeuwen for Halal Docs Screening Copy: Halal Docs Involved TV Channel: IKON


A rigorous impression of three boys in a juvenile detention center trying to keep their heads above water. Damian confronts his warders with intelligent, sharp comebacks. Abou has a tendency to be rebellious, and the generally quiet Germain raises hell in his cell when it turns out he has unintentionally broken one of the countless rules. A Quiet Place shows a world of difficult reeducation from the viewpoints of the young detainees, including the many clashes and the constant imposition of order. The boys themselves read the prison incident reports aloud. Alongside neutral observation, there’s also space for more intimate moments and personal—even poetic—outpourings. The young men are given cameras in their cells. Although we never see their faces, in this way they are able to reveal something about themselves: a memory of a goldfish, or the death of a best friend. Sjoerd Oostrik was able to make this film in part thanks to the Dutch Cultural Media Fund Documentary Award, presented to him at IDFA in 2014.

IDFAcademy Results

Radio Kobanî Reber Dosky


The Netherlands, 2016 DCP, color, 72 min Director: Reber Dosky Cinematography: Nina Badoux Screenplay: Reber Dosky Editing: Xander Nijsten Sound: Taco Drijfhout Sound Design: Taco Drijfhout Production: Jos de Putter for Dieptescherpte BV Executive Production: Wink de Putter for Dieptescherpte BV, Reber Dosky Screening Copy: Dieptescherpte BV Involved TV Channel: Human

Reber Dosky:

The Sniper of Kobani (2015) Yezidi Girls (2016)

The Syrian border town of Kobanî was occupied and destroyed by IS. When liberation came, 20-year-old Kurdish reporter Dilovan started a radio station. She and her friend Biter report on refugee camps, talk to survivors and interview fighters and musicians. The broadcasts seem to offer their listeners comfort and a sense of stability, as reconstruction gets underway and cautiously they dare to think about the future again. The film documents events in Kobanî over a three-year period, both during and after the fighting. Over subdued images of the war-torn town, Dilovan reads a letter to the child she hopes to have one day, describing the merciless terror to which IS subjected Kobanî and the terrible effects this has had on the lives of her friends and family. Slowly but surely, Dilovan is able to enjoy the lighter sides of life again: listening to music, flirting in the park, falling in love.


IDFA Competition for Dutch Documentary

Unknown Brood Dennis Alink

WORLD PREMIERE “When I do my suicide for you, I hope you’ll miss me too,” Herman Brood sang in “Rock ‘n’ Roll Junkie”—just one of many announcements of his own death Brood worked into his songs. It’s a subject Brood, who jumped off the roof of the Amsterdam Hilton 15 years ago, often sang about. In Unknown Brood, a whole range of people look back on the rock and roller’s turbulent life, including fellow musicians, his manager, a former girlfriend, photographer Anton Corbijn, Brood’s wife and their daughter. Video footage shot by Brood himself and never seen before is intercut with a rich collection of archive material, including a humorous clip of Brood barking the Dutch national anthem. His sister Beppie Brood stresses her brother’s split personality: on the one hand the shy, vulnerable man wary of other people, and on the other the one who played Herman Brood—an extravagant, hedonistic junkie and rock and roll star.

The Netherlands, 2016 DCP, color, 90 min

Dennis Alink:

Sluizer Speaks (2014)

Director: Dennis Alink Cinematography: Thomas van der Gronde Screenplay: Dennis Alink, Thomas van der Gronde Editing: Bobbie Roelofs Sound: Marcel de Hoogd Sound Design: Alex Booy Music: Dany Lademacher Production: Dennis Alink for Dennis Alink Films, Gideon Levy for Levy Productions Executive Production: Marijke De Kerf Distribution for the Netherlands: Amstelfilm Screening Copy: Blazhoffski Productions B.V. Involved TV Channel: KPN Presenteert

Waiting for Giraffes Als de giraffes komen Marco de Stefanis


Dr. Sami is the veterinarian at Qalqilya Zoo, which is in the west of the West Bank, close to the border with Israel. It’s not easy to work in the only zoo in the world in occupied territory. The giraffes died during the last intifada, and replacing them is proving to be a real challenge. Animals that are “surplus to requirements” are sometimes available from foreign zoos, but never a giraffe. Everything in Palestine is related to politics, even something as innocent as a zoo. The zoo’s collaboration with the nearest Israeli zoo gives a good impression of the cross-border relations. We follow Dr. Sami’s quest for international recognition and watch as he makes friendly overtures to his Israeli counterparts. On a work visit to the zoo in Jerusalem, the zoo’s staff realize how far they are from even reaching the minimum standards. This rude awakening triggers Dr. Sami to push for the necessary improvements.


The Netherlands, Belgium, 2016 DCP, color, 84 min Director: Marco de Stefanis Cinematography: Stefano Bertacchini Editing: Patrick Minks, Katarina Türler Sound: Kwinten van Laethem Music: Victor Griffioen Production: Denis Vaslin & Fleur Knopperts for Volya Films Co-Production: Cassette for Timescapes World Sales: CAT&Docs Screening Copy: CAT&Docs Involved TV Channel: EO

Marco de Stefanis:

Millemiglia (1998) Painting for Baba (1999) Tiers of Color (2000) Adventures in Archeology (1999-2001) Gladiator. Bloodsport of the Colosseum (2000) Respiraderos (2001) Amazing History (2002-2003) Bleachers of War (2004) Lieve Monster (2006) Tulip Time (2007) Damned Children! (2010)

IDFA Competition for Dutch Documentary

Zaatari Djinn Catherine van Campen


The Netherlands, 2016 DCP, color, 80 min Director: Catherine van Campen Cinematography: Jean Counet, Jefrim Rothuizen Editing: Albert Markus Sound: Mark Wessner Sound Design: Marc Lizier Music: Alex Simu Production: Boudewijn Koole & Iris Lammertsma for Witfilm Distribution for the Netherlands: Cinema Delicatessen Screening Copy: Witfilm Involved TV Channel: NCRV

Catherine van Campen: Eternal Mash (2007) Drona & Me (2009) Flying Anne (2010) Painful Painting (2011) Joan’s Boys (2013) Garage 2.0 (2015)

Zaatari is a refugee camp in Jordan, close to the Syrian border, which over the years has grown to become a settlement with a population of 80,000. It is an improvised city in the desert, with prefab units instead of proper housing and sandy paths instead of streets. The thousands of children who live there have few possessions; a soccer ball is a luxury, a second-hand bike a treasure. In Zaatari Djinn, Catherine van Campen follows four children who each cope with the camp’s difficult circumstances in their own way. The dreamy Maryam keeps herself occupied with soccer practice and theater rehearsals, while Hammoudi hardly seems aware of the tragic situation in his hometown in Syria. The same cannot be said of the downcast Ferras, who has to work for a living, or rebellious Fatma, who makes friends with a rooster. Stories about djinns—supernatural beings that can be either good or evil—are a leitmotif in the film. With her poetic, observational style, Van Campen not only documents the children’s daily lives, but also lays bare their souls.


DCP ✶ video ✶ 70 mm ✶ 35 mm ✶ 16 mm ✶ Super 8 ✶ 8 mm

2015 Adv FiT IDFA 92,5x92,5.indd 1

Lijfblad voor kritische geesten

11-10-15 18:53


IDFA Competition for Student Documentary Fourteen international graduation films are competing in the IDFA Competition for Student Documentary. A three-member international jury (see page 17) evaluates the films and selects the winner of the ARRI IDFA Award for Best Student Documentary (â‚Ź5,000 and an Amira camera, provided on loan by ARRI) and the IDFA Special Jury Award for Student Documentary (â‚Ź2,500 and an Amira camera, provided on loan by ARRI). Dil Leyla is also nominated for the IDFA AWFJ EDA Award for Best Female-Directed Documentary.

All competition programs are supported by Ammodo.

IDFA Competition for Student Documentary

Close Ties

Wiezi Zofia Kowalewska A loving portrait of a couple who is always bickering but seems to have weathered every storm life has thrown at them. After 45 years of marriage, Zdzislaw thinks it’s time for an anniversary celebration. His wife Barbara is not so sure, because eight years ago Zdzislaw left her for another woman. They recently got reunited and are apparently close again, but Barbara is still struggling with the resentment and the everyday problems that come with living together. Who’s going to pay the bills? Why does Zdzislaw always stay in the bathroom for such a long time? When Zdzislaw decides to move the furniture around because he has “fresh ideas” for their domestic interior, Barbara reaches the limits of her patience. But at a family dinner during which Zdzislaw is noticeably quiet, everything falls into place. Close Ties, which won an award at the Krakow Film Festival, shows how difficult it can be to admit your own mistakes and ask for forgiveness.

Poland, 2016 DCP, color, 19 min

Zofia Kowalewska:

Director: Zofia Kowalewska Cinematography: Weronika Bilska Editing: Jerzy Zawadzki Production: Ewa Jastrzebska for Munk Studio - Polish Filmmakers Association Screening Copy: KFF Sales & Promotion

Awards: Silver Dragon for the Best Documentary Film Krakow Film Festival, Third Prize in Polish Film Competition T-Mobile New Horizons International Film Festival

The Netherlands, 2016 DCP, color, 53 min

Klara Til:

directing debut

Coco Cabasa Klara Til

WORLD PREMIERE Kaouthar Darmoni believes that her sister women need to embrace their primal feminine power. We are introduced to her while she gives her rousing and liberating belly dance lessons. She is a paragon of emancipation: confident, funny and expressive. Interviews and conversations with Darmoni and several key figures in her life reveal that she had to fight hard to get where she is today. This gender studies lecturer now living in Amsterdam travels with filmmaker Klara Til to Tunisia, where she was born, and to France, where she hoped she would find refuge and the chance to really fly. But she was horrified to discover that the women there were not as liberated as she expected. Emancipation seems to go hand-in-hand with the suppression of femininity, and that’s something Kaouthar simply refuses to do. Her taboo-breaking belly dance is inspired by memories of the sensuality of Tunisian women—although she felt oppressed by her father and society there, she obviously still loves Arabic culture.


Director: Klara Til Cinematography: Fiona Verkleij Editing: Django Agterberg Sound: Apollonia Dun, Aimen Toumi Sound Design: Bart Becker Music: Adam Adamian Production: Klara Til Screening Copy: Klara Til

directing debut

IDFA Competition for Student Documentary


Anastazja Dabrowska

Poland, 2016 DCP, color, 24 min

Anastazja Dabrowska: directing debut

Director: Anastazja Dabrowska Cinematography: Robert Lis Editing: Agata Cierniak Production: Jerzy Lukaszewic for Krzysztof Kieslowski Faculty of Radio and TelevisionUniversity of Silesia Screening Copy: KFF Sales & Promotion

Daniel is at summer camp with his friends. They’re accompanied by specialized counselors, because this is a camp for young people with Down syndrome. They play sports and put on a variety show in which Daniel sings “Yesterday” by The Beatles, explaining in detail what the song is about. On the beach they take a magazine quiz about their ideal wedding. Among themselves, the boys mainly talk about love, and of course about girls—the enigmatic opposite sex that every heterosexual teenage boy finds so fascinating. The boys drink a toast with cola as they describe the woman of their dreams, and Daniel tries to express his feelings in a poem. His best friend lends a hand, offering tender words of wisdom. The atmosphere is as languid and dreamy as the summer itself in this film about universal desires, friendship and brotherly love.

Dil Leyla Aslı Özarslan


Germany, 2016 DCP, color, 72 min Director: Aslı Özarslan Cinematography: Carina Neubohn, Aslı Özarslan Editing: Ana Branea Sound: Jonathan Schorr, Aljoscha Haupt, Tom Schön, Nami Strack Sound Design: Jonathan Schorr Production: Sabrina Proske for Essence Film Co-Production: Filmakademie Baden-Württemberg Executive Production: Igor Dovgal Screening Copy: Essence Film Involved TV Channel: SWR

Aslı Özarslan:

Reflektzone (fiction, 2009) Bastarde (2011) Two at the Border (2012) Island 36 (2014)


Leyla Imret is the mayor of the small town of Cizre, the heart of Kurdish resistance in Turkey. At just 26, she is the youngest mayor in the country. What’s even more remarkable is that she hadn’t been back to her village since the age of five, when her father, a Kurdish guerilla fighter, was killed and she went to Germany to live with her aunt. Cizre now seems to be entering calmer waters, and so Imret decides to help rebuild the town. She sweeps to victory in the election and the local population welcomes her back like a prodigal daughter. In the interim, however, tensions have increased in the run-up to the Turkish parliamentary elections. The new mayor’s energetic determination slowly but surely makes way for uncertainty and fear. She comes to view her childhood memories in a new light. Will she meet the same fate as her father? A chronicle of youthful hope contending with more powerful forces.


IDFA Competition for Student Documentary

I Made You, I Kill You Alexandru Petru Badelita

WORLD PREMIERE In a mix of video, animation, photographs, children’s drawings, music and voice-overs, we hear the story of a childhood in Romania. Marred by alcoholism, threats, domestic violence and frequent funerals, it was by no means a happy one. In vibrant images, filmmaker Alexandru Petru Badelita criticizes the country he grew up in, and in particular the drab village where he spent his youth. His own family doesn’t come off well; unhappiness is handed down from generation to generation. Badelita manages to escape, as a child by studying and imitating TV stars, and now by making his own film. In this short documentary, moving images are projected on old photos, and children’s drawings are blended with animation. The editing is so intriguing in itself that you almost forget to follow the story—which makes this a film to see more than once.

Romania, France, 2016 DCP, color, 14 min Director: Alexandru Petru Badelita Cinematography: Alexandru Petru Badelita Screenplay: Alexandru Petru Badelita Editing: Alexandru Petru Badelita Sound: Alexandru Petru Badelita Sound Design: Alexandru Petru Badelita, Martin Delzescaux Music: Thibaut Cordenier Narration: Alexandru Petru Badelita Narrator: Petru Covasa, Ecaterina Aurelia Drehluta Production: Alexandru Petru Badelita for Le Fresnoy Screening Copy: Le Fresnoy

Alexandru Petru Badelita:

Mamma Roma (2010) Ku Je Ti (2011) Image Fisherman (fiction, 2012) Autism (fiction, 2013) The Sum of Little Dreams (2014) Traveling on One Leg (fiction, 2015)



Celina Escher WORLD PREMIERE An intimate and delicate portrait of a 50-year-old Cuban electrician named Maria. She had to make a quick career choice as a student, she says, and somehow she never moved on, so this is how she makes a living. In her cramped shop she repairs household electrical appliances and chats to her customers and neighbors. From these conversations, we learn that an old blender is better than a new one and a repair will keep a machine going for years at a fraction of the cost of replacing it. She also explains that the motor is the heart of an appliance, and repairing it is like a sort of heart operation. Maria’s life hasn’t always gone smoothly: her ex lives in the house she paid for; behind the spare parts in the workshop, we see her bed. Sometimes she climbs on the roof, looks up at the clouds and thinks about her granddaughter. There she feels better and can breathe more easily.


Cuba, 2016 DCP, color, 13 min Director: Celina Escher Cinematography: Akley Olton Screenplay: Nicolas Candido, Celina Escher Editing: Matteo Faccenda Sound: Luiz Lepchak Production: María Fernanda Carvajal Alpízar for EICTV Screening Copy: EICTV

Celina Escher:

Yo no existo, soy joven (2009) CCTV (2012) Verdeolivo (2016)

IDFA Competition for Student Documentary

My Friend, Yaniv Maayan Schwartz


Israel, 2016 DCP, color, 45 min

Maayan Schwartz: directing debut

Director: Maayan Schwartz Cinematography: Ran Braginsky Editing: Amir Jorji Production: Moran Nakar for Sapir CollegeSchool of Media, Film and Cultural Studies Screening Copy: Maayan Schwartz Involved TV Channel: YesDocu

Yaniv is 28, and he thinks it’s about time he should leave his parents’ house. The only problem is that he suffers from muscular dystrophy, and he needs around-the-clock care. But Yaniv’s fragile, wheelchair-bound frame houses a lively and rebellious spirit that will not be held back by physical limitations. Although he can barely use his hands, he is able to write a blog. And sometimes he leads the life of a student, staying up late—much to the dismay of his parents. Yaniv may be rebellious, but he’s also witty and charming. He gently mocks his good friend and filmmaker Maayan Schwartz, describing the documentary in which he is the protagonist as “a vague movie, no beginning, middle or end.” In its personal approach, the film resembles an authentic home movie, but Schwartz has a keen eye for picking out the most telling moments in Yaniv’s life: the pizza-andsoccer evenings with friends, the telephone conversations about everyday matters as well as the growing concerns for his quality of life, and his uncertain future.

Paper Stars Inna Omelchenko


Russia, 2016 DCP, color, 41 min Director: Inna Omelchenko Cinematography: Inna Omelchenko Editing: Inna Omelchenko Production: Marina Razbezhkina for Marina Razbezhkina Studio World Sales: Marina Razbezhkina Studio Screening Copy: Marina Razbezhkina Studio

Inna Omelchenko: Yamaha (2015)

Thirteen-year-old Alina is going to summer camp. There, she shares a room with five other girls and takes part in the daily activities, which include games on the beach and lots of sports. At first she hangs back, hesitant, but she quickly finds her place in the group. She makes new friends, flirts with boys at the camp, dances in the evenings to loud music and shares secrets with her roommates. But it’s not so easy for everyone to find a place in the social structure of the camp. For Polina, the summer camp isn’t as warm and friendly as she’d hoped. Failing to connect with the other girls and feeling homesick, she withdraws into her own world. Paper Stars is a Russian coming-of-age film that, thanks to its direct camera style, is able to present an intimate, sensitive impression of teenage girls in a new environment where they feel unsure.


IDFA Competition for Student Documentary

per song Dongwu yuan Shuchang Xie

Sloth, Pomeranian, Shark, Yoyo and Shrek live in Chongquing, a Chinese city on the Yangtze River, with a population of around eight million. The five friends spend their lives in the shadow of skyscrapers and bridges, at streetside cafés and in the privacy of their own living rooms. Gradually we learn more about their friendship, their families, insecurities, finances and worries. Whether it’s a problem at university, a positive HIV test or a difficult relationship with divorced parents, they each see their own problem as the most serious. But who’s to say whose suffering is the worst? The conversations go back and forth between heavyweight topics and lighthearted joking about internet dating and homosexuality. The dialogue is so animated that it sometimes feels like fiction. A pensive black-and-white film with extended scenes, interspersed with intimate conversations among friends who wish each other well but are also each other’s competitors.

Germany, 2016 DCP, black-and-white, 73 min

Shuchang Xie: directing debut

Director: Shuchang Xie Cinematography: Shuchang Xie Editing: Ju Li Sound: Shuchang Xie Sound Design: Indrayana Made Narration: Shuchang Xie Narrator: Shuchang Xie Production: Shuchang Xie Screening Copy: Shuchang Xie

Remember Me? Husker du meg? Ragnhild Nøst Bergem


Siri is in her early forties, but stares out at the world like a baby. She has a lethargic, unfocused gaze, and every now and again a wan smile. It’s hard to imagine that just a few years ago she was still an ambitious, sparkling woman. Siri suffers from early-onset dementia, as do the affable fifty-something Finn Robin and the cheerful Ellen, who is no older than 60. All three of them live in a home, where the days all blur into one—although they don’t seem to mind. The curtains, the dishwasher or rearranging the chairs are enough to occupy them. Filmmaker Ragnhild Bergem subtly presents the fragmentary nature of their lives. Long drawn-out shots force the viewer to look Siri, Ellen and Finn Robin in the eye. It’s a difficult situation for their loved ones. Finn Robin’s wife and Siri’s husband are no longer spouses, but caregivers. Shared memories cloud over and conversations go nowhere—what remains isn’t even recognition, but affection.


Norway, 2016 DCP, color, 35 min Director: Ragnhild Nøst Bergem Cinematography: Ragnhild Nøst Bergem Screenplay: Ragnhild Nøst Bergem Editing: Ragnhild Nøst Bergem Sound: Jens Mathias Falkenberg Sound Design: Jens Mathias Falkenberg Music: Ragnhild Nøst Bergem, Thomas Anda Production: Hege Anita Michelsen for Lillehammer College Screening Copy: Ragnhild Nøst Bergem

Ragnhild Nøst Bergem: directing debut

IDFA Competition for Student Documentary

Sugar & Spice Mi Mi Lwin


Germany, Myanmar, 2016 DCP, color, 16 min

Mi Mi Lwin:

Director: Mi Mi Lwin Cinematography: Arrow Luck Editing: Mi Mi Lwin Production: Lindsey Merrison for Yangon Film School Screening Copy: Yangon Film School

Awards: Best Southeast Asian Film Award Wathann Film Festival, Documentary Award Goethe-Institute Myanmar

directing debut

In this tender portrait, director Mi Mi Lwin lovingly and humorously records the simple life of her parents in rural Myanmar as they try to earn a little money making sweets from palm sugar. After a quick prayer, her father shins up the tall palm trees to collect the sap that her mother then boils down to a sticky paste on a wood fire. This recurring daily routine eventually earns them just 15 dollars from the trader for many kilos of the sweet balls. While working, they discuss wealth, the meaning of life and the usefulness of being able to read. The differences between the spouses are revealed in these unintentionally funny conversations. Lwin’s father reads the paper and listens to the radio. Her mother can’t read—or, as she claims, she doesn’t like to—and certainly doesn’t want to know about all the bad news. Her motivation is to survive, while his is to better himself.

Turn Over the Stones Nir Dvortchin


Israel, 2016 DCP, color, 29 min

Nir Dvortchin:

Director: Nir Dvortchin Cinematography: Anatoly Radchenko Screenplay: Nir Dvortchin Editing: Niv Samban Sound: Amit Shrer Sound Design: Tzvi Forer Narration: Shimon Chetrit Production: Nir Dvortchin for Sapir CollegeSchool of Media, Film and Cultural Studies Executive Production: Hila Amir Screening Copy: Sapir CollegeSchool of Media, Film and Cultural Studies

Awards: Best Sound Design Cinema South Film Festival

directing debut

Sami spent years in prison, cut off from society. Now he is free, but he still finds it hard to forgive himself. He lives in a tiny container in the middle of the Israeli desert, while the big house he once built for his wife Kohava stands empty. Sami, who suffers from bipolar disorder, wrote countless letters to Kohava from prison. In this student film from the Israeli Sapir College, we hear excerpts from the letters he sent from prisons all around the world, from Spain and France to Venezuela. They are the sensitive writings of a wounded soul, about everyday matters such as a cooling breeze or new sandals, and also about his dream that his parents, wife and child were suddenly standing next to him. He writes about his dwindling zest for life, the fire inside him that is dying, about his fear and shame. And about the way he sees his fellow prisoners, and recognizes the monsters lurking deep within them.


IDFA Competition for Student Documentary

Whatever the Weather Bei Wind und Wetter Remo Scherrer

In this sensitive animated movie, Wally looks back at her childhood with an alcoholic mother. In voice-over, she tells the story of how as an eight-year-old she made herself as small and invisible as she could, and how her needs were crushed by the monster of addiction. The roles of mother and child were reversed, as it was the children who gave their mother food and protection. Fear was a constant presence, and Wally often looked in the bedroom to see if her mother was still alive. Though Wally hadn’t said a word at school for a year, nobody noticed, and no help came from the outside world. She was terribly ashamed of what went on behind her front door. Her mother regularly kicked her out of the house, so she had to look after herself, “whatever the weather.” Unable to understand why her mother didn’t simply stop drinking, she grew increasingly despondent. Her story of survival, as related in this student film from the Lucerne School of Art and Design, is set in the one place where a child should feel safe: her own home.

Switzerland, 2015 DCP, black-and-white, 11 min Director: Remo Scherrer Cinematography: Remo Scherrer Screenplay: Remo Scherrer Editing: Remo Scherrer Sound Design: Moritz Flachsmann Music: Rahel Zimmermann Production: Carola Kutzner for Zeitraum Film Co-Production: Hochschule Luzern Design & Kunst World Sales: Interfilm Screening Copy: Zeitraum Film Involved TV Channels: SRF, SRG SSR Website: www.beiwindundwetter.ch

Remo Scherrer, Moritz Flachsmann & Etienne Mory: Metanoia (fiction, 2013)

Awards: First Place Luzerner Filmpreis & Special Award for the Soundtrack Upcoming Film Makers Schweizer Jungfilmfestival Luzern

When Will This Wind Stop Kiedy ten wiatr ustanie Aniela Astrid Gabryel


The title of this documentary about the Russian occupation of the Crimea works on two levels. There’s the literal level, when the grandmother of the family portrayed complains about the weather. But there’s also the symbolic level: the title is an indictment of the Russian occupation, which has descended upon the Crimea like a dark storm. A short timeline shows us that the Crimea was occupied by Stalin in the 1940s. Following the fall of the Iron Curtain, the original Crimean Tatars returned to their peninsula. Now, this same generation is once again being driven from their homes by an aggressive show of force by Vladimir Putin. In four overlapping stories, young Polish director Aniela Astrid Gabryel shows the influence of the occupation on different generations: parents talking to children they can no longer live with on Skype, meanwhile caring for their own parents, who have been through the same thing before. These family members are risking their lives by appearing in the film— this is why their surnames aren’t included in the credits.


Poland, 2016 DCP, color, 66 min Director: Aniela Astrid Gabryel Cinematography: Oleksandr Pozdnyakov Editing: Katarzyna Boniecka Sound: Iwona Kawiorska Music: Tymoteusz Witczak Production: Miroslaw Dembinski for Film Studio Everest Co-Production: Polish Film Institute World Sales: Film Studio Everest Screening Copy: Film Studio Everest Involved TV Channel: Polish Television Belsat Website: www.windstop.pl

Aniela Astrid Gabryel:

The Hut on Chicken Legs (fiction 2011) Stone Knights (2011), Quantum Fluctuations (fiction, 2011) To Fly or Not to Fly (2013) Constellations (fiction, 2014)


IDFA Competition for Kids & Docs In its long-standing program section Kids & Docs, IDFA presents the best new international youth documentaries. Thirteen documentaries are competing in the IDFA Competition for Kids & Docs. A three-member international jury (see page 18) evaluates the films and selects the winner of the IDFA Award for Best Children’s Documentary (€2,500) and the IDFA Special Jury Award for Children’s Documentary (€1,000). Two of the selected titles, Che! and Rocknrollers, are a result of IDFA’s now discontinued Kids & Docs Workshop, which offered directors the opportunity to develop a documentary for young people. Rocknrollers is also screening in the Music Documentary section (see page 175).

All competition programs are supported by Ammodo.

IDFA Competition for Kids & Docs

1Minute Nature

1Minuutje natuur Stefanie Visjager, Katinka Baehr


In short, imaginative animated documentaries, children talk about their relationship with nature. One girl has birds of prey, and sometimes goes cycling with her barn owl. A boy explains how he dissects dead beetles, because he is curious to know how animals work inside. 1Minutes were originally made as radio documentaries, so audio is still the foundation. Interviews have been edited to create an uninterrupted narrative, and we hear the children’s voices off camera. The visual images also combine fact and fiction, with photos of an everyday object acting as a backdrop for drawn characters. A bicycle valve becomes a lampshade, and the saddle later features as a cycle path. At the start of each film, we hear the name of the child and see his or her photograph.

The Netherlands, 2016 DCP, color, 4 min

Stefanie Visjager: directing debut

Director: Stefanie Visjager, Katinka Baehr Cinematography: Lotte van Dijck Screenplay: Tjitske Mussche, Laura Stek, Bente Hamel Editing: Kris Kobes Sound Design: Arno Peeters Animation: Kris Kobes Production: Stefanie Visjager for Radiomakers Desmet World Sales: Radiomakers Desmet Screening Copy: Radiomakers Desmet Involved TV Channel: NTR

Black Sheep Christian Cerami

“My grandparents and your grandparents fought for our country and fought for the freedoms of our country,” a man tells Sam with conviction at the start of this raw and powerful directing debut. “And that’s being taken away from us, slowly but surely.” The impressionable teenager nods in agreement. He can’t wait to join the street protest by the English Defence League (EDL), a far-right anti-Islam group in Britain. Despite warnings that the march could get violent, Sam decides to take his younger brother Jack along. The young working-class brothers get ready to leave for the protest together—their parents are nowhere to be seen. The brothers are relaxed in front of the camera, and Sam in particular is often filmed in close-up. This slants the documentary in the direction of fiction, because the focus always lies on the experience of the two boys. Once they arrive at the protest, where the atmosphere is aggressive and threatening, the two brothers react very differently.


UK, 2015 DCP, color, 16 min Director: Christian Cerami Cinematography: Simon Plunkett Editing: Sam Haskell Production: Christian Cerami Screening Copy: Christian Cerami

Christian Cerami:

Bun Oven (fiction, 2014)

IDFA Competition for Kids & Docs


Elsbeth Fraanje

The Netherlands, 2016 DCP, color, 14 min

Elsbeth Fraanje:

God op IJtje (2013)

Director: Elsbeth Fraanje Cinematography: Rogier Timmermans Editing: Daan Wijdeveld, Ralf Verbeek Sound: Willem De Wijs, Tim van Peppen, Tony Torn Sound Design: Ranko Paukovic Production: Willem Baptist & Nienke Korthof for Tangerine Tree Screening Copy: Tangerine Tree Involved TV Channel: NCRV

He’s named after Che Guevara, 12-year-old Che tells us. Except he was one of the good guys, and Che’s more a fan of the bad guys. Whenever he sees an axe or hedge clippers or a leaf blower, his imagination runs away with him and he comes up with all kinds of horror scenarios. We see them too, in this window on Che’s world, which has changed pretty radically since his parents got divorced. In a playful way, his reality sometimes gets transformed into his fantasy world. Even his younger brothers and the outside world get caught up in these scenarios. The divorce also has its good sides—there are no more arguments, and he gets a double allowance—but making new friends in the new neighborhood isn’t easy. And he misses family life—it was good to be together. Now he can’t just play with his father anytime, which he’d really like to do. Disarmingly open and at ease, Che talks about the good and not-so-good things in his life. He becomes bashful only when his girlfriend asks him to go steady.

IDFAcademy Results

Crowley – Every Cowboy Needs His Horse Andre Hörmann

Germany, 2015 DCP, color, 16 min Director: Andre Hörmann Cinematography: Thomas Bergmann Editing: Vincent Assmann Production: Max Milhahn for Telekult Film und Medienproduktion Executive Production: Heike Kunze for Telekult Film und Medienproduktion Screening Copy: Telekult Film und Medienproduktion

Andre Hörmann:

Changes (2002), Die Luxuskabine (fiction, 2003), Das Manifest (fiction, 2003), Three Lives - Hanoi (2005), Breathless (fiction, 2006), Calcutta Calling (2006), Wandlitz.tokyo (2008), Bombay. Faces of a Mega-City (2008), Über das Dach der Welt (2009), Bollywood. Traumfabrik aus Fernost (2010), Father’s Prayer (2010), Loden, the Little Monk (2012), Sharuk on the Road to Happiness (2013), Bhavini - I Only Want to Dance! (2013), Closer (2014), Mo Can Tie a Bow (2014), Andrew with Great Fanfare (2014), Gaurav and the Kites (2015), Tsering On Top of the World (2016)

You’ll usually see Crowley wearing either a checkered blue-and-white shirt and cowboy hat, or a bull-patterned shirt and blue cap. But he’s always wearing blue jeans, with a knife in a brown leather case in his back pocket. Crowley is 11 years old, and all he wants is to be a cowboy. He is determined to show his parents that he can break a horse, and gets very frustrated when his dad decides to help out. When his grandmother visits to show off her new gun, we know for sure we’re in the real Wild West of Colorado. Grandma and Crowley practice shooting cans. Just occasionally we see him somewhere else: at school, yawning (“I’d rather save my brain for working on a ranch”) or lying under a blanket like a little boy. But he’d much rather be showing off his car driving and rodeo skills.


IDFA Competition for Kids & Docs

The Eagle Huntress Otto Bell

In the photogenic environment of the Altai Mountains in Mongolia, we follow the story of Aisholpan, a 13-year-old nomad girl. Aisholpan is growing up in a patriarchal community with a passion for hunting with golden eagles, an activity that for thousands of years has been entirely dominated by men. Fascinated by the huge birds of prey, Aisholpan causes consternation when she sets out to become the first female eagle hunter. Despite the criticism from village elders, her father lends her his support. The scenes in which Aisholpan explores the gorgeous landscape on horseback to learn the finer points of hunting with her father reveal the closeness of their relationship. Then comes the annual eagle hunting contest. Aisholpan is the youngest participant, and also the only girl. Can she hold her own? This compelling story shot in the vast expanses of the Mongolian steppe is a modern folktale about perseverance, courage and the influence of inflexible tradition. “You can do anything,” sings Australian singer-songwriter Sia in a song composed for the film.

USA, 2016 DCP, color, 87 min

Otto Bell:

directing debut

Director: Otto Bell Cinematography: Simon Niblett Editing: Pierre Takal Sound: Andrew Yarme Music: Jeff Peters Production: Stacey Reiss for Stacey Reiss Productions, Sharon Chang for 19340 Productions, Otto Bell for Kissiki Films Executive Production: Daisy Ridley, Morgan Spurlock, Dan Cogan, Regina Scully, Marc H. Simon World Sales: Celluloid Dreams Screening Copy: Celluloid Dreams Website: www.theeaglehuntress.com

Jesser and the Sugarcane Jesser en het suikerriet Godelieve Eijsink


Jesser is 11 and lives with his parents and sister in Nicaragua, in a small stone hut among the trees. He gets lessons from Cristhian in a communal garden, where he conscientiously tends the plants. He loves plants, but he doesn’t like sugar cane. Sugar cane is the major source of income for this poor community, but it’s also notorious for making people sick. Jesser’s father is one of these people; the long days working under the hot sun have destroyed his kidneys. His illness is incurable and he could die, like the father of Jesser’s cousin and best friend, Jocelyn. Sitting among the sugar cane chewing on the stalks, Jesser and Jocelyn talk about what they want to do with their lives. Jocelyn wants to become a doctor, so she can save lives, and Jesser wants to start an agricultural business on his father’s small plot of land. With a machete, he works the field where he wants to grow all kinds of vegetables one day—anything except sugar cane.


The Netherlands, 2016 DCP, color, 15 min Director: Godelieve Eijsink Cinematography: Godelieve Eijsink Editing: Caitlin Hulscher Production: Kiyomi Molin for EO/IKON Screening Copy: EO/IKON

Godelieve Eijsink:

Starts of Europe (2001) Gonzo (2014)

IDFA Competition for Kids & Docs


Jürgen Brügger, Jörg Haaßengier

Germany, 2016 DCP, color, 29 min Director: Jürgen Brügger, Jörg Haaßengier Cinematography: Jörg Haaßengier Editing: Gerhard Schick Sound: Jürgen Brügger Production: Emanuela Penev for WDR World Sales: WDR Screening Copy: WDR Involved TV Channel: WDR

Jörg Haaßengier & Jürgen Brügger:

Kopfende Haßloch (2006) Ausfahrt Eden (2010) Vom Ordnen der Dinge (2014) Egonstraße (2014) Angstwald (2014) #wowillstduhin (2015)

Jürgen Brügger:

Lutwi is 12, and he feels completely at home in the German city of Dortmund, where he has lived for the last four years. He loves playing soccer, he works hard at school, and he has friends in the area. But he still can’t call himself German—his family fled from Kosovo and there is a big chance they will be sent back there. It seems like the only thing letting them stay is the poor health of Lutwi’s mother, who was traumatized by the war. In this affectionate portrait, the camera follows Lutwi wherever he goes, whether that’s on the street having fun with a soccer ball, or at home where the atmosphere is much more serious. His parents speak little German, so Lutwi has to translate the government letters and the conversations with the lawyer about their imminent deportation. He finds his own way of dealing with this uncertain future.

Der Traumjob (2005)

Jörg Haaßengier:

Szenen aus der Norddeutschen Tiefebene (2005)

Naomi’s Secret Naomi’s geheim Saskia Gubbels

The Netherlands, 2016 DCP, color, 15 min Director: Saskia Gubbels Cinematography: Myrthe Mosterman Screenplay: Saskia Gubbels Editing: Maasja Ooms, Erik Disselhoff Sound: Carla van der Meijs Sound Design: Lennart Kleinen, Alan van Ramshorst Production: Niek Koppen & Jan de Ruiter & Anja Cloosterman for Selfmade Films World Sales: Selfmade Films Screening Copy: Selfmade Films Involved TV Channel: KRO/NCRV

Saskia Gubbels:

Heren alstublieft (1998) Het huishouden van Don Quichot (2000) Als mijn kind maar gelukkig is (2001) De grote voorstelling (2002) Zigeunermeisje (2005) Het gelijk van mijn tante (2007) De zee lacht me toe (2009) Scènes uit het omgangshuis (2010) Door de oren van Ellen (2011) Als ik in de spiegel kijk (2012) 0,8 Ampère geluk (2014) Lieve Jayvano (2015)


For the first time ever, Naomi is taking her best friend Sam to see her mother. It’s an anxious time, because her mother has psychotic episodes. This optimistic and loyal 17-year-old visits the locked institution where her mother is undergoing treatment. In affectionate tones, Naomi explains that her mother also uses drugs in addition to being psychotic. It gradually becomes clear that the situation has had a considerable impact on the young woman’s life. When we see her going through old photos with her aunt, we discover that Naomi has been living with her since the age of five. Most of the photos and old films recall the good times. The one time that Naomi talks about a negative experience, it’s accompanied by a frightening animation in dark monochrome. Now she has decided not to be ashamed of her background anymore. This film is a testimony to hope and love, and a sincere portrait of the strong young woman that Naomi has become thanks to the unconditional support of the people around her.


IDFA Competition for Kids & Docs

Rocknrollers Rocknrollertjes Daan Bol

Playing records, practicing for gigs together and giggling about who can let off the foulest farts: this is what life is all about for the three teenagers Sia, Bas and Vince. Together, they form the Dutch psychedelic blues-rock band Morganas Illusion. Then Sia becomes depressed—it looks like his illness will have major consequences for his friendship with the two other band members, not to mention the success of the band. As they lie chilling out on a Persian rug, Bas and Vince talk about how devastating it is for them to see their singer and guitarist Sia so sick. We watch as Sia celebrates his 16th birthday, wearing big sunglasses like a real rock star. But when the camera gets a close-up of his wrist, it becomes clear how bad things have become for the talented teenager. Will Morganas Illusion ever be the energetic rock band it once was? This is a moving coming-of-age story about depression and the beneficial, healing effects of music and friendship.

The Netherlands, 2016 DCP, color, 25 min

Daan Bol:

Niet op Meisjes (2012)

Director: Daan Bol Cinematography: Wilko van Oosterhout Screenplay: Daan Bol Editing: Luuk van Stegeren Sound: Dennis Kersten Sound Design: Dennis Kersten Narration: Daan Bol Production: Katja Draaijer for BALDR Film, Thu Ha Nguyen Thi for VPRO Screening Copy: BALDR Film Involved TV Channel: VPRO

IDFAcademy Results

Spotlight on Merna Merna in de spotlight Mirjam Marks


Taking part in The Voice Kids is already quite something, but for 11-year-old Merna it’s really something special. Her parents had to flee Iraq because they are part of the Christian minority, and IS was threatening to kidnap Merna. They now live in Lebanon, where one in three people is a refugee. The family has been waiting for two years for permission to move on. FaceTiming with her older sister, who stayed behind in Iraq, and cooking her favorite dishes with her mother make the situation more bearable. But what also really helps is singing—this calms Merna and makes her less afraid. She used to sing only in church, but since The Voice her beautiful, melancholy voice touches everyone. Because of her status as a refugee, Merna isn’t allowed to attend the foreign performances with the other finalists, but she’s now a national celebrity in Lebanon.


The Netherlands, 2016 DCP, color, 15 min Director: Mirjam Marks Cinematography: Mirjam Marks Editing: Sander Cijsouw Production: Kiyomi Molin for EO/IKON Screening Copy: EO/IKON

Mirjam Marks:

Kinderen in Oost-Europa (1992) De stad als jungle - Overleven in Nederland (2006) B.E.T.O.N. (2007) InternetSuperStar (2015) Annegien, het meisje van 672K (2015)

IDFA Competition for Kids & Docs



Norway, 2016 DCP, black-and-white, 13 min Director: Halvor Nitteberg Co-director: Elisabeth Aspelin Cinematography: Øystein Mamen Editing: Anette Stålem Flittig, Elisabeth Aspelin Production: Halvor Nitteberg & Elisabeth Aspelin for Nitteberg Film & Tv Screening Copy: Nitteberg Film & Tv

Halvor Nitteberg:

#1 (fiction, 1999) Face to Face (fiction, 1999) From Munich to Pearl Harbour (2001) 2xH (2001); Dangerr (2003)

Life for a 12-year-old Norwegian girl named Thea is defined by severe epileptic seizures that can last for hours. This film tells her story using black-and-white stills that are sometimes presented in quick succession and at other times linger. We see a loving and concerned look from one of her parents, a reassuring caress, or Thea’s armband that reads “epilepsy.” Directors Halvor Nitteberg and Elisabeth Aspelin chose this form to make palpable the gaps in Thea’s memory—those moments of lost consciousness during her seizures. Meanwhile, the soundtrack continues on. We accompany Thea to her doctor, who says that she has even induced coma to stop a seizure. “It can be really dangerous sometimes.” We watch as Thea jokes around with her friends. She has a passion for helicopters and really wants to become a pilot—perhaps unsurprising, given that her life has already been saved a couple of times because she could be flown directly to the hospital.

When I Hear the Birds Sing Når jeg hører fuglene synge Trine Vallevik Håbjørg

Norway, 2016 DCP, color, 8 min Director: Trine Vallevik Håbjørg Editing: Morten Øvreås Music: Kouame Sereba, Erik Wøllo Animation: Oyvind Tangseth, Trine Vallevik Håbjørg Production: Trine Vallevik Håbjørg for Råsalt AS Screening Copy: Norwegian Film Institute

Trine Vallevik Håbjørg: One Morning (1999)


What have you been through? How is it now? And what would you like to be when you grow up? Norwegian filmmaker Trine Vallevik Håbjørg puts these questions to five children from the Ivory Coast who, following the outbreak of war there, now live in a refugee camp in neighboring Liberia. The conversations are presented in animations, as are the terrible things the kids have been through. Mahan, Audrey, Tai, Julianna and Enock talk about the loved ones they have lost and how they had to flee, leaving everything behind. Their memories are incredibly burdensome, but the colorful images and playful lines bring some relief. When Enock hears birds, he always thinks of the birds he heard when he was at home, playing soccer with his friends. Some day, they want to be a pro soccer player, a doctor, a school principal or the president. Here in the UNHCR camp, they are safe and it’s possible to be cheerful and play games. According to Tai, it’s a place where his heart can rest.


IDFA Competition for Kids & Docs

Win by Fall Schultersieg Anna Koch


Four German teenage girls are getting ready for an exciting school year. The young wrestlers Janny, Lisa, Debby and Michelle have been accepted to the Elite School of Sports, a boarding school in Frankfurt that follows East German traditions in getting talented athletes to the top. The girls can expect months of exhausting, intensive training schedules, strict diets and extreme pressure to perform. In their free time they braid each other’s hair and long for home—they aren’t all built for this kind of regime. Michelle struggles with her weight, Lisa is homesick, Jenny feels insecure within the group, and Debby sets the bar very high. For months on end the film follows the girls at school, during the grueling workouts, in the intimacy of their lodgings and on the mat—the place where it’s all really supposed to happen. In slow motion, hair swings about and faces show strain as they maneuver themselves and their opponents into astonishing positions. While each win provides a euphoric moment, the film is dominated by scenes full of sadness, frustration and anger.


Germany, 2016 DCP, color, 82 min Director: Anna Koch Cinematography: Julia Lemke Screenplay: Anna Koch, Julia Lemke Editing: Martin Reimers Sound Design: Jana Irmert Music: Jana Irmert Production: Anna Wendt & Fabian Winkelmann for Anna Wendt Filmproduktion, Jolanka Hoehn for German Film and Television Academy Berlin (dffb) Screening Copy: Anna Wendt Filmproduktion

Anna Koch:

Fata Morgana (fiction, 2008) Sisters (fiction, 2011)


In Masters, the festival keeps track of its favorite documentary filmmakers. This year, the program features 19 new works from renowned auteurs, including new films by Claire Simon, Lucy Walker and Mahamat Saleh Haroun, as well as the latest films by IDFA’s former guests of honor Errol Morris and Rithy Panh.


Abacus: Small Enough to Jail Steve James

EUROPEAN PREMIERE Both a family saga and a chronicle of the little guy up against the government, this documentary about what happened to the Abacus Bank combines several stories into one. The documentary follows the Sung banking family, who was prosecuted for fraud by the American government during the financial crisis. Not a single one of the big American banks wound up in court for selling junk mortgages—instead, they got off by paying billion-dollar settlements. But this small bank for Chinese migrants became entangled in a lengthy legal battle. The family has spent years trying to prove their innocence. We follow the bank’s founders and their two daughters in their massive struggle. A third daughter is a doctor, and the fourth works as a public prosecutor but gives up her job when suspicion falls on the family business. This story of an underdog also gives us a glimpse into the Chinese-American community and its financial system.

USA, 2016 DCP, color, 90 min Director: Steve James Cinematography: Tom Bergmann Editing: David E. Simpson, John Farbrother Sound: Daniel Nidel Music: Joshua Abrams Production: Mark Mitten for Mitten Media, Julie Goldman for Motto Pictures Executive Production: Chris Clements for Motto Pictures, Betsy Steinberg & Gordon Quinn for Kartemquin Films World Sales: Kartemquin Films Screening Copy: Kartemquin Films Involved TV Channels: Frontline, ITVS Website: www.abacusmovie.com

Steve James:

Hoop Dreams (1994) Prefontaine (1997) Stevie (2002) The New Americans (2004) Reel Paradise (2005) At The Death House Door (2008) No Crossover: The Trial of Allen Iverson (2010) The Interrupters (2011) Head Games (2012) Life Itself (2014) a.o.

The B-Side:

Elsa Dorfman’s Portrait Photography Errol Morris


For more than 30 years, Elsa Dorfman (b. 1937) photographed both famous and unknown subjects using a rare large-format Polaroid camera at her studio in Cambridge, Massachusetts. Now Polaroid has stopped making the film, and as Dorfman is approaching retirement, she gives friend and filmmaker Errol Morris a tour of her wide-ranging archive. It largely consists of what she describes as “B-sides”: in each session she took two photographs, the better of which her subject would take home. There are portraits of a wide variety of distinguished figures, including her good friend the beat poet Allen Ginsberg, along with the other writers, poets and musicians with whom she surrounded herself in her youth. She also photographed herself and her family. Dorfman reminisces as she leafs through the thousands of 20x24-inch Polaroid photos, each of which has a story attached. Her subjects, invariably smiling against a white background in these uncomplicatedly superficial pictures, seem to reflect Dorfman’s amiable, optimistic personality.

USA, 2016 DCP, color / black-and-white, 76 min Director: Errol Morris Cinematography: Nathan Allen Swingle Editing: Steven Hathaway Music: Paul Leonard-Morgan Production: Steven Hathaway Screening Copy: Steven Hathaway

Errol Morris:

Gates of Heaven (1978) Vernon, Florida (1981) The Thin Blue Line (1988) A Brief History of Time (1991) Fast, Cheap & Out of Control (1997) Stairway to Heaven (1998) Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999) The Fog of War (2003) Standard Operating Procedure (2008) Tabloid (2010) The Unknown Known (2013)




The Borneo Case Dylan Williams, Erik Pauser


Sweden, Germany, Wales, 2016 DCP, color, 78 min Director: Dylan Williams, Erik Pauser Cinematography: Erik Pauser Editing: Emil Engerdahl, Dylan Williams, Simon Barker Production: Erik Pauser & Dylan Williams for AMP Film Co-Production: Britdoc Bertha Fund Executive Production: Nils Bökamp & Felix Kriegsheim for Boekamp & Kriegsheim, Dewi Gregory for Truth Department, Adam Partridge for FFILM CYMRU WALES, Eirin Gjørv for Sant & Usant Screening Copy: AMP Film Involved TV Channels: SVT, ZDF/ ARTE, IKON, DR, YLE

Dylan Williams:

A Day at the Races (1997), The Gravediggers (1998), To Crown a King (2003), Madame och KIapten Nilsson (2006), Men Who Swim (2010), Infected (2012) a.o.

Erik Pauser:

Mission (1990), For a 1000 Dollars I Show You Any Pictures I Want (1992), The Tears of Eros (1992), The Two Faces of Roman Martinez (2007), The Face of the Enemy (2009), The Machine (2013) a.o.

In 2000, a Swedish crew made a film about Swiss environmental activist Bruno Manser. They were among the last to see him alive, before he disappeared without a trace in the Malaysian state of Sarawak on May 25 of the same year. We see him with a monkey on his shoulder, and creeping through the forest with a spear in his hand. Along with his best friend Mutang, he organized occupations aimed at stopping large-scale logging operations. Years later, it turns out Mutang has fled to Canada, after having been tortured and imprisoned. He follows developments in his homeland on Radio Free Sarawak, a London-based radio station run by a Malaysian DJ and a persistent British journalist. Little by little, the filmmakers are once again drawn into this increasingly urgent issue—90 percent of the forest has now been destroyed, including the place where Mutang used to live. With help from a Swiss researcher, the activists manage to expose the chief minister of Sarawak, who has earned billions of dollars from illegal logging, hiding the money in secret accounts and funds all over the world.

Pitched at the Forum 2014


Exil Rithy Panh

France, Cambodia, 2016 DCP, color / black-and-white, 78 min Director: Rithy Panh Cinematography: Rithy Panh Screenplay: Rithy Panh, Agnès Sénémaud Sound: Eric Tisserand Music: Marc Marder Narration: Christophe Bataille Narrator: Randal Douc Production: Catherine Dussart for CDP Productions Co-Production: Bophana Production World Sales: Films Distribution Screening Copy: Films Distribution

Rithy Panh:

Site 2 (1989), Cambodia: Between War and Peace (1991), The Rice People (fiction, 1994), Bophana: A Cambodian Tragedy (1996), One Evening After the War (fiction, 1998), The Land of the Wandering Souls (2000), Que le barque se brise, que la jongue s’entrouve (fiction, 2001), S21, The Khmer Rouge Killing Machine (2003), The People of Angkor (2003), The Burnt Theatre (2005), The Sea Wall (fiction, 2008), The Catch (fiction, 2011), Duch, Master of the Forges of Hell (2012), The Missing Picture (2013), France Is Our Mother Country (2014)

In Exile, Rithy Panh returns to the themes of The Missing Picture: his personal experiences of the Khmer Rouge regime. The film’s title refers to the banishment of his family from the capital of Phnom Penh to the countryside. Panh was the only member of his family to survive the genocide. He depicts the loss of his identity in his teenage years, the loss of his family, the hunger and the forced labor in poetic images full of symbolism. The principal setting is a hut, which forms the backdrop for many different tableaux, some of which are created using special effects, such as a scene that features three floating rocks. Interspersed with archive footage, the visually stunning images are accompanied by a voice-over that switches between reflections on revolution and ideology and more personal memories. The text includes quotes from Mao Zedong, Baudelaire and Robespierre. Actor Sang Nan lends his voice to Panh’s alter ego.




Les habitants Raymond Depardon In May 2015, Raymond Depardon set off to drive through France towing an old camper. He crossed the country from north to south, calling in at 15 towns and cities along the way. Wherever he stopped, he asked the local people he met if they would continue the conversation in his camper. This documentary is the account of his journey through provincial France. From Calais to Sète and from Cherbourg to Bayonne, Depardon finds people who are prepared to divulge the intimate details of their lives. In a sense, the documentary is a sequel to Journal de France (2012), in which the celebrated director and photographer went in search of characteristic French landscapes and street corners. This time he concentrates on listening to people: the young couple discussing baby clothes, the two old friends reminiscing about the past, and the mother who misses her son. The music of Alexandre Desplat makes this carefully composed sample of contemporary French life complete.

France, 2016 DCP, color, 83 min Director: Raymond Depardon Cinematography: Raymond Depardon Editing: Pauline Gaillard Music: Alexandre Desplat Production: Claudine Nougaret for Palmeraie et Désert World Sales: Wild Bunch Screening Copy: Wild Bunch

Raymond Depardon:

Venezuela (1963), Israel (1967), Jan Palach (1969), Tchad 1: L’embuscade (1970), 1974, Une Partie de Campagne (1974), Tibesti Too (1976), Reporters (1981), San Clemente (1982), Urgences (1988), Une histoire très simple (1989), La Captive du Désert (fiction, 1990), Contacts (1990), Délits flagrants (1994), Africa, How Are You With Pain? (1996), Profils paysans: L’approche (2001), Untouched by the West (fiction, 2002), The 10th Judicial Court: Judicial Hearings (2004), Profils paysans: Le quotidien (2005), Profils paysans: La vie Moderne (2008), Le tour du monde en 14 jours (2008), Journal de France (2012) a.o.

The Graduation Le concours Claire Simon

Director Claire Simon captures the selection process for students at the famous Parisian film school La Fémis, showing us how successful candidates get to follow in the footsteps of such luminaries as Louis Malle, François Ozon and Alain Resnais, all of whom attended this prestigious institution. At the start of the exhaustive procedure, hundreds of students gather together in a gigantic auditorium for a three-hour writing session. Ultimately, after three rounds, just a tiny fraction of applicants will be admitted to the school—the ruthless culling leads to heated exchanges among the many examiners, all of whom are experienced film professionals. Simon devotes plenty of time to the discussions and assessments, which go into great detail about the skills and character of the future elite of the French film world. Stumbling over their words, the often-nervous candidates seem vulnerable when confronted with the veterans of the industry, who have the difficult task of discovering true talent among all these eager young people.


France, 2016 DCP, color, 119 min Director: Claire Simon Cinematography: Claire Simon Screenplay: Claire Simon Editing: Luc Forveille Production: Arnaud Dommerc for Andolfi World Sales: Wide House Screening Copy: Wide House

Claire Simon:

At All Costs (1995) A Foreign Body (1997) Mimi (2003) It burns (2006) Gods Offices (2008) Gare du Nord (2013) Human Geography (2013) The Woods Dreams Are Made of (2015) a.o.

Awards: Venezia Classici Award for Best Documentary on Cinema Venice Film Festival


Gringo: The Dangerous Life of John McAfee Nanette Burstein


USA, 2016 DCP, color, 98 min Director: Nanette Burstein Cinematography: Robert Chappell Editing: Lars Woodruffe, Matt Colbourn, Kenneth I. Levis Music: Dana Kaproff Production: Chi-Young Park Executive Production: Wendy Roth, Jeffrey Wise, Michael Hirschorn World Sales: Dogwoof Screening Copy: Dogwoof

Nanette Burstein:

Keep on Pushin’ (2001) Pursuing the Dream (2001) Can I Get a Witness (2001) Let’s Get It On (2001) Express Yourself (2001) The Kid Stays in the Picture (2002) American Teen (2008) Going the Distance (2010) Backslide (2012) It’s Just Sex... (2012) Caught (2013) The Price of Gold (2014) a.o.

John McAfee (b. 1945) became world-famous and extremely rich by releasing the most well-known anti-virus software in history. And this was just the beginning of his incredible life in the public eye. The software millionaire then set out on a new career as a yogi with hordes of devoted followers, got mixed up in a murder case in Belize and became a fugitive from justice before running for president. Endlessly fascinated by this remarkable biography, filmmaker Nanette Burstein decided to investigate what fame does to people. Do different rules apply in the world of the rich, famous and powerful? While interviewing people from almost every period of McAfee’s life, Burstein not only hears some pretty scary stories about McAfee, but she also starts to receive creepy emails from the protagonist of her film. The ensuing email exchange, which spices up this revealing film portrait, culminates in a strange, threatening dialogue that says at least as much about McAfee as all of the candid interview testimony.

Hillsborough Daniel Gordon


UK, 2016 DCP, color, 122 min Director: Daniel Gordon Cinematography: Nick Bennett Editing: Andy R. Worboys Sound: Andy Boag Music: Tim Atack Production: Daniel Gordon for VeryMuchSo Productions Executive Production: John Battsek for Passion Pictures Screening Copy: VeryMuchSo Productions Involved TV Channels: BBC, ESPN

Daniel Gordon:

The Game of their Lives (2002) A State of Mind (2004) Crossing the Line (2006) The Flapping Track (2007) The John Akii Bua Story: an African Tragedy (2008) I Scored A Goal In The FIFA World Cup Final (2010) Match 64 (2011) Victoria Pendleton: Cycling’s Golden Girl (2012) 9.79* (2012) Match 64: The Maracana (2015) Don’t Look Down (2015)

On April 15, 1989, Liverpool and Nottingham Forest played the English FA Cup semi-final at Hillsborough stadium in Sheffield. Overcrowding in the stands that day led to the death of 96 Liverpool fans—it was the biggest disaster in the history of British sport. Hillsborough reconstructs the events and how they reverberated through the years that followed, using interviews with family members, survivors and police officers, as well as news reports, reenactments and closed-circuit TV footage from that fateful day. The main focus is on the actions of the authorities, who blamed the tragedy on drunken Liverpool fans as a way of diverting attention from their own failure at crowd control and the absence of a proper emergency plan. It wasn’t until April 2016, a full 27 years later, that those left behind received official recognition, bringing to an end their battle for justice for their loved ones. The fans were blameless, and responsibility for these terrible events lay unequivocally with the police officers in command.



Hissein Habré, a Chadian Tragedy Hissein Habré, une tragédie tchadienne Mahamat Saleh Haroun

The Chadian dictator Hissein Habré’s reign of terror lasted from 1982 to 1990. It was the domestic population of Chad that suffered, but this tragedy was thoroughly international in nature, because Western countries—particularly the United States and France—supported the dictatorship with both guns and money. People disappeared for all sorts of reasons into torture prisons run by the regime’s secret police force, the Documentation and Security Directorate (DDS). Director Mahamat Saleh Haroun wanted to document these virtually unknown events through the victims’ testimonies, so he visited some of them, accompanied by the chairman of the Association of the Victims of the Hissein Habré Regime. He gives them a voice and in some cases brings them into contact with former members of the secret police. On May 30, 2016, a Senegalese court sentenced Hissein Habré to life in prison for genocide, torture and other crimes against humanity. For the first time in world history, an African leader was prosecuted in another African country.

France, Chad, 2016 DCP, color, 82 min Director: Mahamat Saleh Haroun Cinematography: Mathieu Giombini Screenplay: Mahamat Saleh Haroun Editing: Christine Benoit Sound: Dana Farzanehpour Music: Wassis Diop Production: Florence Stern for Pili Films Co-Production: Goï Goï Productions World Sales: Doc and Film International Screening Copy: Doc and Film International Involved TV Channel: ARTE France

Mahamat Saleh Haroun:

Bord d’Africa (1995) Bye Bye Africa (1999) Abouna (fiction, 2002) Kalala (2006) Daratt (fiction, 2006) Un Homme Qui Crie (fiction, 2010) Grigris (fiction, 2013) a.o.

Homo Sapiens Nikolaus Geyrhalter

Despite its title, there isn’t a single human to be seen or heard in this film, with director Nikolaus Geyrhalter presenting a sequence of static shots filmed in Asia, Europe, the United States and South America. But people clearly were present here at some time in the past. We see train tracks just visible among the grass and plants; a store with its contents upturned; a long-obsolete lecture hall; a disused shopping center; a deserted tropical-themed swimming pool; a dead data center; stray boats strewn around a meadow. Here, nature is free to take its course. The absence of music or commentary allows the sounds to emerge even further into the foreground, and we hear water dripping to the floor from a leaking roof, plastic whirling in the air and buzzing insects. This is about the fragile and ephemeral nature of humanity. What will remain when we are gone?


Austria, 2016 DCP, color, 94 min Director: Nikolaus Geyrhalter Cinematography: Nikolaus Geyrhalter Editing: Michael Palm Production: Nikolaus Geyrhalter & Wolfgang Widerhofer & Markus Glaser & Michael Kitzberger for Nikolaus Geyrhalter Filmproduktion Screening Copy: Autlook Filmsales Website: www.homosapiens-film.at

Nikolaus Geyrhalter:

Washed Ashore (1994) The Year After Dayton (1997) Pripyat (1999) Elsewhere (2001) Our Daily Bread (2005) 7915 km (2008) Allentsteig (2010) Abendland (2011) Danube Hospital (2012) Cern (2013) Over the Years (2015)


Norman Lear: Just Another Version of You Rachel Grady, Heidi Ewing

USA, 2016 DCP, color / black-and-white, 91 min Director: Rachel Grady, Heidi Ewing Cinematography: Ronan Killeen Editing: JD Marlow, Enat Sidi Music: Kristopher Bowers Production: Suzanne Hillinger for Loki Films, Brent Miller Co-Production: Thirteen/WNET Executive Production: Michael Kantor for WNET Screening Copy: Loki Films Involved TV Channel: PBS Website: www.normanlearfilm.com

Rachel Grady & Heidi Ewing:

The Boys of Baraka (2005) Jesus Camp (2006) 12th & Delaware (2010) Detropia (2012) a.o.

Awards: Rogue Award Ashland Independent Film Festival, Audience Award Documentary Feature Montclair Film Festival, Special Achievement in Documentary Storytelling Nantucket film Festival, Special Award Traverse City Film Festival

Television writer and producer Norman Lear brought some of the most popular sitcoms of the 1970s to U.S. TV screens. He is best known for All in the Family, about the bigoted conservative Archie Bunker who is always at odds with his left-wing son-in-law. Heidi Ewing and Rachel Grady explore Lear’s life and work through interviews with friends, family and TV personalities of past and present. The filmmakers devote particular attention to the strong social dimension in Lear’s shows, and their influence on society. His provocative approach to topics such as war, poverty, racism and equal rights was previously unheard of, and it secured him a place on Richard Nixon’s “enemies list.” After making 16 series and 700 hours of primetime TV, Lear decided to leave the entertainment industry and become a political activist. Now well into his nineties, he lives by the same motto as he did in his heyday: we’re all just another version of each other.

Prison Sisters Nima Sarvestani


Sweden, 2016 DCP, color, 90 min Director: Nima Sarvestani Cinematography: Vahid Zarezadeh Screenplay: Nima Sarvestani Editing: Jesper Osmund Sound Design: Torsten Rundqvist Music: Stefan Levin Narration/Narrator: Nima Sarvestani Production: Maryam Ebrahimi for Nima Film World Sales: Deckert Distribution Screening Copy: Nima Film Involved TV Channels: SVT, NRK, IKON, DR, TVO, Channel 8

Nima Sarvestani:

The Evil Cycle (1998) Naked And Wind (2002) Dead Man’s Guest (2003) Iranian Kidney Bargain Sale (2006) On The Border Of Desperation (2008) I Was Worth 50 Sheep (2010) No Burqas Behind Bars (2012) Those Who Said No (2014)

Pitched at the Forum 2015

In Afghanistan, Sara was incarcerated in a women’s prison because she had run away with her boyfriend at the age of 17. She and her best friend Najibeh were the protagonists in the Emmy Award-winning documentary No Burqas Behind Bars by directors Maryam Ebrahimi and Nima Sarvestani. Upon Sara’s release from prison, the directors invite her to the premiere of their documentary in Sweden. Here, Sara sees for the first time what life outside of Afghanistan is like. She applies for asylum and while waiting for the decision, she gets used to a country where freedom for women is the norm. Nevertheless, Sara can never really be free: she still feels connected to Najibeh, and worries about her fate. Sara sets in motion a search for Najibeh and shortly after, she gets the news that she was stoned to death. But there are many inconsistencies surrounding her death. Sara and filmmaker Nima Sarvestani feverishly try to establish what really happened to Najibeh, only to encounter a maze of half-truths on the streets of Afghanistan.



The Promise

Marcus Vetter, Karin Steinberger They met at the University of Virginia in 1984. It was an unlikely pairing: Jens Soering, the 18-year-old son of a German diplomat, was still a little wet behind the ears, while Elizabeth Haysom was a beautiful woman of the world from a wealthy family. They fell head over heels for one another; not long after, the small town of Bedford was rocked by the gruesome murder of Elizabeth’s parents. The young lovers fled to England, but the police picked up their trail and they were arrested. The Promise reconstructs these events and the subsequent trials in which Elizabeth and Jens were sentenced to life terms. Director Marcus Vetter interviews those involved and follows a private detective and a lawyer as they search for new evidence to prove that Jens Soering is innocent. The leitmotifs running throughout the film are the candid interviews with Jens—who has now been in prison for nearly 27 years—and a highly detailed examination of the trials.

Germany, USA, 2016 DCP, color, 131 min Director: Marcus Vetter, Karin Steinberger Cinematography: Georg Zengerling Editing: Marcus Vetter, Michele Gentile Sound: Aljoascha Haupt Music: Jens Huercamp, Michele Gentile Production: Marcus Vetter for Filmperspektive Executive Production: Louise Rosen for Louise Rosen World Sales: Louise Rosen Screening Copy: Filmperspektive Involved TV Channels: DR Danish Broadcasting Corporation, ARD, SWR, BR, BBC Website: www.promise-movie.com

Marcus Vetter:

Ein Schweinegeld (1999), The Tunnel (1999), Where Money Grows (2000), Wargames (2002), Florida: Streets of the Duped (2003), Cinema Jenin (2011)

Marcus Vetter & Dominik Wessely: Broadway Bruchsal (2001), Die Unterzerbrechlichen (2006)

Marcus Vetter & Arianne Riecker: My Father the Turk (2006)

Marcus Vetter & Leon Geller: The Heart of Jenin (2008)

Marcus Vetter & Karin Steinberger:

Hunger (2009), The Forecaster (2014)

Pitched at the Forum 2013


Morgan Spurlock EUROPEAN PREMIERE In New York, hordes of rats gnaw their way into garbage bags, in India they spread disease, in Cambodia they lay waste to rice fields, and in Great Britain they’ve developed resistance to poison. A rat exterminator from New York paints a grim picture of this rodent menace: he claims there are terrifyingly huge populations all around us. These far-from-innocent beasts spread serious illnesses such as Ebola and Weil’s disease. Inspired by Robert Sullivan’s book Rats, this film is a cross between an investigative documentary and a horror movie. Director Morgan Spurlock (Super Size Me) travels the globe, and everywhere he goes nearly everyone has a hostile relationship with rats. They are hunted, fumigated, poisoned and clubbed to death. But there are also those who consider rats a tasty delicacy, or worship them as gods. Somewhere in between we find the scientists who carefully study the rodents and keep them for posterity, because we need to know what the parasites currently living in them might mean for the rats of tomorrow. The ominous soundtrack and lush sound effects help make Rats a gruesome portrait of an often-terrifying creature.


USA, 2016 DCP, color, 89 min Director: Morgan Spurlock Cinematography: Lucas Del Puppo Editing: Pierre Takal Music: Pierre Takal Production: Jeremy Chilnick & Morgan Spurlock for Warrior Poets Executive Production: Josh Braun & David Koh & Dan Braun for Submarine Entertainment, Stanley Buchthal for Dakota Films Screening Copy: Warrior Poets

Morgan Spurlock:

Super Size Me (2004), Where in the World Is Osama Bin Laden? (2008), The Greatest Movie Ever Sold (2011), Comic-Con Episode IV: A Fan’s Hope (2011), The Dotted Line (2011), Mansome (2012) a.o.

Morgen Spurlock & Heidi Ewing & Alex Gibney & Seth Gordon & Rachel Grady & Eugene Jarecki & Patrick Creadon: Freakonomics (2010)



The Ride of Their Lives Steve James

USA, 2016 DCP, color, 15 min Director: Steve James Cinematography: Zachary Fink Editing: Steve James, Alyssa Fedele Sound: Doug Dunderdale Sound Design: Jim LeBrecht Production: Alyssa Fedele & Zachary Fink for Collective Hunch, Isaac Bolden for Jigsaw Productions Executive Production: Alex Gibney & Kahane Cooperman & Dave Snyder for Jigsaw Productions, Michael Klein for Conde Nast Screening Copy: Amazon Studios

Steve James:

Hoop Dreams (1994) Prefontaine (1997) Stevie (2002) The New Americans (2004) Reel Paradise (2005) At The Death House Door (2008) No Crossover: The Trial of Allen Iverson (2010) The Interrupters (2011) Head Games (2012) Life Itself (2014) a.o.

Rhyder Rutledge is just a little boy of eight. As if his future had been sealed when he was given the name, he started out as a rodeo rider when he was a toddler. The youngest riders start out on sheep, switching to calves at age six. Then they graduate to young bulls before finally moving on to the strongest, wildest adult animals. Rodeo riding on bulls is one of the most dangerous sports there is; every year, countless cowboys fall victim to the trampling hoofs of a rampaging bull—sometimes with fatal consequences. When Rhyder falls during training, his stepfather won’t let him cry; in this sport, you have to be able to take the pain. Rhyder is in training for the world championship in Texas, as is teenager August Hopper, the only female taking part. While their participation is controversial, we meet parents who support their children in this expensive sport, sometimes taking second jobs to pay for it.

Rodnye (Close Relations) Vitaly Mansky

Latvia, Germany, Estonia, Ukraine, 2016 DCP, color, 112 min Director: Vitaly Mansky Cinematography: Alexandra Ivanova Editing: Peteris Kimelis, Gunta Ikere Production: Simone Baumann for Saxonia Entertainment, Guntis Trekteris for Ego Media, Natalia Manskaya for Vertov, Marianna Kaat for Baltic Film Production Co-Production: 435 FILMS World Sales: Deckert Distribution Screening Copy: Deckert Distribution

Vitaly Mansky:

Boomerang (1988), Post (1990), Lenin’s Body (1991), Cuts of Another War (1993), Bliss (1995), Private Chronicles: Monologue (1999), Gorbatchev: After the Empire (2001), Yeltsin: Another Life (2001), Broadway: The Black Sea (2002), Anatomy of t.a.T.u. (2003), Gagarin’s Pioneers (2005), Wild, Wild Beach (2006), Virginity (2008), Dawn (2008), Beginning (2009), Nikolina Gora. Epilogue (2009), Motherland or Death (2011), Pipeline (2013), The Book (2014), Under the Sun (2015) a.o.

Following Ukraine’s revolution in 2013, filmmaker Vitaly Mansky decides to travel throughout the region and visit his family. He talks on camera with family members in Ukraine, Crimea and Donetsk, hoping to gain a better understanding of the influence of the many political events on local people. Mansky takes the viewer along on a journey from May 2014 to May 2015. He gets all his family members—mother, grandfather and aunts—to speak out about the situation there. They discuss complex questions, like how important is it where you live or who you want to live with. All the while, global news events are playing out, such as the shooting down of Malaysia Airlines Flight 17. Mansky’s personal journey reveals how the difficult relationship between Russia and Ukraine is also causing friction between his aunts. The longer Mansky travels around, the more tightly interwoven with political events his family’s history becomes—and, inevitably, the more it starts to affect him.

Pitched at the Forum 2014



Who’s Gonna Love Me Now? Mi yohav oti achshav Tomer Heymann, Barak Heymann

Saar Maoz grew up on a kibbutz in Israel. When members of his family found out about his sexual preference for men, they ostracized him and he left for London. There, he found work and a partner, and he was able to live in freedom. But he also discovered that he was HIV-positive, and his world collapsed. After almost 20 years of living abroad, he finds the strength to face his family again, with the support of his friends from the London Gay Men’s Chorus. Saar struggles with his family’s prejudices about him, but at the same time he wants to make peace with his past and return to his home country. In this sensitive documentary, we watch how a broken man tries to heal old wounds and overcome prejudice and fear. Accompanied by a poignant soundtrack courtesy of the London Gay Men’s Chorus, Saar faces his family with disarming honesty.

Israel, UK, 2016 DCP, color, 86 min

Tomer Heymann & Barak Heymann:

Director: Tomer Heymann, Barak Heymann Co-director: Alexander Bodin Saphir Cinematography: Itai Raziel Editing: Ron Omer, Ido Mochrik, Roy Tornoy Sound Design: Ronen Nagel Music: Eran Weitz Production: Barak Heymann & Tomer Heymann for Heymann Brothers Films, Alexander Bodin Saphir for Breaking Productions World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales

Tomer Heymann:

Bridge over the Wadi (2006) Laugh Till I Cry (2000), It Kinda Scares Me (2001), Aviv-Fucked-up Generation (2003), Paper Dolls (2006), I Shot My Love (2010), The Queen Has No Crown (2011)

Barak Heymann:

Dancing Alfonso (2007), Lone Samaritan (2010)

Awards: Panorama Audience Award Berlin International Film Festival, Audience Award Krakow Film Festival, Best Film Award AICE Film festival

Wolvesmouth Lucy Walker

“Freedom is more important than money,” says a passionate Craig Thornton, who with his culinary salons—the Wolvesmouth “communal dinner parties”—operates at the intersection of food, art and social interaction. The guests pay what they like, so these incredibly popular evenings aren’t reserved just for the very rich. Documentary filmmaker Lucy Walker travels with Thornton back to his youth, which he spent in a trailer park in Arizona. While his violent stepfather cooked crystal meth, his mother fell further and further into addiction. Thornton was brought up by his grandmother, who also taught him to cook and encouraged him to leave his parents’ home. Growing up in such circumstances both damaged and shaped Thornton. Swimming against the culinary stream dedicated to simplicity and using a plate as a palette, Thornton creates stunning, baroque artworks full of passion and darkness—and they also taste amazing. He once had the idea of opening a restaurant where the guests had a choice between ascending to heaven or descending into hell.


USA, 2016 DCP, color, 15 min Director: Lucy Walker Cinematography: Aaron Phillips Editing: Tyler Higgins Sound: Melody Mayer, Kristof Zoltan Ruzics Production: Julian Cautherley for Good ‘N Proper, Isaac Bolden for Jigsaw Productions Executive Production: Alex Gibney & Kahane Cooperman & Dave Snyder for Jigsaw Productions, Michael Klein for Conde Nast Screening Copy: Amazon Studios

Lucy Walker:

Devil’s Playground (2002), Blindsight (2006), Countdown to Zero (2010), Waste Land (2010), The Tsunami and the Cherry Blossom (2011), The Contenders (2012), The Red Pill (2012), Make Haste Slowly (2012), The Crash Reel (2013), Secrets of the Mongolian Archers (2013), The Rein of Mary King (2013), Crooked Lines (2013), The Lions Mouth Opens (2014), A History of Cuban Dance (2016), Playstation: Makers and Gamers - Streetfighter (2016), Buena Vista Social Club (2016)



Zero Days Alex Gibney

USA, 2016 DCP, color, 114 min Director: Alex Gibney Cinematography: Brett Wiley, Antonio Rossi Editing: Andy Grieve Music: Will Bates Production: Alex Gibney for Jigsaw Productions, Marc Shmuger for Global Produce Executive Production: Jeff Skoll & Diane Weyermann for Participant Media, Sarah Dowland for Jigsaw Productions World Sales: FilmNation Entertainment Distribution for the Netherlands: Splendid Film BV Screening Copy: FilmNation Entertainment Website: www.zerodaysfilm.com

Alex Gibney:

Behind Those Eyes (2005), Enron: The Smartest Guys in the Room (2005), Taxi to the Dark Side (2007), Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008), Client 9: The Rise and Fall of Eliot Spitzer (2010), Casino Jack and the United States of Money (2010), Magic Trip (2011), Mea Maxima Culpa: Silence in the House of God (2012), We Steal Secrets: The Story of WikiLeaks (2013), The Armstrong Lie (2013), Finding Fela (2014), Mr. Dynamite: The Rise of James Brown (2014), Going Clear: Scientology and the Prison of Belief (2015), Steve Jobs: The Man in the Machine (2015) a.o.

Imagine a world at the mercy of a cyber worm that eats its way from one computer to the next, closing down crucial infrastructure along the way and causing millions in damage worldwide. This futuristic documentary shows this scenario isn’t science fiction—far from it. The film’s director Alex Gibney explores the world of Stuxnet, a malicious computer virus created by the United States and Israel to cripple Iran’s nuclear infrastructure. Experts describe it as the “most sophisticated malware that we have ever seen,” and the story behind it is highly sensitive. Many interviewees would only appear if they were unidentifiable, and their voice either disguised or replaced by an actor’s. They each provide fragments of information, but never the whole story. Gibney’s quest for the truth behind the cyber worm is both exciting and disconcerting. Global cyber war has never seemed so imminent.


Heddy Honigmann


Heddy Honigmann ontvangt dit jaar de Prins Bernhard Cultuurfondsprijs. Zij krijgt deze oeuvreprijs vanwege haar grote staat van dienst als internationaal toonaangevend documentairemaker. Als onderdeel van de prijs richt Heddy Honigmann een eigen CultuurFonds op Naam in, om zo andere documentairemakers te ondersteunen. Wilt u ook iets teweegbrengen met een gift aan cultuur, natuur of wetenschap? Wij betrekken u graag bij ‘De kunst van het geven’. Kijk op cultuurfonds.nl/geven

Foto: © Esther Cammelot

Prins Bernhard Cultuurfonds Prijs 2016


In Best of Fests, the festival is presenting 43 documentaries that have made an impact on the international festival circuit this year. Highlights include Communion (winner of the Semaine de la Critique at this year’s Locarno Film Festival), Kiki (winner of the Teddy Award for Best Documentary at Berlinale 2016), Life, Animated (winner of the U.S. Documentary Directing Award at Sundance) and Whose Country? (supported by IDFA Bertha Fund, pitched at IDFA Forum and developed at the IDFAcademy Summer School). Cameraperson is also part of the special focus program Assembling Reality (see page 227).

Best of Fests

All Governments Lie:

Truth, Deception, and the Spirit of I.F. Stone Fred Peabody


Independence was the watchword of legendary American investigative journalist I.F. Stone, who published his tiny, highly-respected newsletter I.F. Stone’s Weekly from 1953 to 1971. “You can’t fulfill your function unless you’re free!” Stone said. This is a piece of wisdom that still inspires many, including Glenn Greenwald, who published Edward Snowden’s NSA secrets, and John Carlos Frey, who did research into mass graves at the Mexican-American border. In this energetic film, they and other independent, investigative, adversarial journalists talk passionately about their work and allow the camera to follow them as they use government documents to expose deception. It’s work that involves a great deal of patience and a certain aptitude for paperwork. “All governments lie” was I.F. Stone’s motto—and it continues to serve as a maxim for the film’s featured journalists in their time-consuming, specialized work, exposing stories in which the corporate-owned mainstream media have shown little interest.

Canada, USA, 2016 DCP, color, 92 min

Fred Peabody: directing debut

Director: Fred Peabody Cinematography: John Westheuser Sound: Sanjay Mehta, Jason Milligan, Peter Sawade Music: Mark Korven Production: Peter Raymont for White Pine Pictures, Andrew Munger, Steve Ord Executive Production: Jeff Cohen World Sales: Films Transit International Screening Copy: White Pine Pictures Website: www.allgovernmentslie.com

Ambulance Mohamed Jabaly

Broken glass is everywhere and windows are blasted from their frames. We hear screaming. The very first shot thrusts us into the terrifying world of filmmaker Mohamed Jabaly. His street in a neighborhood of Gaza has just been bombed by Israel. Panic-stricken, family members wonder what the bomb hit. A quick glance outside reveals it was the house across the road—a huge mound of dust and rubble is all that remains. Ambulance is a raw and personal account of the 51 days in which his city and people were held under fire. On every one of those days he rides along in an ambulance, clinging to his camera to contain his fear—as he himself puts it. The heroic ambulance driver, who develops a love-hate relationship with the director and his camera, is a beacon of calm in the midst of the chaos. Time and again they race right into the heart of the war to pick up the wounded, despite the risk of being caught in a new bombardment. The agitated handheld footage is intercut with more reflective moments, such as when Jabaly looks out over the city from his rooftop, or when paramedics wash the blood from the ambulance.


Norway, Palestine, 2016 DCP, color, 78 min

Mohamed Jabaly:

Director: Mohamed Jabaly Cinematography: Mohamed Jabaly Editing: Nanna Frank Møller Production: John Arvid Berger for JAB Film Co-Production: Idioms Films Executive Production: Christine Cynn, Hermann Greuel, Kristian Mosvold, Gitte Hansen & Esther van Messel for First Hand Films World Sales: First Hand Films Screening Copy: Norwegian Film Institute Involved TV Channel: NRK Website: www.ambulancegazafilm.com

Pitched at the Forum 2015

directing debut

Best of Fests

Beauties of the Night Bellas de noche Maria José Cuevas

Mexico, 2016 DCP, color, 91 min

Maria José Cuevas: directing debut

Director: Maria José Cuevas Cinematography: Mark Powell, Maria José Cuevas Screenplay: Maria José Cuevas Editing: Ximena Cuevas Sound Design: Javier Umpierrez Production: Maria José Cuevas for Bella Productora, Christian Valdelièvre for Cinepantera Screening Copy: Bella Productora


The horror is still visible on the face of the elderly Mexican showgirl as she recalls how one of her lovers handed his socks to her. Bemused, she asked, “Why do you give me your socks?” “To wash them,” replied the man. She didn’t make it to the nightclub that evening, she recalls. This is just one of the many striking anecdotes from an inspiring portrait of five Mexican showgirls who were big stars in the 1970s. They’re still running the show, and sometimes still wearing their makeup, feathers and glitter. Everything about the film reflects the determination of first-time director María José Cuevas to take her time (over the course of 10 years) to do full justice to the lives of these five pioneering women. Perhaps their strongest shared trait is resilience. Take for example the scene in which one of them, dressed in full regalia, places her handprint on the local Walk of Fame and then takes off her wig in front of the gathered crowd, revealing the few wispy hairs on her head that remain after chemotherapy. In Beauties of the Night, no taboo is sacred.

Beware the Slenderman Irene Taylor Brodsky


USA, 2016 DCP, color / black-and-white, 114 min Director: Irene Taylor Brodsky Cinematography: Nick Midwig Editing: Gladys Mae Murphy Sound: Sophie Harris Sound Design: Lance Limbocker Music: Benoit Charest Production: Irene Taylor Brodsky & Sophie Harris for Vermilion Pictures World Sales: HBO Documentary Films Screening Copy: Vermilion Pictures

Irene Taylor Brodsky:

Hear and Now (2008) The Final Inch (2009) Saving Pelican 895 (2011) One Last Hug: Three Days at Grief Camp (2014) Open Your Eyes (2015)

Awards: Women Who Doc Award DocuWest Film Festival

In 2014, the American Midwest was rocked by an unfathomable crime when a teenage girl was stabbed and left for dead in the woods by her two best friends. The young perpetrators claimed that they had committed this act out of fear for “Slenderman.” The story circulating on the internet about this fictional bogeyman is that he abducts children—or is he perhaps a protector of children? This creepy figure is depicted as a slender and extremely tall man without a face, with tentacles protruding from his back. The suburban girls Morgan and Anissa became obsessed by this modern mythical figure. Countless reworked photographs, written testimonies and Blair Witch Project-style video clips had made his existence ever more plausible. The girls hatched a plan to kill their girlfriend Bella, as a sacrifice to ensure that Slenderman spared them. This chilling account goes further than standard true crime films by addressing the elusive and powerful influence of sinister websites on young children. Hoaxes and photographic montages make it more difficult than ever to distinguish fact from fantasy.


Best of Fests

Cameraperson Kirsten Johnson

What do a midwife in Nigeria, a boxer in Boston, a murderer from Texas and a traumatized Bosnian woman have in common? They all figure in the impressive visual archive of “cameraperson” Kirsten Johnson. Using 25 years of material from 24 authoritative films (including Fahrenheit 9/11, Pray the Devil Back to Hell and Citizenfour), Johnson has assembled a kaleidoscopic journey that takes us all over the world, challenging and surprising us at each new destination. On the one hand, the film is a self-portrait that gradually reveals insights into its maker’s way of looking, with Johnson allowing us occasional glimpses into her private life: we meet her children and her mother, who is suffering from dementia. On the other hand, it is an almost politically charged film that challenges us as viewers to think about how a filmmaker, simply by being present with a camera, is no longer just recording reality. In Johnson’s case, this presents a visible, recurring dilemma: at what moment does the role of observer necessarily turn into that of participant?

USA, 2016 DCP, color, 102 min Director: Kirsten Johnson Cinematography: Kirsten Johnson Editing: Nels Bangerter Production: Kirsten Johnson & Marilyn Ness for Big Mouth Productions Executive Production: Abigail Disney, Gini Reticker World Sales: CAT&Docs Screening Copy: CAT&Docs Website: www.camerapersonfilm.com

Kirsten Johnson:

Bintou in Paris (1995) Deadline (2004)

Awards: Harrell Award for Best Documentary Feature Camden International Film Festival, Feature Documentary Award DOXA Documentary Film Festival, Bruce Sinofsky Prize Best Documentary Feature Montclair Film Festival, Golden Gate Award Best Documentary Feature San Francisco International Film Festival, Grand Jury Award Sheffield International Doc Fest, Best International Documentary Film Zurich Film Festival a.o.

The Cinema Travellers Shirley Abraham, Amit Madheshiya

An affectionate, melancholy ode to a vanishing phenomenon in rural India: the traveling cinema. The huge projector has been repaired countless times by its ingenious operator. The tent and screen have seen better days, and the rusty truck that carries it all from place to place won’t hold out much longer. And even in the most remote villages, there is competition from TV. But this doesn’t deter the crew from doggedly carrying on. Nevertheless, modern technology is making its mark. Will the hard drive be the traveling cinema’s savior? Beautifully filmed observations of the ups and downs of life in and around the cinema—the tent is constantly on the move—are punctuated by the musings of the elderly projectionist in his workshop. He dreamily tells of his love for cinema as the camera shows us the dusty film canisters and homemade projector. Time seems to stand still, yet transience is palpable.


India, 2016 DCP, color, 96 min

Shirley Abraham:

Director: Shirley Abraham, Amit Madheshiya Cinematography: Amit Madheshiya Editing: Shirley Abraham, Amit Madheshiya Sound: Shirley Abraham Sound Design: Pete Horner Music: Laura Karpman, Nora Kroll-Rosenbaum Production: Shirley Abraham & Amit Madheshiya for Cave Pictures World Sales: Submarine Entertainment Screening Copy: Cave Pictures Website: www.thecinematravellers.com

directing debut

directing debut

Amit Madheshiya: Awards: Best Documentary Award Batumi International Art House Film Festival, Special Jury Prize: L’Oeil d’or: Le Prix du documentaire Cannes Film Festival, Grand Jury Prize for Documentary New Hampshire Film Festival

Best of Fests

Citizen Jane: Battle for the City Matt Tyrnauer


USA, 2016 DCP, color / black-and-white, 97 min

Matt Tyrnauer:

Valentino: The Last Emperor (2008)

Director: Matt Tyrnauer Cinematography: Chris Dapkins Editing: Daniel Morfesis Production: Matt Tyrnauer for Altimeter Films, Corey Reeser for Altimeter Films, Robert Hammond, Jess Van Garsse World Sales: Dogwoof Screening Copy: Dogwoof

The Canadian-American publicist and activist Jane Jacobs started her career as a journalist. Over the course of the 1950s and 1960s, she became an influential activist who propagated what were then controversial ideas about urban development and city planning. Jacobs, who died in 2006 at the age of 89, saw how so-called “urban renewal” programs destroyed more than they created, and she inspired local people to protest against the expropriation of their environment. Her book The Death and Life of Great American Cities proposes that cities owe their own vitality and the safety and well being of their inhabitants to the diversity of people and activities on the streets. Her opinions brought her into frequent conflict with the New York urban planner Robert Moses, who had very different ideas about what should constitute a modern city: he advocated replacing old neighborhoods with uniform apartment blocks and highways cutting right through residential areas. Citizen Jane: Battle for the City consists of an abundance of archive footage spanning from the 1920s to the present day, and includes interviews with contemporaries and experts in the field. It offers a broad overview of the dilemmas and opportunities encountered in the modern city.

Communion Komunia Anna Zamecka

Poland, 2016 DCP, color, 72 min

Anna Zamecka:

Director: Anna Zamecka Cinematography: Malgorzata Szylak Editing: Agnieszka Glinska, Anna Zamecka, Wojciech Janas Sound: Anna Rok Production: Anna Wydra for Otter Films Co-Production: Wajda Studio Sp. z o.o. World Sales: CAT&Docs Screening Copy: KFF Sales & Promotion Involved TV Channel: HBO Europe

Awards: Best Film Critic’s Week Locarno International Film Festival

directing debut

In her film debut, filmmaker and anthropologist Anna Zamecka places her camera right in the middle of the family of Ola, a teenage girl who almost singlehandedly cares for her little brother Nikodem and her alcoholic father. Her mother is completely out of the picture, as she moved in with her new boyfriend some time ago. Ola is forced to grow up extremely fast, and Nikodem’s autism doesn’t make her role as surrogate parent any easier. In spite of it all, she hasn’t given up the hope of a better future. As Nikodem’s First Communion approaches—and he wonders why greed is a sin, even getting into an argument about this with a priest in one fantastic scene—Ola strives to reunite the family. A tragic, in parts humorous and even cautiously optimistic portrait of two children left completely to their own devices, and an ode to the incredible strength of a combative fourteen-year-old girl.


Best of Fests

Dugma: The Button Paul Salahadin Refsdal

With undisguised pride, Abu Qaswara, an apparently good-natured man from Mecca shows off the armored vehicle that he will one day use in a suicide mission. With Allah’s blessing and one press of the button (the dugma of the title), he will dispatch the enemy to hell and himself to paradise. Abu Qaswara has volunteered for Jabhat al-Nusra, the Syrian branch of Al-Qaeda. The same goes for the British convert Abu Basir al-Britani, who no longer felt he belonged in his homeland and has now found comradeship and a sense of accomplishment as part of the Syrian jihad. Neither of them knows when his turn will come, but come it will—of that they are sure. In intimate and sometimes picturesque scenes, they speak affectionately about their loved ones. In the process, they become people made of flesh and blood, rising above the clichéd image of the bloodthirsty jihadist. Abu Qaswara, who can sing beautifully, urges his mother to adopt a more modern outlook, and Abu Basir al-Britani reflects on his new marriage and the possibility of fatherhood.

Norway, 2016 DCP, color, 58 min

Paul Salahadin Refsdal:

Director: Paul Salahadin Refsdal Cinematography: Paul Salahadin Refsdal Editing: Robert Stengård Sound: Svenn Jakobsen Production: Ingvil Giske for Medieoperatørene World Sales: Journeyman Pictures Screening Copy: Norwegian Film Institute

Awards: Best Mid-Length Documentary Award Hot Docs Canadian International Documentary Festival, Best Mid-Length Documentary Award Nordic/Docs, The Golden Chair Award for Best Documentary The Norwegian Short Film Festival: Gullstolen, National Film Award Amanda for Best Documentary

USA, 2016 DCP, color, 90 min

Andrew Rossi:

Taliban - Behind the Masks (2010)

The First Monday in May Andrew Rossi

In 2015, in the presence of a cavalcade of celebrities attending the Met Gala, curator Andrew Bolton opened China: Through the Looking Glass, a new fashion exhibition organized by the Costume Institute of New York’s Metropolitan Museum of Art. The galleries are crammed with ornamental creations that illustrate Asia’s influence on Western haute couture. The French fashion icon Jean Paul Gaultier explains how he was inspired by the colorful costumes in the 2000 Chinese film In the Mood for Love. Its director Wong Kar-Wai is appointed artistic director of the exhibition and works closely with Bolton and the gala organizer Anna Wintour, chief editor of Vogue. Film director Baz Luhrmann is in charge of decorating the event. In the run-up to the opening, director Andrew Rossi follows them all, even gaining access to Wintour’s private quarters. The exhilarating but exhausting preparations expose the gulfs and common ground between cultures: between East and West, and between art and fashion.


Director: Andrew Rossi Cinematography: Andrew Rossi, Bryan Sarkinen Editing: Andrew Rossi, Andrew Coffman, Chad Beck Production: Dawn Ostroff for Conde Nast Entertainment World Sales: Elle Driver Screening Copy: Elle Driver Website: www.firstmondayinmay.com

Eat this New York (2004) Le Cirque: A Table in Heaven (2007) A la une de New York Times (2011) Ivory Tower (2014)

Best of Fests

Forever Pure Beitar Maya Zinshtein

Ireland, The Netherlands, Israel, UK, Norway, 2016, DCP, color, 85 min

Maya Zinshtein:

Director: Maya Zinshtein Cinematography: Sergei (Israel) Freedman Editing: Noam Amit, Justine Wright Production: Geoff Arbourne for Duckin’ & Divin’ Productions, Maya Zinshtein for Maya Films, Alan Maher for Roads Entertainment, Torstein Grude for Piraya Film Executive Production: John Battsek & Nicole Stott for Passion Pictures World Sales: Dogwoof Screening Copy: Duckin’ & Divin’ Productions Involved TV Channels: BBC, YesDocu, DR, Canal+ Website: www.foreverpurefilm.com

Awards: The Van Leer Award for Best Director of a Documentary & The Haggiag Award for Best Editing Jerusalem Film Festival

directing debut

Beitar Jerusalem is the most popular and influential soccer team in Israel. It also happens to be the only one that has never contracted a Muslim player. Forever Pure follows the team over the tumultuous 2012-2013 season. The team’s owner is Arcadi Gaydamak, a wealthy Israeli-Russian with political ambitions and an extremely dubious reputation. Following a successful first few games, Gaydamak causes shockwaves when a secret transfer deal brings two Muslim players from Chechnya onto the team. Both young men have to face racist chants and choruses of whistles from the crowd; the slogans on the banners read “Death to the Arabs” and “Forever Pure.” Initially, the opposition comes from just a small group of radical fans, but one thing leads to another and it spirals into popular revolt and a total boycott. These events have huge consequences for the team— their performance takes a nosedive, there’s disunity among the players and a grim atmosphere in the stadium. This film is testimony to the devastating effects of racism.

Gaza Surf Club

Philip Gnadt, Mickey Yamine EUROPEAN PREMIERE

Germany, 2016 DCP, color, 87 min Director: Philip Gnadt, Mickey Yamine Cinematography: Niclas Reed Middleton Editing: Marlene Assmann, Helmar Jungmann Sound Design: Volker Pannes, David Rusitschka Music: Sary Hany Production: Mickey Yamine & Benny Theisen & Stephanie Yamine & Andreas Schaap for Little Bridge Pictures World Sales: MAGNETFILM Screening Copy: MAGNETFILM Involved TV Channel: WDR Website: www.gazasurfclub-film.com

Philip Gnadt:

Paula (2004) Zwölf Seiten (fiction, 2009) Walls (fiction, 2012)

Mickey Yamine: directing debut

Crammed into a dilapidated car, a group of young men with surfboards drive to the coast through the bombed-out streets of Gaza City. It’s a poignant picture that shows Palestinian youth trying against the odds to do something with their lives. Forty-twoyear-old Abu Jayab taught many of them how to surf—in often dangerous circumstances and without the right gear. They’ve all been bitten by the surf bug. “This beach is a prison,” says Abu, who has given up any hope of living in a time of peace. But Ibrahim is looking to the future. He wants to learn everything there is to know about surfing and making surfboards. He’s dreaming of going to Hawaii to visit his surf buddy Matthew, but first he needs to get a visa. And then there’s 15-year-old Sabah. She’s a talented surfer who’s not allowed in the water without a headscarf, according to Hamas rules. All these young people are trying to make their dreams come true in the depressing reality of the Gaza enclave.


Best of Fests

God Knows Where I Am Todd Wider, Jedd Wider

EUROPEAN PREMIERE A series of meticulously detailed journals form the basis for this reconstruction of the life of Linda Bishop. We also hear from the ones she left behind: her sister, a girlfriend, her daughter and the owner of the abandoned house where Linda hid herself away for the last few months of her life. Directors Jedd and Todd Wider use a variety of sources and allow her story to emerge a little at a time. Excerpts from her diary are read aloud over shots clearly showing what she saw and wrote about: the deserted house where she lived for one hard winter, the snowy surroundings and her everdwindling supply of apples. It looked like suicide to the police officer who found her body, but in truth it was a more complex story about a severely bipolar woman and a healthcare system that simply couldn’t handle her.

USA, 2016 DCP, color, 99 min

Todd Wider:

Director: Todd Wider, Jedd Wider Cinematography: Gerardo Puglia Editing: Keiko Deguchi Sound Design: Tom Paul Music: Robert Logan, Ivor Guest Narration: Linda Bishop Production: Jedd Wider & Todd Wider for Wider Film Projects World Sales: Cinephil Screening Copy: Cinephil Website: www.godknowswhereiam.com

directing debut

directing debut

Jedd Wider:

Awards: Best US Documentary Feature Film American Documentary Film Festival and Film Fund, Special Jury Prize for International Feature Documentary Hot Docs International Documentary Festival, Best Documentary Film Maryland International Film Festival, Jury Award for Best Feature Documentary Director & Jury Award for Best Cinematography in a Documentary Queens World Film Festival

Houston, We Have a Problem! Houston, imamo problem! Zˇiga Virc

Of course the Cold War was no walk in the park, but compared to the complex chaos in which the world now finds itself, the ideological struggle between capitalism and communism was at least easy to follow. It was also a golden age for those who like a good conspiracy theory. For example, the Kennedy administration secretly bought a wildly expensive space exploration program from Josip Broz, alias Tito. The United States wanted to be the first to put a man on the moon, and the Yugoslavian plan could be very helpful in achieving this goal. In the compelling docu-fiction Houston, We Have a Problem!, filmmaker Zˇiga Virc returns to the height of the Cold War in the 1960s. Through virtuoso editing of archive material, contemporary footage and interviews with the likes of philosopher Slavoj Žižek, Virc reconstructs how America and Yugoslavia dealt with one another, and how Tito was able to implement his “CocaCola Socialism.” The Yugoslavian economy benefitted, until disaster struck when the United States found out it had been sold a billion-dollar lemon and Kennedy demanded his money back.


Slovenia, Croatia, Germany, 2016 DCP, color / black-and-white, 88 min Director: Zˇiga Virc Cinematography: Andrej Virc Editing: Vladimir Gojun Production: Bostjan Virc for Studio Virc Co-Production: Nukleus Film, Sutor Kolonko World Sales: CAT&Docs Screening Copy: CAT&Docs Involved TV Channel: HBO Europe Website: www.houstonfilm.net

Zˇiga Virc:

Sky Above the Town (fiction, 2008) Trieste Is Ours! (fiction, 2010) Call from the Mountains (2011) War Games (2012) Crescent Above Edelweiss (2013) a.o.

Best of Fests

An Insignificant Man Khushboo Ranka, Vinay Shukla

India, 2016 DCP, color, 96 min

Khushboo Ranka:

Director: Khushboo Ranka, Vinay Shukla Cinematography: Vinay Shukla, Khushboo Ranka, Vinay Rohira Editing: Abhinav Tyagi, Manan Bhatt Sound Design: P.M. Satheesh Music: Ola Flottum Production: Khushboo Ranka for Stories & Other Stories, Vinay Shukla for Friendly People, Anand Gandhi for Memesys Culture Lab Co-Production: One Eyed Turtle Executive Production: Vijay Vaidyanathan for EDHEC Screening Copy: Memesys Culture Lab Website: www.insignificantman.com

Bureacracy Sonata (2011)

Continuum (2006)

Vinay Shukla:

A chronicle of the spectacular rise of the Common Man’s Party (AAP) in India. The party’s logo, a broom, symbolizes its battle against the political establishment. Activist Arvind Kejriwal established the AAP in 2012 after the India Against Corruption protest movement failed to get an anti-corruption law passed. He used it as a vehicle to campaign for that year’s parliamentary elections in the National Capital Territory of Delhi. The film’s directors Khushboo Ranka and Vinay Shukla follow the campaign from its early beginnings and document the transformation of a grassroots movement into a significant political force—with all the internal conflicts that can entail. The increasing popularity of the party is matched by a growing ferocity in the campaign. At first the opponents of these political newcomers downplay the AAP’s importance; later on, however, the media resort to outright slander and the integrity of the party members is suddenly brought into question.

IDFAcademy Results


Sara Jordenö

Sweden, USA, 2016 DCP, color, 94 min

Sara Jordenö:

Director: Sara Jordenö Cinematography: Naiti Gámez Editing: Rasmus Ohlander Production: Annika Rogell for Story, Lori Cheatle for Hard Working Movies World Sales: Films Boutique Screening Copy: Swedish Film Institute

Awards: Teddy Award Best Documentary Berlinale Film Festival, Inspiration Award Full Frame Documentary Film Festival, Special Programming Award Outfest

directing debut

The Kiki scene is home to a group of young LGBTQ New Yorkers, many of whom are people of color. The scene provides a sanctuary from the rules and regulations usually imposed at home, which among other things state that boys should like girls and shouldn’t take dancing lessons. Within the safe Kiki world there is space for lively dance contests, as well as for discussions on serious political issues such as the role of the president in the HIV debate. It also allows for candid group conversations about prostitution: a path some transgender people choose to earn the money for expensive operations and hormones. These painstakingly filmed portraits of members of the Kiki scene, often shot up close, stress filmmaker Sara Jordenö’s desire to reveal the distinctiveness of this group, as well as to show them as human beings, free from rigid labels imposing sexuality or gender. “I’m a person” is one of the most powerful one-liners in this energetic feast for the eyes.


Best of Fests

The Last Laugh Ferne Pearlstein

A really good joke pushes at the boundaries of what’s acceptable, but when is the line actually crossed? Should good taste always be taken into consideration, or does freedom of speech mean anything goes, including jokes about pedophilia, 9/11 and the Holocaust? And if so, who really can’t make such jokes, and who perhaps can? Various well-known writers, producers and comics—from Mel Brooks and Larry Charles to Lisa Lampanelli, David Cross and Sarah Silverman—speak candidly about their personal taste and choices. These interviews are illustrated by excerpts from their own work and jokes told by others. All of the interviewees comment on various stances—what some consider a great joke, others find tasteless, or worse. How do Holocaust survivors respond to jokes about this sensitive subject, for example? And what role does the passing of time play in this? From the “Soup Nazi” on Seinfeld to Charles Chaplin’s Great Dictator and Chris Rock on racism, each fragment offers a more or less successful take on humor and some honest answers to uncomfortable questions.

USA, 2016 DCP, color, 89 min Director: Ferne Pearlstein Cinematography: Ferne Pearlstein, Anne Etheridge Editing: Ferne Pearlstein Production: Ferne Pearlstein, Robert Edwards, Amy Hobby & Anne Hubbell for Tangerine Entertainment, Jan Warner World Sales: Journeyman Pictures Screening Copy: The Film Collaborative

Ferne Pearlstein:

Raising Nicholas (1993) To Meet the Elephant (1995) Dita and the Family Business (2001) Sumo East and West (2003)

Life, Animated Roger Ross Williams

Back in the 1990s, the parents of a cheerful, babbling toddler named Owen Suskind faced an enigma when their three-year-old son lost his ability to speak and his motor skills, seemingly from one moment to the next. The eventual diagnosis was autism, and the specialists predicted he would probably never be able to talk again. For many years, this seemed to be the case—until Owen came out of his shell thanks to films he really loved, such as Aladdin and Bambi, and suddenly started speaking—in whole sentence. Without anyone noticing, it seems that he started to understand his world through the Disney cartoons. Director Roger Ross Williams tells Owen’s inspirational story using impressive footage from the family archive and a series of wonderful animations based on drawings done by the young Owen, who is now in his early twenties and planning to live on his own in the very near future.


USA, 2016 DCP, color / black-and-white, 91 min Director: Roger Ross Williams Cinematography: Tom Bergmann Editing: Richard Hankin Music: Dylan Stark, Todd Griffin Animation: Mac Guff Production: Roger Ross Williams, Julie Goldman for Motto Pictures Executive Production: Molly Thompson for A&E Networks, Robert DeBitetto, Robert Sharenow, Ron Suskind World Sales/Screening Copy: Dogwoof Distribution for the Netherlands: Periscoop Film Website: www.lifeanimateddoc.com

Roger Ross Williams:

Music by Prudence (2010) God Loves Uganda (2013) Gospel of Intolerance (2015) Blackface (2015) a.o.

Awards: Audience Award Berkshire International Film Festival, Directing Award: U.S. Documentary Sundance, Audience Award Telluride Mountainfilm Festival, Audience Award Full Frame Film Festival, Audience Award Nantucket Film Festival, Audience Award San Francisco International Film Festival

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Best of Fests

Living with Giants

Sébastien Rist, Aude Leroux-Lévesque INTERNATIONAL PREMIERE

Canada, 2016 DCP, color, 78 min Director: Sébastien Rist, Aude Leroux-Lévesque Cinematography/Sound: Sébastien Rist, Aude Leroux-Lévesque Editing: René Roberge Sound Design: Gaël Poisson-Lemay, Jean-Pierre Bissonnette, Isabelle Favreau Production: Jean-Simon Chartier for MC2 Communication Media World Sales: MC2 Communication Media Screening Copy: MC2 Communication Media Involved TV Channel: The Documentary Channel Website: www.livingwithgiants.ca

Sébastien Rist & Aude Leroux-Lévesque: Call Me Salma (2010) Au pied du mur (2013)

Sébastien Rist:

This Little Piggy (fiction, 2008) Vue d’en haut (2012)

Aude Leroux-Lévesque:

Camille and the Musical Cherries (2007)

Awards: Emerging Canadian Filmmaker Award Hot Docs International Film Festival

The imaginative 17-year-old Paulusie lives in a remote village close to the Arctic Circle. Against a backdrop of desolate tundra, an ice-blue ocean and endless skies, the young Inuit takes his first steps in love, as he looks forward to the day his adult life will begin. In fly-on-the-wall style, the camera follows Paulusie during intimate moments: at home with his elderly adoptive parents, at parties with his friends, or on a boat trip and seal hunt with his girlfriend in the far north of Canada. In voice-over, Paulusie talks about his thoughts, dreams and ambitions. Chattering innocently, he and his girlfriend take selfies in bed, or blow up balloons for a wedding party. A sudden mistake leaves him racked with guilt, leading to tragic developments and a darker storyline. This dreamy coming-of-age story touches on the wider, underlying problem of the high rate of suicide and alcoholism among young Inuit, but also illustrates the resilience of teenagers and their fading innocence.

LoveTrue Alma Har’el

Israel, USA, 2016 DCP, color, 82 min

Alma Har’el:

Director: Alma Har’el Cinematography: Alma Har’el, Theo Stanley Editing: Alma Har’el, Terry Yates Sound Design: Zach Seivers Music: Flying Lotus Production: Christopher Leggett for Delirio Films, Rafael Marmor Executive Production: Shia LaBeouf World Sales: Dogwoof Screening Copy: Dogwoof Website: www.lovetruefilm.com

Awards: Best Documentary Award Karlovy Vary International Film Festival

Bombay Beach (2011)

How do young people handle it when they discover that love is not always unconditional, pure and everlasting? In this American three-parter, video director and experimental documentary filmmaker Alma Har’el examines the myth of true love. She goes to Alaska to follow a stripper named Blake, a young woman who says she was born a nerd. Her boyfriend, who suffers from a rare bone disease, doesn’t want to have sex with her. Willie sells locally produced coconuts in Hawaii, and recently discovered he isn’t the biological father of his two-year-old son. And in New York, singer-songwriter Victory is struggling with the consequences of her parents’ rocky divorce. As she did in her award-winning debut film Bombay Beach, Har’el effortlessly interweaves fact and fiction against the hypnotic backdrop of the soundtrack by Flying Lotus. In poetic reenacted dream sequences, she returns with Blake, Willie and Victory to life-changing moments from their youth, with their younger selves portrayed by actors.


Best of Fests

Mapplethorpe: Look at the Pictures Fenton Bailey, Randy Barbato The only thing more controversial than the work of world-famous New York homoerotic photographer Robert Mapplethorpe (1946-1989) was his life. This is a portrait of an artist who elevated contemporary photography to fine art, unleashing a cultural conflict that continues to rage. The documentary’s title is derived from a call by an outraged homophobic U.S. senator named Jesse Helms, who went to court to get a Mapplethorpe exhibition closed down in 1989. We follow curators from the J. Paul Getty Museum and the Los Angeles County Museum of Art as they prepare a parallel retrospective of Mapplethorpe’s work. Their observations on sexuality, portraits, self-portraits and floral still lives form the framework for a biography of the artist that includes interviews with members of Mapplethorpe’s family, friends, colleagues, neighbors, models, lovers, art critics and collectors. All of them are shot in color using a Hasselblad, the characteristic camera with which Mapplethorpe took his black-and-white photos. Thanks to old audio recordings, Mapplethorpe himself—who died of AIDS at 42—frequently takes on the role of narrator.

USA, 2016 DCP, color / black-and-white, 108 min Director: Fenton Bailey, Randy Barbato Cinematography: Huy Truong, Mario Panagiotopoulos Editing: Langdon Page Sound: Jim Moncur, Tayman Strahorn Music: David Benjamin Steinberg Production: Katharina Otto-Bernstein & Mona Card & Fenton Bailey & Randy Barbato for World of Wonder Executive Production: Sheila Nevins for HBO Documentary Films World Sales: Dogwoof Screening Copy: Dogwoof Website: www.mapplethorpefilm.com

Fenton Bailey & Randy Barbato:

Shantay (1997) Party Monster (1998) The Eyes of Tammy Faye (2000) 101 Rent Boys (2000) Out of the Closet, Off the Screen: The Life of William Haines (2001) Party Monster (fiction, 2003) Inside Deep Throat (2005) Becoming Chaz (2011) The Strange History of Don’t Ask, Don’t Tell (2011) a.o.

Maya Angelou: And Still I Rise Bob Hercules, Rita Coburn Whack

This loving portrait focuses on poet, author, and civil rights activist Maya Angelou (1928-2014), who played a major role in the American Civil Rights movement alongside Martin Luther King, Jr. and Malcolm X. Her autobiographical novels, plays and film scripts made a huge impact on African-American culture. Directors Bob Hercules and Rita Coburn Whack let her tell her own, powerful story, supplementing it with quotes from admirers including Bill Clinton and Oprah Winfrey. Looking back on her troubled childhood in segregation-era Arkansas, she speaks revealingly about how she was abused by a friend of her mother’s, whom she did not speak to for five years. It was in this period that she developed her love for literature and poetry. She talks without embarrassment about the loss of her virginity, her early career as a prostitute, nightclub dancer and calypso diva, and her tumultuous love life. Maya Angelou: And Still I Rise is a testament to a life lived to the full, without shame or regrets.


USA, 2016 DCP, color / black-and-white, 114 min Director: Bob Hercules, Rita Coburn Whack Cinematography: Keith Walker Editing: David Simpson, Lillian Benson Music: Stephen James Taylor Production: Bob Hercules for Media Process Group, Rita Coburn Whack Executive Production: Reuben Cannon, Marquetta Glass World Sales: PBS Distribution Screening Copy: The People’s Poet Media Group

Bob Hercules:

Billy Bragg: Which Side Are You On (1989), Did They Buy It: Nicaragua’s 1990 Elections (1990), America’s Great Indian Nations (1992), The Last Frontier (fiction, 2001), Forgiving Dr. Mengle (2006), Senator Obama Goes to Africa (2007), Radical Disciple: The Story of Father Pfleger (2009) a.o.

Rita Coburn Whack: directing debut

Best of Fests

Monster in the Mind Jean Carper

USA, 2016 DCP, color, 87 min

Jean Carper:

directing debut

Director: Jean Carper Cinematography: Ellen Kuras Editing: Phyllis Housen, Christopher Radcliff Sound: Presley Adamson Production: Jean Carper for Jean Carper Productions LLC Executive Production: Lee Koromvokis World Sales: Films Transit International Screening Copy: Films Transit International Website: www.monsterinthemind.com

Thirty years ago, medical journalist Jean Carper made a CNN documentary about Alzheimer’s, a disease that still poses one of the biggest threats to the aging Western population. Back then, it was predicted that a treatment for the condition would be found within 30 years. Carper, who is over 80 now, carries the gene found in Alzheimer’s patients. She decides to travel the world to see how the research is progressing. She interviews scientists and other experts and undergoes all kinds of tests to find out what her chances are of developing the dreaded condition. Carper tackles this thorny topic head on, but with a sense of perspective. Footage from film archives and old B-movies helps illustrate the extent to which our ideas about the condition are dominated by exaggerated fears, not to mention unrealistic expectations about what medical science can do.

National Bird Sonia Kennebeck

USA, Germany, 2016 DCP, color, 92 min Director: Sonia Kennebeck Cinematography: Torsten Lapp Editing: Maxine Goedicke Sound Design: Sebastian Tesch Music: Insa Rudolph Production: Sonia Kennebeck & Ines Hofmann Kanna for Ten Forward Films LLC Executive Production: Errol Morris, Wim Wenders World Sales: Ro*co Films International Screening Copy: Ro*co Films International Involved TV Channels: ITVS, NDR Website: www.nationalbirdfilm.com

Sonia Kennebeck: directing debut

Three American veterans who played various roles in drone attacks in the Middle East have now come forward as whistleblowers. From their stories, we learn that it isn’t by chance that attacks using unmanned aircraft cause so many civilian deaths; they aren’t as well-planned and accurate as President Obama claims. National Bird examines the personal consequences for the veterans: Heather suffers from post-traumatic stress disorder, Daniel became an activist and is scared of being arrested for treason, and Lisa is racked with guilt for having caused people to die. She even travels to Afghanistan to meet the family members of those killed by a drone, revealing the consequences of the remote and anonymous act of a soldier sitting at a screen in the United States. The transcript of a radio conversation between soldiers forms a powerful reconstruction of a lethal attack on a group of people who, it later turned out, were of no danger. The drone footage of Afghanistan is intercut with aerial shots of American streets, highlighting the randomness of the attacks.


Best of Fests

On Call

La permanence Alice Diop “Shall we start with the uninsured?” someone suggests, as Doctor Jean Pierre Geeraert begins his workday. “No one here has insurance,” is his laconic reply. This is the consulting service at Avicenne Hospital, a hospital in the Paris suburb of Bobigny. It’s the only place for miles around where newly arrived immigrants, often in the country illegally or waiting for documentation, can come. Sober but understanding, the doctor listens, assisted by a psychiatrist. His patients are troubled not only by headaches or insomnia, but also struggle with bureaucracy, forms, long lines, the search for somewhere to sleep—and all this on top of the traumas of fleeing their homes and leaving their families. Equally sober, Alice Diop scrupulously films these sessions, the camera never leaving the consulting room. At times there’s hope or a joyful moment of success. But much more often, there’s simply the knowledge that a painkiller or anti-depressant will have little effect on the sorrow and powerlessness of these displaced people.

France, 2016 DCP, color, 97 min Director: Alice Diop Cinematography: Alice Diop Editing: Amrita David Sound: Clément Alline Sound Design: Séverin Favriau Production: Sophie Salbot for Athénaïse Screening Copy: Athénaïse Involved TV Channel: ARTE France

Alice Diop:

La Tour du monde (2005) Clichy pour l’exemple (2005) Les Sénégalaises et la sénégauloise (2007) Danton’s Death (2010)

Awards: Prix Marcorelles Award Cinéma du Réel Festival

Peshmerga Bernard-Henri Lévy

In an unlikely pairing, a battalion of fearless freedom fighters and a prominent French intellectual go to war together. Peshmerga Kurdish freedom fighters are the only forces who fight man-to-man—or woman-to-man—against IS, and not without success. Bernard-Henri Lévy is an influential philosopher and author who has previously reported on conflicts in Libya and Ukraine. In 2015, he was in Iraqi Kurdistan to find out more about the Peshmerga. Lévy spends six months with them as they travel from south to north towards Mosul. They are always just a few kilometers from the enemy. The journey entails lots of driving across open sandy plains that are often riddled with mines. In abandoned villages they come across the traces left by IS, but sometimes the threat is much more frighteningly immediate. Lévy supplies the explanatory commentary and raises philosophical questions about his illustrious companions. This is both an essay on modern warfare and a tribute to the courage and ideals of the Peshmerga.


France, 2016 DCP, color, 92 min Director: Bernard-Henri Lévy Cinematography: Ala Hoshyar Tayyeb, Olivier Jacquin, Camille Lotteau Editing: Camille Lotteau Sound: Antoine Bailly, Jean-Daniel Bécache, Thomas Fourel Music: Nicolas Ker, Jean-Fabien Dijoud, Henri Graetz Production: Francois Margolin for Margo Cinema, Bernard-Henri Lévy Involved TV Channel: ARTE France, Canal+ World Sales/Screening Copy: Cinephil

Bernard-Henri Lévy:

Bosna! (1994) Le jour et la nuit (fiction, 1996) Le Serment de Tobrouk (2011)

Best of Fests

Raving Iran

Susanne Regina Meures

Switzerland, 2016 DCP, color, 84 min

Susanne Regina Meures:

Director: Susanne Regina Meures Cinematography: Gabriel Lobos, Susanne Regina Meures Editing: Rebecca Trösch Sound Design: Jacques Kieffer, Gina Keller, Guido Keller Music: Blade & Beard, Ghazal Shakeri, Roland Widmer, Stefan Willenegger Production: Christian Frei for Christian Frei Filmproductions Co-Production: Zürcher Hochschule der Künste World Sales/Screening Copy: Rise and Shine World Sales Website: www.ravingiran.com

Awards: Prix du Jury SSA/Suissimage Visions Du Réel for most innovative Swiss film, Best Documentary Guanajuato International Film Festival, Best Film Solo Positivo Film Festival, Audience Award Solo Positivo Film Festival, Best Documentary Film Filmfestival Kitzbühel, First Steps Award for Documentary Film Berlin

directing debut

They call themselves Blade & Beard—two DJs who are making inroads with their own brand of melodic “deep house.” Illegal inroads, that is, as Anoosh and Arash live in Iran, where the moral police have banned all forms of techno or house music. They are nevertheless able to spread their beats thanks to the underground music circuit, but it’s far from easy. They both hunger for a normal life, out in the open—but without having to compromise their musical dreams. The young men know this is only possible outside of Iran. When they receive an invitation to play at the Lethargy techno festival in Zurich, they recognize that the time has come to make a big decision. Susanne Regina Meurs followed Anoosh and Arash from September 2013 to August 2014, during a crucial phase in their lives. She films their life in Tehran, where they are constantly on their guard, and captures them as they experience the freedom of Switzerland. Most of the footage was shot using mobile phones, for reasons of security. The result is a raw but poetic story of two young men at a crossroads in their lives.


Tomas Koolhaas

USA, The Netherlands, 2016 DCP, color, 75 min Director: Tomas Koolhaas Cinematography: Tomas Koolhaas Editing: Tomas Koolhaas Sound Design: Barry Neely Music: Murray Hidary Production: Tomas Koolhaas World Sales: Tomas Koolhaas Screening Copy: Tomas Koolhaas Website: www.remdocumentary.org

Tomas Koolhaas: directing debut

Rem Koolhaas is the best-known architect in the Netherlands and is also highly influential abroad. In his home base of Rotterdam, buildings such as the Kunsthal museum and City Hall testify to his talent and vision, and he’s responsible for iconic buildings all over the world, including the CCTV headquarters in Beijing, China and the Casa da Música in Porto, Portugal. Filmmaker Tomas Koolhaas made this portrait of his famous father, following him on trips overseas and interviewing the people who use some of his buildings, such as the Boudets, who live in the celebrated Villa dall’Ava in Paris, and the homeless people for whom the public library in Seattle has virtually become a home. The young Koolhaas mainly films his father in close-up, but never interviews him directly; in voice-over we hear Rem discuss his ideas on architecture, beauty, functionality, art and life in general. Supported by a powerful soundtrack, his statements create a picture of a man for whom architecture is much more than just a profession or vocation—it’s his life.


Best of Fests


Relève Alban Teurlai, Thierry Demaizière It’s June 2015, and 39 days to go before the premiere of Benjamin Millepied’s first choreography for the Paris Opera. He has just received the composition by Nico Muhly and is trying out the first steps. They days tick relentlessly by. After 20 years as principal dancer with the New York City Ballet, Millepied has been appointed dance director of the revered Parisian institution’s ballet company. For his dance piece Clear, Loud, Bright, Forward, he has selected 16 young dancers. He tells them that technique is just a means of achieving expression and emotion. “Feel free and dance with pleasure.” At times up close and personal, at others fluid and poetic, Reset scrupulously follows the process—from daily rehearsals and sprained feet to the administrative planning and the threat of a strike; from the energy in the dancers’ movements to the concentration in their eyes. In the meantime, Millepied explains that he wants to bring a breath of fresh air to the institution. We experience the passion and inspiration of the creative process—followed by an unexpected denouement in the end credits.

France, 2015 DCP, color, 110 min Director: Alban Teurlai, Thierry Demaizière Cinematography: Alban Teurlai Editing: Alban Teurlai, Alice Moine Sound: Emmanuel Guionet Music: Pierre Aviat Production: Stéphanie Schorter for Falabracks Co-Production: Opéra national de Paris World Sales: Upside Distribution Screening Copy: Upside Distribution Involved TV Channel: Canal+

Alban Teurlai & Thierry Demaizière:

L’Ordre des choses, l’amiral De Gaulle raconte son père dans l’intimité de la boisserie (2004) Lost in Vegas (2007) Karl Lagerfeld, un roi seul (2008) Robert Luchini dit fabrice (2009) Thuram (2009) Ces messieurs dames (2010) Troufions (2011) Revolvers (2012) Entre autres (2013) Le couple (2015)


Michele Santoro INTERNATIONAL PREMIERE “See Naples and die” applies very literally to those born in the poor neighborhoods of this Italian city ruled by the clans, who provide for themselves and their families through crime: drug dealing, robbery and theft. Dying young is commonplace, doing time in jail pretty much a given. Director Michele Santoro visits various families: the young men who are incarcerated, the women who feed their children from the proceeds of selling drugs or prostituting themselves; and parents who are desperately wondering how to break out of this cycle. A whole generation of tough teenagers is ready to take over from older brothers and friends who have become legends, were shot to death or are in prison. The candid and often moving interviews are interspersed with beautifully shot, atmospheric and grim images of Naples: the characteristic alleyways, the buzzing nightlife and the bodies of the dead, mourned only by their direct relatives.


Italy, 2016 DCP, color, 97 min Director: Michele Santoro Cinematography: Raoul Garzia, Marco Ronca Screenplay: Michele Santoro, Maddalena Oliva, Micaela Farrocco Editing: Alessandro Renna Music: Lele Marchitelli Production: Michele Santoro for Zerostudio’s, Sandro Parenzo for Videa Next Station World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales

Michele Santoro: directing debut

Best of Fests


Andrew Becker, Daniel Mehrer

USA, 2016 DCP, color, 82 min

Andrew Becker:

Director: Andrew Becker, Daniel Mehrer Cinematography: Andrew Becker, Daniel Mehrer Editing: Andrew Becker Sound: Andrew Becker, Daniel Mehrer Sound Design: Andrew Becker Music: Andrew Becker Production: Daniel Mehrer for What Delicate Pictures, Cristina de la Torre Co-Production: Radical Media World Sales: What Delicate Pictures Screening Copy: What Delicate Pictures Website: www.santoalla.com

directing debut

directing debut

Daniel Mehrer:

In this true crime film, the makers investigate the mysterious disappearance of a Dutchman in Santa Eulalia in Galicia, in the northwest of Spain. The hamlet, known locally as Santoalla, had just a few inhabitants when Martin Verfondern and Margo Pool moved into one of the deserted ruins to live a simple life on the land—a dream they had long cherished. But the arrival of these two headstrong foreigners disrupted the traditional life of the sole remaining family, who was not impressed with their plans for an agriturismo. Interviews with Margo and archive footage from local TV reveal how tensions between the two parties came to a head. Following a decade of quarreling, Martin went missing, leaving Margo behind with a lot of questions. Questions her neighbors will not answer: the woman next door maintains that she knows nothing. Everyone we meet would make excellent characters in a nail-biting thriller, set against the backdrop of a forgotten landscape.

Seed: The Untold Story Taggart Siegel, Jon Betz

USA, 2016 DCP, color, 94 min Director: Taggart Siegel, Jon Betz Cinematography: Taggart Siegel Editing: Taggart Siegel, Jon Betz Sound: Jon Betz Sound Design: Eric Stolberg Production: Taggart Siegel & Jon Betz for Collective Eye Films Executive Production: Marisa Tomei, Marc Turtletaub, Phil Fairclough World Sales: Cargo Film & Releasing Screening Copy: Collective Eye Films Website: www.seedthemovie.com

Taggart Siegel:

Broadcast World Wide between Two Worlds (1984), Blue Collar and Buddha (1989), Ember Days (1989), Heart Broken in Half (1990), The Real Dirt on Farmer John (2006), Queen of the Sun: What Are the Bees Telling Us? (2010)

Jon Betz:

directing debut

Awards: Environmental Award Sheffield Doc/Fest, Green Planet Award Rhode Island, Grand Jury Prize for Best Documentary Nashville Film Festival, Best in Festival Princeton Environmental Film Festival

Seeds are perhaps our most precious commodity, but many are as endangered as the polar bear or the panda. In the 20th century, 94 percent of our seed varieties disappeared. One example cited by the avid seed collectors in this film shows the kind of catastrophe this loss can cause: the Irish Potato Famine in the mid-19th century came about because most of the potatoes grown were of a single variety. Lack of diversity means greater vulnerability, the collectors unanimously agree. They show that nature finds its own solutions for extreme weather conditions. There’s even an edible plant that can go for three years without water. Their enthusiasm for the wonders of seeds and plants is infectious, and the beautifully lit close-ups of the most unusual specimens are stunning. From the perspective of victims and adversaries, we see how a company like Monsanto, with its patents, monoculture and pesticides, can endanger this rich heritage and the health of farmers, rural people and consumers. The power the company wields is evident from the senior political positions that some of its employees have held.


Best of Fests

The Settlers Shimon Dotan

The Six-Day War in 1967 marked the start of colonization of the occupied Palestinian territories. Or of the “liberated territories,” according to the early Israeli colonists who thought they had a God-given right to this land. Successive Israeli administrations have turned a blind eye to this for political reasons, or have not felt able to stop the colonization. Now, almost 50 years later, the West Bank of the Jordan River is a patchwork of Israeli settlements and outposts, as well as Palestinian towns and villages—a Gordian knot that makes the peace process significantly more difficult. The colonists see themselves as leaders of Israeli society, filmmaker Shimon Dotan explains in the voice-over. “But the question is, where are they leading it? Is it to divine redemption, as they claim? Or is it to an apartheid state?” Dotan doesn’t have a ready answer. Instead, he sets out a historical overview in which leading members of the colonizing movement look back at the genesis of the colonization. These interviews are intercut with archive material, and drawings of significant events mark the twists in Dotan’s story.

Israel, France, Canada, Germany, 2016 DCP, color / black-and-white, 110 min Director: Shimon Dotan Cinematography: Philippe Bellaiche Editing: Oron Adar Sound Design: Alex Claude Music: Raymond C. Fabi Production: Shimon Dotan for Roam Films, Estelle Fialon for Les Films du Poisson, Jonathan Aroch for Talisma Productions, Paul Cadieux for Filmoption International World Sales: Cinephil Screening Copy: Cinephil Involved TV Channels: ARTE, YesDocu, NDR, BR, HR

Shimon Dotan:

Tzlila Chozeret (fiction, 1982) Hiuch HaGdi (fiction, 1986) The Finest Hour (fiction, 1992) Warriors (fiction, 1994) Coyote Run (fiction, 1996) You Can Thank Me Later (fiction, 1999) Hot House (2006) Diamond Dogs (fiction, 2007)

Shalom Italia Tamar Tal-Anati

EUROPEAN PREMIERE Three Jewish-Italian brothers ages 73, 82 and 84 and now living in Israel meet up 70 years later to search for the place where they and their parents hid to escape the Nazis during World War II. They travel through Tuscany, past places where they lived, and wander through a dense forest looking for remains of the shelter built by their father from rocks, which for a long time was their home. The brothers are strikingly sharp-witted and physically fit, but during this time together they sometimes face painful confrontations with their differences, and the limitations of their aging bodies. Often while enjoying a hearty Italian meal and good wine, they discuss the relative accuracy of their respective memories, with good humor and brotherly bickering. This gives the film a universal quality as a story about the tense relationship between history and the way our memories work.


Israel, Germany, 2016 DCP, color, 71 min Director: Tamar Tal-Anati Cinematography: Emmanuelle Mayer Editing: Boaz Lion Sound Design: Kai Tebbel Music: Kobi Vitman Production: Tamar Tal-Anati for Tamar Tal Films, Hilla Medalia for kNow Productions World Sales: The Film Sales Company Screening Copy: The Film Sales Company

Tamar Tal:

Life in Stills (2011)

Best of Fests

Southwest of Salem:

The Story of the San Antonio Four Deborah Esquenazi

USA, 2016 DCP, color, 91 min

Deborah Esquenazi:

Director: Deborah Esquenazi Cinematography: Deborah Esquenazi Editing: Leah Marino, Liz Perlman Music: Sam Lipman, Trio Los Vigilantes Production: Deborah Esquenazi for Deborah S. Esquenazi Productions, Sam Tabet for Sam Tabet Pictures Executive Production: Daniel J. Chalfen & Jim Butterworth for Naked Edge Films, Julie Goldman & Christopher Clements for Motto Pictures World Sales: FilmRise Screening Copy: FilmRise Website: www.southwestofsalem.com

Awards: Best Documentary Jury award Frameline Film Festival, Best Documentary Grand Jury Award Outfest, Audience Award OUTeast Film Festival, Audience Award Documentary Feature & Cheryl Maples Social Justice Award Kaleidoscope Film Festival, Marvin Louis Booker Shoes of Justice Award DocuWest International Film Festival

directing debut

After being falsely accused of the gang rape of two young girls, Elizabeth Ramirez and her lesbian friends Cassandra, Kristie and Anna were convicted and jailed in San Antonio, Texas. This documentary shows the dubious circumstances that contributed to the verdict, marked by sloppy science, homophobia and a bizarre fear of Satanism and witchcraft. In the 1980s and 1990s, the United States suffered from a “satanic panic,” explains Debbie Nathan, author of the book Satan’s Silence and one of those interviewed in this carefully constructed documentary. Twelve years later, the case comes back to life: one of the allegedly raped girls says that she doesn’t remember any of it. A doctor who provided the physical evidence of penetration during the original trial admits that the science of the time was unable to prove something like this. The San Antonio Four are out of prison on bond, but they will only feel liberated when their names are cleared and all charges are dropped.

Tempestad Tatiana Huezo

Mexico, 2016 DCP, color, 105 min Director: Tatiana Huezo Cinematography: Ernesto Pardo Editing: Lucrecia Gutiérrez Maupomé, Tatiana Huezo Sound: Federico González Jordán Sound Design: Lena Esquenazi Music: Leonardo Heiblum, Jacobo Lieberman Production: Nicolas Celis & Sebastián Celis for Pimienta Films Co-Production: Cactus Films, Terminal Pictures World Sales/Screening Copy: Cinephil Website: www.tempestadthefilm.com

Tatiana Huezo:

Caustic Time (fiction, 1997) The Core of the Earth (fiction, 2001) Family Portrait (2005) The Tiniest Place (2011) The Empty Classroom (fiction, 2015) Absences (2015)

Awards: Arri Amira Award DOK. Fest Munich, Tim Hetherington Award Sheffield Doc/Fest, Best Documentary Festival de Lima

On a normal day on her way to work, Miriam is arrested on suspicion of human trafficking. While the government reports that a criminal gang has been rounded up, in reality a group of innocent Mexicans has fallen victim to the vagaries of a corrupt system. Miriam is held for more than a year in a prison run by a drug cartel, and her family has to pay for her protection. In jail, Miriam faces extortion, humiliation and extreme violence, memories that will continue to haunt her for years to come. A circus artist named Adela is also a victim: her daughter Monica was kidnapped by human traffickers 10 years ago and has never come back. The horrific abductions, the unseen civil war between the government and the drug cartels and the ubiquitous fear this brings about are revealed through poetic, meditative images of everyday life in Mexico, with Miriam and Adela providing a voice-over.


Best of Fests

Those Who Jump

Les sauteurs Estephan Wagner, Moritz Siebert, Abou Bakar Sidibé A large group of African migrants struggles to survive in primitive conditions on a hillside in northern Morocco. Every day, they look out over the Spanish enclave of Melilla, and beyond it the Mediterranean. Dreaming of a new life in Europe, they make plans to cross the border illegally. But the border is a physical obstacle in the form of a high fence, one that is watched by surveillance cameras day and night, and behind which police officers stand ready to deal harshly with anyone who dares to make the jump. Only a few make it across. Others get caught, give up or lose their lives in the attempt. Moroccan police frequently come up the mountain, chase away the migrants and burn their scanty belongings. Those Who Jump is a raw, unpolished record of a brutal existence, due largely to the fact that the camerawork is carried out by one of the migrants, a Malinese man named Abou Sidibé. Protagonists in the global migration drama are frequently invisible and voiceless, so this film offers a refreshing new perspective.

Denmark, 2016 DCP, color, 80 min Director: Estephan Wagner, Moritz Siebert, Abou Bakar Sidibé Cinematography: Abou Bakar Sidibé Editing: Estephan Wagner Production: Heidi Elise Christensen for Final Cut for Real World Sales: Wide House Screening Copy: Wide House

Estephan Wagner:

Waiting for Women (2008), Ease my pain (2008), The Finishing Line (2009), Vanishing Worlds (2011), Last Dreams (2013)

Moritz Siebert:

Rapstars (2002), Belgrad Backspin (2005), Anne and Gail (2008), My Name Is Karl (2008), Long Distance (2009), Blue Elephant (2010), Harvest Hand (2013), Erntehelfer (2014)

Abou Bakar Sidibé: directing debut

Awards: Ecumenical Prize Berlinale Forum, Amnesty International Award Millenium Docs Against Gravity Film Festival


Keith Maitland On August 1, 1966, gunshots rang out on the quiet Texas University campus in Austin. Passersby found themselves under fire from a shooter in the bell tower of the main building. The final death toll was 13, with another 32 wounded. Fifty years after this first-ever school shooting in the United States, victims and witnesses look back on the drama for the first time. The terrifying 90 minutes on campus are reconstructed in minute detail from different perspectives: police officers who rushed to the scene, a pregnant woman, bystanders who became heroes, a radio journalist and a paperboy who just happened to be cycling by. The story is presented in a compelling way using rotoscoping, an animation technique in which live action is drawn over, and it is interspersed with a great deal of media clips and archive footage. The perpetrator’s background—he was a “confused man”—is referred to only in passing, with the emphasis on empathy and the unselfish actions of ordinary citizens, some of whom performed heroic acts. A fascinating report on a senseless tragedy, which unfortunately was not to be the last in American history.


USA, 2016 DCP, color / black-and-white, 82 min Director: Keith Maitland Cinematography: Keith Maitland, Sarah Wilson Editing: Austin Reedy Production: Keith Maitland & Hillary Pierce for Go-Valley, Megan Gilbride, Susan Thomson Co-Production: Minnow Mountain Executive Production: Pamela Colloff, Steve Eckelman, Luke Wilson, Meredith Vieira World Sales: Megan Gilbride Screening Copy: The Film Collaborative Involved TV Channel: Independent Lens Website: www.towerdocumentary.com

Keith Maitland:

The Eyes of Me (2009) A Song For You: The Austin City Limits Story (2016)

Best of Fests

The War Show

Andreas Dalsgaard, Obaidah Zytoon

Denmark, 2016 DCP, color, 100 min

Andreas Dalsgaard:

Afghan Muscles (2006) Cities on Speed: Bogotá Change (2009) Director: Andreas Dalsgaard, Obaidah Zytoon Travelling with Mr. T. (2012) The Human Scale (2012) Cinematography: Obaidah Zytoon, Life Is Sacred (2014) Amr Kheito, Hisham Issa, Dana Obaidah Zytoon: Bakdounes, Lars Skree directing debut Editing: Adam Nielsen Production: Miriam Nørgaard & Awards: Best Human Rights Alaa Hassan for Fridthjof Film Documentary Bergen International Executive Production: Ronnie Fridthjof for Film Festival, Venice Days Award Fridthjof Film, Joonas Berghäll for Oktober Venice Days Film Festival Oy, David B. Sørensen for Dharma Film World Sales: DR International Sales Screening Copy: Danish Film Institute Involved TV Channels: TVO, YLE, IKON, DR, NRK Website: www.thewarshow.com

The war in Syria seen through the eyes of a radio host in the capital of Damascus. Obaidah Zytoon was playing forbidden music on the radio when the uprising broke out in 2011. She took to the streets together with her friends: a poet, an activist, an architecture student and a dentist. This is the family she has chosen, and we get to know them as playful, free spirits, creative and full of lust for life. Obaidah sets off on a journey through her country to document the changes taking place. In the process, she is dragged deeper and deeper into the escalating war. Demonstrations become funerals, and Assad’s tactics essentially boil down to a single decision: conform or starve. Some of Obaidah’s friends fare very badly indeed. “There is place for everybody in ‘The War Show,’ except the people,” Zytoon says in the thoughtful voice-over. The Syria as they know it is gone. This is her personal, courageous recording of the impact of the war on ordinary Syrians.


Josh Kriegman, Elyse Steinberg

USA, 2016 DCP, color, 100 min

Josh Kriegman:

Director: Josh Kriegman, Elyse Steinberg Cinematography: Josh Kriegman Editing: Eli Despres Music: Jeff Beal Production: Elyse Steinberg & Josh Kriegman for Edgeline Films Executive Production: Julie Goldman & Christopher Clements & Carolyn Hepburn for Motto Pictures World Sales: Dogwoof Distribution for the Netherlands/ Screening Copy: Cinema Delicatessen Website: www.weinerthemovie.com

The Trial of Saddam Hussein (2008)

directing debut

Elyse Steinberg:

Awards: Grand Jury Award U.S. Documentary Competition Sundance Film Festival, David Carr Award for Truth in Non-Fiction Filmmaking Montclair Film Festival, Jury Award Champs-Élysées Film Festival

The charismatic Anthony Weiner was seen as a great political talent, but then he left the U.S. House of Representatives in the wake of a sexting scandal in 2011. The explicit photos he sent using Twitter led to his undoing. But miraculously, his marriage to Huma Abedin—Hillary Clinton’s right-hand woman—survived both the personal and public fallout. That Weiner was by no means a broken man was proven two years later when he entered the New York mayoral race. His wondrous resurrection takes place in front of documentary makers Josh Kriegman and Elyse Steinberg’s camera, as they are granted virtually unlimited access to Weiner’s private and public domains. They follow him as he campaigns on the streets of New York, manages his team or pats the head of his one-year-old son at home while consulting with Abedin, who occupies a prominent position in Weiner’s political ambitions. And the cameras are still running when history repeats itself: once again, Weiner becomes the eye of a media storm when his lack of self-control comes to the fore, in the form of a buxom young woman.


Best of Fests

Whose Country? Balad meen? Mohamed Siam

Like all Egyptians, Mohamed Siam learned to fear the police—and particularly those in plain clothes. Under the regime of President Hosni Mubarak, corruption and impunity were rife. If you ended up in police custody, you could expect a serious beating—or worse. On January 25, 2011, ironically National Police Day, this fear turned to anger and revolution broke out in Cairo. The start of the uprising also marks the beginning of Siam’s investigation into the motivations of the men who make up the police force. He gets talking to a plain-clothes officer who has his own reasons to draw hope from the revolution. Siam visits him over a period of three years, at his home outside Cairo and at work in the city. In one-on-one interviews and observational shots filmed up close, the police officer and his colleagues reveal how the abuse works. Siam reflects in voice-over on his becoming closer to the officer and how he can reconcile this with the memory of his father—an investigator dedicated to fighting corruption.

Egypt, France, USA, 2016 DCP, color, 58 min Director: Mohamed Siam Cinematography: Mohamed Siam Screenplay: Georgina Van Welie, Talal Al-Muhanna, Mohamed Siam, Bruni Burres Editing: Gladys Joujou Music: Thierry Bousquet Production: Talal Al-Muhanna for Linked Productions, Mohamed Siam for ArtKhana Co-Production: ITVS, Pumpernickel Films World Sales: Wide House Screening Copy: Wide House

Mohamed Siam:

The Remaining Time (fiction, 2010) A Leak (fiction, 2011) Un Autre Pays (2016)

Pitched at the Forum 2011

IDFAcademy Results

Wrong Elements Jonathan Littell

In 1989, the young Ugandan rebel Joseph Kony formed the Lord’s Resistance Army (LRA). He claimed that he had been visited by the Holy Spirit, and he transformed antigovernment resistance into a sacred mission—one that claimed tens of thousands of victims. For a large part, his army was made up of children who had been abducted and psychologically conditioned to kill, and his commanders used young girls as sex slaves. Wrong Elements follows Geofrey, Nighty and Mike, three former child soldiers who fled Kony’s army and are now home, trying to rebuild their lives. The trio travel to the places where they lived in the bush, raided for food and carried out the most heinous acts. They also watch videos of the hunt for the LRA’s high command, who have been sent to the International Criminal Court in The Hague. The film raises questions about the line between perpetrator and victim, and about the possibility— or impossibility—of forgiveness and reconciliation.


France, Germany, Belgium, 2016 DCP, color, 133 min Director: Jonathan Littell Cinematography: Joachim Philippe, Johann Feindt Editing: Marie-Hélène Dozo Sound: Yolande Decarsin, Yves Comeliau Sound Design: Ludovic Van Pachterbeke Production: Jean-Marc Giri for Veilleur de Nuit Co-Production: Zero One Film, Wrong Men World Sales: Le Pacte Screening Copy: Le Pacte

Jonathan Littell: directing debut

Best of Fests

A Young Girl in Her Nineties Une jeune fille de 90 ans Valeria Bruni Tedeschi, Yann Coridian

France, 2016 DCP, color, 85 min Director: Valeria Bruni Tedeschi, Yann Coridian Cinematography: Hélène Louvart Editing: Anne Weil Sound: François Waledisch Production: Marie Balducchi for Agat Films & Cie Involved TV Channels: ARTE France World Sales: Agat Films & Cie Screening Copy: Agat Films & Cie

Valeria Bruni Tedeschi:

It’s Easier for a Camel (fiction, 2003) Actrices (fiction, 2007) A Castle in Italy (fiction, 2013) The Three Sisters (fiction, 2015)

Yann Coridian:

Le baiser (fiction, 2007) Nuts (fiction, 2011) Petite (fiction, 2015)

All is quiet at the geriatric hospital until the famous choreographer Thierry Thieû Niang arrives. Then music fills the empty corridors, and dance workshops bring the Alzheimer’s patients to life. Niang doesn’t dance for the elderly people, he dances with them: to the strains of vintage French chansons, he lifts them in his arms and whirls them around as if their bodies were capable of anything. The choreographer takes them back to years gone by and reawakens their dreams, desires, pain and sadness. The music and unfamiliar movement revitalize the patients, both physically and mentally. One of them is the 92-year-old Blanche Moreau, for whom the intimate dancing and evocative music rekindle feelings of love. In this moving film, we see how dance can rejuvenate aging spirits. Niang’s warm interest and loving approach and Blanche’s unconstrained tenderness reveal that love knows no bounds.



In Panorama, the festival is presenting 51 films from all over the world that are thoughtprovoking in their form and choice of theme. Some films are also part of other IDFA selections this year. Both The Giant Is Falling and Skulls, of My People are also screening in the special focus program Shifting Perspectives. La Chana and El patio are also nominated for the IDFA AWFJ EDA Award for Best Female-Directed Documentary.


4.1 Miles

Daphne Matziaraki In 2001, 20 Afghan refugees arrived on the Greek island of Lesbos. It was that year’s biggest news event, recalls Kyriakos, the coast guard captain. Back then, his job mostly entailed carrying out routine checks in the 4.1-mile-wide strait separating the island from the Turkish mainland. Those tranquil days are long gone. Kyriakos and his 10 colleagues are now called out hourly to save hundreds of people risking the crossing. Greek journalist Daphne Matziaraki joined the heroic captain for a single day: October 28, 2015. You can’t get any closer to this living nightmare. Matziaraki crawls with her camera among the drenched and drowning castaways searching for a safe haven on a flimsy boat. Some of them don’t make it. There are shocking images—who can ever get used to seeing men, women and children drowning? The scenes shot back on dry land form an effective counterpoint: from a static position, the camera films a sun-drenched table laden with food, while a coast guard boat speeds past and an approaching ambulance wails in the distance.

USA, 2016 DCP, color, 22 min

Daphne Matziaraki:

Director: Daphne Matziaraki Cinematography: Daphne Matziaraki Editing: Daphne Matziaraki Sound: James Pace-Cornsilk Music: William Ryan Fritch Production: Daphne Matziaraki Executive Production: Kathleen Lingo Screening Copy: The New York Times

Awards: Gold Documentary Student Academy Award

Belgium, 2016 DCP, color, 73 min

Gilles Laurent:

directing debut

Abandoned Land La terre abandonnée Gilles Laurent

At a deserted junction in the evacuated zone around the Fukushima nuclear power station, the traffic lights are red. There’s an element of the surreal about this place. Everything seems normal in the homes of the few people who have returned: there’s running water, electricity, even the TV works. Unconcerned, an elderly couple eats vegetables from their own garden, although another couple won’t move an inch without measuring the radioactivity. They have exchanged their large, comfortable house for a cramped apartment. According to the “show, don’t tell” principle, we meet another inhabitant without commentary: the famous “last man of Fukushima,” who stayed behind after the disaster to feed the abandoned animals. Like the others who feature in the documentary, he has chosen to live a peaceful life on the land he loves, and accepts the risks. Abandoned Land is the directorial debut of Gilles Laurent, who previously worked as a sound engineer with filmmakers such as Carlos Reygadas. Laurent was killed in the Brussels bombings of March 22, 2016.


Director: Gilles Laurent Cinematography: Laurent Fenart Screenplay: Gilles Laurent Editing: Marie-Hélène Mora Sound: Nicolas Joly, Gilles Benardeau Sound Design: Alexander Davidson Production: Bibas Cyril for Centre Vidéo de Bruxelles Co-Production: WIP World Sales: Centre Vidéo de Bruxelles Screening Copy: Centre Vidéo de Bruxelles

directing debut




Turkey, 2016 DCP, color, 104 min Director: Mustafa Ünlü Cinematography: Mustafa Ünlü Screenplay: Mustafa Ünlü Editing: Mustafa Ünlü Sound: Taylan Savas Baris Sound Design: Taylan Savas Baris Music: Emrah Ozdemir, Michael Sapp Production: Selda Meral for Kutup Ayisi Documentary Productions Screening Copy: Kutup Ayisi Documentary Productions

Mustafa Ünlü:

Queens of the Republic (1991), Documentary of Vehbi Koç (1992), 12th September (1998), Caretta Caretta-About Life (2005), The Old Town’s Newsmen (2005), Time PieceThe Night Club (2006), Every Drop Matters (2009), Bullet and Pen (2009), The Zone (2010), Guards of the Steps (2013), Diary of a Pollution Terminator (2015)

When the ceasefire between the Kurdistan Workers Party (PKK) and the Turkish army broke down over the summer of 2015, various democratic organizations, including unions, political parties and guilds decided to organize a march for peace. But on the morning of October 10, even before the march could get underway in Ankara, two suicide bombers with suspected links to IS blew themselves up right in the middle of the demonstrators. It was the most deadly bomb attack in Turkish history, killing more than 100 and wounding 500 more. The survivors and their families still wonder why the security forces didn’t have a more significant presence at the march - considering their customary practices and the mounting tension in the country. Using 25 accounts from eyewitnesses –many of whom lost loved ones in the attack –-filmmaker Mustafa Ünlü explores exactly what happened that day. More than merely investigating the facts, this film examines the lasting effects of exposure to such a violent attack.

Mustafa Ünlü & Selda Meral: The Suryoyo (2000), The Mediterranean (2001)

The Beast Is Still Alive Mina Mileva, Vesela Kazakova

Bulgaria, 2016 DCP, color, 90 min Director: Mina Mileva, Vesela Kazakova Cinematography: Allie Crawford, Dimitar Kostov, Plamen Gelinov Editing: Donka Ivanova Sound Design: Georgi Marinov Production: Mina Mileva & Vesela Kazakova for Activist38 Co-Production: Nova Film World Sales: Activist38, Tricontinental Screening Copy: Activist38 Involved TV Channel: Bulgarian National Television Website: www.beast-film.com

Mina Mileva & Vesela Kazakova:

Uncle Tony, Three Fools and the Secret Service (2014)

This political documentary is about the search for an ideal communism and how it has never been found in practice. The film begins with the secret police file on the grandfather of a young Bulgarian woman. He sympathized with the Bulgarian Socialists in 1920s, but after seeing the damage the Communist Party caused during World War II, he joined the Goryani anti-communist resistance movement in the Bulgarian mountains. Using animated sequences, time-lapse photography and a fictional dialogue in voice-over between the young woman and her dead grandfather, The Beast Is Still Alive shows how young generations keep rediscovering communist ideology against the backdrop of discredited politicians and former agents of the secret police. The young woman’s attitude towards the political alternative to capitalism grows increasingly complex as she makes a trip to Cuba, and attends a panel discussion with the Slovenian philosopher and communist Slavoj Žižek.



La Chana Lucija Stojevic

WORLD PREMIERE In the 1960s and 1970s, Antonia Santiago Amador, alias “La Chana,” was a hugely popular flamenco dancer—until she suddenly vanished from the public eye, at the height of her career. After she played a role in the Peter Sellers film The Bobo (1967) the star invited her to Hollywood, but it wasn’t to be. In her baroque boudoir in Barcelona, the frail and elderly dancer now reveals the reason her career came to such an abrupt end. Meanwhile, she prepares to give a performance together with friends and family—these days she has to dance sitting down, but her footwork is still impressive. The camera follows her as she makes paella with her daughter or teaches young dancers, demonstrating the complexity of the fiery flamenco footwork. Supported by abundant footage of spectacular dance and outstanding flamenco music, this intimate portrait is an ode to the elderly gypsy artist, for whom swirling skirts might be a thing of the past, but whose passion burns as strongly as ever.

Spain, Iceland, USA, 2016 DCP, color / black-and-white, 83 min

Lucija Stojevic: directing debut

Director: Lucija Stojevic Cinematography: Samuel Navarrete Screenplay: Lucija Stojevic Editing: Irene Coll, Domi Parra Sound Design: Alejandro Castillo Music: Ernesto Briceño Production: Lucija Stojevic for Noon Films S.L., Deirdre Towers Co-Production: Bless Bless Productions Screening Copy: Noon Films S.L. Involved TV Channels: RTVE, TV3

Check It

Toby Oppenheimer, Dana Flor Just a stone’s throw from the White House is a notorious area where gay prostitutes pick up their clients. Some are members of Check It, a gang born out of necessity when Washington, D.C. experienced an escalation of violence against members of the LGBTQ community. These events prompted black gays and transgender people to join forces in an effort to protect themselves and each other. Check It now has more than 200 members and functions much like any other gang—anyone who harasses a “sister” is risking his life. Filmmakers Dana Flor and Toby Oppenheimer won the trust of several flamboyant members of the gang, and they speak candidly about their pasts—without exception, they are marked by rejection and abuse. Check It offers them a much-missed sense of family. Then comes the moment when the gang members get an opportunity to escape the desperate spiral of prostitution and violence: a former resident sets up a major fashion project that they get to put on from start to finish.


USA, 2016 DCP, color, 91 min Director: Toby Oppenheimer, Dana Flor Cinematography: Toby Oppenheimer Editing: Tom Patterson Music: Paul Brill Production: Macro Pictures, Toby Oppenheimer, Olive Productions, Wren Arthur Executive Production: Stanley Tucci & Steve Buscemi for Olive Productions, Jon Kamen & Justin Wilkes for Radical Media World Sales: WME Entertainment Screening Copy: Macro Pictures Website: www.checkitfilm.com

Toby Oppenheimer & Dana Flor:

The Nine Lives of Marion Barry (2009)


China’s Van Goghs Zhongguo Fangao Haibo Yu, Kiki Tianqi Yu

China, The Netherlands, 2016 DCP, color, 81 min

Haibo Yu:

Director: Haibo Yu, Kiki Tianqi Yu Cinematography: Haibo Yu Editing: Søren Ebbe, Tom Hsinming Lin, Axel Skovdal Roelofs Production: Kiki Tianqi Yu for Century Image Media Co-Production: Trueworks Executive Production: Haibo Yu & Lijun Zhao for Century Image Media World Sales: CAT&Docs Distribution for the Netherlands: Cinema Delicatessen Screening Copy: Century Image Media Involved TV Channels: CBC, DR, SVT

directing debut

directing debut

Kiki Tianqi Yu: Pitched at the Forum 2014


Until 1989, the village of Dafen in the city of Shenzhen, China was little more than a hamlet. It now has a population of 10,000, including hundreds of peasants-turned oil painters. In the many studios, and even in the alleyways, Dafen’s painters turn out thousands of replicas of world-famous Western paintings. Nobody thinks anything of an order for 200 Van Goghs. To meet their deadlines, painters sleep on the floor between clotheslines strung with masterpieces. In 2015, the turnover in painting sales was over $65 million. Directors Haibo and Kiki Tianqi Yu followed one of the painters, Xiaoyong Zhao. He and his family have painted around 100,000 Van Goghs. After all these years, Zhao feels a deep affinity with Van Gogh. He traveled to Europe to see the original works at the Van Gogh Museum, and to visit one of his best clients, an Amsterdam art dealer. This debut film is a fascinating, at times picturesque portrait of a village where artists pursue their dreams, but also have them shattered.

Connection Conectifai Horizoe Garcia

Cuba, 2016 DCP, color, 18 min Director: Horizoe Garcia Cinematography: Horizoe Garcia Editing: Horizoe Garcia Sound: Sheyla Pool Pástor Sound Design: Sheyla Pool Pástor Production: Sheyla Pool Pástor & Zoe Miranda for La Nave Producciones Screening Copy: La Nave Producciones

Horizoe Garcia:

Todo tiempo pasado fue mejor (2008) Domingo (2009) Retrato (2009) El Mundo de Raúl (2010) Submission (2011) Solo de Cuica (2013)


In 2016, ETECSA—the only telephone company in Cuba—installed Wi-Fi routers in 18 public parks across the country. For many Cubans, this meant being able to go online for the first time. This portrait of one of these parks with Wi-Fi in Havana shows how a new social meeting place is the result, as every day crowds of people with smartphones, tablets and chairs turn up to cluster together around the antennas. They help each other get online, roam around looking for better reception, and peer down at their screens together. During the day, old ladies turn up and in the evenings there are groups of young people. In the meantime, commerce is also flourishing, with vendors selling internet cards, drinks and snacks (“Pork crackling with Wi-Fi!”). Here, everyone has an opportunity to contact loved ones, explore social media, upload photos and find internet dates—very normal activities that reveal a rapidly-changing Cuba.




Xavier Marrades WORLD PREMIERE This atmospherically shot film is about a truck driver named Ramon, who leads a lonely life with his elderly parents following the death of his wife. One day, he finds an injured white dove in the cellar of his house. The camera follows him in his everyday activities in and around the house, while he talks about how he cared for the bird and how the two of them have gradually become accustomed to and fond of one another. Suddenly, life starts to look different for Ramon. Perched on his shoulder, the dove accompanies him on long trips in the truck. And even though the dove has now recovered and is fully fit and able to fly, they remain inseparable. Ramon is a levelheaded man, but it seems as if the dove has come to him for a special reason: as a loving message from the other side.

Spain, 2016 DCP, color, 17 min

Xavier Marrades:

The Pilgrim’s Dive (2016)

Director: Xavier Marrades Cinematography: Xavier Marrades, Oriol Colomar Screenplay: Xavier Marrades Editing: Xavier Marrades Sound Design: Alejandro Castillo, Sergi Nogué Production: Xavier Marrades Executive Production: Jerome Thelia, Oriol Colomar Screening Copy: Xavier Marrades Website: www.cucli-film.com


Potongan Chairun Nissa


In Indonesia, the Indonesian Film Censorship Board (LSF) must approve all films before they can be released on the regular screening circuit. Films containing sex, subversive political viewpoints or other elements that may be controversial in the opinion of the censors won’t pass. It’s absolute censorship, although the board itself sees it a little differently: they protect the people from negative influences and agitation. The result is that only nice, safe adolescent films get into the cinemas. Meiske Taurisia and Edwin, producer and director of Blind Pig Who Wants to Fly, submit their film to the LSF—after a very long assessment process, it gets rejected and they are given some suggestions for changes they could make. To get to the bottom of this opaque, convoluted procedure, they request an official interview with the board and film it with a hidden camera. When this doesn’t reveal much, they decide to look more deeply into the LSF, but this turns out to be no easy task.


Indonesia, 2016 DCP, color, 70 min Director: Chairun Nissa Cinematography: Chairun Nissa Editing: Sastha Sunu Sound Design: Wahyu Tri Purnomo Production: Meiske Taurisia, Edwin Screening Copy: Babibutafilm

Chairun Nissa:

Inerie (fiction, 2014)


Delicate Balance Frágil equilibrio Guillermo García López

Spain, 2016 DCP, color, 81 min

Guillermo García López: directing debut

Director: Guillermo García López Cinematography: Pablo Bürmann Screenplay: Guillermo García López Editing: Guillermo García López Production: Guillermo García López & Pedro González Kühn for Sintagma Films, Pablo Godoy-Estel Executive Production: David Casas Riesco Screening Copy: Sintagma Films Website: www.fragilequilibrio.com


José Alberto Mujica was President of Uruguay from 2010 to 2015, and his modest lifestyle set him apart from others in his position: he gave most of his salary away and refused to live in the presidential palace. An extensive interview with the elderly but lucid former president forms the backbone of this essayistic exploration of the future of humanity. Mujica’s ideas about modern society, where economic interests prevail over human values, are used to connect three stories about people living on three continents. In Morocco, African migrants, many of them well-educated young men, look out over the Spanish enclave of Melilla from their wretched encampment. They hope to make it to Europe one day, to build a new life. In Madrid, entire families are thrown out of their homes when they default on mortgage payments. Meanwhile, the banks get bailed out. And in Tokyo, we see employees making plenty of money, but they are working so hard that they have more or less become automatons.

The Father, the Son and the Holy Jihad Au nom du père, du fils et du djihad Stéphane Malterre

France, 2016 DCP, color, 120 min Director: Stéphane Malterre Cinematography: Stéphane Malterre Editing: Sebastien Touta Sound: Benjamin Nathevet Music: Thomas Dappelo Production: Frédéric Texeraud & Denis Boutelier for CAT & Cie Screening Copy: #Edith Paris

Stéphane Malterre:

11 Septembre, la théorie du complot (2009) Profession: marchand d’armes (2010) Jacques Chirac: la justice aux trousses (2011) Riches et célèbres: comment échapper au fisc (2012) Syrie, la mort en face (2013)

Bassam Ayachi is a Syrian man who has lived in Europe with his French wife since the 1960s, first in France and then in the Belgian capital of Brussels. His Muslim family is well integrated into Western society. When tensions mount in the Middle East and rebels rise up against Syrian president Bashar al-Assad, Bassam’s son Abdelrahman decides to join the Syrian resistance, to defend the country and to expel Assad. Filmmaker Stéphane Malterre followed this family closely for three intense years, accompanying the jihadist on several campaigns. But then comes the day when the young man and several comrades are killed in an attack. Following his son’s death as a martyr, Bassam decides that it is his turn to go to Syria, where he emerges as a spiritual leader—a man with many followers and many enemies. Scenes featuring Bassam in Syria are intercut with interviews with the son and daughter who stayed at home, and who now reflect on how their lives have changed so dramatically. Both tragic and controversial, this is a story about integration, fundamentalism and identity.



Frame 394 Rich Williamson

The young Canadian virtual reality expert Daniel Voshart had no idea what he was getting himself into when he created a 3-D analysis of one of the most-discussed police shootings in recent American history. On April 4, 2015, the police stopped Walter Scott for a non-functioning brake light. Scott ended up getting shot to death, and a video surfaced that was shot by a passerby. Already intrigued by the footage, which showed the white police officer shooting the black man eight times in the back as he ran away, Voshart only became truly alarmed upon reading in the New York Times that “the officer dropped an object near Mr. Scott.” Voshart analyzes the amateur footage with advanced computer techniques and posts his version online. The GIF with the tagline “South Carolina cop planting a Taser next to body of Walter Scott” quickly kicks up a storm, invoking mostly hate comments. Shocked, the Canadian digs deeper for the truth and finds frame number 394. This fascinating story is an important contribution to the heated debate about police racism.

Canada, 2016 DCP, color, 30 min Director: Rich Williamson Cinematography: Rich Williamson Editing: Rich Williamson Sound Design: Matthew Chan Music: Rob Teehan Production: Shasha Nakhai for Compy Films Executive Production: Ed Barreveld Screening Copy: Compy Films

Rich Williamson:

The Sugar Bowl (2011) Joe (2012) The Unsinkable Captain John (2015)

Gatekeeper Yung Chang

The cliffs of Tojinbo are beautiful and perilous. This place has a harrowing reputation that forms part of the attraction for photo-snapping day trippers: it is one the most popular sites for suicide in Japan, the country whose annual figure of 25,000 suicides puts it near the top of the global list. Former police detective Yukio Shige recalls how when he set up a suicide prevention service in 2004, people asked, “Are you stupid? How do you expect to save someone if they’re already doomed?” Working alongside a group of volunteers, he now carries out daily patrols along the jagged coastline, hoping to talk potential jumpers out of killing themselves. If they decide to come back to the support base, they will find a listening ear and a comforting meal of oroshi-mochi. The camera remains at a respectful distance as young men unburden themselves about financial woes and family pressures. Yukio Shige calls one particularly harsh mother to urge her to be more understanding of her son—one of the hundreds of people who owe their lives to these volunteers.


Canada, USA, 2016 DCP, color, 39 min Director: Yung Chang Cinematography: Alan Poon Editing: Sophie Leblond Music: Olivier Alary Production: Eriko Miyagawa for Brave River Films, Bob Moore & Yung Chang for EyeSteelFilm Executive Production: Mila AungThwin & Daniel Cross for EyeSteelFilm, Laura Poitras & AJ Schnack & Charlotte Cook for Field of Vision World Sales: EyeSteelFilm, Field of Vision Screening Copy: EyeSteelFilm

Yung Chang:

Up the Yangtze (2007) China Heavyweight (2012) The Fruit Hunters (2012)


Awards: Best Documentary Short Los Angeles Film Festival


The Giant Is Falling Rehad Desai


South Africa, Germany, 2016 DCP, color, 77 min Director: Rehad Desai Co-director: Jabulani Mzozo Cinematography: Nicolaas Hofmeyr Editing: Ruben Van Hammen, Henion Han Sound: President Kappa Sound Design: Vaughn Phillips Music: Phillip Miller Production: Anita Khanna & Rehad Desai for Uhuru Productions World Sales: Deckert Distribution Screening Copy: Uhuru Productions Involved TV Channels: ZDF/ARTE, Al Jazeera, NRK Website: www.thegiantisfalling.com

Rehad Desai:

My Land My Life (2002) Born into Struggle (2004) Bushmans Secret (2006) Bambatha Uprising: War of the Heads (2008) Battle for Johannesburg (2010) Miners Shot Down (2014)

The African National Congress party headed by President Jacob Zuma took a pounding in the local elections in 2016. The result was the party’s worst election defeat since it came to power in 1994. Are the electoral losses entirely attributable to Zuma’s questionable leadership, or is the situation more complex? Filmmaker Rehad Desai delves into South Africa’s recent past to explain this historic event, and looks back critically and with undisguised amazement at decades of uninterrupted ANC politics. Has anything come of the dream that people cherished in the days of Nelson Mandela: an exemplary South Africa, free of racism and poverty? Desai approaches his investigation with thoroughness and, where possible, a sense of humor. Interviews with politicians, historians and journalists are interspersed with archive footage, including reports of the Marikana massacre of 2012. At the end of an intense and candid inquiry, Desai draws his conclusions about the future of the country and the once unassailable ANC.

Great Muy Bien Sheyla Pool Pástor


Cuba, 2016 DCP, color, 16 min Director: Sheyla Pool Pástor Cinematography: Sheyla Pool Pástor, Horizoe Garcia Screenplay: Sheyla Pool Pástor Editing: Sheyla Pool Pástor, Javier Coello Sound: Michel Caballero, Sheyla Pool Pástor Sound Design: Sheyla Pool Pástor Production: Zoe Miranda & Sheyla Pool Pástor for La Nave Producciones Screening Copy: La Nave Producciones Website: www.zoemiranda.net

Sheyla Pool Pástor: directing debut

The United States restored diplomatic relations with Cuba in 2015. Although the economic embargo against the island is still partially in force, it’s suddenly no longer unrealistic for Cubans to dream of one day living and working abroad. That’s why many Cubans are now learning English in the private schools that have popped up like mushrooms all over the country. Director Sheyla Pool highlights the urgent need for these lessons by showing us a labored conversation between an American tourist and his Cuban driver. The American stresses that the shift in diplomatic relations will bring rapid change to Cuba. He sees it as a negative development, but many Cubans are looking forward to the many opportunities it offers. During the English lessons we hear about their dreams for the future and the new Cuba that is starting to appear on the horizon.



The Hanging Geoffrey Feinberg

EUROPEAN PREMIERE Nineteen-year-old Kirill is fearless. He and his friends hang out on the rooftops of apartment buildings, where his brazen stunts have earned him the nickname “Russian Spiderman.” But it seems that his carefree existence as a leading figure in Moscow’s “roofing” culture will soon be over. Kirill has dropped out of Russia’s top engineering university, and the unintended consequences will confront him with the one thing he does fear. The Kirill we get to know, as we climb with him to rooftops and hear stories from his friends, sees roofing as a way to find himself. We also see him in his room, with his model of the Burj Khalifa, the world’s tallest building, or chatting with friends about his interests. The photos of him posing nonchalantly on top of Moscow skyscrapers are breathtaking. As Kirill hangs in the void between youthful freedom and adult responsibility, he says he isn’t driven by emptiness, but by his own independent-minded ambition and desire for freedom.

USA, Russia, Germany, 2016 DCP, color / black-and-white, 15 min

Geoffrey Feinberg: directing debut

Director: Geoffrey Feinberg Cinematography: Geoffrey Feinberg Editing: Geoffrey Feinberg, Dominika Michalowska, Amanda Laws Sound: Geoffrey Feinberg Sound Design: Lorenz Fischer Music: Lorenz Fischer, Julian Brau Production: Geoffrey Feinberg for Weathered Features, Jelena Goldbach for ZAK Film Productions Screening Copy: Weathered Features

Happily Ever After Nada Riyadh, Ayman El Amir

WORLD PREMIERE In the midst of the chaos of Egypt’s Arab Spring, filmmaker Nada Riyadh falls in love with Ayman. The initial euphoria makes way for doubt, anxiety and blame—a metaphor for the disappointing trajectory of events in Egypt. When Ayman decides to leave the country because of the deteriorating social and political conditions, she feels she cannot join him. Nada spares neither herself nor her boyfriend during their Skype conversations and his visits back to Egypt. Her analysis of both the relationship with him and her beloved Egypt cuts to the bone, with the camera constantly aimed at either herself or Ayman—even when it’s clear he’s not in the mood. She continues to film even when they’re in bed or in the bathroom. The unrelenting documentation of this faltering love affair is intercut with her footage of a time when anti-government demonstrations unified otherwise irreconcilable elements of Egyptian society.


Egypt, 2016 DCP, color, 68 min

Nada Riyadh:

Director: Nada Riyadh, Ayman El Amir Cinematography: Khaled Nadim, Ahmed Ismail, Mohamed El Hadidy Editing: Nada Riyadh, Ayman El Amir Production: Ayman El Amir & Nada Riyadh for Felucca Films Screening Copy: Felucca Films

directing debut

directing debut

Ayman El Amir:


House for Sale Casa en venta Emanuel Giraldo

Cuba, Colombia, 2016 DCP, color, 13 min

Emanuel Giraldo: directing debut

Director: Emanuel Giraldo Cinematography: Wilssa Esser Screenplay: Emanuel Giraldo Editing: Pauline Lebellenger Sound: Leo Dolgan Sound Design: Matheus Massa Music: Matheus Massa Narration: Nuri Duarte, Luis Manuel Garcia Production: Emanuel Giraldo Executive Production: Pauline Lebellenger, Viana González Screening Copy: Emanuel Giraldo


Now that the ban on buying and selling houses in Castro’s socialist state has been lifted after more than 50 years, Cubans are developing all kinds of sales techniques to get the best deals on their properties. Three Cubans invite us into their homes and rather awkwardly make a sales pitch of their beloved living environment, full of memories, souvenirs and family members. The camera follows the residents as they give us a tour of their lived-in houses. A 60-year-old fridge, a peeling wall, a crooked countertop, the mother-in-law in her rocking chair and a muddy backyard full of trash and chickens are shown off as valuable treasures. Ultimately, it’s not the property itself so much as the history of each resident that fascinates. The emotion lies in the dedication and innocence with which the vendors show off their wares—and with them, their lives.

ISIS, Deserters Speak Out Daesh, paroles de déserteurs Thomas Dandois, Francois-Xavier Tregan

France, 2016 DCP, color, 53 min

Thomas Dandois:

Director: Thomas Dandois, Francois-Xavier Tregan Cinematography: Thomas Dandois Editing: Alexandra Kogan Production: Stephane Rybojad & Thierry Marro for Memento Executive Production: Marie-Cecile Destandau for Memento World Sales: ARTE France Screening Copy: Memento Involved TV Channels: ARTE, Al Jazeera English, Radio Canada

Roméo et Juliette, un amour de guerre (2015) a.o.

Sydney, la cité pacifique (2015) a.o.

Francois-Xavier Tregan:

The stylized landscape shots of southern Turkey contrast starkly with the stories told by deserters from Islamic State forces. Having fled Syria, they share their experiences in gruesome detail. Out of fear for reprisals, they are filmed from behind and remain unidentifiable. It’s by no means easy getting out of the Syrian city of Raqqa, but the real challenge is avoiding vengeful former comrades. The true subject of this film is the men in southern Turkey who are trying to get the renegades out of Syria. It’s a hazardous and herculean task. Any deserter could be a spy, and one poor judgment could put the whole mission at risk. The deserters’ stories also explain what attracted them to join IS: security, electricity, a salary of 100 dollars per month and their desire for a truly Islamic state. On the last count, they were to be disappointed—one of the men explains how he came to regret his decision when he saw the decapitated body of a bride in a mass grave.



Letters from Baghdad Sabine Krayenbühl, Zeva Oelbaum

The archeologist Gertrude Margaret Lowthian Bell (1868-1926) was an independent spirit from a young age. She studied at Oxford, smoked cigarettes and regularly took the Tube, but this was just the beginning of her journey of discovery. As a young archaeologist she traveled throughout the Middle East, making records of the many tribes and cultures she encountered along the way. Her knowledge proved invaluable after World War I, when the borders of this complex region were being redrawn. Letters from Baghdad is her story in her own words, drawn from the many letters she wrote home, which are read aloud by actress Tilda Swinton. The epic tale of this archaeologist, explorer, political force and spy is also told through historical footage, Bell’s own photographs, secret documents and the accounts of her contemporaries, who speak variously in warm, humorous and critical tones about this “female Lawrence of Arabia.” The consequences of Bell’s actions still echo loudly in daily news reports from the Middle East.

USA, UK, France, 2016 DCP, black-and-white, 95 min

Sabine Krayenbühl:

Director: Sabine Krayenbühl, Zeva Oelbaum Cinematography: Petr Hlinomaz Editing: Sabine Krayenbühl Narrator: Tilda Swinton Production: Zeva Oelbaum for Between The Rivers Productions Co-Production: YUZU Productions, Missing In Action Film Executive Production: Thelma Schoonmaker, Tilda Swinton, Elizabeth Chandler, Denise Benmosche Screening Copy: Between The Rivers Productions Involved TV Channel: ARTE Website: www.lettersfrombaghdad.com

directing debut

directing debut

Zeva Oelbaum:

Life to Come La vie à venir Claudio Capanna

Eden and Léandro are twins born at only 28 weeks. From that moment on, they and their mother have been followed closely—not just by the doctors and nurses trying to keep the babies alive in an intensely white high-tech environment, but also by a film camera. The angle often shifts to that of a newborn child, bringing home what it’s like to be so small and so vulnerable. Sometimes you find yourself in an incubator, with light and sound filtering into the jungle of tubes and wires that are literally your lifelines. These tiny humans weighing barely more than a pack of sugar need to grow into healthy seven-pounders before they can leave the hospital. It takes time, not to mention patience. Veering between states of hope and fear, the children’s mother cherishes them with a touching tenderness, encourages them (and herself), and nurtures them with unconditional love.


Belgium, 2016 DCP, color, 75 min Director: Claudio Capanna Cinematography: Tristan Galand Editing: Christophe Evrard Sound: Fabrice Osinski, Thibaut Darscotte, Yann-Elie Gorans Production: Anton Iffland Stettner for Stenola Productions Co-Production: Associate Directors, Take Five World Sales: First Hand Films Screening Copy: Stenola Productions Involved TV Channels: RTBF, Proximus, Al Jazeera, ARTE Website: www.lavieavenir.com

Claudio Capanna: Bateau ivre (2012)


The Man Without a Mask Roger Ross Williams

USA, 2016 DCP, color, 14 min Director: Roger Ross Williams Cinematography: Tom Bergmann Editing: Toby Shimin, Dina Guttman Sound: Mark Roy Music: Peter Rundquist Production: Isaac Bolden for Jigsaw Productions, Julie Goldman for Motto Pictures Executive Production: Alex Gibney & Kahane Cooperman & Dave Snyder for Jigsaw Productions, Michael Klein for Conde Nast Screening Copy: Amazon Studios

Roger Ross Williams:

Music by Prudence (2010) God Loves Uganda (2013) Gospel of Intolerance (2015) Blackface (2015) Life, Animated (2016) a.o.

Lucha libre, free wrestling with colorful costumes and masks, is the most popular sport in Mexico after soccer. But the macho culture of the luchadors also has a more flamboyant, feminine side: the exóticos. One of the best known of these is Cassandro. This “Liberace of the lucha libre” wears the most extravagant costumes and enters the arena like a real drag queen, before dishing out (and receiving) some serious punishment. The openly gay wrestler talks about a past characterized by sexual abuse, drugs and rejection. Free wrestling was like a medicine that finally gave him a sense of belonging. The freedom it offers him to express himself is so valuable that it enables him to withstand the pain, even though countless serious injuries and hospital admissions have exhausted the 45-year-old wrestler’s body. He remains active on the circuit, however, and is now passing on the baton to a new generation as a trainer.

My Daughter Nora Ma fille Nora Jasna Krajinovic

Belgium, France, 2016 DCP, color, 16 min Director: Jasna Krajinovic Cinematography: Guillaume Vandenberghe Screenplay: Jasna Krajinovic Editing: Marie-Hélène Mora Sound: Quentin Jacques Production: Julie Frères for Dérives Screening Copy: CBA

Jasna Krajinovic:

Saya and Mira, Lost Dreams (2003) Two Sisters (2006) Damian’s Room (2008) A Summer with Anton (2012) The Empty Room (2016)

What happens to a mother when she gets a letter from her eldest daughter, who writes that she has gone to Syria to take part in the holy fight against the infidel? Samira allows the camera to observe her as she is questioned. She answers honestly, explaining that it’s as if she’s only now hearing what her daughter had been saying, between the lines. But now it’s too late. Samira has been doing everything in her power to get her daughter back for two years now, but in vain. She travels to the Syrian border in the hope of meeting her lost Nora. Then, in a Skype call, Nora just tells her mother to go home. This is one of their few moments of contact. The camera records the mother’s agonizing uncertainty about the fate of her daughter. The sequences in her tiny apartment underscore the feeling of claustrophobia.



My Father and My Mother An die an niang Bo Jiao


Over a period of 30 years, the well-known Chinese photographer Bo Jiao took more than 10,000 photographs of his parents. This film is drawn from a selection of these photos and the hours of video footage that Jiao has shot since the 1980s, during his trips to his parents’ house in rural China. It’s an unvarnished and affectionate portrayal of the everyday life of a simple Chinese family in a remote mountain village. The aging couple works on the land and looks after the photographer’s disabled elder brother. They bicker constantly, but are clearly devoted to each other. For Jiao, photographing his mom and dad has been his way to keep his family close by. Over the years, as we see his parents change, the intimacy within the family changes, too— until, inevitably, death approaches. Out of more than 600 hours of raw video material, Jiao filtered a moving and intimate love story that provides insight into the lives of two elderly people in the Chinese countryside. Or, to paraphrase the photographer’s own words: boring, but legendary.

China, 2016 DCP, color, 88 min

Bo Jiao:

Village Diary (2013)

Director: Bo Jiao Cinematography: Bo Jiao Editing: Xibo Ju Production: Jiao Bo Guang Ying (Beijing) Culture Communication Co. Screening Copy: Jiao Bo Guang Ying (Beijing) Culture Communication Co.

The Offended

Los ofendidos Marcela Zamora Chamorro


At the age of 33, filmmaker Marcela Zamora heard that her father had been imprisoned and tortured for 33 days by the regime in El Salvador during the civil war in the 1980s. It was another two years before she gathered the courage to ask her father, now a retired politician and diplomat, about that period and the torture he underwent. In the film, she also interviews several other men who were tortured because they were seen as subversives, as well as a man who took part in the torture in a subordinate capacity. Often illustrated with shocking archive footage, their testimony provides insight into the scope of this horrific war, during which tens of thousands of people were murdered in shadowy circumstances. It also makes us aware of the cruelty people are evidently capable of. But above all, The Offended breaks the silence—not only of the generation that went through all of this in person, but also of the next generation, which is afraid of reopening the old wounds.


El Salvador, Mexico, 2016 DCP, color, 83 min Director: Marcela Zamora Chamorro Cinematography: Alvaro Rodriguez Screenplay: Marcela Zamora Chamorro Editing: Andrea Bilbao Sound: Paolo Hasbun Sound Design: Daniel Sánchez Production: Julio López Fernández for Kino Glaz Co-Production: Argos Comunicación Executive Production: El Faro, José Luis Sanz, Marcela Zamora Chamorro Screening Copy: Kino Glaz

Marcela Zamora Chamorro: Maria in No One’s Land, (2011) The Broken Mirror (2013) Massacre in Six Acts (2014) The Room of Bones (2015) a.o.


On the Bridge of Death and Life Auf der Brücke von Tod und Leben Lola Jia Liu

Germany, 2016 DCP, color, 98 min

Lola Jia Liu:

Why Singing? (2008)

Director: Lola Jia Liu Cinematography: Lars Barthel Screenplay: Lola Jia Liu Editing: Dirk Oetelshoven, Johannes Nakajima Sound: Uwe Dresch Sound Design: Uwe Dresch Production: Wolfgang Bergmann for Lichtfilm Screening Copy: Lichtfilm Involved TV Channel: ZDF


Every day, Chen Si rides his scooter around on a bridge over the Yangtze River trying to stop potential suicides. During the past 10 years, he has saved more than 200 desperate people, many of whom come from rural areas. Some of them talk with rare candor about the problems they thought they could no longer face. It’s striking that so many of them feel driven to distraction by abuses of power on the part of an employer or the government, making the immense pressure caused by unfettered economic expansion in China frighteningly palpable. As the camera follows him in his daily activities, Chen Si shares what he has learned about life and death; at least, when he’s not busy pulling someone—at times quite forcefully—back from the edge. At the same time, the film paints an intimate portrait of this volunteer. Because of his own turbulent life, he takes the victims’ stories so to heart that he can only lighten his mood with drink. Who will save Chen Si?

The Opposition Hollie Fifer


Australia, 2016 DCP, color, 76 min Director: Hollie Fifer Cinematography: Vincent Lamberti Editing: Bernadette Murray Sound: Lachlan Harris Music: John Gray Production: Rebecca Barry & Madeleine Hetherton & Hollie Fifer for Beacon Films Executive Production: Beadie Finzi & Jess Search for BRITDOC Foundation Screening Copy: Beacon Films Website: www.theoppositionfilm.com

Hollie Fifer:

directing debut

The 3,000 inhabitants of Paga Hill in Papua New Guinea have been living for decades in their own, almost entirely self-sufficient community on the beautiful coastline. But the construction of a new luxury resort threatens to drive them from their homes. The people of Paga Hill and their leader Joe Moses take on the developers, but the ruthless bulldozers won’t wait for court cases and permits. What should have been a David-and-Goliath struggle about landownership becomes a nerve-racking thriller about politics, corruption and money. Dame Carol Kidu, a retired Australian-born politician and former member of parliament, initially takes up the fight against the bulldozers as an activist, but then suddenly switches sides and starts working for the project developer. With the aid of a London law firm, Moses prepares a court case and comes up against a web of corruption scandals. He is now in hiding. Lady Kidu unsuccessfully sued to prevent the film from being screened.



The Passing Years Verloop van jaren John Albert Jansen


Dutch author, poet and columnist Remco Campert (b. 1929) still sits at his typewriter every day, despite his advancing age. This veteran of the experimental Dutch literary movement of the early 1950s known as the Vijftigers sees himself mainly as a poet, even though he might be more famous for his columns, short stories and public performances. He has carefully created an image of himself as a charming Sunday’s child, loved by everyone. But who is he really? Director John Albert spent a year with Campert, quietly documenting his everyday life (the daily game of scrabble with his wife Deborah, a cup of tea, a cigarette, a glass of wine), as well as more intimate moments such as his admission to the hospital and conversations with his daughters and friends. He turns out to be a man of few words—at least verbally—but his poems tell a story of melancholy, mortality and approaching death. Fortunately, his writing keeps him going: “Poetry is an act of affirmation. I affirm that I am alive.”

The Netherlands, 2016 DCP, color / black-and-white, 78 min Director: John Albert Jansen Cinematography: Adri Schrover, Jeroen Wolf Screenplay: John Albert Jansen Editing: Jos Driessen, Daan Veldhuizen Sound: Bouwe Mulder Sound Design: Frank van der Weij Production: John Albert Jansen for Oogland Filmproducties Screening Copy: Oogland Filmproducties Involved TV Channel: VPRO

John Albert Jansen:

Lead Tears the Heart (1993), Brokopondo (1994), AA Kind of Grace (1996), German Worries (1997), Birri’s Dream (1997), The Discovery (1998), The Schacht Saga (1999), Live Is Everywhere (2000), Divine Madness (2001), Ruud Lubbers (2003), Annie M.G. Schmidt (2003), The Ashes of Memory (2005), Wait for Me, Gallows (2006), The Women of the Consequences (2009), Cruel Happiness: Love, Claus & Flanders (2009), Land of Absence – Meeting Adonis (2013), Sam Middleton Painter of Sound (2015), The Alphabet of Fear (2015), Song of Exile (2016) a.o.

El patio Elvira Diaz

WORLD PREMIERE Three gravediggers lovingly maintain the peaceful cemetery in the center of the Chilean capital of Santiago. For Lelo and Perejil, both elderly, it has become a home away from home; they even grow tomatoes there. At the same time, they carry a dark secret. After the coup in 1973, they had to surreptitiously bury the bodies of thousands of political prisoners. It has always troubled them. During their everyday work—digging and clearing graves, repairing stones, making coffins—they tell their story to the much younger Sergio. His response—a mixture of disgust, anger and disbelief—will echo the thoughts of many who see the film. Thanks to the familiarity and warmth among these three colleagues, the story tells itself. At a few points they are interviewed, but most of the time the camera is a fly on the wall. When the remains of one of the “disappeared” are returned to the family, the camera keeps an appropriate distance. A demonstration calling for justice shows that the past will not allow itself to be buried.


France, Chile, 2016 DCP, color, 82 min

Elvira Diaz:

Director: Elvira Diaz Cinematography: Elvira Diaz Screenplay: Elvira Diaz Editing: Florence Jacquet Sound: Claudio Vergara, Boris Herrera, Alfonso Segura, Andres Carrasco Sound Design: Pascal Busolin Music: René Lagos-Diaz Production: Nathalie Combe for Cosmographe Productions Co-Production: Las Películas del Pez Screening Copy: Cosmographe Productions


Y volvere (2013) Victor Jara n° 2547 (2013)


The Pearl of Africa Jonny von Wallström


Sweden, 2016 DCP, color, 75 min Director: Jonny von Wallström Cinematography: Jonny von Wallström Editing: Jonny von Wallström Sound: Magnus Veigas Sound Design: Jonny von Wallström Music: Jonny von Wallström Production: Jonny von Wallström & Andre Wallström for Rough Studios Screening Copy: Rough Studios Website: www.pearlofafrica.tv

Jonny von Wallström:

Planet for Sale (fiction, 2008) Maud & Leo (fiction, 2009) Zero Silence (2011)

Anti-gay legislation was passed in Uganda in 2014, and LGBTQ people now face life imprisonment or even execution. In mass demonstrations, citizens made their opposition to sexual and gender diversity known. Winston Churchill referred to Uganda as “the pearl of Africa” because of its stunning diversity, but it’s a very dangerous place for Cleopatra Kambugu, who was born a man but is on her way to becoming a woman. With support from some of her family and her boyfriend Nelson, she undertakes the physically and emotionally drastic transformation to a different body. Filmmaker Jonny von Wallström follows the cheerful, courageous Cleo and her dedicated partner on their journey, revealing both the couple’s exceptional relationship and their inner struggles. This is intercut with several troubling news segments concerning the introduction of the anti-gay legislation, as well as menacing animations and fiction film-style segments with romantic music that underline the beauty of our protagonists’ love.


David Fernandez de Castro INTERNATIONAL PREMIERE

Spain, 2016 DCP, color, 69 min Director: David Fernandez de Castro Cinematography: Roman Parrado Editing: Carlos Prieto Sound Design: Diego Casares Production: Tono Folguera for Lastor Media, Belen Sanchez for Un Capricho de Producciones World Sales: Dogwoof Screening Copy: Dogwoof

David Fernandez de Castro:

Herbolarium (2008) El Papus, anatomía de un atentado (2010) La muerte silenciada (2011) Between the Earth and the Sky (2013) Hi Mr. Gehry I’m Marc from Arenys (2014) Ajoblanco, crónica en rojo y negro (2015)

With its arid soil and inhospitable landscape, Priorat has always been one of the poorest regions in Catalonia. Little surprise then that, in the late 1970s, no one gave any credence to plans by a group of visionary hippies to revitalize the region’s wine-making industry, which had flourished during the 17th century. But they did it: Priorat is now one of the most important wine regions in the world. Viticulturists, enthusiasts and the wine producers themselves—these days known as “The Magnificent Five”—all tell the exceptional story of the origins of Priorat wine. There were the difficult early years when the banks didn’t dare lend the five any money, followed by rapid success when the world’s leading wine journalist decided to embrace their product, putting the wine world at their feet. “You can make a great wine. You can have the best marketing,” one of the winegrowers says, “but the best wine is one with a story to tell.”



Raised by Krump Maceo Frost

In 1992, clowning was created in California as a dance to entertain children at parties. When some of the clowners got too raw for a children’s party, a new dance style was born: krumping. As an outlet for anger, frustration and aggression, krumping offered many dancers a new way to express their feelings. In Raised by Krump, the most prominent figures in the scene talk about the significance of krumping, as well as their personal backgrounds and motivations. For many of them, dance was their salvation: without it they would have sunk into gang life and the violence of the Los Angeles ghettos. Comparable to slam poetry, krumping focuses on dance battles, except that the aim is not to beat the other dancer—it’s not your opponent who’s your greatest enemy, it’s yourself. With fantastic footage of the dancers during performances and in their personal lives, the documentary and the dance itself are equally enthralling.

USA, 2016 DCP, color, 21 min

Maceo Frost:

Namibia (2016)

Director: Maceo Frost Cinematography: Robin Asselmeyer Editing: Maceo Frost Sound: Jorge Olivares Music: Almkvist, Flying Lotus, Damon Frost, Tha Image Production: Filip Kiisk for Made by Forest Executive Production: Jesper Pålsson for Made by Forest Screening Copy: Made by Forest Website: www.raisedbykrump.com

The Rock Bard Hamid Jafari

Swathed from head to toe in black, a woman is breaking stones out of a rock wall using a crowbar and her bare hands. For several minutes we watch her prying, pushing, bashing, awkwardly wrestling in her flapping robes, until the block she is after finally comes crashing down, right next to the lens of the low camera and her bare feet. Stone by stone, the blocks are loaded onto a truck, and the driver gives her some money—she has earned her wage. In a stone cave dwelling they built themselves, she tends to her elderly husband before returning the next day to the never-ending work. Her daily routine resembles the torment of Sisyphus—a dusty chore she is doomed to repeat forever. The stony, reddish moonlike landscape of southern Iran and the traditional way of life lend an almost biblical atmosphere to this serene, aesthetically filmed visual poem. Like the arid, unending landscape, the woman’s existence seems to lack any dynamism, gradually raising questions about the meaning of life.


Iran, 2015 DCP, color, 25 min Director: Hamid Jafari Cinematography: Arastoo Givi Editing: Esmaeel Monsef Sound: Alireza Daryadel Production: Hamid Jafari Screening Copy: Hamid Jafari

Hamid Jafari:

Two, Three Other Day’s (2001) The Shots that Disappeared (2009) Thus Spoke the Yeoman (2012) Not a Word to Explain it (2014)

Awards: Best Short Documentary Cinema Verite International Film Festival in Tehran, Prix du jury memoire vive court metrage le plus innovant Vision du Reel Nyon.




USA, Japan, 2016 DCP, color, 86 min Director: Thomas Lennon Editing: Maeve O’Boyle, Nick August-Perna Music: Edward Bilous Production: Thomas Lennon, Jessica Wolfson Co-Production: WoWoW Executive Production: Julie Anderson for Thirteen Productions, Stephen Segaller for WNET, William Baker, Raita Nakashima, Atsushi Uchino Screening Copy: WLIW Involved TV Channel: WNET

Thomas Lennon:

The Battle over Citizen Kane (1996) The Irish in America: Long Journey Home (1998) Becoming American: The Chinese Experience (2003) The Blood of Yingzhou District (2006) Tongzhi in Love (2008) The Warriors of Qiugang (2010) Angle of Attack: How Naval Aviation Changed the Face of War (2011) a.o.

An upbeat exploration of the dynamics of faith as a simple human experience, and how people turn to ritual and prayer to navigate the milestones and crises of life, from birth to death. From Semana Santa in Spain and an initiation ritual in Myanmar to a veneration of the dead in Madagascar, and from colorful customs and mass gatherings to individuals explaining their personal experience and interpretation in voice-over. A rare kaihogyo—a Buddhist monk’s thousand-day journey on foot around Mount Hiei—acts as a leitmotif that leads us along the path of life in three chapters: Initiation, Practice and Passage. Simple titles indicate which of the 25 countries the footage comes from, while the soundtrack adds to the enchantment. Oscar winner Thomas Lennon directed this worldwide collaboration between more than 40 filmmaking teams from his office in New York. There he crafted the footage into a global exploration of the role of prayer and ritual in daily life, at a time when religious hatred dominates the world’s headlines.

Sacred Water L’Eau sacrée Olivier Jourdain

Belgium, 2016 DCP, color, 56 min Director: Olivier Jourdain Cinematography: Christophe Rolin, Olivier Jourdain Editing: Mélanie Leclech, Mathieu Piérart Production: Michel Dutry for Nameless Production Co-Production: Wallonie Image Production World Sales: Wallonie Image Production Screening Copy: Wallonie Image Production Involved TV Channel: RTBF Website: www.sacredwater-movie.com

Olivier Jourdain: 1001 Days (2010)

In the West, the female orgasm is still shrouded in mystery, but in Rwanda it’s the stuff of legend. The sacred water in the title refers to Kunyaza, female ejaculation, popularly known as the “squirting orgasm.” Tradition has it that this originates from a queen whose orgasmic flow was so copious that it formed Lake Kivu. Intrigued by the legend, a radio DJ named Vestine sets out to teach people about the sacred water and ensure that this sexual tradition is maintained. She also works to preserve the Gukuna ritual, in which young women prepare for sex using herbs and massage. Frank conversations about the Kunyaza technique are matched with footage of men straining at the oars on the lake. African rhythms, emphasized by the sound of raindrops, also serve as an analogy. Sacred Water is a respectful ode to female pleasure, with a sense of humor and not a trace of embarrassment.



Shingal, Where Are You? Kani Shingal? Angelos Rallis


In 2014, the Yezidi city of Shingal in northern Iraq was conquered and destroyed by IS. The terror group murdered thousands of men and kidnapped 3,000 women and girls, who are still being kept as slaves. In a deserted coal mine on the Turkish border, thousands of Yezidi refugees wait for a safe return. Through the eyes of an older man, a teenage boy and a family, Shingal Where Are You? illustrates the burdens and dilemmas of this persecuted religious minority. Hanging around ruins and fishing pools, children discuss shockingly adult topics, such as the chances of another genocide taking place, and how much better life would be in Europe. In the meantime, the Havind family tries desperately to understand what has happened to them. Inconsolable, they talk on the phone with their daughter who reports from the slave camp. They try to buy her freedom through a chain of intermediaries and get close to the IS lines. The suffering is made all the more palpable when the family visits their city of Shingal, which has been reduced to rubble.

Greece, Austria, Belgium, 2016 DCP, color, 103 min

Angelos Rallis:

A Place for Everyone (2014)

Director: Angelos Rallis Co-director: Hans Ulrich Gössl Cinematography: Angelos Rallis Editing: Chronis Theocharis Sound Design: Spiros Tsitsis Production: Angelos Rallis for AR Productions Executive Production: Maria del Mar Rodriguez Yebra for AR Productions Screening Copy: AR Productions Involved TV Chanels: ERT

Siberian Love Olga Delane

WORLD PREMIERE After living for 20 years in Berlin, Olga Delane returns to her family in Siberia. Members of her familiy and the village community comment on her modern, single life in the city, and tell her about their own none-too-happy marriages. Their relationships are traditional and practical: the man is the head of the household, the woman takes care of the housekeeping—and in fact, everything else. And what about love? “Love, marriage, it’s only a custom,” an elderly woman says. “If your husband hits you, take a frying pan and hit him right back,” she advises. “If you give in once, he will always beat you.” In the end, children and family are what life is about, the interviewees all agree. At times amusing and moving, the elegantly filmed scenes paint a picture of a hard farming life with little room for romance. But when all the unhappily married uncles and aunts are dancing cheerfully together at a village celebration, Olga is left alone on the sidelines.


Germany, 2016 DCP, color, 80 min Director: Olga Delane Cinematography: Nikolai Von Graevenitz, Olga Delane Screenplay: Olga Delane, Frank Müller Editing: Philipp Gromov Production: Frank Müller for Doppelplusultra Co-Production: Bildschön Filmproduktion Screening Copy: Doppelplusultra Involved TV Channels: RBB / ARTE, Al Jazeera

Olga Delane:

Final Destination Krasnokamensk (2013)


Silent Wilderness Stille wildernis Mathijs Vleugels

Belgium, 2016 DCP, color, 60 min

Mathijs Vleugels: directing debut

Director: Mathijs Vleugels Co-director: Peter Krüger Cinematography: Erwin Van Der Stappen Screenplay: Mathijs Vleugels Editing: Kwinten Gernay Sound: Karel Verstreken Sound Design: Senjan Jansen, Gedeon Depauw Narration: Mathijs Vleugels, Tim Cabie Narrator: Robbert Vervloet Production: Peter Krüger for Inti Films Screening Copy: Inti Films


Tim was born in 1975 in Seoul, South Korea, and adopted as a baby by a Belgian family with two daughters. In spite of some problems adjusting, which were dealt with lovingly, the boy seemed to be developing well. But then one day, as a 26-year-old psychology student, Tim grabbed his backpack and set off without a passport. He disappeared without a trace, leaving his parents desperate and completely in the dark. This was now 13 years ago, and his parents still have no idea what happened to him. Was it murder, suicide—or could he still be alive? Footage of everyday life in the parents’ home, where Tim’s absence is still acutely felt every moment, is interspersed with excerpts from Tim’s diary illustrated using animation, conversations with people involved in the police investigation at the time, and a trip to the place in Hungary where Tim was last seen. It becomes very clear how his disappearance still weighs heavily on everyone who loves him.

IDFAcademy Results

Singing with Angry Bird Hyewon Jee


South Korea, 2016 DCP, color, 88 min

Hyewon Jee:

Director: Hyewon Jee Cinematography: Sung-Duk Won, Wooyong Song Editing: Hyewon Jee, Wonjung Bae Production: Sunah Kim for Upright Media Productions World Sales: Autlook Filmsales Screening Copy: Upright Media Productions

Pitched at the Forum 2015

directing debut

Jae-Chang Kim is a temperamental Korean opera singer nicknamed Angry Bird. Five years ago in the Indian city of Pune, he started the Banana Children’s Choir for children in the slums—not to train them as professional musicians, but to introduce them to music from outside their daily reality. The choir changed the children’s lives: it gave them selfconfidence and structure, and for some the opportunity to visit Korea. But much to Angry Bird’s frustration, many parents aren’t convinced of the choir’s value. The film follows him for a year as he attempts to involve the parents by having them rehearse for a joint concert with their kids. The project often drives Angry Bird to despair, because for people who have trouble making ends meet, work is always more important. Nevertheless, music provides a vibrant contrast to life in the slums. It moves both parents and children, bringing them closer together in the process.

IDFAcademy Results 159


Skulls, of My People Vincent Moloi

WORLD PREMIERE October 2, 2015 was the 111th anniversary of the day that German general Von Trotha gave the order to kill all members of the rebelling Herero and Nama tribes in German Southwest Africa. Activists in present-day Namibia say it’s time for Germany to finally acknowledge this mass murder as an act of genocide. And what about reparations? Are racist motives playing a part in Germany’s stubborn refusal to move on this matter? Skulls, of My People shows patience is running out, because it’s not the first time since 1904 that the descendants of those killed have raised the issue. One important demand is the return of the skulls taken by the Germans “for scientific purposes.” There is action and heartbreak, as well as statements from those affected, alternated with scenes from German Parliament, flashbacks to the atrocities and visits to historical locations, such as the church where the local population was herded in and then slaughtered. The Namibian activists suspect that their own government is allowing itself to get distracted by the substantial development aid it receives from Germany.

South Africa, 2016 DCP, color, 67 min Director: Vincent Moloi Cinematography: Marius W. van Graan, Tiyane Nyembe Editing: Ikaye Masis Sound Design: Zethu Mashika Music: Zethu Mashika Production: Makgano Mamabolo & Lodi Matsetela & Vincent Moloi for Puo Pha Productions Distribution for the Benelux: IDFA Bertha Fund Screening Copy: Puo Pha Productions

Vincent Moloi:

Men of Gold (2007) Society (fiction, 2007) A Pair of Boots and Bicycle (2007) African Metropolis: Berea (2013) a.o.


Kristi Jacobson Can a government lock someone in a bathroom for 10 years? The United States can. That’s exactly what happens at Red Onion State Prison, a supermax penitentiary in Virginia’s Appalachian Mountains, where convicts spend 23 hours a day in isolation cells measuring 2.5 by 3 meters. For a year, Kristi Jacobson got the rare opportunity to film there. In this place, the hands and feet of prisoners are shackled whenever they leave their cells to get some fresh air in steel cages. Not all of them are murderers— there are also less violent felons among the detainees. A doctor has the task of monitoring the mental health of the prisoners who feel lonely, depressed and “buried alive.” Guards speak about their permanently high stress levels and how difficult it is to relax in their free time. The failure of the inhumane American detention system has never been presented in such a shocking manner.


USA, 2016 DCP, color, 82 min Director: Kristi Jacobson Cinematography: Nelson Hume Editing: Ben Gold Sound: John Mathie Production: Kristi Jacobson for Catalyst Films, Julie Goldman for Motto Pictures, Katie Mitchell Executive Production: Julie Goldman for Motto Pictures World Sales: Ro*co Films International Screening Copy: Ro*co Films International Website: www.solitarydoc.com

Kristi Jacobson:

American Standoff (2002) Toots (2006) A Place at the Table (2012)

Pitched at the Forum 2014


To Be a Miss

Edward Ellis, Flor Salcedo, Aaron Woolf INTERNATIONAL PREMIERE

Venezuela, USA, 2016 DCP, color, 84 min

Edward Ellis:

Director: Edward Ellis, Flor Salcedo, Aaron Woolf Cinematography: Edward Ellis Editing: Edward Ellis, Aaron Woolf Production: Aaron Woolf for Mosaic Films, Flor Salcedo for Mosaic Films, Aaron Woolf World Sales: Cargo Film & Releasing Screening Copy: Cargo Film & Releasing Website: tobeamiss.com

directing debut

directing debut

Flor Salcedo:

Aaron Woolf:

Art and Racing (1998) Greener Grass (2000) Dying to Leave (2003) King Corn (2007) Beyond the Motor City (2010)

The Venezuelan people’s first experience with democracy came about through a beauty contest. In this Latin American country, which was still a dictatorship in the 1950s, it was a novelty for a working-class beauty queen to beat a rival from the elite. Now, beauty contests are big business in Venezuela. To Be a Miss showcases the coaches, agencies, plastic surgeons and even a manufacturer of the hotly contested beauty queens’ crowns. But above all we see the young women trying to escape the poverty of everyday life by competing in beauty contests. In a small room shared by two sisters and a cousin, a Barbie doll hangs like a trophy on the wall. This is the sisters’ goal: to achieve the Barbie look. They go to the gym twice a day, eat far too little and take part in countless competitions. The success of Venezuelan women in international beauty pageants encourages them to hope for a better future. Nevertheless, there are also critical voices from the university—not surprising when we see the preliminary rounds of a contest being held in a plastic surgery practice.

Trembling Mountain Kesang Tseten


Nepal, 2016 DCP, color, 84 min Director: Kesang Tseten Cinematography: Bishnu Kalpit, Shyam Karki, Jyoti Simha, Siddhartha Shakya Screenplay: Kesang Tseten Editing: Regina Bartschi, Kesang Tseten Sound: Shyam Karki, Bishnu Kalpit, Jyoti Simha, Siddhartha Shakya Sound Design: Sukanto Majumdar Music: Lasse Enersen Production: Kesang Tseten for Shunyata Film Production Screening Copy: Shunyata Film Production

Kesang Tseten:

Listen to the Wind (fiction, 1999) We Homes Chaps (2001) On the Road with the Red God (2005) We Corner People (2007) Frames of War (2008) In Search of the Riya (2009) Saving Dolma (2010) The Desert Eats Us (2011) Who Will be a Gurkha (2012) Men at Work (2013) Castaway Man (2015) Hospital (2016)

On April 25, 2015, Nepal was hit by a devastating earthquake in which 9,000 people lost their lives. At 7.8 on the Richter scale, the quake caused an avalanche of snow, ice and debris that swept away entire villages. One of them was the village of Langtang in the magnificent Langtang Valley, a popular trekking destination surrounded by the majestic Himalayas, where the avalanche killed 176 of the villagers and around 80 hikers. The Nepalese filmmaker Kesang Tseten Lama travels to the area days after the earthquake, going on to document the survivors’ efforts to rebuild their lives for a full year, long after the earthquake has faded from the news. After their initial dismay at the extent of the destruction, the villagers realize that reconstruction is way beyond their physical and financial capacities. As they try to obtain government subsidies or have debts written off, they hold a remembrance ceremony with the families of the tourists who died.




Gaspard Kuentz In the Japanese city of Matsuyama, on the island of Shikoku, an astonishing religious ritual is performed every fall. Eight different teams, all consisting of only men, carry extremely heavy wooden Shinto shrines, which they then crash against one another with great force. Men stand on top of the shrines, trying as hard as they can not to fall off. The team whose shrine falls down first, loses. The roughness of the ritual is said to symbolize the wildness of the gods. Uzu provides a carefully framed impression of this ritual. We see the teams practicing, the painstaking preparations, the rising tension and the final confrontation before a rapt audience. The ritual is so violent that there are injuries among all the teams. The subjective camera positioning—often on top of or even in the shrines—and the striking use of light and dark make this film an intense, almost physical viewing experience.

Japan, 2015 DCP, color, 27 min Director: Gaspard Kuentz Cinematography: Kentaro Akiya, Mirai Osawa, Kenta Tawara Screenplay: Gaspard Kuentz, Koji Tsujimoto Editing: Gaspard Kuentz Sound: Gaspard Kuentz Sound Design: Yasuhiro Morinaga Production: Koji Tsujimoto for Jingumae Produce Screening Copy: Jingumae Produce

Gaspard Kuentz:

We Don’t Care about Music Anyway... (2009) Kings of the Wind & Electric Queens (2014)

Awards: Jury Honorable Mention Festcurtas Belo Horizonte

The Wait Emil Langballe

WORLD PREMIERE In many ways Rokhsar Sediqi is just an ordinary 14-year-old high school student. She lives in a Danish village, plays for the local soccer team and chats with girlfriends about who’s their favorite actor in The Hunger Games. What’s unusual about her is that she is being threatened with deportation. She came to Denmark with her Afghan family five years ago, but her parents weren’t issued a residence permit because the authorities didn’t believe they would be in danger back in Afghanistan. Rokhsar is the only member of the family who speaks fluent Danish, so she’s the one who has to communicate with lawyers, the immigration department and other organizations. It all takes a heavy toll on her mental health. We follow her everyday life in observational style as the situation becomes increasingly strained, and the family waits anxiously for the moment they will be deported. Friends, acquaintances and neighbors offer support, but Danish asylum policy is unrelenting.


Denmark, 2016 DCP, color, 55 min Director: Emil Langballe Cinematography: Emil Langballe Editing: Michael Aaglund Sound Design: Rasmus Winther Music: Uno Helmersson Production: Helle Faber for Made in Copenhagen Screening Copy: Made in Copenhagen Involved TV Channel: TV2

Emil Langballe: Beach Boy (2013)


We’ll Be Alright Bref manuel de liberation Alexander Kuznetsov

France, 2016 DCP, color, 77 min Director: Alexander Kuznetsov Cinematography: Alexander Kuznetsov Editing: Alexander Abaturov Sound Design: Alexander Kalachnikov Production: Rebecca Houzel for Petit à Petit production Screening Copy: Wide House

Alexander Kuznetsov:

Territory of Love (2010) Territory of Freedom (2014)

Awards: Interreligious Prize & Jury Prize Visions du Réel Nyon

Patients admitted to the Tinskoi Neuropsychiatric Institution in Eastern Siberia lose every right to their lives and futures. In rare cases, the court rules in a patient’s favor and they manage to walk out of the gate; everyone dreams of being free one day. Yulia and Katia were disowned by their mothers and transferred from an orphanage to Tinskoi. Over a four-year period, we follow their struggle to be discharged. Even the director of the institute takes up their cause. “If these young women had grown up in an ordinary family, they would now have been valued members of society,” he argues. But bureaucracy makes for a formidable opponent, and it’s hard to have old diagnoses removed from the files. Filmmaker Alexander Kuznetsov calmly and observantly documents the two women’s lives: their daily routines, brief moments of pleasure, painful memories, suspense in anticipation of a court ruling, new tests, disappointment and fresh hope. Through the car windows, Yulia and Katia catch a glimpse of the world they long to live in.

Welcome to the Heavenly Earth Welkom op de hemelse aarde Judith de Leeuw

The Netherlands, 2016 DCP, color, 55 min Director: Judith de Leeuw Cinematography: Rogier Timmermans Screenplay: Judith de Leeuw Editing: Boris Gerrets Sound: Bram Boers Sound Design: Paul Gies Music: David Steijsel, Piet Leegwater Production: Valérie Schuit for Viewpoint Productions Screening Copy: Viewpoint Productions Involved TV Channel: KRO/NCRV

Judith de Leeuw:

Stuff Everywhere (2011) Bademeisters (2015)

IDFAcademy Results


Musing in a wintry landscape, a man asks his friend whether he ever bets on the right horse. No, he doesn’t, is the reply. If he were to bet, he would bet on ponies. In an apocalyptic-looking area on the edge of the gray North Sea, David, Piet and their friends live a wonderful parallel existence, away from society. It’s a life in which they make music according to their own rules and film and photograph their lives, looking back at these recordings together and discussing them. They hardly participate in our media-saturated society at all. Nevertheless, a letter to the king proves that they do pay attention to reality—sometimes. “The world is not going in the right direction, and the king should do something about it.” Among half-demolished buildings, in deserted, misty streets or in a living room crammed full of musical instruments, these men and women philosophize about life in their universe, where prejudices are always confronted. A life that can be hell, but just as often is marvelous and full of wonder.



Wrestling Alligators Andrew Shea

INTERNATIONAL PREMIERE James Billie hunts alligators with his bare hands; he’s also a musician, soldier and poet. But most importantly, since 1979 he has been the charismatic leader of the Seminole Native American tribe of Florida. Since childhood, he has always been devoted to his people and concerned about their high rate of unemployment and limited prospects. So he ran for election and came up with a plan to bring prosperity to the Seminoles: gambling. In 1979, he opened the first high-stakes bingo parlor on an Indian reservation. By legalizing gaming, the Seminoles gained an income, and Billie became hugely popular both within and beyond the tribe. His personal charm and colorful personality have won him wide support throughout the United States. Archive footage of Billie in his youth and interviews with senior figures from inside and outside the Seminole community paint a portrait of a man who stands firmly with one foot in Native American history and the other in modern life.

USA, 2016 DCP, color, 90 min Director: Andrew Shea Cinematography: Charles Miller Editing: Melissa Shea, Tchavdar Georgiev Sound: John Hatcher Sound Design: Brian Dunlop Music: Colin Sigor Production: Udy Epstein & James Eowan for Wrestling Alligators World Sales: Wrestling Alligators Screening Copy: Wrestling Alligators Website: www.wrestlingalligators.com

Andrew Shea:

Santa Fe (fiction, 1997) The Corndog Man (fiction, 1999) Forfeit (fiction, 2007) Portrait of Wally (2012)

Yezidi Girls Reber Dosky

WORLD PREMIERE Who remembers the news reports of the Yezidis captured by IS forces in Iraqi Kurdistan? Yezidi Girls brings the plight of these kidnapped girls and women sharply back into focus. In Lalish, a place of pilgrimage for Yezidis, three victims ages 15, 17 and 18 explain how their neighbors, with whom they had always lived in peace until that moment, betrayed them and handed them over to IS. With closed expressions—they never look directly into the camera—they tell of how they were separated from their family, tortured and forced to relinquish their faith. Sometimes, the inability to speak is all the answer we need, such as when the subject of sexual abuse is raised. No matter how awful their accounts are of how they managed to escape IS, these stories come as a relief. We only see smiles appear on the girls’ faces when they are performing religious rituals; happily, their fears that they wouldn’t be allowed to return to the Yezidi community proved unfounded.


The Netherlands, 2016 DCP, color, 14 min Director: Reber Dosky Cinematography: Reber Dosky Editing: Stefan Hickert Sound Design: Luuk Hoogstraten, Claas Meier Music: Renger Koning Production: Mea de Jong for Mindshakes Executive Production: Sabrina Simons & Ward Wijndelts for Mindshakes Screening Copy: Mindshakes

Reber Dosky:

My Good Fortune in Auschwitz (2012) Mijn papa (2013) Lokroep (2013) One Happy Day (2015) The Sniper of Kobani (2015)


Zaineb Hates the Snow Zaineb takrahou athalj Kaouther Ben Hania

Tunisia, United Arab Emirates, France, Qatar, Lebanon, 2016 DCP, color, 94 min Director: Kaouther Ben Hania Cinematography: Kaouther Ben Hania Editing: Samuel Lajus, Nadia Ben Rachid Production: Habib Attia for Cinetelefilms Co-Production: 13 productions World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales

Kaouther Ben Hania:

Me, My Sister and the “Thing”(fiction, 2006) Imams Go to School (2010) Wooden Hand (fiction, 2013) Challat of Tunis (fiction, 2013)

Pitched at the Forum 2012

Zaineb is a nine-year-old Tunisian girl who loses her father in a car accident. After the grief comes a new shock: her mother has fallen in love with an old flame who moved to Canada; he was married but is now divorced. Zaineb is appalled at the idea of a stepdad and a move to Canada, but this is just what happens 18 months later. She usually puts on a brave face, but she’s in tears as she says goodbye to her classmates. In Canada Zaineb shares a room with her new stepsister, who is also unsure how she feels about the situation. Kaouther Ben Hania, a cousin of Zaineb’s mother, follows the events closely, skillfully capturing the emotional charge of everyday moments. In this captivating portrait of adolescence, the leap into a new world with a different culture and religion is treated with a lightness of touch. At the same time, it works as an excellent metaphor for the confusing process known as growing up. The years that follow remain turbulent— Zaineb has barely managed to embrace her Canadian life when new changes appear on the horizon.


28 May – 4 June 2017 krakowfilmfestival.pl

you have no Idea how much I Love you by pAweł łozIńskI

IDFA mID‑Length DocumentAry FILm competItIon

Icon by wojcIech kAsperskI IDFA Best stuDent DocumentAry FILm competItIon

Daniel by AnAstAzjA DąBrowskA close ties by zoFIA kowALewskA when will this wind stop by AnIeLA AstrID gABryeL

Bests oF Fests:

communion by AnnA zAmeckA pArADocs:

All these sleepless nights by mIchAł mArczAk musIc DocumentAry FILm progrAmme:

Do not miss it! Deadlines for film entries: 31st January 2017 Krakow Film Festival is an Oscar® qualifying festival, recommends and nominates films for the European Film Award in documentary and short film category. It is accredited by FIAPF.

right side of cello by ALeksAnDrA rek top 10 FILms By sergey LoznItsA:

I Don’t know by krzysztoF kIeśLowskI Find also Polish docs and KFF sales & Promotion catalogue at Docs For sale


IDFA FeAture‑Length DocumentAry FILm competItIon

katarzyna.wilk@kff.com.pl www.polishdocs.pl

16–27.11 IDFA oFFIcIAL seLectIon

katarzyna.wilk@kff.com.pl www.polishdocs.pl POLISH DOCS PROJECT IS COFINANCED BY THE POLISH FILM INSTITUTE


The “periphery” of the documentary genre takes center stage in the Paradocs program. It showcases what is going on beyond the frame of traditional documentary filmmaking, on the borders between film and visual arts, truth and fiction, and narrative and design. This year, Paradocs is presenting 11 films.


All These Sleepless Nights Wszystkie nieprzespane noce Michal Marczak

Director Michal Marczak tests the limits of the documentary in this story about two students on the verge of adulthood: it’s never entirely clear whether events have been staged for the camera or actually happened. The style changes abruptly from one scene to another—one moment it’s narrative, and the next more cinema verité. Conversations shift discreetly into voice-over. The protagonists are sometimes so uninhibitedly frenetic and ignore the camera so completely that they might be professional actors. Marczak ran into Krysztof and Michal at a house party in Warsaw. After three months of intensive contact, he started filming them and continued for a year and a half. He recorded the lives of two young men for whom the night is never over. They smoke, do drugs, hit on girls and break the world record for mindless chatter. They are true to life but stereotypes at the same time, in a coming-of-age film set against the backdrop of hip Warsaw nightlife.

Poland, 2016 DCP, color, 100 min Director: Michal Marczak Cinematography: Maciej Twardowski, Michal Marczak Editing: Dorota Wardeszkiewicz Sound Design: Jan Pasemann Production: Marta Golba for Endorfina Studio, Julia Nottingham & Thomas Benski & Lucas Ochoa for Pulse Films World Sales: HanWay Films Screening Copy: The Festival Agency Website: www.allthesesleeplessnights.com

Michal Marczak:

At the Edge of Russia (2010) Fuck for Forest (2012)

Awards: World Cinema Directing Award Sundance Film Festival, Audience Award New Horizons International Film Festival

The Challenge Yuri Ancarani

Huge SUVs gather for Mad Max-style races across the dunes. In search of the ultimate speed thrill, a man roars across the desert in his Lamborghini, a cheetah in the passenger seat. Tough bikers in leather jackets roll out prayer mats on the desert sand. A falconer takes his birds to a tournament by private jet. All these dazzling sights tell the story of a weekend in the Qatari desert. Hunting with falcons is the leitmotif that links the various the stories together—a tradition that goes back some four thousand years. This sport, in which the falcon must catch a dove as quickly as possible, is still extremely highly regarded, with special breeders, auctions and vets who polish beaks and fit artificial wings. It’s a very serious business. The Italian artist Yuri Ancarani performed extensive research within this world, resulting in an intense and at times estranging reportage in sound and image. Tradition and the most up-to-date technologies come together in a boundless landscape populated exclusively by men.


Italy, France, 2016 DCP, color, 69 min Director: Yuri Ancarani Cinematography: Yuri Ancarani, Luca Nervegna, Jonathan Ricquebourg Editing: Yuri Ancarani Sound: Mirco Mencacci Music: Lorenzo Senni, Francesco Fantini Production: Christophe Gougeon for Atopic, Fabrizio Polpettini & Pierre Malachin for La Bête, Tommaso Bertani for Ring Film World Sales/Screening Copy: Slingshot Films International Sales

Yuri Ancarani:

Il Capo (2010) Piattaforma Luna (2011) Da Vinci (2012) San Siro (2014) Séance (2014)

Awards: Special Jury Prize Award Filmmakers of the Present Locarno Film Festival


Craigslist Allstars Samira Elagoz


Finland, The Netherlands, 2016 DCP, color, 65 min Director: Samira Elagoz Cinematography: Samira Elagoz Editing: Samira Elagoz Sound: Samira Elagoz Production: Samira Elagoz Co-Production: AHK Screening Copy: Samira Elagoz

Samira Elagoz:

Four Kings (2014) Cock, Cock.. Who’s There (2016)

Craigslist is a digital grab bag. Anyone is allowed to post anything there: from house sales ads to open job applications with résumé included. And of course there are all sorts of variations on the “man seeks woman” theme—Craigslist is high in the rankings of alternative dating sites. Samira Elagoz used Craigslist to meet a veritable cavalcade of men, including a magician, an exhibitionist, sadist video artist and a soft-core porn director. She films her first encounters in a candid and transparent cinema verité style that has been updated for the YouTube generation. This performance artist describes herself as a behavioral researcher, but she is by no means an objective and dispassionate observer. In reality, she is enticing and risk-taking. Sometimes a relationship develops, but the more frequent outcome is a slightly fearful situation with violence simmering under the surface. It makes little difference in which part of the world her subjects are living—they are all lonely in some way, shape or form. Elagoz puts herself in a position to be the object of the male gaze, but she captures this gaze and returns it.

Events in a Cloud Chamber Ashim Ahluwalia

India, 2016 DCP, color / black-and-white, 20 min Director: Ashim Ahluwalia Cinematography: KU Mohanan Editing: Ashim Ahluwalia, Maryann Dsouza Sound Design: Ashim Ahluwalia Production: Future East Film World Sales: Jhaveri Contemporary Screening Copy: Jhaveri Contemporary

Ashim Ahluwalia:

Thin Air (1999) John & Jane (2005) Miss Lovely (fiction, 2012)

Akbar Padamsee is widely considered to be one of the pioneers of modern Indian painting. The influential critic André Breton recognized the quality of his work early on, and introduced him to Paris in 1948. Today his paintings appear in historical reference works and sell at auction for millions. It is less well-known that in the 1960s, Padamsee also made two abstract animation films accompanied by a soundscape. Audiences were obviously not ready for the films, and were dismissive of the works. The most extreme of the two, Events in a Cloud Chamber, was lost after Padamsee lent out his only copy. Half a century later, Ashim Ahluwalia attempts to reconstruct this first step in Indian experimental film. Padamsee himself, now nearly 90 years old, tells the story, and archive footage alternates with footage from Syzygy, the film that did survive. These outlines form an impressionistic sketch of the lost work—and of the mind that produced it.



Minispectacles Albuquerque Straight Maarit Suomi-Väänänen EUROPEAN PREMIERE Why make a long film when a short one will do? Maarit Suomi-Väänänen is the uncrowned queen of the miniature film. She calls her minute-long movies “Minispectacles” or “cinematic haikus.” She points her camera at everyday situations in which the thin veneer of convention can’t disguise the madness and chaos that lies beneath. There is too little time or motivation to let the story develop, though one suspects there’s an absent chapter before and after it. The nonchalant, handheld technique reinforces the films’ rough-and-ready visual style. At first there doesn’t appear to be too much going on with the man in a motel room on Route 66—except that his roommate is a young lynx. His sentences are repetitions of repetitions; his story is an elliptic, gradual, incremental monologue. Although not much seems to be happening in the one-minute fragments, you’ll view the man in a totally different light once you’ve seen them.

Finland, USA, 2016 DCP, color, 7 min Director: Maarit Suomi-Väänänen Cinematography: Maarit Suomi-Väänänen Editing: Maarit Suomi-Väänänen Sound: Sami Kiiski Production: Maarit Suomi-Väänänen World Sales: AV-ARKKI Screening Copy: AV-ARKKI

Maarit Suomi-Väänänen:

Swan Song (2004) A Bit Scary Really… (2005) Salty Snow (2007) Up and About Again (2009) Minispectacles Touché, Douche, Souche (2010) In a Musty, Misty Thicket (2012) Minispectacles 4x Against (2013) Minispectacles 4x Along (2013) Minispectacles 9x Solo, Duo, Trio, Quartet (2014) Log Head (2015)


November December Novembro dezembro Bruno Jorge


Moving house ranks high on the list of life’s most stressful experiences, along with having a baby. Combine both at the same time and you have a recipe for tunnel vision, relationship trauma and escapism. This is what happens to an artist couple that moves from São Paulo to a little village straight after the birth of their first child. On the face of it, the peace and quiet is wonderful, but the village soon starts to feel isolated. The days are filled with chores, complaints about humidity and lice, and above all silences about the man’s obvious reluctance to be there. And he leaves too, on the pretext of needing to finish a film. The couple vents their unspoken resentments in the voice-over. Animation adds a layer of surrealism, as the couple’s inner lives, their doubts and fears entwine with reality. In this portrait of a doomed relationship, the atmosphere is as hallucinatory as it is oppressive.


Brazil, 2016 DCP, color, 23 min Director: Bruno Jorge Cinematography: Bruno Jorge Editing: Bruno Jorge Music: Lucas Mayer Production: Bruno Jorge & Fernanda Preto for João de Barro Cinema Independente Screening Copy: João de Barro Cinema Independente

Bruno Jorge:

Justice to Insult (fiction, 2005) The Folding Role (fiction, 2007) The Barons (2008) Boy’s School (fiction, 2008) Less than Tomorrow (2009) Alley (2012) Catuçaba (2013) Still Life (fiction, 2013) Setback (2013) What I Could Be If I Were (2015)



Progress vs Regress Melanie Bonajo


The Netherlands, 2016 DCP, color, 54 min Director: Melanie Bonajo Cinematography: Melanie Bonajo Editing: Willem Aerts Sound: Toby Paul Sound Design: Michael Behari, Tommie Bonajo Music: Michael Behari Production: Sasha Dees, Bernie Deekens Screening Copy: Melanie Bonajo

Melanie Bonajo:

Mr. and Mrs Mulder (1999), China (2000), Dynamo (2000), Hunting and Gathering (2009), The End of Color (2011), Pee on Presidents (2012), Diversion (2012), Manimal (2012), How to Get Closer to Nature Exercises Part 1 (2012), Woke up as a Wolf (2014), Private Life of Animals (2012), Casting Cats for Saturday Night Love (2014), Night Soil - Fake Paradise (2014), Night Soil - Economy of Love (2015)

People talk about the elderly a lot but rarely ask them what they think. Sometimes serious, usually with light-hearted humor, Melanie Bonajo questions a group of centenarians about their lives, new inventions, selfies and technology. In the background, the virtual scenery is constantly changing; one moment the subjects are in a space station, and the next moment in a Jacuzzi. For some, technology is a breath of fresh air, for others a mystery. There is disappointment about the materialism of the young, but they also think the generation gap is smaller than it used to be, when young people were expected to be seen and not heard. In the second half of the film, old and young come together to talk about modern communication technology, missing the feeling of trust and togetherness that physical contact entails, about WhatsApp and rotary dial telephones. And also about the departure of the one therapist in the nursing home who really touched people. Not to mention the afterlife, which none of them believes in. This is a film full of surprises.


Shadow World Johan Grimonprez

USA, Belgium, Denmark, 2016 DCP, color / black-and-white, 90 min Director: Johan Grimonprez Cinematography: Nicole MacKinlay Hahn Editing: Dieter Deipendaele, Tyler Hubby, Pedro Collantes de Teran Bayonas, Per K Kirkegaard Production: Joslyn Barnes for Louverture Films, Anadil Hossain for Dillywood Co-Production: Final Cut for Real, Cassette for Timescapes World Sales/Screening Copy: Wide House Distribution for the Netherlands: Periscoop Film Involved TV Channels: ITVS, RTBF, DR, SVT Website: www.shadowworldfilm.com

Johan Grimonprez:

Dial H-I-S-T-O-R-Y (1997) Double Take (2009)

Awards: Best Documentary Feature Film Award Edinburgh International Film Festival Pitched at the Forum 2012

A shocking analysis of the international arms trade, which shapes government policy, breeds corruption, undermines Western democracies and causes widespread human suffering. Governments, security services, research institutes and arms manufacturers are all complicit, because they all have something to gain from a permanent state of war. This essayistic film is loosely based on the book by former African National Congress parliamentarian and anti-corruption activist Andrew Feinstein. Here, his stance is corroborated by the experiences of prominent politicians, war correspondents, soldiers, academics, investigative journalists, peace activists and arms dealers. By detailing British Aerospace cover-ups and recent wars fought by the United States in the Middle East, this documentary offers a new perspective on the “shadow world” in which we live. The film spans from World War I to present day, alternating interviews with historical footage and interweaving passages from the work of the Uruguayan author and journalist Eduardo Galeano. In addition to being an indictment of the arms trade, this revelatory film is an emphatic rallying cry for humanity, truth and love, and the courage to act against the prevailing morality.




Roy Villevoye WORLD PREMIERE For many years, filmmaker Roy Villevoye has been on friendly terms with a number of Asmat people living in the Indonesian province of Papua—one of the few peoples to still live as traditional hunter-gatherers. One of them is his very good friend Ndo, who went blind as a young boy. Villevoye, who has made several films about his experiences among the Asmat, follows Ndo as he undergoes an eye operation in Germany. Ndo’s cousin Omomá accompanies him on the trip. Ndo has great expectations of Western medicine, while Omomá is mainly pleased with the chainsaw he is able to buy in the Netherlands. Despite their hopefulness, the account of their adventure also contains moments of disillusionment. Smoke, Villevoye’s most personal film to date on his relationship with the Asmat, deals with hope and loss, and the confusion that arises when life takes an unexpected turn.

The Netherlands, 2016 DCP, color, 45 min Director: Roy Villevoye Cinematography: Roy Villevoye Editing: Roy Villevoye Production: Roy Villevoye World Sales: Lima Screening Copy: Lima

Roy Villevoye:

Bombay Taxi Girl (1998), Propeller (2005), Beginnings (2005), The Gift (2007), Dance, Dance, Dead (2008), The Video Message (2009), Jack (2010), Voice-Over (2014) a.o.

Roy Villevoye & Jan Dietvorst:

Us/Them (2001), The Bishop & the Doctor (2002), Pupís (2002), Jac & Jeri (2003), The New Forest (2004), Winter Prayers (2006), Owner of the Voyage (2007), Phantom (2008), And the Trumpet Shall Sound (2008), The Scrap-Iron Age (2009), Pressure (2009), War Is Over (2011), After the Battle (2012), Geef me zeep. Geef me een handdoek (2014), The Double (2015), The New Dress (2016)

Time Capsule Jan Ijäs

“Libraries are still the best way to preserve the important aspects of man’s written inheritance for the future,” says the Belgian artist Louis de Cordier. “Not DVDs, hard disks, chips or the internet.” He bought a piece of land at 2,000 meters in the Spanish Sierra Nevada and built an underground library and a seed bank for non-genetically modified plants. The remote location, the minimal variations in temperature and the dry climate delay the ravages of time. The books on art, science and spirituality that he aims to preserve for the next 2,000 years are his own selection, but anyone can send him books. In this isolated location where time seems to stand still, a radio telescope picks up signals of cosmic activity from the beginnings of the universe. From this height you can also see the vast greenhouse complexes along the coast, where illegal immigrants earn a meager living. Their daily drudgery contrasts starkly with the telescope’s vast outlook and the library’s focus on a distant future.


Finland, 2016 DCP, color / black-and-white, 21 min Director: Jan Ijäs Cinematography: Ville Piippo, Jan Ijäs Screenplay: Jan Ijäs Editing: Okku Nuutilainen, Jan Ijäs Sound: Jan Ijäs Sound Design: Karri Niinivaara Music: Matti Ahopelto Narration: Jan Ijäs Narrator: Piëtke Visser Production: Jan Ijäs for Atalante Inc. World Sales: AV-ARKKI Screening Copy: AV-ARKKI

Jan Ijäs:

The Surftones – Sportinghouse (2004) Ode To Joy (National Anthem of EU) (2005) Dancing Nazi Skinheads (2005) Kids Movie (2005) A Film for Three Men and Industrial Elevator (2005) Eläkeläiset 10th Anniversary Humppamarathon (2005) Spectacle (2006) Sweet Mov(i)e (2010) Bodybuilding (2010) Solitude in Year Zero (2012) Two Islands (2013)


Welcome Huan ying Rikun Zhu

China, 2016 DCP, color / black-and-white, 63 min Director: Rikun Zhu Cinematography: Rikun Zhu Editing: Rikun Zhu Production: Rikun Zhu for Fanhall Films Screening Copy: Fanhall Films

Rikun Zhu:

The Questioning (2013) The Dossier (2014) Dust (2014)

In a previous film, Dust, filmmaker Zhu Rikun drew attention to the lung disease afflicting workers in Sichuan province. Now, over a black screen we hear voices welcoming him back to the region. Gradually the situation becomes clearer: Zhu Rikun is filming again in the same mountainous part of Sichuan, but this time the local authorities have forbidden him to speak to workers suffering from lung disease; he is only allowed to film the landscape. Unabridged, we hear the painful conversation with the local authorities, the Stabilization Office and the Party Secretary of the Department of Politics and Law. Their threats are veiled in courtesy and kind words. They say they would be happy to see a film that shows the region in a positive light, but they insist on seeing all the recorded footage and ultimately demand the right to destroy it. Stability must be protected at all costs. Zhu Rikun has produced a raw and disturbing document that exposes the methods of the authorities by allowing them to speak uncensored.

) 005)




by Jerôme le Maira Competition for Feature-Length Documentary



LIKE DEW IN THE SUN by Peter Entell

MS S FIL SWIS oklet e-Bo 2016 Fall s c Do ow out n

Competition for Feature-Length Documentary



by Jacqueline Zünd First Appearance Competition



First Appearance Competition




Becoming Zlatan / Daan’s Inheritance / Storming Paradise / Alice Cares

Alice Cares / Erbarme Dich - Matthäus Passion Stories / The man with the 100 child

The man with the 100 children / Hill of Pleasures / This is my picture when I was de This is my picture when I was dead / Mies goes to Hollywood / The Sex Police The Sex Police / Refugees: Who Needs Them? / Nadia’s tics / Becoming Zlatan


Becoming Zlatan / Daan’s Inheritance / Storming Paradise / Alice Cares

Ca / Erbarme Dich - Matthäus Passion Stories / The man with the 100 child Alice Cares

The man with the 100 children / Hill of Pleasures / This is my picture when I was de

APRIL 20-30, 2017


Foto / Photo: Cássio Vasconcellos



This is my picture when I was dead / Mies goes to Hollywood / The Sex Police The Sex Police / Refugees: Who Needs Them? / Nadia’s tics / Becoming Zlatan Becoming Zlatan / Daan’s Inheritance / Storming Paradise / Alice Cares

Alice Cares / Erbarme Dich - Matthäus Passion Stories / The man with the 100 child

The man with the 100 children / Hill of Pleasures / This is my picture when I was de This is my picture when I was dead / Mies goes to Hollywood / The Sex Police The Sex Police / Refugees: Who Needs Them? / Nadia’s tics / Becoming Zlatan Becoming Zlatan / Daan’s Inheritance / Storming Paradise / Alice Cares

Alice Cares / Erbarme Dich - Matthäus Passion Stories / The man with the 100 child

The man with the 100 children / Hill of Pleasures / This is my picture when I was de This is my picture when I was dead / Mies goes to Hollywood / The Sex Police The Sex Police / Refugees: Who Needs Them? / Nadia’s tics / Becoming Zlatan


From portraits of legendary musicians and rising talents to documents of life on the road, these documentaries live and breathe for music. This year the festival is showcasing 17 films in this program section, selected in collaboration with the Amsterdam cultural center Melkweg, which also hosts several screenings accompanied by concerts. Two films are also eligible for another IDFA Award and can be found in the respective sections of the catalogue. Rocknrollers (see page 100) is selected for the IDFA Competition for Kids & Docs, and Unknown Brood (see page 84) is selected for the IDFA Competition for Dutch Documentary.

Music Documentary

Chasing Trane:

The John Coltrane Documentary John Scheinfeld


Saxophonist John Coltrane (1926-1967) is a legend—a musician possessed whose intense solos rejuvenated jazz. In Chasing Trane, an array of people—including Sonny Rollins, Bill Clinton and contemporary star saxophonist Kamasi Washington— speak about what made Coltrane so special, both as a musician and a man. The documentary, with contributions from Coltrane biographer Lewis Porter and critic Ashley Kahn, covers the major aspects of his career, from being a novice in Dizzy Gillespie’s big band (1949-1951), to his two stints with trumpet player Miles Davis (including the classic recording Kind of Blue from 1959), to forming his own famous quartet in 1961. Coltrane’s own words, taken from interviews and liner notes, are spoken by Denzel Washington. Coltrane’s biggest development as a saxophonist began when he quit drugs. His playing on both tenor and soprano sax became freer and he discovered his qualities as a composer. He became increasingly spiritual, dedicating 1965’s A Love Supreme to God, and his subsequent work only grew in its ferocity and mysticism. After a Japanese tour in 1966, he died of liver cancer at 40.

USA, 2016 DCP, color / black-and-white, 99 min Director: John Scheinfeld Cinematography: Stan Taylor Screenplay: John Scheinfeld Editing: Peter Lynch Sound: Jon Oh Sound Design: Marcus Pardo Production: Dave Harding for Crew Neck Productions, John Beug, Scott Pascucci, Spencer Proffer World Sales: WME Entertainment Screening Copy: Crew Neck Productions Website: www.coltranefilm.com

John Scheinfeld:

The U.S. vs. John Lennon (2006) We Believe (2009) Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him)? (2010) Dick Cavett’s Watergate (2014) Dick Cavett’s Vietnam (2015) I Hope You Dance: The Power and Spirit of Song (2015) a.o.

Contemporary Color Turner Ross, Bill Ross

EUROPEAN PREMIERE This vibrant documentary takes the viewer into the world of color guard, a combination of sport and dance performed at American high schools and universities during football games or brass band performances. Related to cheerleading, color guard is less widely known—which is inexcusable, given the spectacular, large-scale synchronized dances by performers wielding flags, rifles and swords. In the summer of 2015, former Talking Heads front man David Byrne organized a concert that paired 10 artists—including Nelly Furtado, Nico Muhly and St. Vincent—with some of the best color guard teams. The result is a series of excellent and gorgeously filmed performances—some of them exuberant and highly expressive, others conservative and restrained. The directing duo of brothers Bill and Turner Ross also reveal the tension and excitement behind the scenes. In the words of Byrne, who is one of the producers, “The teams and the musicians created this glorious, inspiring thing that runs counter to much of what is happening in the world right now.”


USA, 2016 DCP, color, 96 min Director: Turner Ross, Bill Ross Cinematography: Jarred Alterman Editing: Bill Ross Sound Design: Lawrence Everson Production: Michael Gottwald & Josh Penn for The Department of Motion Pictures, David Byrne for Todo Mundo World Sales: Cinetic Media Screening Copy: The Department of Motion Pictures

Bill Ross & Turner Ross: 45365 (2009) Tchoupitoulas (2012) Western (2015)

www.rossbros.net Awards: Best Editing & Best Cinematography Award World Documentary Competition Tribeca Film Festival

Music Documentary

Eat That Question –

Frank Zappa in His Own Words Thorsten Schütte

Germany, France, 2016 DCP, color, 90 min Director: Thorsten Schütte Editing: Willibald Wonneberger Production: Estelle Fialon for Les Films du Poisson, Jochen Laube for UFA Fiction Executive Production: Thorsten Schütte, Gail Zappa, Ahmet Zappa World Sales: Sony Pictures Classics Screening Copy: Sony Pictures Classics Involved TV Channels: ARTE, SWR

Thorsten Schütte:

World Jazz (1998), The Cactus of Knowledge (2001), Trip to Brazil (2001), I Was the King of Porn - The Adventurous Life of Lasser Braun (2002), Namibia Generation X (2005), Land Matters (2008), Dwaal Net Rond - The Forgotten (2015)

Awards: Golden Athena Award Athens International film festival, Zabaltegi-Tabakalera Award San Sebastian Film Festival, Asbury Park Music Foundation Award Asbury Park Music In Film Festival

Frank Zappa didn’t really like interviews. “It’s one of the most abnormal things you can do to anyone, two steps removed from the Inquisition.” Yet in this documentary consisting only of interview excerpts and concert outtakes, it’s obvious he was a witty, provocative and intelligent conversationalist. A composer, guitarist, bandleader, conductor, filmmaker and self-proclaimed “freak,” the eccentric Zappa (1940-1993) was a controversial figure during his short life. He often made headlines with his “obscene” and explicit lyrics (e.g. “Penis Dimension”) that were full of toilet humor, confrontational words, biting social commentary and resistance to censorship. He battled the conservative Parents Music Resource Center that wanted to put warning labels on album covers. He was also scathing about the “stupidity of the United States” and the hypocrisy of politics and religion, a subject he explored in his song “Cosmik Debris.” A workaholic, he spent his life on the borders between popular and classical music, seeing himself as the missing link between Varèse, Stravinsky and Webern. He continued to renew himself to the very end.

Pitched at the Forum 2011

Far Western James Payne


USA, Japan, 2016 DCP, color / black-and-white, 82 min Director: James Payne Cinematography: David McMurry Editing: Matthew Leach Sound: Royce Sharp Music: Kelli Scarr Production: Matthew Leach for Fieldguide Media Screening Copy: This Land Films Website: www.farwesternmovie.com

James Payne:

The Creek Runs Red (2006) Larry Clark’s Tulsa (2014)

Charlie Nagatani cuts a striking figure in his big cowboy hat. Since he fell in love with the music of the U.S. occupiers back in the 1950s, this 80-year-old Japanese musician has lived for country music. As the owner of a famous country music bar and the founder of the annual Country Gold Festival, he is the figurehead of this remarkable Japanese subculture. Far Western starts out by concentrating on Charlie’s contemporaries, elderly men with nimble guitar fingers and an endearing southern twang (with a Japanese accent), but as the film progresses, the horizon broadens. The music is still attracting new, young fans, and the Country Gold Festival features big American names. The cultural exchange is complete when a number of Japanese bands tour the United States and jam with their American counterparts. And Charlie Nagatani? He heads for Nashville to perform at the legendary Grand Ole Opry—but not before buying himself a new cowboy hat.


Music Documentary

Honky Tonk Heaven:

The Legend of the Broken Spoke

Brenda Greene Mitchell, Sam Wainwright Douglas


Broken Spoke is a legendary country dance hall in Austin, Texas that first opened its doors in 1964. We learn about the venue’s colorful history from its owners James and Annette White, their two daughters and the musicians who have performed on the small stage over the years, including country stars George Strait, Willie Nelson and Dale Watson. This charming if slightly ramshackle honky-tonk is a mecca for anyone who loves to listen to country music and dance the two-step, preferably dressed in traditional cowboy style. It’s a true family business, with one daughter teaching dances and the other creating beautiful embroidered decorations on the cowboy shirts her father wears in his role as Broken Spoke host. Annette White runs the business side, and keeps an eye on the bar and the kitchen where they fry her famous chicken steak. Broken Spoke is still holding out, despite being surrounded by highrises and luxury apartments. But for how long?

USA, 2016 DCP, color, 75 min

Brenda Greene Mitchell:

Director: Brenda Greene Mitchell, Sam Wainwright Douglas Cinematography: David Layton, Lee Daniel Editing: Sam Wainwright Douglas Sound: Landry Gideon Sound Design: Chris Keyland Production: Brenda Greene Mitchell & Michelle Randolph Faires for Honky Tonk Heaven Executive Production: Scott Mitchell for Honky Tonk Heaven Screening Copy: Big Beard Films Website: www.brokenspokefilm.com

Citizen Architect: Samuel Mockbee and the Spirit of the Rural Studio (2010) Moving Mountains: Land Art in the New West (2016)

directing debut

Sam Wainwright Douglas:

Sam Wainwright Douglas & Paul Lovelace:

The Holy Modal Rounders: Bound to Lose (2006)

Awards: Audience Award 24 Beats Per Second SXSW Film Festival

Joe’s Violin

Kahane Cooperman EUROPEAN PREMIERE Joe Feingold was born in Poland in 1923, into a family where everyone played an instrument and music was very important. After the Nazi invasion in 1939, he spent more than six years in a labor camp in Siberia. He survived the war and then, just before immigrating to the United States in 1947, he found a violin at a flea market and took the instrument along on his journey. Now, almost 70 years later, he can no longer play due to ill health, so he decides to donate his violin to an organization that distributes old instruments to children in destitute neighborhoods. In the scenes, interviews and archive footage that follow, we watch as the life stories of Joe and 12-year-old Brianna become intertwined. She is selected as the recipient of this instrument with such a charged history. Then Brianna and Joseph meet for the first time, the beginning of a truly remarkable friendship.


USA, 2016 DCP, color / black-and-white, 24 min Director: Kahane Cooperman Cinematography: Bob Richman Editing: Amira Dughri, Andrew Saunderson Sound: Roger Phenix, Austin Plocher Music: Gary Meister Production: Kahane Cooperman & Raphaela Neihausen for Lucky Two Productions Executive Production: Peter Kenney for Lucky Two Productions World Sales: Go2Films Screening Copy: Lucky Two Productions Website: www.joesviolin.com

Kahane Cooperman: Cool Water (1991) Making Dazed (2005)

Awards: Audience Award For Best Short Film Nantucket Film Festival, Audience Award For Best Short Film Montclair Film Festival, Audience Award For Best Short Film Lighthouse International Film Festival, Grand Jury Award Best Short Documentary Film Lighthouse International Film Festival

Music Documentary

Liberation Day Morten Traavik, Ugis Olte


Norway, Latvia, 2016 DCP, color, 100 min Director: Morten Traavik, Ugis Olte Cinematography: Sven-Erling Brusletto, Valdis Celmins Screenplay: Morten Traavik, Ugis Olte Editing: Ugis Olte, Gatis Belogrudovs Sound Design: Artis Dukalskis Music: Laibach Production: Uldis Cekulis for VFS Films, Morten Traavik for Traavik.Info Co-Production: Norsk Fjernsyn, Mute Records, Staragara World Sales: Dogwoof Screening Copy: VFS Films Website: www.liberationday.film

Morten Traavik: directing debut

www.traavik.info Ugis Olte:

Stuck in Stikine (2006) Red Spot (fiction, 2008) KK2678 (fiction, 2008) Procrastination Live (2014) Double Aliens (2015)

The ex-Yugoslavian cult band Laibach has been raising controversy ever since its foundation over 35 years ago. This is not only because of its music, which includes infamous covers such as Rolling Stones’ “Sympathy for the Devil,” Opus’ “Live Is Life” and Queen’s “One Vision,” but also due to the striking visual language the band employs. Laibach incorporates elements from military and industrial films, and these, together with their clothing, give rise to both admiration and disgust. The band has even been accused of associations with Nazism. Ironically enough, the band was invited to play in Pyongyang, North Korea in celebration of the country’s Liberation Day. The film follows the members of the band, their entourage and artist and concert organizer Morten Traavik (also co-director of this film) from their arrival in North Korea until the concert. The preparations are hampered by a lack of technical facilities, cultural differences and constant interference from the censors. Meanwhile, international tensions are rising as propaganda loudspeakers are installed along the border with South Korea.

The Man from Mo’Wax Matthew Jones

UK, 2016 DCP, color, 108 min Director: Matthew Jones Cinematography: Morgan Spencer Editing: Alec Rossiter Sound Design: Liam Paton, Tom Foster Music: Liam Paton Production: Matthew Jones & M.J. McMahon for Capture, Brian A. Hoffman for 28 Entertainment Executive Production: Jay Hoffman, Mary Burke, Kirsty Bell Screening Copy: Capture Website: www.themanfrommowax.com

Matthew Jones: directing debut

He was a DJ at 14, label boss at 18 and a millionaire at 21. Welcome to the world of James Lavelle, founder of the trip-hop label Mo’Wax and discoverer of many a musical talent, including DJ Krush and DJ Shadow. The latter’s 1996 debut album Endtroducing was a huge artistic and commercial success. DJ Shadow and the restless and temperamental Lavelle then went on to collaborate on the equally successful UNKLE project. But then Lavelle’s career took a nosedive when conflicts, drugs, relationship problems, loss of creativity, arrogance and narcissism all took their toll. Slowly but surely, he picked himself back up and has now returned to a music industry that has changed a lot in 20 years. For his directorial debut, Matthew Jones was granted access to the personal videos of both Lavelle and DJ Shadow. To dazzling effect, Jones intertwines their heated arguments with other fascinating archive material and candid interviews with artists such as Josh Homme, Grandmaster Flash and Radiohead lead singer Thom Yorke.


Music Documentary

The Pit

Yama Anton Yaremchuk


A graduation film about someone who’s also graduating would be the shortest possible summary of The Pit (as in orchestra). The film follows an aspiring conductor named Denis during his last examination pieces at Ukraine’s National Music Academy in Kiev. Denis is graduating with a performance of Rossini’s The Barber of Seville and has 35 days to perfect the opera with a school orchestra and singers. But which version will he perform: one with cuts or a new edition? Will the orchestra ever play in time? A critical teacher provides some biting commentary. Denis’s conducting lacks soul—he’s not really ready yet. The Pit is located almost entirely in the beautiful Music Academy building and takes the form of an opera, with an overture, acts and a real intermezzo. Slightly stylized images show Denis’s trials and tribulations without commentary. The film’s motto is “Per aspera ad astra”: a rough road leads to the stars. Denis will make it in the end.

Ukraine, 2016 DCP, color, 26 min Director: Anton Yaremchuk Co-director: Danila Okulov Cinematography: Anton Yaremchuk Editing: Anton Yaremchuk, Danila Okulov Sound: Danila Okulov Sound Design: Danila Okulov Production: Dmytro Tiazhlov for National I. K. Karpenko-Kary Theatre, Cinema and Television University, Anton Yaremchuk & Danila Okulov for Loud Film Collective Screening Copy: Loud Film Collective

Anton Yaremchuk:

29th State (2013) Il signore di Moritzplatz (2014) Unglücklichsein (fiction, 2015) Punti di Vista (2015) Subbotnik (2015) Heavy Fog (fiction, 2016)

Right Side of Cello Wariacja na wiolonczele solo Aleksandra Rek


His career as a musician got off to a promising start, but in 2004 the critically acclaimed young Polish cellist Dominik Polonski received a diagnosis that would change his life for good: he had a brain tumor and the outlook was bleak. Following several surgeries and a long period of rehabilitation, he can still only use one arm. Nevertheless, Polonski focuses not on what he has lost, but on what is still possible. Right Side of Cello follows him in his life so far. We watch from very close by as he plays the cello alone, cares for his beloved instrument and has it restored, plays chess with his daughter and shares valuable life lessons with her. We also see him with his wife and newborn son. Music still plays a huge role in his life. He starts to perform again, but no longer the works of the classical masters. Now he plays modern pieces written specially for him—music he brings to life with passion and verve.


Poland, 2016 DCP, color, 37 min Director: Aleksandra Rek Cinematography: Asta Julia Gudjonsdottir, Kamil Frontczak Editing: Daria Szewczenko Sound: Wlodzimierz Cieciel Sound Design: Dariusz Wancerz Music: Dominik Polonski Production: Adam Slesicki & Iga Wójcik for Wajda Studio Sp. z o.o. Screening Copy: Wajda Studio Sp. z o.o.

Aleksandra Rek: directing debut

Music Documentary

The Rolling Stones Olé Olé Olé!: A Trip Across Latin America Paul Dugdale

USA, UK, 2016 DCP, color, 105 min Director: Paul Dugdale Cinematography: Jonas Mortensen Screenplay: Paul Dugdale, Sam Bridger Editing: Christopher Bird Sound: Lee Walpole, Bob Clearmountain Narration: Sam Bridger, Paul Dugdale Production: Sam Bridger for JA Digital Executive Production: Julie Jakobek for JA Digital, Terry Shand & Geoff Kempin for Eagle Rock Film Productions, Joyce Smyth for The Rolling Stones, Jane Rose World Sales: Eagle Rock Film Productions Screening Copy: Eagle Rock Film Productions

Paul Dugdale:

The Prodigy: World’s on Fire (2011), Adele Live at the Royal Albert Hall (2011), Coldplay Live 2012 (2012), The Rolling Stones: Sweet Summer Sun - Hyde Park Live (2013), Die Toten Hosen - Der Krach der Republik (2014), Coldplay: Ghost Stories (2014), One Direction: Where We Are - The Concert Film (2014), Ed Sheeran Jumpers for Goalposts (2015), Just Let Go: Lenny Kravitz Live (2015), The Rolling Stones Havana Moon (2016) a.o.

There are few places left where the Rolling Stones have not played during their incredible career. Until 2016, Cuba was one of these. During a tour of Latin America, the musicians got the idea of visiting the previously isolated island. The preparations and production issues form a leitmotif throughout this recording of the ensuing musical journey, in which the Stones visit familiar places and look up old friends. We witness an exceptional meeting between Ronnie Wood and a fellow artist, beautifully accomplished by non-verbal communication. Before each concert, the band visits local musicians who perform their own versions of Stones numbers—for example, a mariachi band plays a cheerful cover of “Happy.” There are also some sparkling anecdotes, mostly related by the eye-catching Mick Jagger and Keith Richards. The concerts and the run-up to these are filmed and edited to create a spectacular film. There’s also plenty of attention for the songs and the special relationship between these rockers, whose popularity seems as great as ever.


Shot! The Psycho-Spiritual Mantra of Rock Barnaby Clay

USA, 2016 DCP, color / black-and-white, 98 min Director: Barnaby Clay Cinematography: Max Goldman Editing: Michael Dart Wadsworth, Drew DeNicola Sound Design: Ben Wilkins Production: Danny Gabai & Jim Czarnecki for VICE, Marisa Polvino for Straight Up Films, Sal Scamardo for Pulsar Pictures, Monica Hampton for Rockeye Productions Executive Production: Eddy Moretti for VICE, Liz Vap for FeralCat Productions World Sales/Screening Copy: Magnolia Pictures International

Barnaby Clay:

directing debut

Some of the most famous pop photography of the 1970s is the work of Mick Rock. His photos were largely responsible for establishing the images of legendary musicians Iggy Pop, David Bowie and Lou Reed, with the classic album covers for Raw Power by Iggy and the Stooges and Transformer by Lou Reed, as well as David Bowie as Ziggy Stardust. Equally iconic are the videos he directed, such as Bowie’s Jean Genie and Life on Mars. Rock, now approaching 70, is the man who shot the 1970s. It was the era of glam rock, and later of punk—Rock also photographed the Sex Pistols and the Ramones—as well as bands like Queen, whose album cover for Queen II features Rock’s photography. Barnaby Clay, also a respected music video director, interviews Rock about his lengthy career. We see the photographer as he attempts to organize his extensive archive, coming across unused video footage of David Bowie along the way. Suffering from heart trouble, he has to take it easy as he awaits an operation. Shot! The Psycho-Spiritual Mantra of Rock is a portrait of Rock from his hospital bed, with hallucinatory flashbacks and psychedelic dream sequences.


Music Documentary

Walking in the Opposite Direction Marc Waltman

WORLD PREMIERE “I Can’t Escape Myself” is one of the songs written by Adrian Borland (1957-1999) that have, in retrospect, become more meaningful. The British singer-songwriter suffered from depression and schizoaffective disorder; he committed suicide in 1999. Walking in the Opposite Direction—the title is taken from one of Borland’s songs—tells the story of his life using rare archive material, interviews with former band members and music critics and discussions with his father and former girlfriends. Adrian Borland himself tells his version through the songs played in the film. Borland started his musical career in the punk trio The Outsiders, which in 1979 became part of The Sound, a post-punk band that enjoyed greater success but never really broke through to a mass audience. Their debut album Jeopardy (1980) is seen by many as a masterpiece, but from the early 1980s onward things started to go downhill. Borland went solo and lived and worked for years in the Netherlands and Germany. He returned to England in 1999 to work on what became his last album.

The Netherlands, 2016 DCP, color / black-and-white, 96 min

Marc Waltman: directing debut

Director: Marc Waltman Cinematography: Martijn Prins, Thijn Teeuwissen Screenplay: Marc Waltman Editing: Marc Waltman Sound: Martijn Prins Sound Design: Marc Waltman Production: Jean-Paul van Mierlo for Stichting Opposite Direction Co-Production: Boegbeeld Screening Copy: Stichting Opposite Direction Website: www.walkingintheoppositedirection.info

We Are X Stephen Kijak

Hard rock has always been a popular genre in Japan—for example, Deep Purple’s classic live album Made in Japan (1972) and Scorpions’ Tokyo Tapes (1978) were recorded there, to name just two. Japanese heavy metal bands Bow Wow, Loudness and X Japan enjoyed great success in the 1970s and 1980s. Featuring great archive material and candid interviews with current band members, We Are X reveals the turbulent history of these hard rockers, who started out as X before reinventing themselves as X Japan. The band enjoys incredible popularity in Japan and has paved the way for the visual kei subculture of flamboyantly dressed, androgynous musicians with lots of makeup and colorful hair. They have a theatrical stage act and play melodious metal music, including the occasional power ballad that gets everyone singing along. In 1997, internal quarrels, the death of a band member and the ongoing depression of drummer and co-founder Yoshiki heralded the end of the band. But in 2007 a new incarnation arose—the documentary ends with a glorious concert by X Japan in Madison Square Garden in October 2014.


UK, Japan, USA, 2016 DCP, color, 93 min Director: Stephen Kijak Cinematography: Sean Kirby, John Maringouin Editing: Mako Kamitsuna, John Maringouin Sound: Theresa Radka, Giles Khan Music: Yoshiki Hayashi Production: John Battsek & Diane Becker for Passion Pictures World Sales: Mongrel Media Screening Copy: Mongrel Media Website: www.wearexfilm.com

Stephen Kijak:

Never Met Picasso (fiction, 1996) Scott Walker: 30 Century Man (2007) Stones in Exile (2010) Backstreet Boys: Show ‘Em What You’re Made Of (2015)

Stephen Kijak & Angela Christlieb: Cinemania (2002)

Stephen Kijak & Paul Marchand: Jaco (2015)

www.stephenkijak.com Awards: Special Jury Award for Editing Sundance Film Festival, Excellence In Title Design SXSW

Music Documentary

Where You’re Meant to Be Paul Fegan


Scotland, 2016 DCP, color, 77 min

Paul Fegan:

Director: Paul Fegan Cinematography: Julian Schwanitz Screenplay: Paul Fegan, David Arthur Editing: David Arthur Sound: Jack Coghill Music: Stevie Jones, Jenny Reeve, Michael John McCarthy Narration/Narrator: Aidan Moffat Production: Paul Fegan for Better Days Productions Ltd Executive Production: Sonja Henrici, Mark Thomas, Stewart Henderson, Noe Mendelle Screening Copy: Scottish Documentary Institute Website: www.whereyouremeanttobe.com

Awards: Silver Hugo Documentary Competition Chicago International Film Festival

Pouters (2012)

Is the purpose of traditional Scottish folk songs to pass on old stories? Why do these stories continue to have meaning and relevance? These are the big questions Arab Strap singer Aidan Moffat has in the back of his mind when he decides to cross Scotland (including the highlands and islands), in search of the roots of Celtic culture—a journey that results in stunning shots of the Scottish landscape. Along the way the plain-talking Moffat meets countless eccentrics—including people who reenact historic battles. The witty singer has no qualms about updating or shortening the ancient folk songs in order to build a bridge to the present. This earns him the ire of 79-year-old Sheila Stewart (who died shortly after filming), a folk legend who has spent her whole life maintaining the rich tradition of Scottish song. It’s a tradition she believes should be left unchanged and of which she gives a practical demonstration in a live concert, her powerful solo voice going straight for the heart in a ballad about the devastating power of the sea.



Sergei Loznitsa’s Top 10 Ukrainian filmmaker Sergei Loznitsa has selected his Top 10 favorite documentaries, featuring seldom-seen classics from the 20th century that shed new light on the world we live in today. In addition to the Top 10, IDFA is also screening a selection from Loznitsa’s rich body of work (see page 193). This program is supported by the Dutch Cultural Media Fund.

Sergei Loznitsa’s Top 10

History's Now By Ronald Rovers

The Top 10 compiled by Sergei Loznitsa is a real treasure trove for connoisseurs of rare film. Most of his choices focus on a Russia and Eastern Europe from a fairly distant past, but they remain extremely relevant in today’s world. “They’re all films I feel closely connected with. Stylistically. In their approach," says Sergei Loznitsa when asked whether he applied a particular principle in selecting the films. "They’re all films I’d like to get to see shown on the big screen, because many of them aren’t often shown. I can’t be sure of course, but I suspect that in some cases no one at the festival will have seen the film before.” And Fridrikh Ermler’s Facing the Judgement of History is one of them, is that right?

“That’s a fantastic film, from 1965. It’s an attempt at propaganda, but it had the opposite effect. Someone came up with the idea of interviewing Vasily Shulgin, a journalist and author who had a seat in the pre-revolutionary parliament. He was one of the people who

persuaded Tsar Nicholas II to abdicate in 1917. You need to know that there were two revolutions in Russia. Shulgin was in the first one, and he was part of the interim government—that was in February 1917. Then in October there was the gangsters’ communist revolution. Shulgin fled, first to Berlin and then to Belgrade, where in 1944, during World War II, a special unit of the Russian army poisoned him and he woke up in Moscow. “He spent the next 20 years in solitary confinement. After his release, Stalin thought he’d get this man—he had a wonderfully aristocratic appearance and he spoke that rich, pre-revolutionary Russian rather than the stunted revolutionary Russian—to say how fantastic the revolution had been. Shulgin was very famous, so now, at the age of 80, he was allowed to say things in front of the camera that other people simply wouldn’t have gotten away with. When the film came out, audiences flocked to see this man who offered a glimpse of another Russia, pre-revolutionary Russia. It was like he was a memory of the good old days. It was such a success that it

From the East

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Sergei Loznitsa’s TopTop 10 10 Sergei Loznitsa’s

was pulled from cinemas and banished to small picture houses far away from the cities.” Why didn’t you select any contemporary films?

“Maybe they all seem like films about the past, but they’re sharply focused on today. That’s even true of the 1931 film 13 Days. Industrial Party Process, which is about a show trial under Stalin. They show what it is that’s important to people, how society is organized. Last year I shot The Event, which is about the coup in the Soviet Union in 1991. My film is completely relevant to the situation in Russia now. “13 Days. Industrial Party Process shows just how seductive propaganda can be. We know now that the communists held lots of show trials against dissidents. They filmed the first ones, and this is one of them. You see people proclaim that they are an enemy of the state, and while you’re watching you believe what you’re seeing. Even though I’m looking with the eyes of a director, I notice I’m still believing what’s happening there. It’s a convoluted dance macabre, and it’s pretty much impossible to tear your eyes away. “I selected Koma because it’s one of the first honest films about the labour camps. It was made in 1989, when Perestroika was on the rise and filmmakers had a brief window of freedom to make critical films. It’s a feature film in the tradition of the Leningrad Film School, in a style closely related to documentary. I Don’t Know is a relatively unknown film by Kieslowski, which features a revealing interview with a Polish communist and party boss talking about wrongdoings in the regime. If you want to know how to do an interview, you’ve got to watch this movie.” War and conflict and their causes and consequences are emphatically present in all these films. Do you think war is dominating people’s thoughts at the moment?

“I remember Von Clausewitz saying something about war being the normal human condition. Seems to me that idea hasn’t been refuted yet. We live in strange times. All the political tensions between nations are there in the open for all to see, but it seems like nobody’s doing anything about them. There’s something surreal about it. “I’ve got a question for the Dutch people. There’s a commission that’s found proof that Russia supplied the rocket that brought down that airplane over Ukraine. Wouldn’t you expect that the Dutch government would review its relations with Russia? Or that parliament would demand it? Or that people would be out on the

streets in their thousands? But there’s nothing. Maybe I’m overromanticizing. But you'd better realize that next time a plane is brought down, it’ll go unpunished.” Is it possible that they think Russian imports and exports are more important?

“Having a comfortable life isn’t simply a matter of economic relations. It’s also to do with principles and a willingness to defend them. People in Ukraine understood that two years ago when they rose up in rebellion. But what’s happening in the Netherlands? People want to live a comfortable life. They’re not interested in principles any more. This kind of system turns into a bureaucracy, a mechanism in which everything is formalized and won’t ever act against foreign aggression.” You also selected From the East by Chantal Akerman. Do you feel an affinity with her approach?

“I saw it shortly after it was released in 1993 in Moscow, but it was completely forgotten about after that. A few years back I saw the film again at the German Film Museum and suddenly realized how similar our styles are—how much I’d taken on board from her, how much she’d inspired me. I want to show people how something like that works, how knowledge is passed on.” Would you like to make a film about the American presidential election?

“It would have to mostly be about mass hysteria and how you sell products. The short answer is no. I’m not interested. I want to make films about things that are close to me, but I can’t say exactly what they might be. Mind you, there is one place where you’ll find plenty of interesting material to make films about: the KGB archives.” Speaking of the KGB, three years ago we were talking on Skype when the connection was broken and then restored. You said, “KGB. Never forget.” Is this still an issue?

[The moment Loznitsa starts talking there’s a disturbance on the line. About five or six seconds later I can understand him again. He laughs out loud.] “Well, at least our conversation hasn’t been for nothing. You remember that film Das Leben der Anderen? I’ve always secretly hoped that my conversations would change the political opinions of people listening in.” Sergei Loznitsa was interviewed by film critic Ronald Rovers.

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Sergei Loznitsa’s Top 10

13 Days. Industrial Party Process Yakov Poselsky

In 1930, during what became known as the Industrial Party Trial, some members of the Soviet technical elite were tried for plotting to form a counter-revolutionary party. This documentary depicts that trial, in which a dozen men are prosecuted for crimes against the Russian Revolution. They promptly confess and are given the chance to address the court with an explanation. Full of remorse, they plead for the opportunity to pay off their debt to society by working. Then they wait for their sentence. What was presented in 1930 as a documentary we now know is a registration of a show trial. Said to have been fabricated by Stalin himself, its aim was to serve as a cautionary tale for anyone who had ever thought of standing up to the Soviet regime. The film is now a unique document, capturing the spirit of the times. Produced by the Central Studio for Documentary Film, which was the largest Soviet newsreel and documentary studio, this film was one of the first to feature sound recorded on location.

Russia, 1930 ProRes, black-and-white, 62 min Director: Yakov Poselsky Screenplay: Mark Zeitlin Production: Yakov Poselsky

Yakov Poselsky:

Zhizn i smert leytenanta Shmidta (fiction, 1917) Kogda my, myortvye, voskresnem? (fiction, 1918) Bednyaku vprok kulaku v bok (fiction, 1923) Spartakiada (1929) Chelyuskin (1934) Papanintsy (1938) a.o.


Sovest Vladimir Denisenko The story is set in a small village during the German occupation of Ukraine. When one of the local partisans kills a German officer, the occupants vow to kill the whole village if the perpetrator is not found and delivered to them. What would your conscience tell you to do if the choice was between your own life and that of an entire village? Conscience is a striking combination of expressionistic, metaphorical images and dramaturgic realism, and the soundtrack darkens the mood. Due to the film’s themes, it did not see wide release until perestroika. Made by students of the directing-acting workshop of Vladimir Denisenko at the Kiev National I. K. Karpenko-Kary Theatre, Cinema and Television University, it was only allowed to be made because it was never to be screened. Nowadays, the film is considered a classic of Ukrainian cinema.


Ukraine, 1989 ProRes, black-and-white, 78 min Director: Vladimir Denisenko Cinematography: Oleksandr Deriazhnyi Editing: Tamara Bykova Sound Design: Anatolii Chornoochenko Music: Krzysztof Penderecki, Jozef Bakka, Myroslav Skoryk Production: Vladimir Denisenko for National I. K. Karpenko-Kary Theatre, Cinema and Television University Screening Copy: Oleksandr Dovzhenko National Centre

Vladimir Denisenko:

Soldatka (fiction, 1960) Roman i Francheska (fiction, 1961) A Dream (fiction, 1964) On the Kiev Line (fiction, 1968) Tyazhyolyy kolos (fiction, 1969) Ozareniye (fiction, 1971) Povest o zhenshchine (fiction, 1975) Reapers (fiction, 1978) Vysokiy pereval (fiction, 1982)

Sergei Loznitsa’s Top 10

I dimenticati Vittorio De Seta

Italy, 1959 35mm, color, 20 min Director: Vittorio De Seta Cinematography: Vittorio De Seta Editing: Vittorio De Seta Production: Vittorio De Seta Screening Copy: Cineteca di Bologna Film restored by: Fondazione Cineteca di Bologna

Vittorio De Seta:

Isole di fuoco (1955), Surfarara (1955), Pasqua in Sicilia (1955), Lu tempu di li pisci spata (1955), Peasants of the Sea (1955), Golden Parable (1955), A Day in Barbagia (1958), Fishing Boats (1958), Shepherds of Orgosolo (1958), Bandits of Orgosolo (fiction, 1961), Half a Man (fiction, 1966), The Uninvited (fiction, 1969), In Calabria (fiction, 1993), Dedicato ad Antonino Uccello (2003), Letters from Sahara (fiction, 2006), Articolo 23 (fiction, 2008) a.o.

A little truck races across the mountainous terrain of southern Italy, until the road suddenly disappears. The cargo is loaded onto mules—high up in the mountains, Alessandria del Carretto is one of Calabria’s forgotten places, accessible only on foot. The inhabitants are getting ready for the annual celebration of spring in the shape of the centuries-old “Spar Ceremony.” While the men go out to drag a huge tree trunk to the village, the women provide lunch in a mountain meadow. A solemn procession builds up to the high point of the day. Which daring climber will manage to reach the top of the pole set up on the village square? Without dialogue, I dimenticati (The Forgotten) is the last in a series of short documentaries De Seta made between 1955 and 1959. With this sober but visually expressive ode to the old world of the countryside, in a way he anticipated the work of later directors such as the Taviani brothers.

Facing the Judgement of History Pered sudom istorii Fridrikh Ermler

Russia, 1965 35mm, black-and-white, 93 min Director: Fridrikh Ermler Cinematography: Mikhail Magid, Lev Sokolsky Screenplay: Vladimir Vladimirov, Mikhail Bleinman Sound: Lev Valter Music: Sergei Slonimsky World Sales: National Film Foundation of Russian Federation

Fridrikh Ermler:

Scarlet Fever (fiction, 1924), The House in the Snow-Drifts (fiction, 1927), The Parisian Cobbler (fiction, 1927), Fragment of an Empire (fiction, 1929), Peasants (fiction, 1934), The Great Citizen (fiction, 1939), Balzac in Russia (fiction, 1940), She Defends The Motherland (fiction, 1943), The Turning Point (fiction, 1945), The Great Force (fiction, 1949), Dinner Time (fiction, 1953), Unfinished Story (fiction, 1955), The First Day (fiction, 1958), From New York to Yasnaya Poliana (1963) a.o.

Intended as communist propaganda, a dialogue between a Soviet historian and Vasily Shulgin, a key figure in the anti-communist White movement, ends up revealing the complexity behind Shulgin’s ideals and the evolution of his thought. Now a frail old man, Shulgin comes to Saint Petersburg for the first time in 40 years and visits the main sites of the 1917 revolution. Illustrated by archive footage, his memories guide us through the First and Second World Wars, the February Revolution and Russian emigration. The historian seeks to challenge Shulgin into admitting to the Whites’ wrongdoings and the failure of his ideas, but his template remarks are greeted by Shulgin’s frank and critical reflections on the monarchist past and the communist future of Russia. The film enjoyed three days of cinema release in 1965 before it was abruptly removed by Soviet authorities for its controversy.


Sergei Loznitsa’s Top 10

From the East D’Est Chantal Akerman

Waiting, always waiting—Chantal Akerman filmed a lot of people doing just that. On the street, in the cold, at the station, in the snow, resigned and patient. As she puts it, waiting was one of the legacies of the Soviet Union that she wanted to capture before it was too late. Made shortly after the collapse of the USSR, Akerman has described this film as a “documentary on the edge of fiction.” She traveled from East Germany via Poland to Moscow and filmed anything that she felt affected by. The resulting film alternates between long, slow-moving tracking shots of countryside and city, and static images of people in their living rooms or kitchens. Devoid of dialogue and comment, this is a purely visual report from Eastern Europe before the free market radically altered its society. It shows a changing world with its accompanying uncertainties, a place where time had stopped but is now slowly gearing up into motion again.

Belgium, France, Portugal, 1993 DCP, color, 115 min Director: Chantal Akerman Cinematography: Raymond Fromont, Bernard Delville Screenplay: Chantal Akerman Editing: Claire Atherton, Agnès Bruckert Sound: Pierre Mertens, Thomas Gauder, Didier Pécheur Production: Helena van Dantzig for Lieurac Productions Executive Production: Marilyn Wathelet for Paradise Films Screening Copy: CINEMATEK Involved TV Channel: RTP

Chantal Akerman:

Blow up My Town (fiction, 1968), La chambre (1972), Hôtel Monterey (1972), I, You, He, She (fiction, 1974), Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (fiction, 1975), News from Home (1977), Anna’s Meetings (fiction, 1978), The Eighties (fiction, 1983), Letters Home (fiction, 1986), American Stories, Food, Family and Philosophy (fiction, 1989), Night and Day (fiction, 1991), South (1999), The Captive (fiction, 2000), From the Other Side (2002), Tomorrow We Move (fiction, 2004), Down There (2006), Almayer’s Folly (fiction, 2012), No Home Movie (2015) a.o.

I Don’t Know Nie wiem Krzysztof Kieslowski

Director Krzysztof Kieslowski gives a voice to a Polish whistleblower who revealed crimes and corruption involving local Communist Party leaders. During the 1950s, he was appointed manager of a leather factory in Silesia. There he came across shady practices such as selling stolen goods and claiming expenses for fictitious business trips. But the moment he started to investigate, he was accused of theft and fired, and subsequently even threatened with violence. Unbeknownst to him, he had become Public Enemy No. 1. All of this culminated in a nervous breakdown and his being committed to a psychiatric institution. Now, the only thing that matters to him is a clear conscience. Kieslowski’s seldom-screened documentary is the testimony of a man who eventually turned against the system he had initially been an enthusiastic part of. Kieslowski had great doubts about releasing the film, as he was afraid of putting the whistleblower in even greater danger. To protect him, he included the sound of a typewriter at the moments when people are named.


Poland, 1977 35mm, black-and-white, 47 min Director: Krzysztof Kieslowski Cinematography: Jacek Petrycki Screenplay: Krzysztof Kieslowski Editing: Lidia Zonn Sound: Michal Zarnecki Screening Copy: Polish National Film Archive

Krzysztof Kieslowski:

The Office (1966), Tramway (1966), Factory (1970), Before the Rally (1971), Refrain (1972), The Bricklayer (1973), First Love (1974), X-Ray (1974), Slate (1976), The Scar (fiction, 1976), The Calm (fiction, 1976), From a Night Porter’s Point of View (1977), Railway Station (1980), No End (fiction, 1985), Dekalog (fiction, 1988), A Short Film About Killing (fiction, 1988), A Short Film About Love (fiction, 1988), Seven Days a Week (1988), The Double Life of Veronique (fiction, 1991), Three Colors: Blue (fiction, 1993), Three Colors: White (fiction, 1994), Three Colors: Red (fiction, 1994) a.o.

Sergei Loznitsa’s Top 10


Nijole Adomenaite, Boris Gorlov

Russia, 1989 35mm, color / b&w, 62 min

Nijole Adomenaite:

Director: Nijole Adomenaite, Boris Gorlov Cinematography: Yuri Vorontsov Editing: Irina Vigdortchik Music: Algirdas Paulavicius Production: Yury Pavlov for Lenfilm World Sales: National Film Foundation of Russian Federation

Sensatsiya (fiction, 1993)

Dom na peske (fiction, 1991)

Boris Gorlov:

It’s the early 1950s, the height of mass repression in the Soviet Union. In the ice-cold north of Russia, Maria lives in a women’s labor camp, more widely known as a Gulag. She was arrested after reading a poem by the reactionary poet Tsvetaeva at a student party. In this inhumane place, she will not only have to endure many forms of violation, but will also eventually have to choose between her child and the man she loves. If a poem could land a regular girl in jail, tomorrow it could be anyone. Filmmakers Nijole Adomenaite and Boris Gorlov subtly hint at the fact that what looks like an extreme was actually a very real possibility for every person living during Soviet times. The harsh reality of the Stalinist labor camps is depicted without embellishment to drive the point home. Full of the horrors that were inherent in the era of Stalinism, Koma shows the effects of this regime on the people living under it.

A Little Monastery in Tuscany Un petit monastère en Toscane Otar Iosseliani

France, 1988 video, color, 54 min Director: Otar Iosseliani Cinematography: Lionel Cousin Editing: Otar Iosseliani, MarieAgnès Blum, Annie Chevallay Sound: Martin Boisseau World Sales: Pastorale Productions Screening Copy: Documentaire sur Grand Ecran Awards: Prix Meilleur documentaire de l’année La SCAM,Enrico Fulchignoni - Unesco Award Venice Film Festival, Filmcritica Bastone Bianco Award Venice Film Festival

Otar Iosseliani:

Song About a Flower (1959), April (fiction, 1961), Cast Iron (1964), Falling Leaves (fiction, 1966), Pastorale (fiction, 1975), Seven Pieces for Black-and-white Cinema (1983), Favourites of the Moon (fiction, 1984), And Then There Was Light (fiction, 1989), Chasing Butterflies (fiction, 1992), Seule, Géorgie (1995), Brigands, Chapter VII (fiction, 1996), Farewell, Home Sweet Home! (fiction, 1999), Monday Morning (fiction, 2002), Gardens in Autumn (fiction, 2006), Chantrapas (fiction, 2010), Winter Song (fiction, 2015) a.o.

With a fine sense of detail, filmmaker Otar Iossiliani (originally from Georgia but now living in France) observes the daily lives of five Augustinian monks in a small monastery in Castelnuovo dell’Abate, not far from Siena in Tuscany. Without commentary, his gaze focuses on the monks’ daily lives, and those of the inhabitants of the surrounding countryside and the residents of the nearby town of Montalcino. A relationship is depicted between these very different worlds, particularly through the way the sound is edited. The monastery is characterized by peace and quiet and the regularity of monastic life, with song and prayers in the chapel punctuating the prominent silence. In the countryside, the people work, make wine and drink in the café. We also see the contrast between poor villagers and the rich, who parade around Montalcino in fur coats at Christmastime and enjoy a sumptuous meal. The contrast between the old traditions and the inescapable modern era becomes almost palpable.


Sergei Loznitsa’s Top 10


Dziga Vertov One of the last films by editing maestro Dziga Vertov, who this time did without the cinematic trickery used in his magnum opus Man with a Movie Camera (1929). Vertov made Lullaby to mark the 20th anniversary of the October Revolution, dedicating the film to “the women of the Soviet Union”—a recurring theme in his oeuvre. Opening with a rocking camera and a tender montage of babies breastfeeding, the film races through the various parts of the Soviet Union—concentrating on the Far East— recording all kinds of folksy, romantic scenes of radiant mothers and their children, the inevitable portrait of Joseph Stalin omnipresent in the background. Halfway through, Stalin himself appears at a women’s congress, where he is praised for the new constitution that will “affirm the emancipation of women.” It seems that Stalin and the members of his party were not so impressed by the film, however: Lullaby screened for only a few days, and in the years that followed virtually all new film plans submitted by Vertov were rejected.

Russia, 1937 35mm, black-and-white, 58 min Director: Dziga Vertov Co-director: Elizaveta Svilova Cinematography: Dmitri Surenskij Screenplay: Dziga Vertov Screening Copy: Österreichisches Filmmuseum

Dziga Vertov:

Cinema Week (fiction, 1919), Anniversary of the Revolution (1919), The Battle of Tsaritsyne (fiction, 1920), Trial of the Socialist-Revolutionary Party (fiction, 1922), History of the Civil War (1922), Soviet Toys (1924), Cinema Eye (1924), Kino Pravda (1925), A Sixth of the World (1926), Forward, Soviet! (1926), The Eleventh Year (1928), Man with a Movie Camera (1929), Enthusiasm (1931), Three Songs About Lenin (1934), Memories of Sergo Ordzhonikidze (1937), Three Heroines (1938), Kazakhstan for the Front! (fiction, 1942), In the Mountains of Ala-Tau (fiction, 1944), News of the Day (1954) a.o.

The War Game Peter Watkins

This Oscar-winning account of a fictional nuclear attack on southern England abruptly awakened its audience to the threat of nuclear war. The black-and-white footage in the style of a cinema newsreel creates an authentic atmosphere in this mockumentary with an activist tint. The doom scenario unfolds in chronological order, from the preparations for the impending attack and the evacuation of 10 million people to the actual explosion, the countless casualties, food shortages and looting. Footage in reporting style is interspersed with interviews with public figures and members of the public, the latter of whom are played by actors. They all give their opinion on nuclear war and the usefulness of nuclear weapons. The general lack of public knowledge and the disastrous consequences contrast starkly with the optimistic statements by the people in power, which are transcribed from reality. Although the characters are played by actors and the events are imaginary, the film draws striking parallels with contemporary conflicts.


UK, 1965 video, black-and-white, 48 min Director: Peter Watkins Cinematography: Peter Bartlett Screenplay: Peter Watkins Editing: Michael Bradsell Sound: Derek Williams, Lou Hanks, Stanley Morcom Narration: Dick Graham, Michael Aspel Production: Peter Watkins World Sales: BBC Active

Peter Watkins:

The Web (1956), The Field of Red (1958), The Diary of an Unknown Soldier (1959) The Controllers (1963), Culloden (1964), Privilege (1967), Gladiatorena (1969), Punishment Park (1971), Edvard Munch (1974), The Trap (1975), Evening Land (1977), Resan (1987), The Media Project (1991), La Commune (Paris, 1871) (2000) a.o.


Awards: Academy Award For Best Documentary Feature, Best Short Film BAFTA Awards, Special Prize Venice Film Festival a.o.


Sergei Loznitsa Retrospective In honor of Ukrainian director Sergei Loznitsa’s outstanding documentaries, IDFA is presenting a selection of six titles from his rich body of work, including his most recent film Austerlitz, which premiered at the Venice Film Festival earlier this year. In addition to the retrospective, the festival is screening the director’s Top 10 favorite documentaries (see page 185). This program is supported by the Dutch Cultural Media Fund.

Sergei Loznitsa Retrospective Sergei Loznitsa Retrospective

Time Immemorial By Ronald Rovers

Sergei Loznitsa’s films are like particle accelerators trying to make present and past collide, but instead demonstrating that the two can never meet. The title of Sergei Loznitsa’s new film Austerlitz is taken from the last book written by W.G. Sebald. It is a novel about time, memory and the human experience. The problematic relationship between these three phenomena—the leitmotif of Loznitsa’s own films, and of the films he selected for his Top 10 at this year’s IDFA—is further explored in Austerlitz, which observes tourists visiting the death camps at Dachau and Sachsenhausen. The sandals, sunglasses and T-shirts we see shuffling past the camera, the selfies, photos and videos made for posterity, and the seemingly indifferent dawdling all suggest that these people are looking around much as they would in any museum; mass murder has become a consumer product. But they have all chosen to be here. So some part of them wants to remember. But what, asks the film, will they take away with them? Are these camps being reduced to sensations and experiences, or are people accessing the memory of these places? Are they feeling what it meant to be here? Is it clear how somebody could end up here? When it comes to time, says Loznitsa, we are all tourists. Of the five short and full-length films making up this retrospective, perhaps 2015’s The Old Jewish Cemetery is the most compact expression of his view of the world. Somewhere on the outskirts of Riga a tram rushes by, as if the camera is a tourist who has just gotten off and is looking for the right place. The film is black, white and gray, making it difficult at first to work out whether this is the past or the present. Only the passing cars speak of present day. The title of the film tells us what the camera is looking for, but all we can see is a park. During the week, it is the domain of junkies and tourists, while Sunday brings locals out for a stroll. Then suddenly it dawns on us that there is no cemetery anymore. Built in 1725, it survived more than two centuries. Then the Nazis came, and buried the bodies of more than a thousand Jews who had been murdered in the houses and on the streets of Riga. Communism arrived with the Russian takeover after World War II. In an act apparently intended to erase the genocide, the bodies were cleared out and the cemetery’s name was changed to Park of the Communist Brigades.

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In 20 wordless minutes, Loznitsa recreates an invisible past through the barbaric acts and historical revisionism that seem to mark every era. Despite all attempts to erase and rewrite history, or to bury it beneath military parades and empty heroics, Russia must look the past in the eye. For if it does not, how will we fathom underlying tensions and prevent new conflicts? That other, more contemplative dimension is also present: the passing of time. Time that refuses to be remembered. Time immemorial. Is Russia even able to look the past in the eye? In Reflections, Loznitsa’s contribution to the 2014 anthology Bridges of Sarajavo, the director employs broadly the same strategy of looking to the past through the prism of the present. The camera explores life in the city through reflections in the glass of photographs of soldiers taken during the siege of Sarajevo in 1992. Have the tensions of those times evaporated? Has the past been forgotten? Or is it concealed behind the facade of everyday life? But what if you view the past not in retrospect, but in the moment? What if you are present when history is being made? For his 2015 film The Event, Loznitsa combined footage from eight cameras observing crowds in Palace Square in Saint Petersburg on August 19, 1991, the day an attempted coup was taking place in Moscow, carried out by communist hardliners who rejected the new course being taken by

Sergei Loznitsa Retrospective Sergei Loznitsa Retrospective

President Gorbachev. In 73 minutes, Loznitsa captures the emotions of the day: confusion about the situation in Moscow, uncertainty about the future, and the steadfast and unanimous protest against the coup plotters. Never again will Russians tolerate a tyrant. Sometimes you just look on as history is rewritten. We catch a glimpse of an as-yet-unknown figure on a balcony. But this KGB member and assistant to the mayor of Saint Petersburg was already rapidly ascending the career ladder. It is Vladimir Putin. Bearing in mind the current ruling power in Moscow and that this film comes just one year after his 2014 film Maidan, Loznitsa is not only casting doubt on the value of grand words and the determination of this protest in Kiev— and perhaps all other mass protests—but also showing Russians that they perhaps have more in common with the Ukrainian population than they think. You might also say that The Event casts a shadow forward in time to the Maidan protests and holds a mirror up to Ukrainians and asks, “Will your determination stand firm?” At first you might think “humor” isn’t quite the right word, considering all the suffering that the 20th century wreaked on Russia. But it was

Loznitsa himself who gave his 2008 film Revue its title. This cleverly edited compilation of propaganda films presents life in the late 1950s and early 1960s as a decade-long vaudeville show. There are poems on the shop floor, industrious laborers grinning as they work overtime, and much song and dance. It all suggests a carefree existence. Perhaps in some sense it was an extended variety show, but one that was a matter of life and death—a facade erected to hide atrocities. Words are almost entirely absent in Loznitsa’s films. In The Event we hear only the speeches on the square, in Austerlitz the words of the death camp tour guides, in Revue the staged interviews and voice-over; the grandiose and formal words, the words that pretend to tell it like it is. In Letter, his short, observational portrait of psychiatric patients roaming like ghosts on the streets and fields of a remote Russian village, the voices have been silenced, making individuals interchangeable, something of their personality lost. It is exemplary for the director’s style. Loznitsa’s interest is in the great movements, not the small gestures. Ronald Rovers is a film critic for Dutch daily Trouw and monthly film magazine De Filmkrant.

The Event

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Sergei Loznitsa Retrospective

Austerlitz Sergei Loznitsa

Sergei Loznitsa positioned his camera among the stream of tourists who visit the Dachau and Sachsenhausen concentration camps. His static, black-and-white shots closely observe the behavior of the visitors: the couples in summer outfits taking selfies in front of the entrance gate bearing the legend Arbeit macht frei; the woman posing gracefully in front of one of the ovens; the man calmly snacking on nuts as he enters the most abominable section of the death camp. Others are wearing T-shirts bearing slogans such as “Cool Story, Bro” or “Jurassic Park.” An officious guide orders her group around, and they follow her docilely like sheep. None of them will have noticed Loznitsa with his camera, among all the others taking photographs and looking around glassy-eyed. Unaccompanied by any commentary, the images raise a question: now that all experiences of the camps are collective, is it even possible to commemorate the Holocaust in an appropriate way? Has the concentration camp become a spectacle? The title Austerlitz is a reference to W.G. Sebald’s eponymous novel about a Jewish man who as a child refugee was robbed of his name and history.

Germany, 2016 DCP, black-and-white, 94 min Director: Sergei Loznitsa Cinematography: Sergei Loznitsa, Jesse Mazuch Editing: Sergei Loznitsa, Danielius Kokanauskis Sound: Vladimir Golovnitski Sound Design: Vladimir Golovnitski Production: Sergei Loznitsa for Imperativ Film Screening Copy: Imperativ Film

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Revue (2008), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Letter (2013), Reflections (2014), Maidan (2014), The Old Jewish Cemetery (2014), The Event (2015)


Awards: Mouse d’Argento Award Venice Film Festival

The Event Sobytie Sergei Loznitsa

August 19, 1991. The last words of a brief speech echo across the masses assembled on Palace Square in Saint Petersburg. Then, within a matter of seconds, a hundred thousand clenched fists shoot up into the air. The Russians have had enough. Seventy-five years of Communism and now yet another attempted coup aiming to depose Gorbachev and Yeltsin in Moscow—it ends now. Except it didn’t, seems to be the implicit message of this montage of images from eight cameramen moving among the huge crowds on that day. In Putin, the Russians once again accepted a strong man to rule the country with his trusted clique, winning every election with an improbably large majority. In 74 minutes, all of the emotions of that momentous day pass by: from confusion about the situation in Moscow and uncertainty about the future to unified, resolute protest. Then, a record of a current event—now, a reminder of a historical one, and of the relative nature of political convictions.


The Netherlands, Belgium, 2015 DCP, black-and-white, 74 min Director: Sergei Loznitsa Editing: Danielius Kokanauskis, Sergei Loznitsa Sound Design: Vladimir Golovnitski Production: Sergei Loznitsa & Maria Choustova for Atoms & Void Co-Production: CINEMATEK Distribution for the Netherlands: Cinema Delicatessen Screening Copy: Cinema Delicatessen

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Revue (2008), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Letter (2013), Reflections (2014), Maidan (2014), The Old Jewish Cemetery (2014), Austerlitz (2016)


Sergei Loznitsa Retrospective


Pismo Sergei Loznitsa

Russia, The Netherlands, 2012 DCP, black-and-white, 21 min Director: Sergei Loznitsa Cinematography: Pavel Kostomarov Screenplay: Sergei Loznitsa Editing: Sergei Loznitsa Sound Design: Vladimir Golovnitski Production: Sergei Loznitsa & Maria Choustova for Atoms & Void Screening Copy: Atoms & Void

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Revue (2008), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Reflections (2014), Maidan (2014), The Old Jewish Cemetery (2014), The Event (2015), Austerlitz (2016)

In 2001, The Settlement appeared—a feature-length documentary about a psychiatric institution in the village of Oksochi, in the west of Russia. While shooting that film, Sergei Loznitsa also made a short film using a special camera. The images are processed so as to make them appear as if they were taken in the early years of the 20th century. The Settlement has a clear narrative, following a day in the lives of the patients in the institution. Letter is more metaphorical. The camera moves past the houses and across the fields where the patients work. As the images are all slightly out of focus, they seem like ghosts in a timeless landscape. We hear the sound of cows and of hay being loaded onto a wagon. But the people’s voices are muted, their pain and individuality removed. Here, they are simply patients. In the fall of 2013, the institution was destroyed by fire. Dozens of patients and staff lost their lives.


The Old Jewish Cemetery Sergei Loznitsa

The Netherlands, Latvia, 2015 DCP, black-and-white, 20 min Director: Sergei Loznitsa Cinematography: Sergiy Stefan Stetsenko Editing: Danielius Kokanauskis, Sergei Loznitsa Sound Design: Vladimir Golovnitski Production: Antra Gaile for Mistrus Media, Maria Choustova & Sergei Loznitsa for Atoms & Void Screening Copy: Atoms & Void

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Revue (2008), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Letter (2013), Reflections (2014), Maidan (2014), The Event (2015), Austerlitz (2016)

The Jewish cemetery in Riga was almost 250 years old when the Communists removed the graves in the 1960s to make way for the Park of the Communist Brigades. By that time, most of the tombstones had already been stolen and used as building materials. But the greatest tragedy had taken place two decades previously, in 1941, when the Nazis made the bodies of over a thousand murdered Jews disappear in mass graves. When the camera goes in search of the old cemetery of the title and ends up in the park, this brings about the realization that the memory of these victims, as well as those who were buried there before, has been taken away. But Sergei Loznitsa’s camera restores the memory of this place. He shows us the cemetery by showing its absence, paying quiet homage to the women, men and children who once rested there. In the words of Shoah director Claude Lanzmann, “The proof is not the corpses, the proof is the absence of corpses.”



Sergei Loznitsa Retrospective

Reflections. Director’s Cut Sergei Loznitsa

Sergei Loznitsa’s Reflections was made as part of the anthology The Bridges of Sarajevo (2014), which explores the role of Sarajevo in Europe from the outset of the First World War in 1914 onwards, with contributing directors including Jean-Luc Godard and Cristi Puiu. Loznitsa’s film creates a bridge between the city’s past and present. Photographs of men with guns, taken in 1992 by the Bosnian photographer Milomir Kovacevic during the Siege of Sarajevo, are superimposed on footage of the city in 2014; the images of modern city life are reflections in the glass covering the war photos. War and peace, sniper and shopper, are brought face to face. Are the tensions between the different sections of the population now over? Has the past been forgotten? What is reality: the peaceful streets of today or the soldiers who look like something out of a war film? This director’s cut is an extended version of the segment featured in The Bridges of Sarajevo.

France, The Netherlands, 2014 DCP, black-and-white, 17 min Director: Sergei Loznitsa Cinematography: Oleg Mutu Editing: Danielius Kokanauskis Sound Design: Vladimir Golovnitski Production: Maria Choustova for Atoms & Void Co-Production: Obala Art Center Screening Copy: Atoms & Void

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Revue (2008), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Letter (2013), Maidan (2014), The Old Jewish Cemetery (2014), The Event (2015), Austerlitz (2016)



Sergei Loznitsa Two years prior to Revue, in the film Blockade, Sergei Loznitsa used archive footage to reconstruct the Siege of Leningrad, a city cut off from the outside world by the German army during World War II. Revue is also a time machine that transports the audience into the past using old footage, but in tone it’s the antithesis of Blockade. The earlier film showed a city being destroyed, but here we see a glorious utopia, brought to life in a montage of TV programs and state-approved documentaries. Workers talk cheerfully about their production records, dams are built and rockets launched into space. On the shop floor, machines are shut down so the workers can listen to a poetry reading. Although the film doesn’t play for laughs as much as The Atomic Café (a 1982 montage of archive footage by Jayne Loader and Kevin and Pierce Rafferty portraying U.S. enthusiasm at the dawning of the atomic age), it compellingly captures the grotesqueness of Soviet propaganda.

Germany, Russia, Ukraine, 2008 35mm, black-and-white, 82 min Director: Sergei Loznitsa Editing: Sergei Loznitsa Sound Design: Vladimir Golovnitski Production: Heino Deckert for ma.ja.de Filmproduktion World Sales: Deckert Distribution Screening Copy: Deckert Distribution Involved TV Channels: MDR, YLE

Sergei Loznitsa:

Today We Are Going to Build a House (1996), Life, Autumn (1998), The Train Stop (2000), Settlement (2001), Portrait (2002), Landscape (2003), Factory (2004), Blockade (2005), Artel (2006), Northern Light (2008), My Joy (fiction, 2010), In the Fog (fiction, 2012), O Milagre de Santo António (2012), Letter (2013), Reflections (2014), Maidan (2014), The Old Jewish Cemetery (2014), The Event (2015), Austerlitz (2016)




DocLab: Elastic Reality Since 2007, IDFA’s new media program DocLab has been exploring how the digital revolution is reshaping documentary storytelling and interactive media art. This year, IDFA DocLab and the interdisciplinary arts center De Brakke Grond present the DocLab: Elastic Reality program, which unravels today’s digital world: from the loss of our online innocence to the rise of virtual worlds, biometric technology and artificial intelligence. The program encompasses an exhibition, a series of live cinema events, a conference and several other industry events. DocLab: Elastic Reality is supported by the Amsterdam Fund for the Arts and the Creative Industries Fund NL.

DocLab: Reality DocLab 10thElastic Anniversary

Ten Years! By William Charles Uricchio

To kick off its anniversary edition, IDFA DocLab is presenting a theme program called Elastic Reality. How appropriate for an initiative that has always been defined by its curiosity and commitment to undefined notions of reality and art.

share. And Facebook is but one of the many platforms fighting for our attention, our personal data and access to our credit cards.

Although (for some of us!) it may feel like yesterday, 10 years is an eternity in the age of Moore’s Law, when processing capacity doubles nearly every two years.

As people deploy technologies in ever-changing ways, incorporating them into their lives and using them to transform digital space into social space, the implications for the documentary arts are clear. Beyond the tools of the trade, beyond even new modes of distribution, the possibilities for the documentary emerge from the people who have grown up with new expectations regarding personalization, navigation and participation. Jonathan Harris and Sep Kamvar articulated those new possibilities on the eve of DocLab’s birth with We Feel Fine (2005), documenting the virtual social ethos not through sounds and images, but through data traces of social media; not through authorial curation, but by enabling the user to find her own way; not by “telling” but by enabling.

2006 was the year that Google acquired YouTube and Facebook first opened its services to the public. In the intervening decade, the internet went from wide-open spaces to ever more colonized, scrutinized and monetized clusters of economic development. IDFA’s DocLab was founded before Apple released its iPhone. And now, 10 years later, mobile phone ownership has surpassed the 100% mark in most nations, developing economies included. Public participation has also changed dramatically. In 2006, YouTube’s users broke records by uploading 5,400 minutes of video per hour. Today the upload rate is closer to 1,440,000 minutes per hour. Meanwhile, Facebook claims 1.71 billion monthly active users—people who post, comment and

Robots in Residence by Alexander Reben, an experiment in human-robot relations, commissioned by IDFA DocLab in 2012.

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Ten years is an eternity!

We have entered a new era, and exact parallels are still lacking. One of the closest documentary precedents we have appeared with cinema verité and Direct Cinema—new tools and style, newly defined

DocLab: Elastic Reality DocLab 10th Anniversary

relations between maker and subject, and above all, a new platform (television) that transformed the distribution of documentary. But television was still a highly centralized, “one-to-many” platform, and distribution still formed a major bottleneck, still enforced the makeraudience divide. And it remained stable for decades. Compare that to the past 10 years, during which high definition video became widely accessible (even a standard feature on most mobile phones), interactivity emerged as a norm, and the internet enabled “many-to-many” distribution logics. IDFA DocLab was one of the first to consistently track, curate and cultivate the implications of these developments, creating a truly international platform for what has become known as “the art of interactive and immersive storytelling.” The history of DocLab’s programming is about as close as one can get to tracing the history of these new developments. But while it is tempting (and useful!) to look back at that work in an archival way, the real value lies elsewhere.

Each generation seems convinced that it inhabits the most complex of times. And perhaps we’re the same, or perhaps we’ve really managed to get ourselves into a uniquely complicated situation this time. We live increasing portions of our lives in digital spaces, are finding new ways to connect the previously disconnected, and continue to invent and transform our condition in surprising ways. And the pace of change is relentless. But the same curiosity that drives these developments also offers us new ways to reflect, to represent and to embrace our undefined future.

But despite the relentless churn of the new, with all the excitement and fear it provokes, the heart of the matter remains the stories we tell about the world, and the memories and values that we use to bind ourselves together as a culture. Documentary remains that harsh mirror in which we see ourselves and our relations to the world in ways that are simply impossible with the unaided eye. Regardless of its form or the elements from which a documentary is composed, it remains shackled to this most human of tasks.

William Charles Uricchio is an American media scholar. He is Professor of Comparative Media Studies at the Massachusetts Institute of Technology and Professor of Comparative Media History at Utrecht University. He specializes in beginnings, when old media were new and new media emerge and stabilize. In 2011, Uricchio and director Sarah Wolozin started the MIT Open Doc Lab, one of the world’s leading institutions for academic research and support of interactive documentary art and storytelling.

We Feel Fine

Moore’s Law means continuing change of dramatic proportions. And DocLab has a track record of anticipating change, of remaining flexible and creative in its definitions and selection criteria. The work of the last 10 years suggests that we should watch DocLab and its sisters carefully if we want to understand what’s next. Consider the “internet of things.” There is every reason to expect that things large and small will document their own trajectories through the world, and that these traces will be as relevant to documentary makers as the sounds and images of the past. Consider AR and VR, with their new twists on immersion, interaction and even location. In our increasingly connected and “datafied” world, things like biometrics, robots, artificial intelligence and geo-location technologies will help to bridge the gap between the analog and digital, while at the same time providing new terrain for documentary makers—and a new vocabulary for the production process. These developments have been ongoing, and have already been broached by IDFA DocLab in its search for new documentary forms.

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DocLab: Elastic Reality DocLab: Elastic Reality

DocLab: Elastic Reality

From the Edge of the Internet to the Future of Reality and Documentary Art How does it feel to have someone follow you in the physical world, instead of just on social media? Or to look for love with your nose, rather than swiping profile pictures on Tinder? What would a computer brain say when it secretly takes a peek at your Instagram pictures? And what happens when we digitize our bodies or try to merge into one collective individual? You can experience it all in the DocLab: Elastic Reality program. With the DocLab: Elastic Reality program, IDFA and De Brakke Grond are presenting a 10-day exhibition, a conference and a series of live cinema events that unravel today’s digital world: from the loss of our online innocence to the rise of virtual worlds, biometric technology and artificial intelligence. IDFA’s new media program DocLab is also celebrating its 10th anniversary. Through the recent past, we look ahead to the future of interactive and immersive storytelling and art. Where do we stand, and where could we be in 10 years’ time as the internet continues to seamlessly merge with our physical reality? Where will the tech hype end and new realities and art forms begin? DocLab: Elastic Reality is a co-production of IDFA DocLab and De Brakke Grond, supported by the Creative Industries Fund NL and AFK (the Amsterdam Fund for the Arts).

Live Cinema Events

A series of unpredictable live cinema events where artists perform and experiment with their own work, often inviting the audience to participate and interact. DocLab Live: Elastic Reality Opening Night

A festive introduction to the DocLab: Elastic Reality program of IDFA and De Brakke Grond, with presentations and performances unraveling reality in the digital age. DocLab Live: Orchestrated Individuals

An exclusive live performance event in which the audience—if all goes well—merges into one virtual individual during the world premiere of Shared Individual, a collective audience experiment exploring the possibility of teletransportation, created by Makropol, Bombina Bombast and Diversion. DocLab Live: The Art of Awkward Tech

A playful evening during which digital artists present absurd inventions that expand our existing notions of reality and confront us with our tech-obsessed lives. DocLab Live: The Art of Following

An evening exploring the narrative potential of privacy, intimacy and following, organized in collaboration with the VPRO Medialab Meet Up series.


Trigger your senses and experience 30 of the world’s best interactive documentaries, virtual reality experiences and physical installations in the 10-day DocLab: Elastic Reality exhibition.

Interactive Conference

Now in its fourth year, the annual DocLab Interactive Conference brings together leading artists and thinkers from the world of art, technology, science and documentary. With keynotes by Toby Coffey (National Theatre), Saschka Unseld and Yelena Rachitsky (Oculus Story Studio), Lauren McCarthy (Follower), Ali Eslami (DeathTolls Experience) and a live performance by sound ecologist Bernie Krause (The Great Animal Orchestra).

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DocLab Live: Immersive Showcase

Virtual reality and immersive storytelling (from augmented to mixed reality) are going through an unprecedented evolution. But where does the hype end and do new art forms take shape?

DocLab Shorts

For its 10th anniversary edition, IDFA’s new media program DocLab has compiled a special anniversary program of shorts and multimedia projects that would never have existed without the internet.

DocLab: Elastic Reality DocLab: Elastic Reality

DocLab Anniversary program

In 2007, IDFA started the new media program DocLab. Social media and smartphones were just taking off, and all around the world new forms of interactive storytelling and digital art were emerging—often with documentary artists leading the way. Since then, isolated experiments became emerging genres, from multimedia journalism to interactive documentary, data art and VR. Many timeless masterpieces were created along the way, such as Bear 71, Gaza/Sderot and We Feel Fine. But they didn’t always reach the audience they deserved, and without serious attention to preservation we risk losing these projects forever, similar to what happened with early cinema a century ago. That’s why IDFA DocLab is unveiling the Canon of Interactive Documentary, an anniversary publication with 100 of the most important interactive documentary projects created in the last decade, available at the festival and online at www.doclab.org/100. Together with the Netherlands Institute for Sound and Vision, DocLab is also presenting an expert session on preservation of the interactive documentary and has commissioned the National Film Board of Canada to reimagine the classic Bear 71 as a VR installation, presented in the DocLab: Elastic Reality exhibition. Pauwhof Fonds

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DocLab: Elastic Reality

100 Photographs:

The Most Influential Images of All Time Kira Pollack, Paul Moakley


This multimedia project by Time magazine celebrates the hundred photos that have shaped our world. To start, there’s the Beatles having a pillow fight in 1964. “The Beatles will never have a pillow fight again,” says photographer Harry Benson. “And I couldn’t repeat that picture again. It’s gone.” Then there’s the picture of an 18-week-old fetus by Lennart Nilsson from 1965. This image was on the front of an issue of Life magazine, which sold out in just a few days and stirred up a heated discussion about abortion. And of course the photo of a “windblown” Jackie Kennedy, a subject much beloved by the paparazzi; the picture of a deceased Emmett Till; the man falling from the Twin Towers; “The Photo That Changed the Face of AIDS”: these are iconic images that show moments from the past 175 years in the history of phoptography that have changed the world. Fascinating short films, compelling essays and personal stories from those who have made the news explain why they are so important, blowing the dust off of history and inviting us to look anew.

USA, 2016 cross-platform, color Director: Kira Pollack, Paul Moakley Production: Kira Pollack & Tara Johnson for Time Magazine Executive Production: Kira Pollack for Time Magazine Screening Copy: Time Magazine

Kira Pollack:

Beyond 9/11: Portraits of Resilience (cross-platform, 2011) A Year In Space (cross-platform, 2016)

Bear 71 VR

National Filmboard of Canada WORLD PREMIERE Bear 71 is a groundbreaking interactive documentary experience, told from the point of view of Bear 71, a female grizzly bear living in Banff National Park in the Canadian Rockies. The project blurs the line between the wild world and the wired one, as we follow various wild animals from the moment they were implanted with a GPS receiver and a chip. Deer 48, Fox 21, Bear 71: the park rangers know exactly where they are every moment of every day, and they film their daily comings and goings using special security cameras all over the park. Bear 71 lets us watch over their shoulders, revealing how humans coexist with wildlife in the age of networks, surveillance and digital information. Originally released as a web experience in 2012 (and nominated for the IDFA DocLab Award), Bear 71 is considered a seminal piece in the history of interactive documentary. As part of DocLab’s 10-year anniversary, IDFA and the Netherlands Institute for Sound and Vision co-commissioned the original creators of the project to reimagine the experience in a new medium. The result is the launch of the immersive installation Bear 71 VR.


Canada, 2016 cross-platform, color Created by: National Film Board of Canada, Leanne Allison, Jeremy Mendes, Jam3 (VR) Screenplay: JB MacKinnon Sound Design: Joshua Stevenson Webdesign: Jam3 Studio Web Development: Jam3 Studio Production: Janine Steele & Loc Dao & Bonnie Thompson & Rob McLaughlin & Dana Dansereau for National Film Board of Canada Screening Copy: National Film Board of Canada Website: www.bear71.nfb.ca

National Filmboard of Canada:

Last Hunt (cross-media, 2013) Seven Digital Deadly Sins (cross-media, 2014) Circa 1948 (cross-media, 2014) Cardboard Crash (cross-media, 2015) a.o.


DocLab: Elastic Reality


Robin McNicholas, Barney Steel, Ersin Han Ersin WORLD PREMIERE

Mexico, UK, 2016 cross-platform, color Created by: Marshmallow Laser Feast Director: Robin McNicholas, Barney Steel, Ersin Han Ersin Web Development: Chris Mullany, Chris Thompson Production: Eleanor Whitley for Marshmallow Laser Feast In collaboration with: Bibiana Colmenares, Marco Vinicio Morales, Salvador Servin, Marco Vidali, Roberto Cabezas, Odette de Siena, Layla Fassa, Fernanda Del Monte, Ary Ehrenberg, Rafael Ramon Mendez, Benjamin Ocaranza, Hanna Quevedo Screening copy: Marshmallow Laser Feast

Marshmallow Laser Feast:

Forest (cross-platform, 2013) MEMEX | Duologue (cross-platform, 2014) In The Eyes Of The Animals (cross-platform, 2015) Treehugger (cross-platform, 2016)


Chameleon presents a unique, sensory portrait of Mexico City. It’s the result of an experimental collaboration to create new artistic concepts and bring a more diverse range of voices to the emerging field of immersive storytelling. The mixed reality experience is created by 12 Mexican artists—ranging from photographers, programmers and architects to visual artists, sound designers and fashion designers—in collaboration with the British artist collective Marshmallow Laser Feast. When viewers enter the virtual space of the installation, they discover four very different individuals, each of them representing a different aspect of Mexico City. Viewers can explore landscapes and textures by walking around inside the virtual space, peeling off different layers and revealing new sounds, images and stories from present-day Mexico City.


Reves Philippe Lambert

Canada, 2016 cross-platform, color / b&w Director: Philippe Lambert Music: Philippe Lambert Webdesign: Caroline Robert, Vincent Lambert Web Development: Edouard Benoit-Lanctôt Production: Hugues Sweeney for National Film Board of Canada Screening Copy: National Film Board of Canada

Philippe Lambert:

BLA BLA (cross-platform, 2011) A Journal of Insomnia (cross-platform, 2013) Way To Go (cross-platform, 2015)


This experimental Canadian dream project—an immersive installation people can walk in and out of—started at DocLab. Come into this comfortable space and dream away to the sound of live music. The space fills up with the images and thoughts of visitors, who can put everything that comes to mind in the form of writings and drawings. A scanner uploads your dreams into the system and translates them on the spot into electronic sounds, which in turn inspire the musicians. This is the start of a long-term online project that should result in a database filled with many different images, impressions and other raw material from dreams. When we are sleeping, we assemble dreams with our own peculiar logic from fragments of memories and emotions. Similarly, Philippe Lambert creates a dream machine here, bursting the boundaries of traditional, linear narrative.


DocLab: Elastic Reality

Flint Is a Place Zackary Canepari

WORLD PREMIERE Flint is a place that needs no introduction, certainly in the United States. With documentary filmmaker and activist Michael Moore as its best-known ambassador, Flint has become a symbol of all that can go wrong with the American Dream. This six-part web documentary gives a voice to the people of Flint, Michigan. They are more than the sum of their poverty, lead pollution and deserted factories. This transmedia project reveals how they experience their city, through photographs, video, diary excerpts, interviews and social media posts. The result is a powerful, stylized portrayal of pride, hope and pent-up anger. The residents talk about the lead-polluted water they had to drink for years, even though the authorities were aware of the danger, and the effects this has had on them. In another episode, we see Briana, the sister of a successful female boxer. Briana has been less fortunate than her sister: like so many of her fellow residents, she has no way of escaping Flint.

USA, 2016 cross-platform, color Director: Zackary Canepari Co-director: Drea Cooper, Jessica Dimmock Cinematography: Sophia Rose, Mo Scarpelli, Vanessa Carr, Jessica Dimmock, Drea Cooper, Joe Rivera Editing: Lindsey Phillips, Joshua Banville, Drea Cooper, Julia Irwin, Nancy Musinguzi, Jessica Dimmock, Carter Gunn Sound Design: Brian Scary, Brian Susko, Lawrence Everson Music: Matthew Joynt, Nathan Sandberg Webdesign: Guillermo Brotons Web Development: Frederik Delmotte Production: Liza Faktor for Screen Screening Copy: Screen Website: www.flintisaplace.com

Zackary Canepari:

California is a Place (cross-platform, 2010) T-Rex (2014) Robotica (cross-platform, 2015)


The Island of the Colorblind Sanne De Wilde

WORLD PREMIERE What does color mean to those who can’t see it? Long ago, a catastrophic typhoon swept over Pingelap, a tiny atoll in the Pacific Ocean. One of the few survivors carried a rare gene that causes achromatopsia, a condition characterized by extreme light sensitivity, poor vision and the inability to distinguish colors. After the hereditary condition had spread among the isolated population of Pingelap for a few generations, the islanders ended up perceiving their world in black-and-white. Photographer Sanne de Wilde stumbled upon the community and has been exploring achromatopsia and the island ever since. How do the islanders see the trees, the ocean and themselves? How could we see the world through their eyes? The interactive installation Island of the Colorblind invites the audience to explore a shift in perception, for example through De Wilde’s surreal photographs in which flames light up in blackand-white, trees have turned pink and a rainbow holds a thousand shades of grey.


The Netherlands, 2015 cross-platform, color / b&w Director: Sanne De Wilde Cinematography: Sanne De Wilde Editing: Sanne De Wilde Narration: Duncan Speakman Production: Sanne De Wilde In collaboration with: Katharina Smets Screening Copy: Sanne De Wilde

Sanne De Wilde: directing debut



DocLab: Elastic Reality

The Modular Body Floris Kaayk

The Netherlands, 2016 cross-platform, color Director: Floris Kaayk Cinematography: Stefan Warmenhoven, Reinier van Brummelen Editing: Floris Kaayk, Ralf Verbeek Sound: Diego van Uden Sound Design: Wiebe de Boer Webdesign: Floris Kaayk Web Development: Jacob Schlötter Production: Marc Thelosen for seriousFilm World Sales: seriousFilm Distribution for the Netherlands: Klik! Distribution Service Screening Copy: seriousFilm Involved TV Channel: VPRO Website: www.themodularbody.com

Floris Kaayk:

The Order Electrus (2005) Metalosis Maligna (2006) The Origin of Creatures (2010) Human Birdwings (cross-platform, 2012) Witch Doctor - De Straat (2015)


Awards: Golden Calf for Best Interactive Nederlands Film Festival

Biotechnology is making rapid advances. In his award-winning debut, the fictional documentary animation The Order Electrus, director Floris Kaayk presented a new generation of robot insects. The Modular Body goes a step further. The protagonist in this online science fiction story is Cornelis Vlasman, a versatile biologist who likes to explore less well-trodden paths. In his laboratory, he experiments with human cells and grows parts for a new kind of body: the modular body. OSCAR is a living being you can click together like a Lego figure. In Vlasman’s words, “The human body as we know it is past its sell-by date.” Appropriately, The Modular Body itself takes a modular form. Click on the blocks and put the story together to suit what you’re curious about. Look at the work in the laboratory, the explanations and the diagrams, or the printing of the heart and OSCAR’s first, hesitant steps. The project’s website and the films on YouTube quickly became hits.

Notes on Blindness VR Arnaud Colinart, Amaury La Burthe, Peter Middleton, James Spinney

France, UK, 2016 cross-platform, color, 25 min Director: Arnaud Colinart, Amaury La Burthe, Peter Middleton, James Spinney Narrator: John Hull Webdesign: Béatrice Lartigue, Fabien Togman, Arnaud Desjardins Web Development: Robin Picou Production: Arnaud Colinart for Ex Nihilo Co-Production: Archer’s Mark Executive Production: Amaury La Burthe for AudioGaming Screening Copy: Arnaud Colinart Involved TV Channel: ARTE France Website: notesonblindness.arte.tv

Arnaud Colinart & Amaury La Burthe: directing debut

Peter Middleton & James Spinney: Rainfall (2013) Notes on Blindness (2014)

In 1983, author, teacher and theologian John Hull (1935-2015) went blind after years of declining vision. He kept an audio diary during this drastic period of his life. In the course of three years, he recorded more than 16 hours of material documenting his journey into a world beyond sight—a testimony to loss, rebirth and renewal, in which he explores the deepest recesses of the inner world of being blind. This diary was previously published in book form under the title Touching the Rock. It’s now a multimedia project consisting of a short film, a documentary and this virtual reality experience. The award-winning project allows us to “see” how we can experience the world without images, emotionally and cognitively, in a marvelous way. Each of the six chapters focuses on one of Hull’s specific memories or experiences: from a day in the park to a liberating storm, making use of game technology, animation and sound design.

Awards: Storyscapes Award Tribeca Film Festival, Alternate Realities VR Award Sheffield Doc/Fest, Best Experimental Experience Kaleidoscope World Tour


DocLab: Elastic Reality

Radical Love

Heather Dewey-Hagborg “Pics or it didn’t happen”—whistleblower Chelsea Manning knows only too well the hard truth that underlies this maxim of the digital age. Before her gender reassignment surgery, when she still went by Bradley Manning, she leaked state secrets to WikiLeaks. Sentenced to 35 years in prison, since then she has disappeared from public view. Only a handful of people have seen her as a woman, and for the rest it is as if she doesn’t exist. In a response to this absence, artist Heather DeweyHagborg made two life-size 3-D portraits of Manning using forensic DNA phenotyping, a technique that approximates a person’s on the basis of their DNA. Manning herself sent hair and saliva samples. Dewey-Hagborg constructed two possible versions of Manning’s face, one more gender-neutral, the other more feminine. The portraits not only criticize phenotyping as a form of control, but also question the contemporary fixation on the visual image, and how prisoners are deprived of their humanity by keeping them invisible—as if they don’t exist.

USA, 2016 cross-platform, color Director: Heather Dewey-Hagborg Production: Heather Dewey-Hagborg

Heather Dewey-Hagborg:

Invisible (cross-platform, 2014) Stranger Visions (cross-platform, 2013) Unlanguage (cross-platform, 2013) Hydrophony (cross-platform, 2010) Listening Post (cross-platform, 2009)


White Spots, a Journey to the Edge of the Internet Bregtje van der Haak, Richard Vijgen WORLD PREMIERE How does it feel to be disconnected? Can people still choose to live without digital networks? In White Spots VR, documentary artist and filmmaker Bregtje van der Haak takes us on a surprising journey away from our familiar networked world to “white spots,” where people live completely isolated from the internet and cell phone reception. Starting off inside a live 360-degree visualization of the network data around us, we travel all over the place to meet people living without connectivity. From the self-imposed digital isolation of writer Aram Pachyan in Armenia to the exclusion from digital networks caused by poverty in a gypsy slum in Seville, Spain; from the religiously inspired low-tech lifestyle of the Amish in Shipshewana, Indiana to the loneliness and pain caused by electromagnetic radiation on a campsite in the Dutch countryside. White Spots VR is an exploration of alternatives to our permanently connected world and seamless technological utopia.


The Netherlands, 2016 cross-platform, color / b&w

Bregtje van der Haak:

Lagos: Wide & Close (2005) Satellite Queens (2007) Director: Bregtje van der Haak, Richard Vijgen California Dreaming (2010) DNA Dreams (2012) Cinematography: Mark van de Korput Richard Vijgen: Editing: Mark van de Korput Rijkswaterstaat (cross-platform, 2008) Web Development: Richard Vijgen Onder Anderen (cross-platform, 2009) Production: Mariska Schneider The Deleted City (cross-platform, 2011) for VPRO Digitaal, Richard Vijgen The Architecture of Radio (crossfor Studio Richard Vijgen platform, 2015) Executive Production: Geert-Jan www.richardvijgen.nl Bogaerts for VPRO Digitaal In collaboration with: Jacqueline Hassink Pitched at the Forum 2013 Screening Copy: Bregtje van der Haak Involved TV Channel: VPRO Digitaal Website: www.white-spots.net


Paradocs: Amsterdam Art Weekend In collaboration with Amsterdam Art Weekend (November 24-27), IDFA Paradocs is presenting a program of 13 recent works of video art from Amsterdam galleries, De Rijksakademie and De Ateliers.


Paradocs: Amsterdam Art Weekend at IDFA

Alter Senator Willehad Eilers

We’re all better versions of ourselves on social media. Life is just one big adventure there, with blemish-free profile pics, posts about parties where only the coolest go and shapshots of exotic locations. The protagonist in Wayne Horse’s short film doesn’t need a smartphone to pimp up his life. He’s got Alter Senator, his favorite gin. He staggers through a life that is probably as static, dismal and boring as the scenes in the film suggest, but alcohol twists reality. In his world, he’s an astronaut and shop girls go to work naked. Horse is a multimedia artist, and sees his work as a form of ethnographic surrealism. He observes the everyday, injects it with a dose of absurdity and then magnifies it to grotesque proportions. His raw and subversively attractive style recalls the novels of Charles Bukowski and Hubert Selby, Jr. In any case, the drunken madness we see in Alter Senator is a good deal more poetic than all that bragging on social media.

Germany, The Netherlands, 2015 DCP, color, 13 min Director: Willehad Eilers Cinematography: Willehad Eilers Editing: Willehad Eilers Sound: Willehad Eilers Sound Design: Nils Meissner Production: Willehad Eilers for Waynehorse Screening Copy: Willehad Eilers

Willehad Eilers:

Shemale (2002) The Punchmovie (2002) The White Suit (2003) Elefantos (2005) Elefantboy (2007) Ann lee/ Hail Internet Hail (2012) The Illmannered Milkman (2013) Du bist ein Muss (2013) Loch (2015) a.o.


Borrowed Time Semâ Bekirovic

Freedivers have exceptional lung volume and nerves of steel. Some can hold their breath underwater for as long as 10, even 11 minutes. Jorrit Bruinsma is one of the best freedivers in the Netherlands, and Semâ Bekirovic films him in his attempt to break a record. A camera goes close up on his face, capturing each stage of Bruinsma’s increasing need for air. It’s unusual for Bekirovic to be working with a human subject, as she is generally more interested in animals and natural processes. In one of her films, a family of wild boars devours a beautifully laid picnic, yielding an animal version of La grande bouffe. Another of her pieces features a pair of coots constructing an aesthetically pleasing nest from all sorts of plastic waste. These examples come from video works made explicitly for display in a gallery. Borrowed Time, by contrast, was made for TV. And sitting in front of the screen—whether at home or in a cinema—you’ll be glued to it. You’ll feel how long nine minutes can be—and notice how many times you breathe in that same length of time.


The Netherlands, 2014 DCP, color, 10 min Director: Semâ Bekirovic Production: Rietveld TV Screening Copy: Semâ Bekirovic

Semâ Bekirovic:

Birds of Prey (2005) Grid (2006) How to Stop Falling (2008) The Others (2008-2011) Kalverstraat (2009) Between My Head and the Sky (2012) Fire Sequence (2013) Shoes (2015)


Paradocs: Amsterdam Art Weekend at IDFA

Establishing Eden

Margit Lukács, Persijn Broersen

The Netherlands, 2016 DCP, color, 11 min Director: Margit Lukács, Persijn Broersen Sound Design: Peter Flamman Music: Berend Dubbe, Gwendolyn Thomas Production: Persijn Broersen & Margit Lukács for Broersen & Lukacs World Sales: Akinci Screening Copy: Akinci

Margit Lukács & Persijn Broersen:

Into Routine (fiction, 2002) Crossing the Rainbow Bridge (2003) Prime Time Paradise (fiction, 2004) Raise High the Roofbeam! (fiction, 2007) Manifest Destiny (fiction, 2009) Mastering Bambi (2012) Stranded Present (2015) a.o.


New Zealand’s forests, green hills and spectacular rock formations are popular among filmmakers. Many scenes in Avatar and the Lord of the Rings were shot there. In these films and others, the natural world—whether in its raw or digitally processed state— plays such an important role that it becomes more than a mere backdrop. It sets the tone in opening sequences, immediately transporting the viewer to another world, a faraway paradise—the landscape is the star. In their previous film Mastering Bambi, which screened at IDFA in 2011, artist duo Persijn Broersen and Margit Lukács tackled Walt Disney’s first full-length cartoon, removing all the animal protagonists to reveal the first virtual landscape. They do something similar in Establishing Eden with the nature of New Zealand, which the entertainment industry is now propagating as a veritable Eden. Here, however, the image is fragmented, splintered into two-dimensional surfaces that slide past one another. Paradise is a seductive construction that could explode at any moment.

The Island Die Insel Erik van Lieshout

The Netherlands, 2016 DCP, color, 38 min Director: Erik van Lieshout Cinematography: Erik van Lieshout Editing: Core van der Hoeven Sound: Erik van Lieshout Production: Suzanne Weenink for ErikStudio World Sales: Annet Gelink Gallery Screening Copy: Annet Gelink Gallery

Erik van Lieshout:

EMMDM (1999) Growshop (2000) Mari Achi (2002) Happiness (2003) UP! (2003) Respect (2003) Awakening (2006) Rock (2006) Sex Is Sentimental (2009) Commission (2012) Janus (2012) The Basement (2014) Werk (2016) a.o.


Dutch artist Erik van Lieshout wishes he could disappear—from the art world and from society itself. So he has withdrawn to an unnamed island in an artificial lake near the German city of Dortmund. No one is actually allowed to stay there, but as part of an art event an exception is made for Van Lieshout to live there for a while. The island becomes his temporary studio, and Ahmed, a Syrian refugee, joins him as his ad hoc assistant. From behind and in front of the camera, Van Lieshout talks to us in his own inimitable way, one we know from earlier films such as the one about him running a store in a Rotterdam mall or visiting a refugee reception center. The result treads the line between personal statement, stream of consciousness and chaotic lecture. Humor is an important ingredient, and is often served up in the form of self-deprecation. But the conclusion is a serious one: it’s impossible to disappear. Living on his island, the artist is more visible than ever, despite all efforts at camouflaging himself.


Paradocs: Amsterdam Art Weekend at IDFA


Jean-Baptiste Maitre Jean-Baptiste Maitre is fascinated by the pioneering years of cinema, when film was an experiment, a fusion of technology, poetry and alchemy. Back then there was no CGI and no blue-screen compositing, and everything that appeared on-screen was made by hand. Cinema was all about movement and the passage of time. Maitre tries to distill the essence of film by scanning and processing painted images into video— much like Stan Brakhage and his ilk did, with analog means, in the 1970s. These interventions lend the projection a physical component. In Jokes, primitive animations flutter while fragments of text appear in the world of splotches, stripes and indefinable visual noise. The film tells four short stories that have just one thing in common: the punch line. This is a dismantling of the joke, that shortest of all narrative forms. What remains is film at its purest.

The Netherlands, 2016 DCP, color, 7 min Director: Jean-Baptiste Maitre Cinematography: Jean-Baptiste Maitre Editing: Jean-Baptiste Maitre Production: Jean-Baptiste Maitre Screening Copy: Jean-Baptiste Maitre

Jean-Baptiste Maitre:

Cosmologie Tomatologique (2000), Airlux (2003), An Interview with Jayson Blair (2008), Untitled Sculptures at the Bonnefanten Museum (2009), Shaped Cinema (2010), Three L (2011), RAIN CUHZASRK DIEWICZ (Richard Anuszkiewicz) (2012), Film de Jour (Gûndüz filmi) (2012), Cut With a Knife (Mandala République Part I ) (2013), The Magic Vase (Mandala République Part II ) (2014), Le Poète, la Cité, la Machine (2014), Dots Chance Pots Dance (2015)


Kapitalism Paulien Oltheten

Published in 2007, a book by artist Paulien Oltheten titled Theory of the Street is a half-scientific, half-humorous study of everyday scenes in public places. In photos, drawings and diagrams she documents movements: the way bunches of keys jangle against belts, how people stroll near flowerbeds. This micro-anthropology takes as its subject the surprising ambiguity of everyday life. Oltheten’s keen eye for picking out and framing details in a way that imbues them with meaning is even more prevalent in her video work. Here she presents to us three elderly Greek men, each of whom stop separately at a specific park bench to do their gymnastic exercises. Written on the bench is the word “Kapitalism.” Although the combination of the graffiti and stiff movements certainly loosens up the laughing muscles, there is a serious statement being made here, about silent protest, indifference and fierce pride. A man and his bench are more than the sum of their parts.

The Netherlands, 2016 DCP, color, 6 min Director: Paulien Oltheten Cinematography: Paulien Oltheten Editing: Paulien Oltheten Production: Paulien Oltheten World Sales: Galerie Fons Welters Screening Copy: Galerie Fons Welters

Paulien Oltheten:

Man and Dog (2003) 11 Fragments of Japan, Tokyo (2009) Watercircles (or a Message for Aung San Suu Kyi) Rangoon (2011) It’s My Imagination, You Know, Rangoon (2012) Like Romeo and Juliet (2012) A Moment of Slowing Down, New York (2013) Chair Man (2014) Selfies aan zee (2016)



Paradocs: Amsterdam Art Weekend at IDFA

Mothership Goes to Brazil Josefin Arnell

Sweden, The Netherlands, 2016 DCP, color, 28 min Director: Josefin Arnell Cinematography: Josefin Arnell Editing: Josefin Arnell Sound Design: Jokubas Cizikas Animation: Omri Bigetz Production: Josefin Arnell Screening Copy: Josefin Arnell

Josefin Arnell: directing debut


The characters in Josefin Arnell’s videos are generally of an unrestrained nature: three young women linked together by a chain through their labia, communicating with an iceberg; a dancer encased in a hazmat suit trying to become one with a group of deer; someone with a serious pony fetish. Seen in this context, an animated Moby Dick wearing headphones on his skull seems pretty normal, and a middle-aged Swedish blond smoking, cursing and coughing positively ordinary. Except that the woman in question is Arnell’s mother, and she is struggling with alcoholism and a serious illness. The filmmaker persuades her to travel to Brazil to seek salvation from the famous alternative healer John of God. But when they arrive, it turns out the miracle worker has been hospitalized. Instead of pain relief, the mother and daughter get a chance to become closer to one another.

The New Dress

Roy Villevoye, Jan Dietvorst

The Netherlands, 2016 DCP, color, 21 min Director: Roy Villevoye, Jan Dietvorst Cinematography: Roy Villevoye, Jan Dietvorst Editing: Roy Villevoye, Jan Dietvorst Production: Roy Villevoye, Jan Dietvorst World Sales: Lima Screening Copy: Lima

Roy Villevoye:

Bombay Taxi Girl (1998), Propeller (2005), Beginnings (2005), The Gift (2007), Dance, Dance, Dead (2008), The Video Message (2009), Jack (2010), Voice-Over (2014), Smoke (2016) a.o.

Roy Villevoye & Jan Dietvorst:

Us/Them (2001), The Bishop & the Doctor (2002), Pupís (2002), Jac & Jeri (2003), The New Forest (2004), Winter Prayers (2006), Phantom (2008), The Scrap-Iron Age (2009), Pressure (2009), War Is Over (2011), After the Battle (2012), Geef me zeep. Geef me een handdoek (2014), The Double (2015) a.o.

In their films about the Asmat, Roy Villevoye and Jan Dietvorst attempt to move beyond the usual narrative of exploration, conversion, exploitation and domination. In New Guinea, kept under Dutch colonial rule until 1962, the Asmat still lead a traditional life as hunter-gatherers, and engaged in headhunting until late into the 20th century. Every history also exists in a micro-version. The New Dress is a portrait of missionary Majella Hoppenbrouwers, now 86 years old, who has lived and worked with the Papuan people for almost her entire life. She arrived in their jungle as a 21-year-old novice in 1956, when Westerners were extremely rare. She was still lacking life experience and had ended up a missionary almost by chance. While the now elderly nun tells her story to Villevoye and Dietvorst, a seamstress makes a dress identical to the one she wore in the tropics. Hoppenbrouwers remains emotionless and matter-of-fact as she recounts this formative period of her life—until she puts on the new dress.


Paradocs: Amsterdam Art Weekend at IDFA

Promise Prohibited Promesa prohibida Mauricio Limón

A large part of the Valley of Mexico is made up of a kind of transitional zone, both urban and rural at once. Beautiful, flourishing crops contrast with tightly packed slum dwellings. This is a hybrid landscape that cannot or will not be defined. The same applies to the people who live here. Their identity is neither here nor there, which also makes it difficult for them to relate to one another. The unnamed, female protagonist of Promise Prohibited is involved in relationships with two men, one young and one older. She meets them, separately, at a tree on a hill, giving this place a strong symbolic value. A painted portrait of her and the older man hangs above her bed. This all might suggest a complicated love triangle, but the exact nature of their relationship remains unclear. Like in a slow-moving photonovel, the characters rub past one another, often separated by a split screen. Life and landscape slowly merge into a resigned acceptance of irrationality.

Mexico, 2014 DCP, color, 20 min Director: Mauricio Limón Cinematography: Mauricio Limón Editing: Mauricio Limón Sound: Alex Muñoz Production: Mauricio Limón Screening Copy: Mauricio Limón

Mauricio Limón:

The First One to Laugh (2013) Mechanics Pulse and Rhythm of a Social Sculpture (2014) Sports Policy (2014) Broken Teeth (2015)

Selfies aan zee Paulien Oltheten

Whereas the cliché used to be that tourists went to exotic places and hid behind their cameras, only really seeing them once they got home and had the pictures developed, these days every trip is recorded as an instant photographic self-portrait. Jowls prominent, lips pursed, everyone’s at it—with or without a selfie stick. The museum or landscape we’re visiting becomes a backdrop to the affirmation of our own existence. Generation Selfie lives through the screen of the smartphone. A cross between an anthropologist and a street photographer, Paulien Oltheten records everyday scenes—from older gentlemen doing their morning exercises in the park to the routines of people walking their dogs. Of course, selfies also appear in her series of sharp observations—except the context she chooses emphasizes the absurdity of the phenomenon. The couple she observes is standing on the beach at night. They are lit up, time and again. The flash makes the darkness even darker, and the subjects of the portraits disappear into the night.

The Netherlands, 2016 DCP, color, 1 min Director: Paulien Oltheten Cinematography: Paulien Oltheten Editing: Paulien Oltheten Production: Paulien Oltheten World Sales: Galerie Fons Welters Screening Copy: Galerie Fons Welters

Paulien Oltheten:

Man and Dog (2003) 11 Fragments of Japan, Tokyo (2009) Watercircles (or a Message for Aung San Suu Kyi), Rangoon (2011) It’s My Imagination, You Know, Rangoon (2012) Like Romeo and Juliet (2012) A Moment of Slowing Down, New York (2013) Chair Man (2014) Kapitalism (2016)



Paradocs: Amsterdam Art Weekend at IDFA

What Is Community? Erkka Nissinen

Finland, 2016 DCP, black-and-white, 13 min Director: Erkka Nissinen Cinematography: Erkka Nissinen Editing: Erkka Nissinen Narration: Erkka Nissinen Narrator: Erkka Nissinen Animation: Erkka Nissinen Production: Erkka Nissinen World Sales: Ellen de Bruijne Projects Screening Copy: Ellen de Bruijne Projects

In the universe of Erkka Nissinen, a midlife crisis is like being stuck in a deep, deep well. Sitting on the bottom, the 40-year-old protagonist reflects on his life. He thinks he should do something to benefit the community and quickly arrives at the conclusion that he should make a video on the subject of community. What follows is reality TV of the most Erkka Nissinen: absurd kind. Citizens are depicted as filler for the suburbs and sexual aberrations are seen Onion (1997) as the norm. And if there’s not enough action, just hire an actor to make an assassination A Man and a Carrot (2001) Duplicator 1 (2002) attempt on you. The drawings in this stop-motion film are particularly effective in giving Duplicator 2 (2002) away a world in which fact and fiction merge. But the biggest attraction is Nissinen’s Helsinki 2000 (2001) voice-over. He dishes up the most incredible oddities in clipped but at times exaggerHelsinki 2000, Episode 2 (2001) The Social Construction of Reality (2004) atedly formal English. The result is hilarious, but also pretty critical. Night School (2006) Vantaa (2007) The West Project (2010) Rigid Regime (2011) Polis x (2012) Tilaa massa tilassa massa litassa maalit: ali tila (2014)


Work Horse Charlotte Dumas

The Netherlands, 2015 DCP, color, 13 min

Charlotte Dumas:

Director: Charlotte Dumas Cinematography: Jaap Veldhoen, Charlotte Dumas Editing: Charlotte Dumas, Walter Stokman Production: Ida Nissen World Sales: Andriesse Eyck Galerie Screening Copy: Andriesse Eyck Galerie


Anima (2013) The Widest Prairies (2013)

Charlotte Dumas is a portraitist of animals. Cats, dogs, white tigers, elephants, wolves, horses—they have all passed before her camera. In addition to intriguing photos and Polaroids, since 2012 this has also resulted in films in which Dumas focuses on animals and their relationships to humans. She devotes particular attention to horses: from the free-roaming descendants of horses from the Wild West to those that pull the ceremonial hearses at military funerals. In her third film Work Horse, Dumas follows a pair of draft horses, Tarsan and Tarmo, that work in the forests of northern Sweden. Dragging logs is heavy, monotonous work, but the animals get along well together, trudging through the daily routine as a tight-knit team. The risk of anthropomorphism—attributing human qualities to animals—is always there, but the intimate framing, relaxed pace and the absence of sound have the opposite effect. By the end of the film, we start to imagine life as a horse.


Paradocs: Amsterdam Art Weekend at IDFA


Emma van der Put The Noordwijk neighborhood of Brussels was demolished in the 1960s. The plan was to build eight giant World Trade Center towers on the site, but this so-called “Manhattan Plan” became bogged down in fraud and crisis. Just three of the towers were eventually built, and today even these are half empty. Emma van der Put, known for videos in which she takes a very dispassionate, long-distance look at masses of people, chose one of these towers as a great vantage point from which to observe the population of Brussels. In a series of photos edited together, the small park in front of the tower is transformed from a picnic area into a tent camp for refugees. Tensions in the neighborhood run high, in great contrast to the optimistic posters for the Manhattan Plan still hanging in the corridors of the complex. Past and present are stuck together using a blue filter. The effect this creates is called nuit américain, a technique used in film production to give sequences shot during the day a nocturnal feel.


The Netherlands, 2016 DCP, color, 8 min Director: Emma van der Put Cinematography: Emma van der Put Editing: Emma van der Put Production: Emma van der Put World Sales: Galerie tegenboschvanvreden Screening Copy: Galerie tegenboschvanvreden

Emma van der Put:

Scenes uit een avond (2009), Home (2010), Drie bewegende stillevens, Vanitas (2010), Godinne (2011), Mother (2012), Funfair (2012), Maritime Festival (2012), Ship (2012), Montmartre (2013), Parade (2013), Camillus (2014), Room (2014), Token (2014), Fountain (2014), Dweller (2015), Rincé Alien (2015), Ommegang (2015)



Shifting Perspectives A program investigating the ways we think about race and identity, as well as the perspectives from which we do so. The program consists of 13 new and classic documentaries that reveal how the history of colonialism, the slave trade, slavery and racial segregation influence contemporary social, cultural, economic and political relations. This program is supported by the Democracy & Media Foundation. Several films are also part of other programs or competitions: A Memory in Three Acts is also selected for the IDFA Competition for First Appearance (see page 35), while The Giant Is Falling and Skulls, of My People are also screening in the Panorama section (see page 139).


Shifting Perspectives Shifting Perpectives

Shifting Perpectives By Claire Diao

American writer Ta-Nehisi Coates recently acquired instant fame with his book Between the World and Me. In this letter addressed to his son, Coates reflects on what it means to be black in America today. Similar to James Baldwin’s The Fire Next Time, which examined race relations during the African-American Civil Rights Movement, Coates looks at the 2014 Black Lives Matter movement and says, “Writing a book from a black perspective is freeing. Seeing it constantly analyzed from a white one is depressing.” This year, IDFA is presenting Shifting Perspectives, a selection of 13 new and classic documentaries that probe how the history of colonialism, slavery and racial segregation continue to influence our social, cultural, economic and political relations. This is particularly refreshing here in the Netherlands, where words like autochtoon and allochtoon (indigenous and non-indigenous) are still in use and the Black Peter tradition, which involves Saint Nicholas’s “helpers” in blackface, remains a problem for many Dutch people, especially those of colonial descent (Suriname, Dutch West Indies). From an African perspective, Cameroonian director Jean-Marie Teno’s The Colonial Misunderstanding (2004) starts in Wuppertal, Germany and Wuppertal, South Africa, where German missionaries arrived in 1830. Focusing on these missionaries, Teno explains what led Germany to colonize Togo, Cameroon, Namibia and South Africa. To reach its goal, Germany, like other colonial empires, used the concept of “civilizing: to persuade the victims that the atrocities inflicted on them are necessary for their development.”

A Memory in Three Acts

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This concept led to many horrors, including the extermination of 80,000 Herero and 20,000 Namaqua in Namibia during the Herero War (1904-1908), shortly before the Nazi Holocaust (1941-1945). In his film Skulls, of My People (2016), South African director Vincent Moloi focuses on Namibian descendants of the victims of the genocide who are seeking justice. Killed for the land, these people have no graves whereas Germans have their own cemetery in Namibia. The violence of colonialism is also the prism used by Mozambican director Inadelso Cossa to create A Memory in Three Acts (2016). Digging into a painful past, Cossa collects testimonies and pictures of the Portuguese occupation, the war of independence and finally today’s society. To rebuild a collective memory, Cossa had to go through magazines and propaganda material, realizing “the difficulty it would take to tell the story of that other time that we: me and my generation did not live.” On top of the horror of colonialism, new African nations’ wish for independence was permanently destroyed, at a time where the Cold War divided not only the Western world but also the African continent. In Lumumba: Death of a Prophet (1990), Haitian director Raoul Peck mixes images shot in Belgium and archive footage from the Democratic Republic of the Congo. Interviews with Belgian and Congolese eyewitnesses recount the 1961 assassination of Patrice Lumumba, first prime minister of the country. Peck’s voice-over leads the footage, giving his personal point of view on a future that “has died with the prophet.”

Shifting Perspectives Shifting Perpectives

The cruelty of destiny—or the cruelty of history—led many people from Africa and the Caribbean to head for Europe. Looking for a better life and future, this workforce helped former colonial masters to build and develop their countries. With time, work gave way to unemployment, and racial tensions led to riots, like in Birmingham and London. Two years after the creation of the Black Audio Film Collective in the UK, Ghanaian director John Akomfrah was commissioned by Channel 4 to direct Handsworth Songs (1987), an inside look into the events that gave a voice to various communities. A few years later, in the United States, one of the biggest media spectacles of the 1990s took place: the arrest and trial of football great O.J. Simpson, who was accused of murdering his ex-wife Nicole Brown and her friend Ron Goldman in 1994. American director Ezra Edelman’s O.J.: Made in America (2016) follows this infamous case in a 7.5-hour investigation, against a backdrop of decades of police violence against African-Americans in Los Angeles. As racial pressures increase in the Western world where many African descendants reside, African countries are facing the reality of their faltering independences, which are often not as happy as the people had hoped. This is the assessment that Jean-Marie Téno offers to us while traveling in Yaoundé (Cameroon) in A Trip To The Country (2000), and the reflections of South African Rehad Desai about the African National Congress’s loss of support in The Giant Is Falling (2016).

Because Nelson Mandela was such a central figure in the final years of the 20th century, South African director Khalo Matabane felt the need to question the human and the hero he was considered to be worldwide by interrogating Henry Kissinger, the Dalai Lama and Albie Sachs in A Letter to Nelson Mandela (2013). In Men of Gold (2016), Vincent Moloi chose to make the portrait of a Johannesburg-based hustler, Leonard Johnson, to focus on the fake gold of big South African cities rather than on the glory of a post-apartheid nation. This feeling of disappointment is still to be found in the 21st century. Focusing on France and the Netherlands, three directors present their points of view on migration and assimilation. In Danton’s Death (2011), French director Alice Diop follows an aspiring actor from a rough neighborhood taking acting classes at a famous school where he faces racism. In Too Black to Be French? (2015), French director Isabelle BoniClaverie questions her privileged background that did not protect her from discrimination. Meanwhile, with the experimental documentary Voices (2016), Portuguese director Miguel Peres Dos Santos analyzes the Dutch relationship with migrants and colonization. In fact, the Shifting Perspectives program is especially taking place because, as Dos Santos mentioned, “Being able to speak does not mean that one has a voice.” Claire Diao is a film journalist working in France and Burkina Faso. During IDFA, she’s a moderator for Shifting Perspectives.

A Trip to the Country

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Shifting Perspectives

The Colonial Misunderstanding Le malentendu colonial Jean-Marie Teno

Documentary filmmaker Jean-Marie Teno explores the complex and problematic relationship between Europe and the African continent through the history of European missionaries and colonists in Africa. Christian evangelists paved the way for colonialism and laid the groundwork for European rule in Africa. The leitmotif in Teno’s historical essay is the centenary of the genocide perpetrated against the Herero people of Namibia. Teno shows how colonialism destroyed African beliefs and social structures, replacing them with European ones as the only acceptable route to modernization. As Professor F. Kangué Ewané puts it, “I can forgive Westerners for taking away my land ... but not for taking away my mind and soul.” Through historical documents and interviews with historians, the filmmaker relates how German missionaries brought Christianity to the “heathens,” and with it European culture and domination. To turn the tide in Africa, Teno argues, the Europeans must first acknowledge their wrongdoings.

Cameroon, France, Germany, 2004 DCP, color, 75 min Director: Jean-Marie Teno Cinematography: Dieter Stürmer, Jean-Marie Teno Screenplay: Jean-Marie Teno Editing: Christiane Badgley Sound: Jean-Marie Teno, Paulin Tabou Music: Christophe Heral Narration: Jean-Marie Teno Narrator: Jean-Marie Teno Production: Jean-Marie Teno for Les Films du Raphia, Bärbel Mauch for Bärbel Mauch Filmproduktion World Sales: Les Films du Raphia Screening Copy: Les Films du Raphia Involved TV Channels: ZDF, ORTN - Niger

Jean-Marie Teno:

Homage (1985) Africa, I Will Fleece You (1992) Head in the Clouds (1994) Clandestine (fiction, 1996) Chief! (1999) A Trip to the Country (2000) Alex’s Wedding (2002) Sacred Places (2009) a.o.

Danton’s Death La mort de Danton Alice Diop

Steve is a 25-year-old black man from a poor Parisian suburb who decides to take a new direction in life. He’s used to seeing violence and crime around him—and he hasn’t always been a model citizen himself. But now he’s training to be an actor at the Cours Simon drama school in Paris. It all goes well at first—he learns a lot and enjoys acting—but halfway through his third year, he grows increasingly depressed as he starts to become aware of the way people see him and the extent to which that’s determined by the color of his skin. He no longer feels at home in his old world; he doesn’t even talk about his acting there because he’s scared they’ll think he’s arrogant. And in the theater, all he gets offered are “black” roles. The title is a reference to the eponymous play by Georg Büchner, about the ideological conflict between Danton and Robespierre, two leaders of the French Revolution. Steve is really hoping to perform a scene from this play.


France, 2010 video, color, 60 min Director: Alice Diop Cinematography: Blaise Harisson Screenplay: Alice Diop Editing: Amritta David Sound: Ludovic Escallier Production: Gilles Padovani for Mille et Une Films Co-Production: TVM Est Parisien World Sales: Mille et Une Films Screening Copy: Mille et Une Films

Alice Diop:

La tour du monde (2005) Clichy pour l’exemple (2005) Les Sénégalaises et la sénégauloise (2007) On Call (2016)

Shifting Perspectives

The Giant Is Falling Rehad Desai


South Africa, Germany, 2016 DCP, color, 77 min Director: Rehad Desai Co-director: Jabulani Mzozo Cinematography: Nicolaas Hofmeyr Editing: Ruben Van Hammen, Henion Han Sound: President Kappa Sound Design: Vaughn Phillips Music: Phillip Miller Production: Anita Khanna & Rehad Desai for Uhuru Productions World Sales: Deckert Distribution Screening Copy: Uhuru Productions Involved TV Channels: ZDF/ ARTE, Al Jazeera, NRK Website: www.thegiantisfalling.com

Rehad Desai:

My Land My Life (2002) Born into Struggle (2004) Bushmans Secret (2006) Bambatha Uprising: War of the Heads (2008) Battle for Johannesburg (2010) Miners Shot Down (2014)

The African National Congress party headed by President Jacob Zuma took a pounding in the local elections in 2016. The result was the party’s worst election defeat since it came to power in 1994. Are the electoral losses entirely attributable to Zuma’s questionable leadership, or is the situation more complex? Filmmaker Rehad Desai delves into South Africa’s recent past to explain this historic event, and looks back critically and with undisguised amazement at decades of uninterrupted ANC politics. Has anything come of the dream that people cherished in the days of Nelson Mandela: an exemplary South Africa, free of racism and poverty? Desai approaches his investigation with thoroughness and, where possible, a sense of humor. Interviews with politicians, historians and journalists are interspersed with archive footage, including reports of the Marikana massacre of 2012. At the end of an intense and candid inquiry, Desai draws his conclusions about the future of the country and the once unassailable ANC.

Handsworth Songs John Akomfrah

UK, 1987 DCP, color / black-and-white, 59 min Director: John Akomfrah Cinematography: Sebastian Shah Editing: Anna Liebschner Sound: Trevor Mathison Music: Trevor Mathison Production: Lina Gopaul for Black Audio Film Collective Screening Copy: Smoking Dogs Films

John Akomfrah:

Testament (fiction, 1988), Who Needs a Heart (fiction, 1991), Seven Songs for Malcolm X (1993), The Last Angel of History (1996), Memory Room 451 (1996), Call of Mist (1998), Speak Like a Child (fiction, 1998), Riot (1999), The Nine Muses (2010), Hauntologies (2012), The Stuart Hall Project (2013), The Unfinished Conversation (2013), The March (2013), Vertigo Sea (2015), Auto Da Fé (2016), The Airport (2016)

Rioting broke out in several cities in England in 1985—and it wasn’t for the first time. Racial tensions played a big part in triggering the clashes with police, the looting and the arson attacks. Handsworth Songs examines the unrest and its aftermath in Birmingham’s Handsworth district and in London, and it does so in a different way than mainstream media. It places the riots in a broader perspective, and refrains from pronouncing final judgment. Social engagement and a hunger for experiment mark this associative mosaic: raw street footage, scenes of commemorations of the victims, and testimonies from witnesses and others contrast with photographs and news footage from the more hopeful years, when immigrants from the Caribbean arrived by ship and blacks and whites mingled on the dance floor. This allows for moments of reflection, accompanied by poetic texts and a soundtrack that is both seductive and discomforting. This award-winning directorial debut from John Akomfrah, a member of the Black Audio Film Collective, was commissioned by Channel 4 in the UK for its Britain: The Lie of the Land series.


Shifting Perspectives

A Letter to Nelson Mandela Khalo Matabane

South African filmmaker Khalo Matabane was an idealistic teenager with great expectations of a post-apartheid era of freedom and justice when the great icon of liberation Nelson Mandela was released from prison. Euphoria gave way to disappointment in the years that followed, in which Mandela came to symbolize the “Rainbow Nation.” In an imaginary letter to Mandela, Matabane interrogates the meaning of freedom, reconciliation and forgiveness in a world of conflict and inequality. He consults politicians, world leaders, intellectuals and artists such as Henry Kissinger, Albie Sachs, Ariel Dorfman and the Dalai Lama on the matter, while also giving a voice to ordinary survivors of apartheid. In addition to the history of South Africa, the topics covered include German reunification, the war in Iraq and the assassination of Salvador Allende. The interviews are interspersed with historic images, portraits of Mandela and contemplative, sometimes out-of-focus footage of landscapes and street scenes that Matabane encounters on his travels.

South Africa, Germany, 2013 DCP, color, 85 min Director: Khalo Matabane Cinematography: Giulio Biccari, Mike Downie, Nicolaas Hofmeyr Editing: Catherine Meyburgh Sound: Gita Cerveira, Gustav Stutterheim Music: Neo Muyanga Production: Carolyn Carew for Born Free Media Co-Production: Gebrueder Beetz Filmproduktion Screening Copy: Born Free Media Involved TV Channels: ZDF/ARTE, BBC, DR

Khalo Matabane:

Young Lions (2000) Love in a Time of Sickness (2001) Story of a Beautiful Country (2004) Conversations on a Sunday Afternoon (fiction, 2007) State of Violence (fiction, 2010) a.o.

Lumumba: Death of a Prophet Lumumba: la mort du prophète Raoul Peck

A personal, groundbreaking analysis of the way politicians and the Western media manipulated the public image of Congolese Prime Minister Patrice Lumumba, who was murdered in 1961. Lumumba was one of the most charismatic and controversial figures of the African struggle for independence in the 1960s. Filmmaker Raoul Peck, who grew up in Congo as the privileged son of an agricultural expert from Haiti, investigates why Lumumba failed to achieve his aims. The filmmaker also draws on personal memory and home movies from this period, thus providing perspectives often ignored by historians and the media, who prefer to focus on history’s “winners.” For this reason, Western media portrayed the events quite differently than the Congolese press. In the words of Lumumba’s minister of information, “The Belgians gave us independence with one hand and took it away with the other.” Peck’s sorrowful conclusion is that the future died with the prophet.


France, Switzerland, Germany, 1990 video, color / b&w, 69 min Director: Raoul Peck Cinematography: Matthias Kälin, Philippe Ros Screenplay: Raoul Peck Editing: Aïlo Auguste-Judith, Raoul Peck, Eva Schlensag Sound: Eric Vaucher, Martin Witz Production: Raoul Peck for Velvet Film, Andreas Honegger Executive Production: Dagmar Jacobsen Screening Copy: Velvet Film

Raoul Peck:

Haitian Corner (1987) The Man by the Shore (fiction, 1993) Haiti - Silence of the Dogs (1994) Desounen: Dialogue with Death (1994) Documenta X - The Film (1997) Lumumba (fiction, 2000) Profit and Nothing But! (2001) Fatal Assistance (2013) Murder in Pacot (fiction, 2014) I Am Not Your Negro (2016) a.o.

Shifting Perspectives

A Memory in Three Acts Uma memória em três atos Inadelso Cossa

Mozambique, 2016 DCP, color / black-and-white, 64 min

Inadelso Cossa: directing debut

Director: Inadelso Cossa Cinematography: Inadelso Cossa Editing: Inadelso Cossa Narration: Inadelso Cossa Narrator: Inadelso Cossa Production: Inadelso Cossa for 16mmfilmes Co-Production: Weltfilm World Sales: 16mmfilmes Screening Copy: 16mmfilmes


Mozambique gained independence from Portugal in 1975, following a bloody struggle that lasted more than a decade. In three acts (plus a poetic prologue and epilogue), some of those who lived through it tell their story about the struggle for independence. A former political prisoner returns to the building named Villa Algarve, where he was tortured—though dilapidated now, it is still maintained as a monument to what took place. There were many who did not survive the torture. We also get to hear the other side of the story, as told by the daughter of an agent of the secret police who was murdered before her eyes following the fall of the Portuguese dictatorship. This striking mix of archive footage, shots of present day and the pervasive soundtrack give us the feeling that past and present are inextricably linked. The oral testimonies bear witness to a multifaceted colonial trauma, and the wounds are still fresh.

IDFAcademy Results

Men of Gold Vincent Moloi

South Africa, 2006 DCP, color, 54 min Director: Vincent Moloi Cinematography: Vincent Moloi Editing: Tongai Furusa Sound: Jonas Montsho, Thando Phiri Music: Boitumelo Molekane Production: Mandilakhe Mjekula for DC Studios Co-Production: Hamoloi Pictures Executive Production: Steven Markovitz for Big World Cinema Screening Copy: Puo Pha Productions Involved TV Channel: SABC

Vincent Moloi:

Society (fiction, 2007) A Pair of Boots and Bicycle (2007) African Metropolis: Berea (2013) Skulls (2016) a.o.

Awards: Best South African Documentary Encounters International Film Festival

The black South African filmmaker Vincent Moloi spent a year following the white scrounger Leonard Johnson and his friends as they roam the streets of Johannesburg. News footage from other times intercuts this impression of life on the underside of modern South Africa. Johnson has led a tough life, and he just manages to keep his head above water by begging and hawking fake jewelry. But as his drug-addict buddy Arthur points out, at least Johnson is fortunate enough to be able to afford even a shabby room—he doesn’t have to sleep on the street. Johnson tries to take life as it comes, pausing only to express his displeasure about all the changes, the crime and the corruption. Occasionally this prompts a brief discussion between himself and Moloi behind the camera. We discover just how fragile this way of life is when Arthur suddenly disappears without a trace. Indirectly, this melancholy and hard-bitten portrait also paints a picture of the new Johannesburg, the megacity once praised as the City of Gold.


Shifting Perspectives

O.J.: Made in America Ezra Edelman

A five-part miniseries about the rise and fall of O.J. Simpson, the legendary American football player accused of a double murder. This celebrity who distanced himself from his skin color played an unlikely role in the struggle for black emancipation. The documented story of his life is an American tragedy involving race, fame, the media and justice, and it provides some surprising perspectives on Simpson’s identity and the current discussion of racial inequality. We meet a range of people connected to O.J.’s private, professional and public life, as well as various parties in the court case and several civil rights advocates. Together they provide a many-voiced comment on the events and also place them in a historical perspective, referring for example to the Black Power salutes made at the 1968 Olympics and the beating of Rodney King in 1991. This compelling saga manages to illustrate both the divisions within Simpson’s personality and America at large.

USA, 2016 DCP, color / black-and-white, 468 min Director: Ezra Edelman Cinematography: Nick Higgins, Ronan Killeen Editing: Bret Granato, Maya Mumma, Benben Sozanski Music: Gary Lionelli Production: Libby Geist & Connor Schell & Deirdre Fenton & Erin Leyden & Nina Krstic for ESPN World Sales: ESPN Screening Copy: ESPN Involved TV Channels: ESPN, ABC

Ezra Edelman:

Brooklyn Dodgers: The Ghosts of Flatbush (2007) Magic & Bird: A Courtship of Rivals (2010) The Curious Case of Curt Flood (2011) 30 for 30: Requiem for the Big East (2014) 30 for 30 Soccer Stories: The Opposition (2014)

Skulls, of My People Vincent Moloi

WORLD PREMIERE October 2, 2015 was the 111 anniversary of the day that German general Von Trotha gave the order to kill all members of the rebelling Herero and Nama tribes in German Southwest Africa. Activists in present-day Namibia say it’s time for Germany to finally acknowledge this mass murder as an act of genocide. And what about reparations? Are racist motives playing a part in Germany’s stubborn refusal to move on this matter? Skulls, of My People shows patience is running out, because it’s not the first time since 1904 that the descendants of those killed have raised the issue. One important demand is the return of the skulls taken by the Germans “for scientific purposes.” There is action and heartbreak, as well as statements from those affected, alternated with scenes from German Parliament, flashbacks to the atrocities and visits to historical locations, such as the church where the local population was herded in and then slaughtered. The Namibian activists suspect that their own government is allowing itself to get distracted by the substantial development aid it receives from Germany. th


South Africa, 2016 DCP, color, 67 min Director: Vincent Moloi Cinematography: Marius W. van Graan, Tiyane Nyembe Editing: Ikaye Masis Sound Design: Zethu Mashika Music: Zethu Mashika Production: Makgano Mamabolo & Lodi Matsetela & Vincent Moloi for Puo Pha Productions Distribution for the Benelux: IDFA Bertha Fund Screening Copy: Puo Pha Productions

Vincent Moloi:

Men of Gold (2007) Society (fiction, 2007) A Pair of Boots and Bicycle (2007) African Metropolis: Berea (2013) a.o.

Shifting Perspectives

Too Black to Be French? Trop noire pour être française? Isabelle Boni-Claverie

France, 2015 DCP, color / black-and-white, 52 min

Isabelle Boni-Claverie: Heart of Blackness (2011)

Director: Isabelle Boni-Claverie Cinematography: Georgi Lazarevski Screenplay: Isabelle Boni-Claverie Editing: Sebastien Touta, Solveig Risacher, Gwénola Héaulme Sound: Stephan Bauer Production: Juliette Guigon & Patrick Winocour for Quark Productions Screening Copy: Quark Productions Involved TV Channel: ARTE France

The first time filmmaker Isabelle Boni-Claverie really realized she was black was when she was cast as Balthazar in the Christmas play at school: the black one of the Three Kings. The teacher was so pleased that there was finally a dark-skinned child at school, she immediately made use of it. Boni-Claverie is from an extremely privileged background— she once even went on vacation with the future king of the Netherlands, but even today she is often subject to discrimination. How can someone with her social position be continually disadvantaged in this way? In Too Black to Be French?, she examines racism in France on the basis of her own history and that of French colonialism. Together with historians and sociologists, she probes the question of whether the French Republic lied about its ideals of liberty, equality and fraternity. This is a personal story that raises important social issues.

A Trip to the Country Vacances au pays Jean-Marie Teno

Cameroon, France, Germany, 2000 DCP, color, 75 min Director: Jean-Marie Teno Cinematography: Jean-Marie Teno, Moussa Diakite Editing: Christiane Badgley Sound: Lardia Thombiano Music: Ben’s Belinga, Marianne Entat Narration: Jean-Marie Teno Narrator: Jean-Marie Teno Production: Jean-Marie Teno for Les Films du Raphia World Sales: Les Films du Raphia Screening Copy: Les Films du Raphia

Jean-Marie Teno:

Homage (1985) Africa, I Will Fleece You (1992) Head in the Clouds (1994) Clandestine (fiction, 1996) Chief! (1999) Alex’s Wedding (2002) The Colonial Misunderstanding (2004) Sacred Places (2009) a.o.

Director Jean-Marie Teno travels through Cameroon, visiting the places of his youth. Yaoundé, the city where he used to live, still has no clean drinking water and his old school lies in ruins. The education he received there was European, i.e. universalist and modern. After 30 years of independence, however, Teno questions the values he and his country strove for back then. Yaoundé is still no Manhattan, he notes despondently— modern times are visible only in the form of concrete houses, canned food and a junkyard. Along the way, Teno passes illegal tollgates guarded by soldiers. An annual gathering of social workers these days is basically a sponsored beer party. A Trip to the Country is an essay about the false promises of the free market economy and the rejection of local values, such as respect for elderly people, generosity and solidarity. Teno confronts his memories with the present-day reality and pleads, ironically, for a typically African form of modernity.


Shifting Perspectives


Miguel Peres Dos Santos According to one of the texts that open this experimental film essay, “That one is able to speak does not mean that one has a voice.” Following the idea that gaps in the collective memory could be compared to images missing from an archive, Miguel Peres dos Santos went in search of material on the theme of migration in the Netherlands Institute for Sound and Vision’s TV collection. Voices shows footage of the uprising by the black community in Curacao on May 30, 1969, and the arrival of 150 Dutch marines, followed by a protest demonstration in The Hague. Shortly afterwards, the largely white island of Aruba was granted a “separate status,” as unemployment spread among the black working class. Another scene shows newly recruited Antillean nursing auxiliaries arriving at Amsterdam Airport. Then we see painful footage from a Dutch TV show alongside attempts to deny the existence of racism in the Netherlands.One intriguing aspect is the manipulation of images in such a way that black-and-white can no longer be told apart.


The Netherlands, 2015 DCP, color / black-and-white, 18 min Director: Miguel Peres Dos Santos Cinematography: Miguel Peres Dos Santos Editing: Miguel Peres Dos Santos Production: Miguel Peres Dos Santos World Sales: Argos Screening Copy: Argos

Miguel Peres Dos Santos: Equity (2013) Não há imagens (2014)


Assembling Reality A special theme program that focuses on editing in documentary. The screenings are accompanied by in-depth conversations moderated by Nicolas Rapold and featuring renowned editors Niels Pagh Andersen, Yael Bitton, Mario Steenbergen and Nels Bangerter, plus a close reading of Frederick Wiseman’s classic Hospital. Several films are also part of other selections. Machines, Miss Kiet’s Children and Mogadishu Soldier are also selected for the IDFA Competition for Feature-Length Documentary (see page 19). Cameraperson is also screening in the Best of Fests section (see page 115).


Assembling Reality

Reflections from the Cutting Room By Sasja Koetsier

Nothing could be further removed from the “And… action!” image that we have of filmmaking than the sedentary job of the editor. Nevertheless, editing is what makes film unique as an art form, as has been pointed out by Eisenstein, Kubrick and many others. In Assembling Reality, five editors reflect on their art. Only in the edit do shots become scenes and does raw material acquire structure, density, rhythm and flow, eventually developing into a story. Even more so in documentary, where the editor sometimes processes hundreds of hours of video that merely reflect the filmmaker’s exploration of the subject. That is why Niels Pagh Andersen, whose impressive body of work encompasses both fiction and documentary, equates the rough edit of a documentary to the stage where he would start when editing a fiction film. He speaks passionately about this very first phase of the editing process, when the images are still fresh and he has a highly responsible task as the “virgin viewer,” as he calls it. “I have to be very open to the images and to my own experience of them. The interesting bits are scenes where I feel something is going on, but I don’t understand what it

is. The subtext level is very important.” His intuitive response to the first viewing informs his selection process. “Later, when I don’t feel anything anymore myself, I depend more on an intellectual analysis of how films communicate.” Working on Mogadishu Soldier, compiled from no fewer than 523 videotapes shot by two members of a peacekeeping mission in Somalia, Pagh Andersen had plenty of room to put his editor’s senses to work. Apart from a short, mostly technical training, the two cameramen were like a blank page. “They look at a war without the moralistic filter that a filmmaker from outside would bring along. For them war is a job. It lends the film another quality of authenticity.”

Talking to yourself

Much like Pagh Andersen, Direct Cinema legend Frederick Wiseman, who is the editor of all of his films, described editing as “a combination of being very deductive and very associational,” in an interview for Filmmaker Magazine in January 2012. “Editing is talking to yourself. Obviously, it has to do with technical things as well, but at


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Assembling Reality International Documentary Film Festival Amsterdam


least 50% of editing my films has to do with an attempt at an analysis of human behavior. The basic question is ‘Why?’ Why does somebody ask for a cigarette at a given moment? Is there an explanation for the choice of one word rather than another?” His 1970 classic Hospital, for which he spent a number of weeks at New York’s Metropolitan Hospital, offers a fascinating window on the human condition, evoking a multitude of questions indeed. Whereas Wiseman, in the same interview, states he usually doesn’t think about structure until six to eight months into the editing, Mario Steenbergen took a very different approach towards editing Miss Kiet’s Children. He’s the steady collaborator cum confidant to the film’s directors Peter and Petra Lataster, who involved him in their idea for this film in an early stage. As the film covers an entire school year, he started editing while the film was still being shot, also providing feedback that would help put focus on certain protagonists. “In the edit, I’m looking for a group of ‘characters’ that complement each other. It’s like creating a palette. In this elementary school class, society is reflected in the issues that young people have to deal with. Their problems aren’t smaller or even any different than those faced by adults: What am I? Who am I? How can I be loved? How can I become good at something?”

Murkier areas

Similarly shot in one place, Machines takes us through a textile factory in India, lacing up separate processes while eluding a linear, or even an associative structure. “We wanted it to be nebulous,” explains Rahul Jain, the film’s director who, together with Yael Bitton, is responsible for the editing as well. “Everything is just happening simultaneously, there is no coherence.” Machines focuses on the workers and the workplace, which at times almost seem to merge. Managers and contractors are interviewed outside of the big halls. Though this could lead us into thinking that the factory halls are mainly the domain of the workers, this appears to be the result of “editing out” a reality that is quite the opposite, as Jain explains. “One form of ‘management’ is to beat the shit out of them. We’ve left that out, because every time I saw this, it would make me sick.” Instead, the film relies on the images captured from the workers’ faces, something Jain picked up from the photographs of Sebastião Salgado. “If you look someone in the eye, you are forced to confront them. The only thing you need is time. So that’s what I use in editing. I want time to be a weight.”

Also Nels Bangerter, who edited a collection of Kirsten Johnson’s camera-work on a wide range of films into her visual memoir Cameraperson, prefers to spend time in what he calls “the murkier areas” of the editing process. “As a way of offloading some decisions about structure and approach, I’m often thinking up rules and principles for what the movie at hand can and can’t do, what it can show, how it can tell. And then, if they become too inconvenient or boring, I abandon them.” His clever and sensitive approach to the hugely diverse material at hand has resulted in a moving reflection on humanity and compassion. “We’re asking the audience to fill the gaps in the story, which requires that they activate their own cognition, empathy and imagination in an unusually intense way. But we’re often ending expansive and complex scenes or sequences with something a little bit clearer—a direct thematic reference, a cliffhanger, or even a little joke. In the end, an audience generally wants to feel, however subtly, that the filmmaker is leading them somewhere with a confident hand.” Sasja Koetsier is a freelance film critic.

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Assembling Reality

Cameraperson Kirsten Johnson

What do a midwife in Nigeria, a boxer in Boston, a murderer from Texas and a traumatized Bosnian woman have in common? They all figure in the impressive visual archive of “cameraperson” Kirsten Johnson. Using 25 years of material from 24 authoritative films (including Fahrenheit 9/11, Pray the Devil Back to Hell and Citizenfour), Johnson has assembled a kaleidoscopic journey that takes us all over the world, challenging and surprising us at each new destination. On the one hand, the film is a self-portrait that gradually reveals insights into its maker’s way of looking, with Johnson allowing us occasional glimpses into her private life: we meet her children and her mother, who is suffering from dementia. On the other hand, it is an almost politically charged film that challenges us as viewers to think about how a filmmaker, simply by being present with a camera, is no longer just recording reality. In Johnson’s case, this presents a visible, recurring dilemma: at what moment does the role of observer necessarily turn into that of participant?

USA, 2016 DCP, color, 102 min Director: Kirsten Johnson Cinematography: Kirsten Johnson Editing: Nels Bangerter Production: Kirsten Johnson & Marilyn Ness for Big Mouth Productions Executive Production: Abigail Disney, Gini Reticker World Sales: CAT&Docs Screening Copy: CAT&Docs Website: www.camerapersonfilm.com

Kirsten Johnson:

Bintou in Paris (1995) Deadline (2004)

Awards: Harrell Award for Best Documentary Feature Camden International Film Festival, Feature Documentary Award DOXA Documentary Film Festival, Bruce Sinofsky Prize Best Documentary Feature Montclair Film Festival, Golden Gate Award Best Documentary Feature San Francisco International Film Festival, Grand Jury Award Sheffield International Doc Fest, Best International Documentary Film Zurich Film Festival a.o.


Frederick Wiseman In 1970, Frederick Wiseman made this classic about the daily goings-on at New York City’s Metropolitan Hospital. He juxtaposes routine with the emotions felt by sick individuals—people who are balancing on the edge of human dignity. Poverty, neglect, alcohol, drugs and violence take their victims here, but that is also true of the bureaucratic system, which would seem to be an impenetrable fortress. It certainly is the case for the psychiatrist of a black, gay, schizophrenic, teenaged male prostitute, who argues in vain with the merciless Mrs. Hightower of the welfare office on behalf of his patient. And what should be done with the little boy who was brought in and never picked up? Another significant moment is the opening shot of a woman on a cross-shaped operating table—she is quite literally at the mercy of the medical staff. Wiseman intersperses his observations in waiting and treatment rooms with close-ups of faces and routine actions. Combined with swift cuts and an intense soundtrack, the hectic atmosphere of the hospital feels more like a warzone. At the time of its release, the film generated heated debates about the effectiveness of the social welfare system in the U.S. It also won Emmys for Best News Documentary and Best Director.


USA, 1970 16mm, black-and-white, 84 min Director: Frederick Wiseman Cinematography: William Brayne Editing: Frederick Wiseman Production: Frederick Wiseman for Zipporah Films World Sales: Zipporah Films Screening Copy: Zipporah Films Awards: Best Documentary Emmy Awards, Best Director Emmy Awards, Catholic Film Workers Award Manheim Film Festival a.o.

Frederick Wiseman:

Titicut Follies (1967), High School (1968), Law and Order (1969), Basic Training (1971), Primate (1974), Welfare (1975), Model (1980), Seraphita’s Diary (fiction, 1980), The Store (1983), Racetrack (1985), Missile (1987), Blind (1987), Near Death (1989), Central Park (1991), Zoo (1993), Ballet (1995), Public Housing (1997), Belfast, Main (1999), Domestic Violence (2001), Domestic Violence 2 (2002), The Garden (2005), State Legislature (2007), Boxing Gym (2010), Crazy Horse (2011), At Berkeley (2013), National Gallery (2014), In Jackson Heights (2015) a.o.

Assembling Reality

Machines Rahul Jain


India, Germany, Finland, 2016 DCP, color, 71 min

Rahul Jain:

directing debut

Director: Rahul Jain Cinematography: Rodrigo Trejo Villanueva, Rahul Jain Editing: Rahul Jain, Yael Bitton, Robert Fenz Production: Thanassis Karathanos for Pallas Film, Rahul Jain for Jann Pictures, Iikka Vehkalahti for IV Films World Sales: Autlook Filmsales Screening Copy: Autlook Filmsales

To the south of the Indian metropolis of Surat in Gujarat province lies a vast industrial zone that has been growing ever since the 1960s. Director Rahul Jain filmed the grueling daily routine in just one of the many textile factories there. In the factory, man and machine seem to have fused into one being. It is dark and dank, and barely any daylight penetrates the space. The labor is heavy and mind-numbing, and the work days seem endless. We are drawn into a gloomy world where the cacophonous beat of machinery sets the rhythm of toil. Jain is as interested in the mysterious connection between worker and product (the fabrics are treated mechanically, but also with love) as he is in the degrading conditions. Each shift lasts 12 hours, for adults and children alike, and wages are extremely low. Short interviews are interspersed throughout the observational sequences, some of which are captivating in their beauty while others are painful to watch—such as when we see a boy nodding violently in his struggle to stay awake.

Miss Kiet’s Children

De kinderen van juf Kiet Petra Lataster-Czisch, Peter Lataster

The Netherlands, 2016 DCP, color, 115 min Director: Petra Lataster-Czisch, Peter Lataster Cinematography: Peter Lataster Screenplay: Petra Lataster-Czisch Editing: Mario Steenbergen Sound: Gertjan Miedema Sound Design: Hugo Dijkstal Production: Peter Lataster for Lataster & Films Executive Production: Marty de Jong for Lataster & Films Distribution for the Netherlands: Mokum Filmdistributie Screening Copy: Lataster & Films Involved TV Channel: KRO/NCRV

Petra Lataster-Czisch & Peter Lataster:

De bekoring (1991), Tales of a River (1994), Call It Sleep (1996), River of Time (1999), Fragile Happiness (2001), Dreamland DDR (2003), Birth-Day (2004), This Will Never Go Away (2005), Ojuna (2005), I Like to Touch Everything (2006), If We Knew (2007), The Things You Don’t Understand (2010), Not Without You (2010), Jerome Jerome (2011), We (2012), Dutch Masters of the 21st Century: Auke de Vries (2013), Tomorrow Will Know (2013), Awake in a Bad Dream (2013), The Need to Dance (2014)



Imagine if you can’t understand a word the teacher is saying on your first day of school. This is the experience of most of the children who join a special introductory class at the elementary school in the Dutch village of Hapert. Coming from countries like Syria and Iraq, they have all been through a lot. Fortunately, their teacher is Miss Kiet—strict but fair, patient, kind and concerned. Nevertheless, the teacher only plays a supporting role in this observational documentary by Peter and Petra Lataster, who followed the class for a year. They filmed everything from the perspective of the children—little Leanne, traumatized Jorj, feisty Haya—not only in the classroom, but also during recess, out of the teacher’s sight. The result is moving, often funny and sometimes sad, but most of all it gives cause for hope. Miss Kiet doesn’t just teach the children Dutch and math, she also shows them how to help each other. She sees who needs to have a talk, or who could use a new pair of glasses. By the end of the school year, the class has become a safe and close-knit community.


Assembling Reality

Mogadishu Soldier Torstein Grude

WORLD PREMIERE Since 2006, the radical Islamists of Al-Shabaab have been fighting to overthrow the Somali government. Under the UN flag, the African Union is now engaged in a peacekeeping mission (AMISOM), with soldiers from Burundi and Uganda. These troops are fighting Al-Shabaab in the center of Mogadishu, Somalia’s capital city, with a population of two million. Documentary filmmaker Torstein Grude gave two African Union soldiers a camera with instructions to film whatever they felt was important. For an entire year, they documented diverse aspects of warfare, from firefights in trenches and life on the base to the dead and wounded lying in the streets. They also filmed conversations with local people hoping for food and water, soldiers fantasizing about women, and the arrival of an embedded journalist. War is shown to be banal and chaotic, with periods of boredom and instances of both compassion and gross inhumanity. Taken from no fewer than 523 tapes, this compilation gives an honest and sometimes revealing glimpse behind the scenes of war.


Norway, Finland, Denmark, 2016 DCP, color, 88 min Director: Torstein Grude Screenplay: Torstein Grude Editing: Niels Pagh Andersen Sound Design: Olli Huhtanen Production: Bjarte Mørner & Torstein Grude for Piraya Film, Kaarle Aho for Making Movies Oy, Peter Engel for Wingman Media ApS Executive Production: Joshua Oppenheimer, Iikka Vehkalahti World Sales: Piraya Film Screening Copy: Piraya Film Involved TV Channels: NRK, YLE, DR, SVT

Torstein Grude:

Satan Rides the Media (1999) Instant Happiness (2001) Heaven Inside Us (2004)


An examination of the “slow documentary,” which starts with the experience of time as it is in reality, The Quiet Eye consists of nine documentary films that exude a remarkable calm and reflective quality. Special introductions, discussions and performances accompany the one-off screenings. Supported by Stichting Zabawas. Happinez is the program’s media partner.


Quiet TheThe Quiet EyeEye

Back to the Source By Mariska Graveland

To watch the “slow documentaries” in The Quiet Eye program is to experience the unhurried reality of time. An opportunity to reappraise the value of standing still and appreciate the inconspicuous. At a time when progress is sacred and we are bombarded by stimuli at an ever-increasing tempo, The Quiet Eye goes back the source: what are our motivations in life and how can we take more time to reflect on them? Some of the “slow documentaries” in the series feature a source in a literal sense, like the spring in the title of Alexei and the Spring (2002), for which the filmmaker Motohashi Seiichi traveled to the village of Budische in Belarus, evacuated in 1986 after the Chernobyl nuclear disaster. Budische vanished from the map, but a number of stubborn residents remained. To everyone’s surprise, the spring was not polluted by radiation and they were able to carry on with their rural lives. The young Alexei wanted to stay in Budische because “there was nowhere else he wanted to go.” This inertia is in fact the subject of this quiet sketch of village life, in which fetching water, weaving


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baskets and digging potatoes set the daily rhythm. The most significant event in the village is the construction of a new wall around the spring. You should cultivate your own garden, Voltaire’s Candide discovers at the end of a long series of adventures—Alexei didn’t need to take such a roundabout route to arrive at the same conclusion. Watching these documentaries means experiencing time as it really occurs, unhurried and more often cyclical than progressive. Moments of boredom are part of the experience, but it is precisely at these times that the mind can open to unexpected and undirected thoughts, which don’t necessarily arrive at a conclusion. Like the news media, many documentaries rely on contrast, conflict and the extraordinary, but these films make space for inconspicuous events, which finally claim their moment in the spotlight. In Taimagura Grandma (Yoshihiko Sumikawa, 2004), for instance, we see how each spring an elderly Japanese woman and her husband make miso, then leave it for three years to mature, a task requiring

TheThe Quiet EyeEye Quiet

Stand still and you go backwards, the saying goes. We are constantly urged to make our lives as productive as possible. Many words related to “standing still” have negative connotations: stagnation, impasse, delay, arrested development. Anything to do with movement and action can count on a warmer reception. It is high time to reappraise standing still, argues Carl Honoré, a guest at IDFA and leading figure of the “slow movement,” with its branches such as “slow food,” “slow email” and “slow cities.” The British philosopher John Gray has also shrewdly identified the myth of progress. Many people feel a growing pressure to perform, en route to “better times,” and they are equally assiduous in their quest for relaxation. Rest has become something to strive for, to plan, to tick off on a to-do list. The black hole of doing nothing can be vast, so we fill it up as quickly as possible with useful things. A Place Called Lloyd (Sebastian Cordes, 2015) shows just how bitter the consequences can be, when the former employees of a bankrupt Bolivian airline stubbornly refuse to accept that they have been laid off. Every day, people come to work and draw up the “capacity lists.” Weeds grow around the aircraft: because nothing is happening, new life emerges that would otherwise be crushed by the busy air traffic—in the same way that new thoughts can arise as you watch a film in which not very much happens. These films don’t accelerate, simply because they are not in a hurry. Jake Williams is a man who is also not in a hurry. In Two Years at Sea (Ben Rivers, 2011), we discover how his life in the Scottish highlands is a subtle interaction with nature. As he sleeps we see leaves reflected in the windows, so it is as if his face is merging with the plants around him. In this world, shades of light and darkness are more important than words and deeds. On the other hand, the Chinese government thinks that nature is something we can manipulate to suit our needs. It has produced devastating effects on the environment by diverting entire rivers, as

Shepherds’ Journey into the Third Millennium

patience and dedication. The couple lives at the foot of Mount Hayachine because there the spring that supplies their water never freezes. This film too features a water source that makes life possible. At this point, one’s thoughts might wander to the gradually freezing fountain in the garden of the Swedish documentary filmmaker Mikael Kristersson in his film Light Year (2008). This calm observation of daily life in Kristersson’s garden in Falsterbo is edited in its natural rhythm, without commentary. Through Kristersson’s sharp eyes and ears, we keep discovering new things in a garden teeming with life. This is a world that surrounds us every day, yet we actually know very little of it. Watching it intensifies our gaze, and is relaxing at the same time. An event is as big as you make it.

we learn in South to North (Antoine Boutet, 2014). In the hypnotically filmed Dead Slow Ahead, humans again interfere drastically with their environment. A cargo ship reveals itself to be a futuristic machine that seems to devour its crew. This is what a journey to the end of the world might be like, on board the last mechanical relic of humanity, following aimless instructions on the way to nowhere. In Invention (Mark Lewis, 2015), the image on the screen itself capsizes, as every possible camera angle is used in this unhurriedly composed love letter to Toronto, Paris and São Paulo. In Shepherds’ Journey into the Third Millennium (Erich Langjahr, 2002) we see that our relationship with nature should not be romanticized. The documentary follows a group of Swiss shepherds spending months away in the mountains. Life in a caravan crammed with tins of ravioli, the physically hard labor, the absence of leisure time: like the many other people we meet in the documentaries of The Quiet Eye, these shepherds show us that patient attention and dedication—the very sources of the slow movement—also require intense effort. Mariska Graveland is a film critic and editor for Dutch monthly De Filmkrant.

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The Quiet Eye

Alexei and the Spring Alexei to izumi Seiichi Motohashi

Following the Chernobyl nuclear power plant disaster in 1986, everyone in the Belarusian village of Budische was evacuated. Everyone, that is, except for 55 of the most elderly residents, who refused to leave, and Alexei (now 37), who wanted to stay with his parents. Alexei narrates this observational film, which follows the old folks as they go about their daily business 14 years after the disaster, at the steady pace at which their days pass by. Alexei talks about the traditions, celebrations and rituals that mark the calendar in Budische. The villagers are virtually self-sufficient. All that is brought in from outside are the monthly pension payments—which are immediately exchanged for bottles of vodka. The locals don’t seem to be troubled in the least by the supposed high levels of radiation—in fact, the priest holds a ceremony at the spring that miraculously escaped contamination. As long as everyone is still fit enough to fetch water there, life in Budische calmly carries on. Alexei and the Spring is a loving ode to a vanishing agrarian way of life, and to people who have stayed true to their roots.

Japan, 2002 ProRes, color, 104 min Director: Seiichi Motohashi Cinematography: Masafumi Ichinose Editing: Masaru Muramoto Production: Takahiro Otsuki for Polepoletimes Co., Tokio Komatsubara for Montage inc. Screening Copy: Polepoletimes Co.

Seiichi Motohashi:

Nadya’s Village (1997) If You Sing with Namii (2006) A Thousand Year Song of Baobab (2009) Take Your Time -Arayashiki (2015)

Awards: Readers’ Prize of the Berliner Zeitung & International Cine Club Prize Berlin International Film Festival, Prize Centaur “Message to Man” St. Petersburg International Film Festival, AQCC Critics Award Montreal International Festival a.o.

Dead Slow Ahead Mauro Herce

This intoxicating voyage of a freighter crossing the Atlantic is more like a 2001: A Space Odyssey-style science fiction movie than a documentary. Adrift and always in hypnotic motion, the vessel becomes a futuristic machine that seems to be swallowing up the people working on it. Surely this must be what a journey to the end of the world would be like—traveling aboard the last mechanical remnant, following pointless orders, going nowhere, but unstoppable. For 10 weeks, Spanish director Mauro Herce composed meticulously framed shots to capture the journey of the Fair Lady, the freighter that his camera transforms into a wandering space vehicle: the backlit cables, the ominous creeks as the cargo is unloaded, the ghostly clouds in sepia skies, the toxic green radar screen, the low-lit parties, and the thumps, grating and squeaking. When the ocean water seeps in and reaches the cargo of grain, it portends nothing less than the apocalypse.


Spain, France, 2015 ProRes, color, 74 min

Mauro Herce:

Director: Mauro Herce Cinematography: Mauro Herce Editing: Manuel Munoz Production: Bocalupo Films, Jasmina Sijercic, El Viaje Films, Jose Alayón, Ventura Durall for Nanouk Films World Sales: Bocalupo Films Screening Copy: Bocalupo Films

Awards: Special Jury Award Festival del Film Locarno, Best World Documentary Award Jihlava International Documentary Film Festival, Best First Feature Award & Universities Jury Award DocLisboa International Film Festival, Best Editing Award Janela International de Cinema do Recife, Best Feature Film Award Festival International de Cine de Las Palmas, Best International Film Award Ann Arbor Film Festival

Une histoire américaine (2015)

The Quiet Eye

Invention Mark Lewis

Canada, UK, 2015 ProRes, color, 87 min Director: Mark Lewis Cinematography: Martin Testar, Bobby Shore Screenplay: Mark Lewis Editing: Andrew Hulme Production: Gerry Flahive & Anita Lee for National Film Board of Canada, Eve Gabereau & Emily Morgan for Soda Pictures World Sales: National Film Board of Canada Screening Copy: National Film Board of Canada

Mark Lewis:

Disgraced Monuments (1993), Two Impossible Films (fiction, 1995), The Pitch (1998), After (fiction, 1999), North Circular (2000), Lawson Estate (2003), Brass Rail (2003), Airport (2003), Downtown: Tilt, Zoom and Pan (2005), Rear Projection (Molly Parker) (2006), The Fight (fiction, 2008), Cinema Museum (2008), Bricklayers Arms (2008), Cold Morning (2009), Backstory (2009), Forte! (2010), Little Tree (2011), Smoker at Spitalfields (2012), Derek Jawgeer (2013), One Mile (2013), Pyramid (2014), Nude (2015), Pavilion (2015) a.o.

An anthology of films by leading Canadian artist Mark Lewis, shot in Paris, São Paulo and Toronto. From famous corners of the Louvre Museum to the modernist buildings of Oscar Niemeyer in Brazil and Mies van der Rohe in Canada, Lewis juxtaposes modernist architecture with the compositional structures of old master paintings paintings, while also paying tribute to the City Symphony films of the 1920s. With the exception of a musical introduction and conclusion, Invention is made up of a series of silent studies of form, composition, movement, perspective, light, depth, color and framing. Lewis guides our eyes with a slow, dreamy movement of the camera, pausing at times, accelerating or changing color, turning backwards, floating upwards, zooming in or revolving around its axis before moving on. In images of glass, concrete, spiral staircases and paintings, Lewis captures the texture of these places, their characteristic forms and the people who populate the streets and buildings. Invention is an exercise in looking and an homage to urban spaces, art and cinema.


Light Year

Ljusår Mikael Kristersson

Sweden, 2008 ProRes, color, 101 min Director: Mikael Kristersson Cinematography: Mikael Kristersson Editing: Mikael Kristersson Sound: Mikael Kristersson Sound Design: Olle Tannergard Production: Mikael Kristersson for Pica Film, Lisbet Gabrielsson for Lisbet Gabrielsson Film Screening Copy: Swedish Film Institute Involved TV Channels: DR, SVT

Mikael Kristersson: Pica pica (1987) Kestrel´s Eye (1998)

Nature documentary filmmaker Mikael Kristersson captures the four seasons in his lush garden, complete with chicken sheds, greenhouse, vegetable beds, a hawthorn and a knotty old apple tree. The buzzing of insects and the chattering of birds are the only sounds in this peaceful observation, without commentary, of everyday life in the garden in Falsterbo, an old town in the south of Sweden. Kristersson shot this Super 16 footage over a period of 20 years and edited it together into a natural rhythm. We see the world from the point of view of a spider spinning its web, young birds leaving the nest for the first time, a butterfly laying its eggs under a leaf, a wasp eating a caterpillar while hanging by one leg, and the cat, watching it all from a distance. Here, there is enough to sustain all of this: a sunflower seed, an apple, a drinking fountain that gradually freezes up before our eyes. Through his sharp observations, Kristersson allows us to keep making new discoveries in the bustle of the garden. This is the world that surrounds us, but about which we know so little.


The Quiet Eye

A Place Called Lloyd Un lugar llamado Lloyd Sebastian Cordes


The planes are still there and the staff still turns up, but no one leaves the ground anymore. Bolivian airline Lloyd Aéreo Boliviano (LAB) went bankrupt back in 2008. Nevertheless, the fleet is still maintained and the administration kept up to date. The employees are so loyal they keep coming to work as if nothing has happened—and as if they were still being paid. With no narrator or main character, A Place Called Lloyd shows how they keep hope alive—the employees have been expecting the operating license to be reinstated for years now. If there’s a film that manages to make absence and a great void palpable, this is it: the stillness and the peaceful sounds of nature have a hypnotic effect. At the same time, this emptiness is full of meaning, pride, history and absurdity. The employees’ loyalty to their Lloyd Aéreo Boliviano is endearing, and simple beauty is found in the deserted hangars and perfectly tidied— but empty—offices.

Denmark, 2015 ProRes, color, 80 min Director: Sebastian Cordes Cinematography: Jakob Bæk Kristensen Editing: Anders Obbekjær Sound Design: Ekse Nørholm Production: Niels Wee World Sales: Niels Wee Screening Copy: Niels Wee

Sebastian Cordes:

Fundet (fiction, 2007) The Naked Cowboy - Hero for Hire (fiction, 2008) Rida (fiction, 2008) Bundet (fiction, 2009) The Life and Times of Don Rosa (2010) Amgerbro - et film notat (2014) The Tourist (2015)

Awards: NORDIC:DOX Award CPH:DOX Film Festival

Shepherds’ Journey into the Third Millennium Hirtenreise ins Dritte Jahrtausend Erich Langjahr

Director Erich Langjahr follows several of the last remaining shepherds in Switzerland, on the cusp of the third millennium. How does one of the oldest human means of subsistence survive into the modern age? At an unhurried pace, he captures the shepherd, his sheep, his dogs and his mules as they trudge across snow-covered fields, climb mountain passes and cross highways. The sheep have to be cared for all year round and the life of a shepherd is physically demanding. Shepherds stay outdoors, or in small huts and caravans—often in places inaccessible by car. During their long periods away from home, their families expand and their children grow up. But they wouldn’t have it any other way; being a shepherd is a very conscious life choice. One of them puts it like this: “I just can’t sit still. As long as my health allows me I’ll always be on the go. No matter where in the world, I’d like to be on the go forever.”


Switzerland, 2002 ProRes, color, 124 min Director: Erich Langjahr Cinematography: Erich Langjahr Editing: Erich Langjahr Sound: Silvia Haselbeck Production: Erich Langjahr for Langjahr Film World Sales: Langjahr Film Screening Copy: Langjahr Film

Erich Langjahr:

The Battle of Morgarten (1978) Ex Voto (1986) Men in the Ring (1990) Alpine Ballade (1996) The Peasant’s War (1998) Alpine Saga (2006) Birth (2009) My First Mountain - A Rigi Film (2012) For a Beautiful World (2016)

The Quiet Eye

South to North Cine-Concert Antoine Boutet


France, 2015 ProRes, color, 75 min Director: Antoine Boutet Cinematography: Antoine Boutet Editing: Antoine Boutet Sound: Antoine Boutet Music: Andy Moor, Yannis Kyriakides Production: Antoine Boutet Co-Production: Sister Productions, Les Films du Présent Screening Copy: Antoine Boutet

Antoine Boutet:

Zone of Initial Dilution (2006) Le plein pays (2009) Sud eau nord déplacer (2014)

The South-North Water Transfer Project is a giant Chinese endeavor that aims to divert 200 billion liters of water a year from the south of China to industrial areas in the north. The project has been going for several decades now, and it has attracted much criticism for its waste of water and other raw materials, the pollution it causes and the fact that it is making water more expensive for ordinary Chinese people. There is also a constant risk of environmental disaster, as the Yangtze River could dry up as a result. Antoine Boutet travels the length of the project, making meditative recordings of the strange landscapes it has created. Bare locks, brown rivers, industry without end and accumulations of graygreen towers dominate the project’s ever-expanding footprint. In a reforestation project located in a desert close to Beijing, a man squats, watering a few bare tree trunks with a garden hose: just one surreal image of a China many of us are completely unaware of. In spite of the omnipresent government propaganda for the project (including banners proclaiming “Making China more beautiful!”), the citizens suffering the consequences are less than impressed.

Taimagura Grandma Taimagura baachan Yoshihiko Sumikawa

Japan, 2004 ProRes, color, 110 min Director: Yoshihiko Sumikawa Cinematography: Nobuaki Ohta Editing: Yoshihiko Sumikawa Music: Norio Mikami Narrator: Hitoshi Komuro Production: Shin-ichi Ise for ISE-FILM corporation World Sales: The Hayachine Production Screening Copy: The Hayachine Production

Yoshihiko Sumikawa:

Grandma Masayo’s Universe (1991) Songs of Heart- Kenji Miyazawa (1992) Our Big Home- Children’s Life in the Deep Mountains of Taimagura (2009)

Awards: Best Documentary Award Fribourg International Film Festival, Grazia Delleda Sardinia International Ethnographic Film Festival, Jury Award for Best Documentary Feature RiverRun International Film Festival, Prix Mario Ruspoli Bilan Du Film Ethnographique

They may be elderly, but Masayo and Kumezo Mukaido are still working just as hard as when they were young. Their life is hardly made any easier by the snow that covers their mountain village home of Taimagura, in the north of Japan, for much of the year. But the old woman is good-humored and quick to smile, and the weather conditions are no obstacle at all to their carrying on their work. They mash soybeans with their feet to make miso, chop wood and harvest potatoes. The 16mm footage shows them hard at work on the land, intercut with black-and-white shots of their mountain village, and the elderly couple’s ruminations on life. Then the inevitable happens, and Kumezo dies. Now Masayo is all alone. This loving film documents a modest life packed with all the daily duties that come with working the land. It’s an ode to the unforgiving beauty of nature, an unflagging work ethic and ancient tradition.


The Quiet Eye

Two Years at Sea Ben Rivers

Jake Williams leads a sober, self-sufficient life in the middle of the Scottish Highlands. With only a cat for company, he spends his days sawing branches, building a tree house and making a raft to bob around the loch. During one of his walks, he takes a nap in the misty fields—he’s a man in no great hurry. Rather than painting a conventional portrait, his mysterious actions, which are shot in black-and-white, principally draw the viewer into this world Jake has made for himself. He is a loner engaged in strange projects, living in sensitive interaction with nature. When he sleeps, we see the reflections of leaves on his window, giving the impression that his face is merging with the surrounding vegetation. In this world, shifts in light and dark are more important than words. This year, director Ben Rivers won the EYE Prize, which is awarded to a work that straddles the boundaries of art and film.


UK, 2011 ProRes, black-and-white, 88 min Director: Ben Rivers Cinematography: Ben Rivers Editing: Ben Rivers Production: Ben Rivers Screening Copy: Lux Awards: Fipresci prize for Orrizonti Venice Film Festival, Dox Award CPH:DOX, Uncategorizable Best Film Chicago Underground Film Festival, Best Feature Film Mediawave Hungary

Ben Rivers:

Old Dark House (2003), We The People (2004), The Hycrynium Wood (2005), This Is My Land (2006), Astika (2006), The Coming Race (fiction, 2006), House (2007), Ah, Liberty! (2008), Origin of the Species (2008), A World Rattled of Habit (2008), Slow Action (2010), Sack Barrow (2010), The Creation as We Saw It (2012), Phantoms of a Libertine (2012), A Spell To Ward off the Darkness (2013), Things (2014), The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015), What Means Something (2015), A Distant Episode (2015), There Is a Happy Land Further Away (2015)

OFFSCREEN ACTIVITIES IDFA is more than just a film festival. It helps shape the documentary landscape with its markets IDFA Forum and Docs for Sale, through the IDFA Bertha Fund supporting filmmakers in developing countries, the IDFAcademy’s various workshops and activities for up-andcoming documentary talent, and the many talks, debates and events held throughout the festival. These programs are supported by Creative Europe Media.


Markets & Funding

Docs for Sale

IDFA Forum

Established in 1996, Docs for Sale is the leading marketplace for creative documentaries, offering streaming video all year round and excellent networking opportunities for buyers and sellers of quality documentaries during IDFA.

The Forum, IDFA’s international co-financing and co-production market, is Europe’s most important breeding ground for new documentary projects. At IDFA Forum, documentary and new media projects are presented to funders, broadcasters, distributors, sales agents, digital platforms and other potential financiers.

Now in its 21st year, Docs for Sale is an extensive, internationallyoriented market for documentaries. Featuring more than 450 titles, all of which have undergone a strict selection process, the market offers digitized viewing services on 60 viewing sets, backed by an extensive database and catalogue. The viewings are recorded in the database, which can then be consulted by producers. Most of Docs for Sale’s attendees are buyers from international TV networks, festival programmers and distributors looking for new documentary material. Through the Docs for Sale online platform, established in 2008 and accessible by subscription only, buyers and exhibitors have year-round access to documentaries whenever they want and wherever they are. Thanks to the platform, Docs for Sale attendees can do much of their viewing prior to and following the festival, leaving them more time for networking and closing deals during the festival itself. The Docs for Sale online catalogue, which is updated throughout the year, contains both new titles selected for IDFA 2016 and older documentaries that deserve a second look.

Ninety percent of all projects selected for a pitch find additional financing at the Forum, and almost all the projects end up getting made. This year, 60 projects were selected out of 530 submissions. These projects get pitched in various categories, depending on their current stage of development and genre. Over the course of three days, producers and filmmakers take turns pitching their latest projects to an audience of financiers, observers and other film professionals. Around 35 of these pitching teams present their projects in the small halls of the Compagnietheater to a group of financiers who have indicated interest in a specific project. This includes three genre-specific round table sessions with a focus on new media, the arts and documentaries for children. In addition, 15 projects in various stages of production are presented in the large hall of the Compagnietheater. All pitches are followed by prearranged one-on-one meetings, which give the teams of producers and filmmakers time to discuss their project with potential financiers.

Former IDFA Forum projects included in the selection of IDFA 2016 are on page 245.

For projects in the last stage of production, IDFA Forum collaborates with Docs for Sale in the Rough Cut category. The rough cuts are available for viewing both online in the weeks leading up to the festival, as well as in the Docs for Sale viewing booths during IDFA, allowing more time for pre-arranged individual meetings held during the festival at both Docs for Sale and the Forum.


Markets & Funding

IDFA Bertha Fund The IDFA Bertha Fund supports documentary filmmakers and festivals in Africa, Asia, Latin America, the Middle East and parts of Eastern Europe, enabling those in developing countries to find their own unique voice. The Fund not only provides financial support, but plays a crucial advisory role as well. Since its establishment in 1998, the IDFA Bertha Fund has supported over 600 projects. Because its selection criteria—based on a project’s originality, cinematic quality and market potential—are so rigorous, support from the Fund is generally considered to be a seal of approval, inducing a catalytic effect in terms of attracting additional financing. The new category IDFA Bertha Fund Europe, a program supporting both production and distribution of co-productions between producers in Europe and those in developing countries, is now in its second year, and the first results will be presented at IDFA 2016. The

Screening at IDFA 2016

IDFA 2016 is presenting 15 new documentaries supported by the IDFA Bertha Fund. These films showcase a diversity of filmmakers, styles and subjects, and bring us powerful cinematic stories. The Fund is proudly unveiling the first results of the IBF Europe scheme, launched in 2015 to support international co-productions between Europe and developing countries: Hissein Habre, a Chadian Tragedy, The Grown-Ups, and China’s Van Goghs. The latter two and Machines were also awarded a distribution grant through IBF Europe. This year’s harvest not only holds a remarkable presence in the competition sections, but also has a strong showing in the Best of Fests section. Three films, An Insignificant Man, A Memory in Three Acts and Whose Country, participated in the IDFAcademy Summer School in recent years.

program aims to create mutually beneficial relationships between filmmakers from diverse backgrounds and parts of the world. With a total budget of €257,000, the IDFA Bertha Fund was able to support a selection of 22 new projects within the support program of 2016. Within IDFA Bertha Fund Europe, the fund allocated a total of €390,000 to the production of six international co-productions and five distribution projects. Aside from presenting a large part of the year’s harvest of completed films supported by the IDFA Bertha Fund at IDFA, the Fund works with filmmakers to enhance the distribution of their films worldwide. All of this is done in order to generate maximum attention for filmmakers from the developing world, to stimulate local film cultures and to turn the creative documentary into a truly global film art.

Hissein Habré, a Chadian Tragedy Mahamat Saleh Haroun (France/Chad, 2016) Screening in Masters. See page 108. An Insignificant Man Khushboo Ranka/Vinay Shukla (India, 2016) Screening in Best of Fests. See page 123. Machines Rahul Jain (India/Germany/Finland, 2016) Selected for the IDFA Competition for Feature-Length Documentary and screening in Assembling Reality. See page 28. A Memory in Three Acts Inadelso Cossa (Mozambique, 2016) Selected for the IDFA Competition for First Appearance and screening in Shifting Perspectives. See page 42. Plastic China Jiu-liang Wang (China, 2016) Selected for the IDFA Competition for First Appearance. See page 44.

Amazona Clare Weiskopf (Colombia, 2016) Selected for the IDFA Competition for First Appearance. See page 37.

Skulls, of My People Vincent Moloi (South Africa, 2016) Screening in Panorama and Shifting Perspectives. See page 160.

Ambulance Mohamed Jabaly (Norway/Palestine, 2016) Screening in Best of Fests. See page 116.

Tempestad Tatiana Huezo (Mexico, 2016) Screening in Best of Fests. See page 133.

China’s van Goghs Haibo Yu/Kiki Tianqi Yu (China/The Netherlands/ France, 2016) Screening in Panorama. See page 143.

Trembling Mountain Kesang Tseten (Nepal, 2016) Screening in Panorama. See page 161.

The Grown-Ups Maite Alberdi (Chile/The Netherlands/France, 2016) Selected for the IDFA Competition for Feature-Length Documentary. See page 24.

Whose Country? Mohamed Siam (Egypt/France/Kuwait/USA, 2016) Screening in Best of Fests. See page 136.

Happily Ever After Nada Riyadh/Ayman El Amir (Egypt, 2016) Screening in Panorama. See page 148.

Zaineb Hates the Snow Kaouther Ben Hania (Tunisia/United Arab Emirates/France/Qatar/Lebanon, 2016) Screening in Panorama. See page 165.


Training & Education

IDFAcademy IDFAcademy bridges the gap between film school and practice with tailor-made training programs focused on talented international documentary filmmakers, held during the festival and throughout the year. Through masterclasses, case studies, lectures, panels, small-scale workshops and round table sessions, the IDFAcademy program helps budding filmmakers learn about the latest documentary developments and sharpen their industry awareness. Every IDFAcademy day concludes with Meet the Professionals: round table sessions and one-on-one meetings with esteemed documentary professionals. Every year in early July, the IDFAcademy Summer School invites several dozen young filmmakers, editors and producers from countries all over the world to Amsterdam for a week-long training program. Mentored by internationally renowned tutors, participants take their documentary projects in script or editing stage to the next level.

IDFAcademy Results at IDFA 2016 Che! Elsbeth Fraanje (The Netherlands, 2016). Developed during the Kids & Docs Workshop 2014. Selected for the Kids & Docs Competition. See page 97. Dream Empire David Borenstein (Denmark, 2016). Participated in the IDFAcademy Summer School in 2015. Selected for the First Appearance Competition. See page 40. An Insignificant Man Khushboo Ranka and Vinay Shukla (India, 2016). Participated in IDFAcademy Summer School 2014. Screening in Best of Fests. See page 123. A Memory in Three Acts Inadelso Cossa (Mozambique, 2016). Participated in IDFAcademy Summer School 2014 and 2015. Selected for First Appearance Competition. Screening in Shifting Perspectives. See page 42.

For over two decades, the IDFA-Mediafonds Workshop, organized in cooperation with the Dutch Cultural Media Fund from May to November, has helped aspiring documentary filmmakers turn an original idea into a film plan. The workshop delivers an average of six to eight projects each year, of which approximately 40% are realized. During the festival, the best plan receives the 2016 Mediafonds Documentary Award of €125,000 towards the realization of the film.

A Quiet Place Sjoerd Oostrik (The Netherlands, 2016). Developed during the IDFA-Mediafonds Workshop 2014. Selected for Dutch Competition. See page 83.

In the past years, IDFA also organized the Kids & Docs Workshop. This joint venture between IDFA, the children’s film festival Cinekid and the Dutch Cultural Media Fund selected a group of aspiring, young filmmakers to develop a film plan for a 15-minute documentary aimed at children ages 12 and younger. From the start of the workshop in 1999 until its end in 2015, it produced 85 children’s documentaries. This year, two films from the Kids & Docs Workshop are screening at IDFA: Che! and Rocknrollers.

Sealers – One Last Hunt Trude Berge Otterson and Gry Elisabeth Mortenson (Denmark, 2016). Participated in the IDFAcademy Summer School 2016. Selected for First Appearance Competition. See page 47.

Rocknrollers Daan Bol (The Netherlands, 2016). Developed during the Kids & Docs Workshop 2015. Selected for the Kids & Docs Competition. Screening in Music Documentary. See page 100.

Silent Wilderness Mathijs Vleugels (Belgium, 2016). Developed during the IDFA-Mediafonds Workshop 2014. Screening in Panorama. See page 159. Singing with Angry Bird Hyewon Jee (South Korea, 2016). Participated in the IDFAcademy Summer School 2016. Screening in Panorama. See page 159. Welcome to the Heavenly Earth Judith de Leeuw (The Netherlands, 2016). Developed during the IDFA-Mediafonds Workshop 2012. Screening in Panorama. See page 163. Whose Country? Mohamed Siam (Egypt, USA, France, 2016). Participated in the IDFAcademy Summer School 2012. Screening in Bests of Fests. See page 136.


Training & Education

IDFA Education The IDFA Education program consists of special film screenings for youngsters during the festival and teaching tools that can be accessed online throughout the year. During the festival, around 10,000 Dutch students attend earlymorning screenings of films in Amsterdam, divided into three groups: elementary school (ages 9-12), middle school (ages 12-14) and high school (ages 15-18). Films included in the program are Ten (Selected for the Kids & Docs Competition in 2015), Dream Empire (Selected for this year’s First Appearance Competition), and Sonita, (selected for both the IDFA Competition for Feature-Length Documentary and winner of the IDFA DOC U Award in 2015). IDFA Education is also collaborating with cinemas throughout the Netherlands to ensure that as many students as possible can attend the screenings. On Universal Children’s Day (November 20), IDFA Education is screening two films on the subject of children’s rights from the Kids & Docs Competition in collaboration with Movies that Matter and EO/IKONdocs. Throughout the year, IDFA offers a wide range of documentaries for screenings in classrooms, accompanied by extensive teaching aids and background information on the films. Additionally, IDFA Education organizes in-school master classes and workshops, introducing students to filmmakers who discuss their practical experiences.

Forum Projects at IDFA Ambulance Mohamed Jabaly (Norway, Palestine, 2016). Screening in Best of Fests. See page 116. The Borneo Case Erik Pauser, Dylan Williams (Sweden, Wales, Germany, The Netherlands, Norway, 2016). Screening in Masters. See page 105. China’s Van Goghs Haibo Yu, Kiki Tianqi Yu (China, The Netherlands, France, 2016). Screening in Panorama. See page 143. Dream Empire David Borenstein (Denmark, 2016). Selected for the IDFA Competition for First Appearance. See page 40. Eat That Question – Frank Zappa in His Own Words Thorsten Schütte (Germany, France, 2016). Screening in Music Documentary See page 177. The Grown-Ups Maite Alberdi (Chile, 2016). Selected for the IDFA Competition for Feature-Length Documentary. See page 24. Prison Sisters Nima Sarvestani (Sweden, 2016). Screening in Masters. See page 109. The Promise Marcus Vetter (Germany, USA, 2016). Screening in Masters. See page 110. Rodnye (Close Relations) Vitaly Mansky (Germany, Ukraine, Estonia, Latvia, 2016). Screening in Masters. See page 111. Shadow World Johan Grimonprez (USA, Belgium, Denmark, 2016). Screening in Paradocs. See page 171. Singing with Angry Bird Hyewon Jee (South Korea, 2016). Screening in Panorama. See page 159. Solitary Kristi Jacobson (USA, 2016). Screening in Panorama. See page 160. Still Tomorrow Jian Fan (China, 2016). Selected for the IDFA Competition for Feature-Length Documentary. See page 32. White Spots, a Journey to the Edge of the Internet Bregtje van der Haak, Richard Vijgen (The Netherlands, 2016). Screening in DocLab: Elastic Reality. See page 208. Whose Country? Mohamed Siam (Egypt, USA, France, 2016). Screening in Best of Fests. See page 136.


Zaineb Hates the Snow Kaouther Ben Hania (Tunisia, United Arab Emirates, France, Lebanon, Qatar, 2016). Screening in Panorama. See page 165.


Offscreen activities

IDFA Talks

Industry Office

In addition to just screening the films, IDFA encourages meetings between filmmakers and their audience as well as filmmakers and professionals, the goal being to exchange ideas in debates, master classes, conferences and Q&A sessions.

Established last year, the Industry Office offers an extensive program of services, sessions, talks and consultancies to inspire our professional festival guests and to keep them up-to-date on the latest developments in the documentary industry.

While all filmmakers attending IDFA have the chance to meet their audience in Q&A sessions after their screenings, a small selection of films get a special focus with Extended Q&As. Stimulating directors, industry experts and specialized moderators are on hand to engage the audience in deeper discussions about the issues that the films address. Several of these are part of this year’s theme programs Assembling Reality and Shifting Perspectives.

The Industry Office brings together different services and programs from multiple IDFA departments and is open to all pass holders. The program is intended for all professionals attending IDFA and caters to various interests—from distribution and funding to co-producing and documentary development. The goal is to inform, inspire, network and stimulate business opportunities.

Every year, IDFA invites a filmmaking legend to the festival. Following in the footsteps of grand masters like Werner Herzog, Frederick Wiseman and Victor Kossakovsky, this year Ukrainian director Sergei Loznitsa has selected his Top 10 favorite films (see page 185) and is being honored with a retrospective (see page 193). During the festival, Loznitsa is giving a master class on his Top 10 selection, his own methods and the history of filmmaking. See www.idfa.nl/program or the IDFA app for an up-to-date overview of all offscreen activities during the festival.


This year, there’s a new addition to the program called Meet the Experts: group consultations in which a wide variety of experts share their expertise. In Conversation with… is a new series of talks centered around one renowned filmmaker. There are also several Industry Sessions in which various topics are discussed in a more intimate setting. The Industry Talks cover trends and developments on topics like editing, VOD platforms and the business of interactive media. Lastly, there are daily Consultancies with industry experts who provide one-on-one advice.

Offscreen activities

DocLab: Immersive Network DocLab Academy Recent developments in immersive technology—like virtual reality, as well as AR, MR and AI—have introduced an explosive new growth industry for modern mediamakers. But while VR consumer devices are already reaching the masses, many questions still exist around the true potential of immersive media. Just like a decade ago, when the internet began to converge with traditional media, the future of interactive and immersive media is once again unknown and being shaped by pioneers working in very different disciplines: from art to technology, and from business development to science. With the Immersive Network program, IDFA DocLab brings leaders from these communities together to create, research, showcase and network.


The Immersive Network is organised in collaboration with participants from the National Film Board of Canada, ARTE, Google, Oculus Story Studio, VRbase Amsterdam, The Guardian, the New York Times, Tribeca Film Festival, HvA, MIT, The VR Fund, Diversion and many others.


Public activities include the commissioning and exhibition of new experimental works and audience research during the festival. Invitation-only activities include the Immersive Network Summit, a new international think tank event with experts from all corners of the interactive and immersive storytelling industry and an Expert Meeting on Interactive Documentary Preservation, organized with the Netherlands Institute for Sound and Vision.

DocLab Academy

Digital technology has become increasingly entangled with everyday reality. The consequences are far-reaching and can be alarming, but it has also led to a new era of artistic innovation in non-fiction storytelling and art across multiple disciplines. DocLab Academy is an international program for new talent in the field of documentary storytelling and interactive media. The program addresses a variety of challenges and opportunities through exclusive workshops on virtual reality and interactive storytelling by international new media pioneers. Portfolio reviews and one-on-one meetings offer insight into more specific questions, while the Live Cinema Events and the Interactive Conference provide inspiration. This year there will be workshops and masterclasses by Jessica Brillhart, Brian Chirls, Anagram, Hackastory and others.

DocLab Academy is an initiative of IDFA’s new media program DocLab and Flemish Arts Center De Brakke Grond. The program is supported by the Creative Industries Fund NL, AFK (the Amsterdam Fund for the Arts), The Netherlands Film Fund and Flanders Audiovisual Fund (VAF) and Creative Europe/Mediadesk Flanders.

Knowledge Base

Reports and case studies will be published and made available for free after the festival via the Immersive Knowledge Base. This new online platform will also function as a hub to share knowledge and best practices from other interactive and immersive projects and research. DocLab: Immersive Network is supported by the Dutch Ministry of Economic Affairs.


Watch 500+ documentaries online.


Index | Award Winners

Award Winners 1988 – 2015 IDFA Award for Best Feature-Length Documentary 2015 Don Juan, Jerzy Sladkowski, Sweden/Finland, 2015 2014 2013 2012 2011 2010 2009 2008

2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988

Of Men and War, Laurent Bécue-Renard, France/Switzerland, 2014 Song from the Forest, Michael Obert, Germany, 2013 First Cousin Once Removed, Alan Berliner, United States, 2012 Planet of Snail, Seung-Jun Yi, South Korea, 2011 Position Among the Stars, Leonard Retel Helmrich, The Netherlands, 2010 Last Train Home, Lixin Fan, China/Canada, 2009 Burma VJ – Reporting from a Closed Country, Anders Østergaard, Denmark/ Sweden/United Kingdom/Norway, 2008 S tranded, Gonzalo Arijon, France, 2007 The Monastery – Mr. Vig & the Nun, Pernille Rose Grønkjær, Denmark, 2006 My Grandmother’s House, Adán Aliaga, Spain, 2005 Shape of the Moon, Leonard Retel Helmrich, The Netherlands, 2004 Checkpoint, Yoav Shamir, Israel, 2003 Stevie, Steve James, United States, 2002 Family, Phie Ambo & Sami Saif, Denmark, 2001 The Sea That Thinks, Gert de Graaff, The Netherlands, 2000 André Hazes – She Believes in Me, John Appel, The Netherlands, 1999 Photographer, Dariusz Jablonski, Poland, 1998 Wasteland, Andrei Schwartz, Germany, 1997 Atman, Pirjo Honkasalo, Finland/Germany, 1996 Délits flagrants, Raymond Depardon, France, 1994 Solo, the Law of the Favela, Jos de Putter, The Netherlands, 1994 The Belovs, Victor Kossakovsky, Russia, 1993 La memoria del agua, Héctor Fáver, Spain, 1992 Dreams and Silence, Omar Al-Qattan, Belgium, 1991 Christo in Paris, Albert & David Maysles, United States, 1990 The Crossroad, Ivars Seleckis, Latvia, 1988 Birthplace Unknown, Karin Junger, The Netherlands, 1988 and Island, Ruben Gevorkyants, USSR, 1988

Special Jury Award

2015 2014 2013 2011

2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000


1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988

Ukrainian Sheriffs, Roman Bondarchuk, Ukraine/Latvia/Germany, 2015 Something Better to Come, Hanna Polak, Denmark/Poland, 2014 A Letter to Nelson Mandela, Khalo Matabane, South Africa/Germany, 2013 5 Broken Cameras, Emad Burnat & Guy Davidi, Palestine/Israel/Netherlands/ France, 2011 You Don’t Like the Truth – 4 Days Inside Guantánamo, Luc Coté & Patricio Henriquez, Canada, 2010 The Most Dangerous Man in America, Judith Ehrlich & Rick Goldsmith, United States, 2009 Forgetting Dad, Rick Minnich & Matthew Sweetwood, Germany, 2008 Hold Me Tight, Let Me Go, Kim Longinotto, United Kingdom, 2007 T  ender’s Heat. Wild Wild Beach, Alexander Rastorguev, Russia, 2006 Our Daily Bread, Nikolaus Geyrhalter, Austria, 2005 Liberia: An Uncivil War, Jonathan Stack & James Brabazon, United States, 2004 The Corporation, Mark Achbar & Jennifer Abbott, Canada, 2003 On Hitler’s Highway, Lech Kowalski, France, 2002 Elsewhere, Nikolaus Geyrhalter, Austria, 2001 Keep the River on Your Right: A Modern Cannibal Tale, Laurie Gwen Shapiro & David Shapiro, United States, 2000 A Cry from the Grave, Leslie Woodhead, United Kingdom, 1999 Pavel and Lyalya – A Jerusalem Romance, Victor Kossakovsky, Russia, 1998 Little Dieter Needs to Fly, Werner Herzog, Germany, 1997 T he Typewriter, the Rifle and the Movie Camera, Adam Simon, United Kingdom, 1996 P icasso Would Have Made a Glorious Waiter, Jonathan Schell, United States, 1994 Choice and Destiny, Tsipi Reibenbach, Israel, 1993 Losses to Be Expected, Ulrich Seidl, Austria, 1992 Black Harvest, Robin Anderson & Bob Connolly, Australia, 1992 Djembéfola, Laurent Chevallier, France, 1991 The Collector, Erik Strömdahl, Sweden, 1989 The Power of Solovki, Marina Goldovskaya, USSR, 1988 Hôtel Terminus: The Life and Times of Klaus Barbie, Marcel Ophüls, France/ United States, 1988

Members of the Jury

2015 M  aite Alberdi (Chile), Laurent Bécue-Renard (France), Hanna Polak (Poland), Jonathan Rosenbaum (U.S.), Barbara Visser (The Netherlands) 2014 Anne Aghion (France/United States), Talal Derki (Syria), Sandra den Hamer (The Netherlands), Joshua Oppenheimer (United States/Denmark), Alina Rudnitskaya (Russia) 2013 Jose Carlos Avellar (Brazil), Katerina Cizek (Canada), Nicole Guillemet (France), Chris McDonald (Canada), Jiska Rickels (The Netherlands) 2012 Susan Froemke (United States), Michael Glawogger (Austria), Maria Goos (The Netherlands), Jørgen Leth (Denmark), Kenneth Turan (United States) 2011 Moussa Sene Absa (Senegal), Sandy Lieberson (United States), Dennis Lim (United States), Laila Pakalniņa (Latvia), Suzanne Raes (The Netherlands) 2010 Lixin Fan (Canada), Orlando Bagwell (United States), Monique van de Ven (The Netherlands), Frederic Boyer (France), Vibeke Bryld (Denmark) 2009 Geoffrey Gilmore (United States), Anders Østergaard (Denmark), Jean-Marie Téno (Cameroon/France), Jenny Westergård (Finland), Willeke van Ammelrooy (The Netherlands) 2008 Christoph Jörg (Germany), Wouter Barendrecht (The Netherlands), Deepa Dhanraj (India), Bianca Stigter (The Netherlands), Sandra Ruch (United States) 2007 Diane Weyermann (United States), Jos Stelling (The Netherlands), Ilan de-Vries (Israel), Roberto Berliner (Brazil), Vidyarthy Chartterjee (India) 2006 Claire Aguilar (United States), Igor Blažević (Czech Republic), Jasmine Dellal (United Kingdom), Niek Koppen (The Netherlands), Gerald Peary (United States) 2005 Luke Holland (United Kingdom), Jehane Noujaim (United States), Leonard Retel Helmrich (The Netherlands), Carmen Cobos (The Netherlands), Tamara Trampe (Germany) 2004 John Anderson (United States), Karen Cooper (United States), Pieter van Huystee (The Netherlands), Pirjo Honkasalo (Finland), Yoav Shamir (Israel) 2003 Roberto Berliner (Brazil), Bob Connolly (Australia), Peter Mettler (Switzerland), Joyce Roodnat (The Netherlands), Monika Treut (Germany) 2002 Phie Ambo (Denmark), Maziar Bahari (Iran), Pieter van Huystee (The Netherlands), Dennis O’Rourke (Australia), Jonathan Stack (United States) 2001 Jane Balfour (United Kingdom), Amit Breuer (Israel), Peter Brosens (Belgium), Gert de Graaff (The Netherlands), Peter Wintonick (Canada) 2000 John Appel (The Netherlands), Les Blank (United States), Zita Carvalhosa (Brazil), Victor Kossakovsky (Russia), Rada Sesic (The Netherlands) 1999 Dariusz Jablonski (Poland), Mandy Jacobson (South Africa), Emiko Omori (United States), Pieter Verhoeff (The Netherlands), Paul Yule (United Kingdom) 1998 Erika de Hadeln (Germany), Ot Louw (The Netherlands), Tue Steen Müller (Denmark), Toni Venturi (Brazil), Diane Weyermann (United States) 1997 Arthur Dong (United States), Kerstin Hagrup (Denmark), Jørgen Leth (Denmark), Robby Müller (The Netherlands), Katsue Tomiyama (Japan) 1996 Nicholas Fraser (United Kingdom), Marina Goldovskaja (Russia/United States), Torben Skjodt Jensen (Denmark), Amir Labaki (Brazil), Anne Lordon (The Netherlands/France) 1995 Elaine Charnov (United States), Chris Haws (United Kingdom), Irina Knochenhauer (Russia/Germany), Jos de Putter (The Netherlands), Sibylle Schönemann (Germany) 1994 Erik Barnouw (United States), Andrzej Kolodinski (Poland), Sonja de Leeuw (The Netherlands), Norma Marcos (Palestine), Lionel N’Gakane (South Africa) 1993 Karl Gass (Germany), Heddy Honigmann (The Netherlands), Stephen Peet (United Kingdom) Dea Sudarman (Indonesia), William Uricchio (United States/ The Netherlands) 1992 Santiago Alvarez (Cuba), Rinki Bhattacharya (India), Lise Roos (Denmark), Jos Stelling (The Netherlands), Ilan de-Vries (Israel) 1991 Nouchka van Brakel (The Netherlands), Rafi Bukaee (Israel), Marion Mitchell (France), Helke Misselwitz (Germany), Jerzy Toeplitz (Poland) 1990 Ireen van Ditshuyzen (The Netherlands), Chris Hegedus (United States), K. Michel (The Netherlands), Juris Podniek (Latvia), Mick Hart Williams (United Kingdom) 1989 Johan Anthierens (Belgium), Robert Daudelin (Canada), Richard Kaplan (United States), Ellen Waller (The Netherlands), Marceline Loridan (France) 1988 Judy Irola (United States), Hedda van Gennep (The Netherlands), Mark-Toomas Soosaar (Estonia), Jan de Vaal (The Netherlands), Frederick Wiseman (United States)

Index | Award Winners

IDFA Award for Best First Appearance

2015 When the Earth Seems to Be Light, Salome Machaidze, Tamuna Karumidze and David Meskhi, Georgia/Germany, 2015 2014 Drifter, Gábor Hörcher, Hungary/Germany, 2014 2013 My Name Is Salt, Farida Pacha, Switzerland/India, 2013 2012 Soldier on the Roof, Esther Hertog, The Netherlands, 2012 2011 The Vanishing Spring Light, Xun Yu, China/Canada, 2011 2010 Kano: An American and His Harem, Monster Jimenez, Philippines, 2010 2009 Colony, Ross McDonnell & Carter Gunn, Ireland/United States, 2009 2008 Constantin and Elena, Andrei Dascalescu, Romania, 2008 2007 End of the Rainbow, Robert Nugent, Australia/France, 2007 2006 We Are Together (Thina simunye), Paul Taylor, United Kingdom, 2006 2005 The Angelmakers, Astrid Bussink, Hungary/The Netherlands/Scotland, 2005 2004 The Bridge, Ileana Stanculescu, Romania, 2004 2003 My Flesh and Blood, Jonathan Karsh, United States, 2003 & The Very Best Day, Pavel Medvedev, Russia, 2002 2002 Barbeiros, Mervi Junkkonen, Finland, 2001 2001 Bitch, Igor Voloshin, Russia, 2001 2000 Hybrid, Monteith McCollum, United States, 2000 1999 Between 2 Worlds, Bettina Haasen, Germany, 1999 1998 Howling for God, Dan Alexe, Belgium, 1998 1997 Anthem, an American Road Story, Shainee Gabel & Kristin Hahn, United States, 1997

Peter Wintonick Special Jury Award for First Appearance

2015 Roundabout in My Head, Hassen Ferhani, Algeria/France/Lebanon/Qatar, 2015 2014 Mother of the Unborn, Nadine Salib, Egypt/United Arab Emirates, 2014 2013 Forest of the Dancing Spirits, Linda Västrik, Sweden/Canada, 2013

Members of the Jury

2015 G  ábor Hörcher (Hungary), Philippa Kowarsky (U.K.), Scott Macaulay (U.S.), Menna Laura Meijer (The Netherlands), David Wilson (U.S.) 2014 Alan Berliner (United States), Leendert de Jong (The Netherlands), Petra Lataster-Czisch (The Netherlands/Germany), Rasha Salti (Canada), Jean Tsien (Taiwan/United States) 2013 Mark Adams (United Kingdom), Joslyn Barnes (United States), Michiel van Erp (The Netherlands), Hanka Kastelicová (Slovenia), Stephan Vanfleteren (Belgium) 2012 Maria Luz Climent (Spain), María Lourdes Cortés (Costa Rica), Renzo Martens (The Netherlands), Djo Tunda Wa Munga (Democratic Republic of the Congo), Sara Rüster (Sweden) 2011 Liang Bibo (China), Ollie Huddleston (United Kingdom), Monster Jimenez (The Phillipines), Margje de Koning (The Netherlands) en Basil Tsiokos (United States) 2010 Jawed Taiman (United Kingdom), Bill Nichols (United States), Outi SaarikoskiSchimberg (Finland), Walter Stokman (The Netherlands), Omar Amiralay (Syria) 2009 Cameron Bailey (Canada), Andrei Dascalescu (Romania), Joan Legalamitlwa (South Africa), Brian Winston (United Kingdom), Herman de Wit (The Netherlands) 2008 André Bennett (Canada), Diana Nenadi (Croatia), Marrie Bot (The Netherlands), Oscar Pérez (Spain), Sally Berger (United States) 2007 Jonathan Stack (United States), Jane Balfour (United Kingdom), Amir Labaki (Brazil), Arik Bernstein (Israel), Pieter van Lierop (The Netherlands) 2006 A strid Bussink (The Netherlands), Doug Block (United States), Dimitri Eipides (Greece), Cecilia Lidin (Denmark), Andrei Plakhov (Ukraine) 2005 A sano Fuijko (Japan), Bert Hogenkamp (The Netherlands), Ulla Jacobsen (Denmark), Nenad Puhovski (Croatia) Ileana Stanculescu (Romania) 2004 Eugene Hernandez (United States), Ditsi Carolino (Philippines), Jean-Pierre Rehm (France), Nodu Murphy (South Africa), Ineke Smits (The Netherlands) 2003 Michel Euvrard (Canada), Leslie Felperin (United Kingdom), Flavia de la Fuente (Argentina), Annette Willis (Australia), Karin Wolfs (The Netherlands) 2002 Leo Bankersen (The Netherlands), Marina Drozdova (Russia), Mathias Heybrock (Germany), Peter Keough (United States), Jorge Yglesias (Cuba) 2001 Ronald Bergan (United Kingdom), Peter van Bueren (The Netherlands), Ingrid Dokka (Norway), Ludmila Hristova-Diakova (Bulgaria), Gustavo Noriega (Argentina) 2000 Göran Bjelkendal (Sweden), Caroline Buck (Germany), Koen van Daele (Slovenia), Nelson Hoineff (Brazil), Annelotte Verhaagen (The Netherlands)

1999 V  ictoria Belopolskia (Russia), Jos van der Burg (The Netherlands), Eva af Geijerstam (Sweden), Marc Glassman (Canada), Sasa Radojevic (Yugoslavia) 1998 Heikki Jokinen (Finland), Jeroen Lok (The Netherlands), Irit Shamgar (Israel), Carlos Alberto Mattos (Brazil), Alexander Yankiev (Bulgaria) 1997 Andrzej Kolodynski (Poland), Angela Baldassarre (Canada), Hans-Günter Dicks (Germany), Mieke Bernink (The Netherlands), Altaf Mazid (India) 1996 Eduardo Antin (Argentina), Huib Stam (The Netherlands), Espen Mineur Saetre (Norway), Peter Cargin (United Kingdom), Monica Haïm (Romania)

IDFA Award for Best Mid-Length Documentary

2015 2014 2013 2012 2011 2010

2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995

At Home in the World, Andreas Koefoed, Denmark, 2015 Kamchatka – The Cure for Hatred, Julia Mironova, Russia, 2014 Pussy Versus Putin, Gogol’s Wives, Russia, 2013 Red Wedding, Lida Chan & Guillaume Suon, Cambodia/France, 2012 Montenegro, Jorge Gaggero, Argentina, 2011 P  eople I Could Have Been and Maybe Am, Boris Gerrets, The Netherlands, 2010 Iron Crows, Bong-Nam Park, South Korea, 2009 Boris Ryzhy, Aliona van der Horst, The Netherlands, 2008 T  o See if I’m Smiling, Tamar Yarom, Israel, 2007 Enemies of Happiness, Eva Mulvad, Denmark, 2006 Before Flying Back to the Earth, Arûnas Matelis, Lithuania/Germany, 2005 Georgi and the Butterflies, Andrey Paounov, Bulgaria, 2004 Surplus – Terrorized into Being Consumers, Erik Gandini, Sweden, 2003 Interesting Times – The Secret of My Success, Jinchuan Duan, China, 2002 Haj-Abbas’ Wives, Mohsen Abdolvahab, Iran, 2001 Jung (War) in the Land of the Mujaheddin, Fabrizio Lazzaretti & Alberto Vendemmiati, Afghanistan/Italy, 2000 Kids from the Coal Land – A Lettre to Henri Storck, Patric Jean, Belgium, 1999 Hephzibah, Curtis Levy, Australia, 1998 Gigi, Monica... & Bianca, Yasmina Abdellaoui & Benoît Dervaux, Belgium, 1996 Mr. Behrmann – Life Dream Death, Andreas Voigt, Germany, 1995 6 Open, 21 Closed, Amit Goren, Israel, 1994

Special Jury Award

2015 The Fog of Srebrenica, Samir Mehanovic, Scotland/Bosnia and Herzegovina, 2015 2008 Lady Kul el Arab, Ibtisam Mara’ana, Israel, 2008

IDFA Award for Best Short Documentary

2009 S ix Weeks, Marcin Janos Krawczyk, Polen, 2009

2008 Slaves – An Animated Documentary, Hanna Heilborn & David Aronowitsch, Sweden/Norway/Denmark, 2008 2007 The Tailor, Oscar Pérez, Spain, 2007 2006 My Eyes, Erlend E. Mo, Denmark, 2006 2005 Butterfly Man, Samantha Rebillet, Australia, 2004

Members of the Jury 2015 Diana Bustamante (Colombia), Tone Grøttjord (Norway), Oeke Hoogendijk (The Netherlands), Stanley Nelson (U.S.), John Zaritsky (Canada) 2014 M  artichka Bozhilova (Bulgaria), Jihan El-Tahri (France/Egypt), Serge Gordey (France), Kristi Jacobson (United States), Niels Pagh Andersen (Denmark) 2013 Keiko Bang (Singapore), Lejla Dedic (Bosnia and Herzegovina), Veton Nurkollari (Kosovo), Marco Spagnoli (Italy), Meral Uslu (The Netherlands) 2012 Nicolas Entel (Argentina), Peter Friedman (United States), Hedda van Gennep (The Netherlands), Samira Makhmalbaf (Iran), Farah Nayeri (Iran) 2011 David Fisher (Israel), Boris Gerrets (The Netherlands), Maris Ramos (The Netherlands), Miranda Siegel (United States), Ben Tsiang (China) 2010 Bong-Nam Park (South Korea), Greg Sanderson (United Kingdom), Jennifer Fox (United States), Henk Camping (The Netherlands), Ilana Tsur (Israel) 2009 Lorenzo Hendel (Italy), Ibtisam Mara’ana (Israel), Zola Maseko (Mozambique), Jennifer Merin (United States), Mercedes Stalenhoef (The Netherlands) 2008 Nishtha Jain (India), Rik Stallaerts (Belgium), Jeanne Wikler (United States), Thomas White (United States), Jess Search (United Kingdom) 2007 Cees van Ede (The Netherlands), Kerstin Hagrup (Sweden) , Rudy Buttignol (Italy), Anna Glogowski (Brazil), Goran Radovanovic (Serbia)


Index | Award Winners

2006 H  eather Croall (Australia), Arunas Matelis (Lithuania), Mercedes Moncada Rodriguez (Nicaragua), Tomohide Terai (Japan), Silvia Hallensleben (Germany) 2005 Bert Janssens (The Netherlands), Marie Nathanson (Canada), Cyril Neyrat (France), Andrey Paounov (Bulgaria), Vera Vlajic (Serbia) 2004 Erik Gandini (Sweden), Wessel van de Hammen (The Netherlands), Irina Kanousheva (Bulgaria), Björn Koll (Germany), André Pâquet (Canada) 2003 Rudy Buttignol (Canada), Peter Forgacs (Hungary), Carel Kuyl (The Netherlands), Luciano Rignolini (France), Jay Rosenblatt (United States) 2002 Fransico Cesar-Filho (Brazil), Anna Glogowski (Brazil), Aliona van de Horst (The Netherlands), Catherine Olsen (Canada), Eila Werning (Finland) 2001 Julie Anderson (United States), John Hughes (Australia), Noshka van der Lely (The Netherlands), Marguerite Seguy (France), Juan Fransisco Urrusti (Mexico) 2000 Willemien van Aalst (The Netherlands), Madeleine Avramoussis (France), Thomas Balmès (France), Patric Jean (Belgium), Iikka Vehkalahti (Finland) 1999 Catherine le Clef (Belgium), Werner Dütch (Germany), Cees van Ede (The Netherlands), Sigve Endresen (Norway), Paul Pauwels (Belgium) 1998 Cees van Ede (The Netherlands), Jeremy Gibson (United Kingdom), Peter Friedman (France), Karolina Lidin (Denmark), Kim Longinotto (United Kingdom) 1997 Cees van Ede (The Netherlands), Hans Beerekamp (The Netherlands), Chris Haws (United Kingdom), Mette Hoffman Meyer (Denmark), Andreas Voigt (Germany) 1996 Cees van Ede (The Netherlands), Hans Beerekamp (The Netherlands), Carel Kuyl (The Netherlands) 1995 Cees van Ede (The Netherlands), Hans Beerekamp (The Netherlands), Carel Kuyl (The Netherlands), Andree van Es (The Netherlands), Jeanne Wikler (The Netherlands/United States)

IDFA DocLab Award for Digital Storytelling

2015 2014 2013 2012 2011 2010

Drawing Room, Jan Rothuizen & Sara Kolster, The Netherlands, 2015 Serial, Sarah Koenig & Julie Snyder, United States, 2014 I Love Your Work, Jonathan Harris, United States, 2013 Alma, a Tale of Violence, Miquel Dewever-Plana & Isabelle Fougère, France Insitu, Antoine Viviani, France, 2011 HIGHRISE/Out My Window, Katerina Cizek, Canada, 2010

IDFA DocLab Immersive Non-Fiction Award 2015 Someone Else, Ant Hampton, Belgium, 2015 Members of the Jury

2015 Hay Kranen (The Netherlands), Margaux Missika (France), Oscar Raby (Chile) 2014 Annika Gustafson (Sweden), Jenny Smets (The Netherlands), Jason SpingarnKoff (United States) 2013 Jason Brush (United States), John MacFarlane (Australia), Kira Pollack (United States) 2012 Elisabeth Holm (United States), Bjarke Myrthu (Denmark), William Uricchio (United States) 2011 Ingrid Kopp (United Kingdom), Martijn de Waal (The Netherlands) en Rob McLaughlin (Canada) 2010 Alexandre Brachet (France), Antoinette Hoes (The Netherlands), Zach Wise (United States)

IDFA Award for Best Dutch Documentary

2015 A Strange Love Affair with Ego, Ester Gould, The Netherlands, 2015 2014 The New Rijksmuseum – The Film, Oeke Hoogendijk, The Netherlands, 2014 2013 Awake in a Bad Dream, Petra Lataster-Czisch and Peter Lataster, The Netherlands, 2013 2012 Soldier on the Roof, Esther Hertog, The Netherlands, 2012 2011 900 Days, Jessica Gorter, 2011 2010 Position Among the Stars, Leonard Retel Helmrich, The Netherlands, 2010 2009 The Player, John Appel, The Netherlands, 2009

IDFA Special Jury Award for Dutch Documentary 2015 A Family Affair, Tom Fassaert, The Netherlands, 2015

Members of the Jury

2015 E  mel Çelebi (Turkey), Amy Dotson (U.S.), Don Edkins (South Africa), Diana El Jeiroudi (Syria), Richard Liang (China) 2014 Rinki Roy Bhattacharya (India), Claas Danielsen (Germany), Frank Moens (Belgium), Madelyn Most (United States), Ulla Simonen (Finland)


2013 F rancine Brücher (Germany), Edward Delos Santos Cabagnot (The Philippines), Sonja Henrici (Scotland), Esther Hertog (The Netherlands), Brian Hill (United Kingdom) 2012 Thierry Detaille (Belgium), Jessica Gorter (The Netherlands), Alex Lee (New Zealand), Tobias Müller (Germany), Pascale Ramonda (Portugal) 2011 Luciano Barisone (Italy), Hans Robert Eisenhauer (Germany), Aliona van der Horst (The Netherlands), Anne Marie Kürstein (Denmark) en Orwa Nyrabia (Syria) 2010 Daniela Michel (Mexico), Alissa Simon (United States), Pieter Verhoeff (The Netherlands) 2009 Sean Farnel (Canada), Sandra den Hamer (The Netherlands), Leena Pasanen (Finland)

IDFA Award for Best Student Documentary 2015 2014 2013 2012 2011 2010 2009 2008 2007

My Aleppo, Melissa Langer, U.S., 2015 No Lullaby, Helen Simon, Germany, 2014 Final Destination, Ricardas Marcinkus, Lithuania, 2013 Pablo’s Winter, Chico Pereira, Scotland/Spain, 2012 The Betrayal, Karen Winther, United Kingdom/Norway, 2011 What’s in a Name, Eva Küpper, Belgium, 2010 Redemption, Sabrina Wulff, Germany, 2009 Shakespeare and Victor Hugo’s Intimacies, Yulene Olaizola, Mexico, 2008 Paradise – Three Journeys in This World, Elina Hirvonen, Finland, 2007

IDFA Special Jury Award for Student Documentary 2015 The Mute’s House, Tamar Kay, Israel, 2015 Members of the Jury

2015 J iri Konecny (Czech Republic), Prenana Langa (India), Maria Mok (The Netherlands) 2014 Chalida Uabumrungjit (Thailand), Martha Orozco (Mexico), Katayoon Shahabi (Iran) 2013 Hussain Currimbhoy (Australia), Peter Lataster (The Netherlands), Mon Mon Myat (Myanmar) 2012 Arto Halonen (Finland), Vanja Kaludjercic (Croatia), Herman de Wit (The Netherlands) 2011 Stella Bruzzi (Italy), Eva Küpper (Belgium), Willem-Jan Otten (The Netherlands). 2010 Sabrina Wulff (Germany), Jelle van Doornik (The Netherlands), Andreas Koefoed (Denmark) 2009 Matthijs Wouter Knol (The Netherlands), Yulene Olaizola (Mexico), Jonathan Stack (United States) 2008 Ellen Kuras (United States), Nenad Puhovski (Croatia), Elina Hirvonen (Finland) 2007 Heddy Honigmann (The Netherlands), Ot Louw (The Netherlands), Helena Zajícová (Czech Republic)

IDFA Award for Best Children’s Documentary 2015 Ninnoc, Niki Padidar, The Netherlands, 2015

Special Mention in the IDFA Kids & Docs Competition

2015 Varicella, Victor Kossakovsky, Norway/Denmark/Sweden/Russia, 2015

Members of the Jury

2015 J on Bang Carlsen (Denmark), Mischa Kamp (The Netherlands), Teodora Ana Mihai (Romania/Belgium)


2015 Sonita, Rokhsareh Ghaem Maghami, Iran, 2015 2014 M  y Beautiful Broken Brain, Sophie Robinson & Lotje Sodderland,

United Kingdom, 2014 2013 #chicagoGirl – The Social Network Takes on a Dictator, Joe Piscatella, United States/Syria, 2013 2012 Little World, Marcel Barrena, Spain, 2012 2011 The Last Days of Winter, Mehrdad Oskouei, Germany/Austria, 2011 2010 Autumn Gold, Jan Tenhaven, Germany/Austria, 2010 2009 The Yes Men Fix the World, Andy Bichlbaum & Mike Bonanno, France/United States, 2009 2008 Kassim the Dream, Kief Davidson, United States/Germany, 2008 2007 Planet B-Boy, Benson Lee, United States, 2007 2006 A Lesson of Belarussian, Miroslaw Dembinski, Poland, 2006 2005 Shadya, Roy Westler, Israel, 2005 2004 Nabila, Håkan Berthas, Sweden, 2003

Index | Award Winners

IDFA Audience Award

2015 Sonita, Rokhsareh Ghaem Maghami, Iran, 2015

2014 Naziha’s Spring, Gülsah Dogan, The Netherlands, 2014 2013 Twin Sisters, Mona Friis Bertheussen, Norway, 2013 2012 Searching for Sugar Man, Malik Bendjelloul, Sweden/United Kingdom, 2012 2011 5 Broken Cameras, Emad Burnat & Guy Davidi, Palestine/Israel/Netherlands/ France, 2011 2010 Waste Land, Lucy Walker, United Kingdom/Brazil, 2010 2009 The Cove, Louie Psihoyos, United States, 2009 2008 RiP – A Remix Manifesto, Brett Gaylor, Canada, 2008 2007 To See If I’m Smiling, Tamar Yarom, Israel, 2007 2006 We Are Together (Thina simunye), Paul Taylor, United Kingdom, 2006 2005 Sisters in Law, Kim Longinotto & Florence Ayisi, United Kingdom, 2005 2004 The Yes Men, Dan Ollman, Sarah Price & Chris Smith, United States, 2003 2003 My Flesh and Blood, Jonathan Karsh, United States, 2003 2002 Bowling for Columbine, Michael Moore, United States, 2002 2001 Offspring, Barry Stevens, Canada, 2001 2000 Desi, Maria Ramos, The Netherlands, 2000 1999 Crazy, Heddy Honigmann, The Netherlands, 1999 1998 Two Dads, Ko van Reenen, The Netherlands, 1998 1997 Vision Man, William Long, Sweden, 1997 1996 Blue Eyed, Bertram Verhaag, Germany, 1996 1995 Anne Frank Remembered, Jon Blair, United Kingdom, 1995 1994 Choice and Destiny, Tsipi Reibenbach, Israel, 1993 1993 The Belovs, Victor Kossakovsky, Russia, 1993 1992 Black Harvest, Robin Anderson & Bob Connolly, Australia, 1992 1991 Djembéfola, Laurent Chevallier, France, 1991 1990 In Memory of the Day Passed By, Sharunas Bartas, USSR, 1989 1989 Skierskala, Ivars Seleckis, Latvia, 1988 1988 The Last Judgement, Herz Frank, Lithuania/USSR, 1987

IDFA Melkweg Music Documentary Audience Award

2015 Boudewijn de Groot – Come Closer (Suzanne Raes, The Netherlands, 2015 2014 Keep on Keepin’ on, Alan Hicks, United States, 2014 2013 Twenty Feet from Stardom, Morgan Neville, United States, 2013

Living Legend Award

2013 Heddy Honigmann 2009 Frederick Wiseman

Mediafonds Documentary Award 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999

Theater of the Crowd, Thomas Vroege Hier is het nooit stil, Sjoerd Oostrik Girls Boys & Me, Xander de Boer Wij zijn 18, Tomas Kaan Waterlijken, Nelleke Koop C.K., Barbara Visser De dertiende man, Martijn Blekendaal Monsters onder het bed, Sarah Mathilde Domogala Zintuigen, deuren naar de ziel, Elizabeth Rocha Salgado Eeuwige moes, Catherine van Kampen De grote schaduw van Stampersgat, Patrick Bus Sannes droom, Frodo Terpstra Tsjechisch kerstfeest, Simonka de Jong Lagonda, Robin van Erven Dorens Corsokoorts, Dorien Janssen Wheels of Fortune, Wilco Bello De mentale kwestie, Lies Niezen

Mediafonds Kids & Docs Award

2014 Giovanni and the Water Ballet, Astrid Bussink 2013 A Home for Lydia, Eline Helena Schellekens 2012 Sounds for Mazin, Ingrid Kamerling

IDFA Melkweg Award for Best Music Documentary

2012 Searching for Sugar Man, Malik Bendjelloul, Sweden/United Kingdom, 2012 2011 Last Days Here, Don Argott & Demian Fenton, United States, 2011

Members of the Jury

2012 K  aleem Aftab (United Kingdom), Jeroen Berkvens (The Netherlands), Safinez Bousbia (Algeria), Erik Gandini (Sweden), Ondi Timoner (United States) 2011 Miriam Leah Brenner (The Netherlands), Lotje IJzermans (The Netherlands), Rodrigo Letier (Brazil), James Mottram (United Kingdom), Zjakki Willems (Belgium)

IDFA Award for Best Green Screen Documentary

2011 Bitter Seeds, Micha X. Peled, United States/India, 2011 2010 Into Eternity, Michael Madsen, Denmark/Sweden/Finland, 2010

Honourable Mention

2010 The Pipe, Risteard Ó Domhnaill, Ireland, 2010

Members of the Jury 2011 Joe Berlinger (United States), Cath Le Couteur (Australia), Michael

Madsen (Denmark), Juan Carlos Rulfo (Mexico) en Maartje Somers The Netherlands) 2010 Appy Sluijs (The Netherlands), Nikolaus Geyrhalter (Austria), Nino Kirtadze (France)

Zapper Award

1996 Love Beyond Boundaries – Made in Japan, Puck de Leeuw, The Netherlands, 1996 1995  My Vote Is My Secret – Chroniques Sud-Africaines 1994, Julie Henderson, Thulani Mokoena & Donne Rundle, France, 1994 1994 Death of a Nation – The Timor Conspiracy, David Munro, United Kingdom, 1994

Top 10 & Retrospective 2015 Errol Morris 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2001 2000 1999 1998 1998 1997 1997 1996 1995 1995 1994 1993 1993 1992 1991 1990 1989 1988 1988

Heddy Honigmann Rithy Panh Victor Kossakovsky Steve James Pirjo Honkasalo Eyal Sivan Nikolaus Geyrhalter Maziar Bahari Alan Berliner Hany Abu-Assad Jannie Langbroek Ulrich Seidl Walter Salles & João Moreira Salles Kim Longinotto (Top 10) Albert & David Maysles (Retrospective) Michael Apted Werner Herzog Kazuo Hara (Top 10) Nick Broomfield (Retrospective) D.A. Pennebaker & Chris Hegedus (Top 10) Ed van der Elsken (Retrosepctive) Jan Vrijman Barbara Kopple (Top 10) Chris Marker (Retrosepctive) Johan van der Keuken Dennis O’Rourke (Top 10) Rudolf van den Berg (Retrosepctive) Robert Kramer Agnes Varda Paolo & Vittorio Taviana Krzysztof Kieslowski Bert Haanstra (Top 10) Ken Loach (Retrospective)


Index | Addresses

Index | Addresses #Edith Paris

AMP Film

lydia.kali@edithparis.com www.edithparis.com

erikpauser@ampfilm.se www.ampfilm.se

24 rue Anatole France 92300 Levallois-Perret France +33 7 86406770


Avenida Ahmed Sekou Touré 1740 Maputo Mozambique +258 8286789 inadelsocossa@gmail.com

19340 Productions 170 Mercer St 10012 New York USA hello@19340.is

A&E Networks

235 E. 45th Street 10017 New York USA +1 212 2101400

intl.sales@aenetworks.com www.aenetworks.com

Activist38 Ltd.

149B RakoUSAki Street 1000 Sofia Bulgaria +447 94 9639337 office@activist38.com www.activist38.com

Agat Films & Cie

52, rue Jean Pierre Timbaud 75011 Paris France +33 1 53363232 courrier@agatfilms.com www.agatfilmsetcie.com


Lijnbaansgracht 317 1017 WZ Amsterdam The Netherlands +31 20 6380480 info@akinci.nl www.akinci.nl

Altimeter Films

3249 Casitas Ave. Suite 208 90039 Los Angeles USA +1 323 4502151 contact@altimeterfilms.com www.altimeterfilms.com

Amazon Studios

1620 26th Street, 4000N 90404 Santa Monica USA +1 310 5732376

brianna.little@amazonstudios.com www.amazonstudios.com


Grindsgatan 31 11857 Stockholm Sweden +46 70 2553152


Hillegomstraat 12-14 1058 LS Amsterdam The Netherlands +31 20 4283025 info@amstelfilm.nl www.amstelfilm.nl


9, rue des Cascades 75020 Paris France +33 9 50652305 production@andolfi.fr www.andolfi.fr

Andriesse Eyck Galerie Leliegracht 47 1016 GT Amsterdam The Netherlands +31 20 6236237

info@andriesse-eyck.com www.andriesse-eyck.com

Anna Wendt Filmproduktion GmbH Meinekestr. 24 10719 Berlin Germany +49 30 25432100

office@annawendtfilm.de www.annawendtfilm.de

Annet Gelink Gallery Laurierstraat 187 - 189 1016 PL Amsterdam The Netherlands +31 20 3302066 info@annetgelink.com www.annetgelink.com

AR Productions

Telamonos 21, Byronas 16231 Athens Greece +30 210 3629110



Werfstraat 13 1000 Brussel Belgium +32 2 2290003

info@argosarts.org www.argosarts.org

Josefin Arnell

Stadionweg 90 lll 1077 SR Amsterdam The Netherlands +31 6 12601609


ARTE France


Big Beard Films

infosales@artefrance.fr www.arte.tv


sam@bigbeardfilms.com www.bigbeardfilms.com

Oudezijds Achterburgwal 77 1012 DC Amsterdam The Netherlands +31 20 3032670

68 Jay Street 11201 New York USA +1 646 4568545

8 rue Marceau 92785 Issy Les Moulineaux Cedex 9 France +33 3 88142222

Artist Group 3355

#B02, 96-18, Jeungga-ro 10-gil 3662 Seoul South Korea +82 1042586786 3355film@naver.com


35, avenue des princes Brabançons 1170 Brussels Belgium +32 2 6635090 info@at-doc.com www.at-doc.com


2 Qter Place du Gal de Gaulle 93100 Montreuil France +33 1 41720275 contact@athenaise.com www.athenaise.com

Atoms & Void

Brugsestraat, 20 2587 XS The Hague The Netherlands


AudioCollectief SCHIK

Cirendeu Residence D1 Jl Gunung Indah 5 Rt1 Rw 11 Ciputat Timur, Tang-Sel 15419 Banten Indonesia


info@baldrfilm.nl www.baldrfilm.nl

Baltic Film Production P.O. Box 4752 13517 Tallinn Estland +372 5027509 info@bfp.ee www.bfp.ee

Bautafilm AB

Rådhusesplanaden 16C 90328 Umeå Sweden +46 70 7444472 info@bautafilm.se www.bautafilm.se

BBC Active

80 Strand WC2R 0RL London England +44 20 70102760

bbcactivevideoforlearning@pearson.com www.bbcactivevideoforlearning.com

Pacificatiestraat 3 2000 Antwerp Belgium +32 48 9637339

Beacon Films

Autlook Filmsales GmbH



11039 Legacy Blvd #104 33410 Palm Beach Gardens USA +1 561 5127694

Spittelberggasse 3/14 1070 Vienna Austria +43 7 20346934

Bella Productora



welcome@autlookfilms.com www.autlookfilms.com

Tallberginkatu 1 E 76 180 Helsinki Finland +358 9 6944089 av-arkki@av-arkki.fi www.av-arkki.fi

AVB Production AB Kanotvägen 13 17545 Järfälla Sweden +46 707 256073


General Cano No. 21 Col. San Miguel Chapultepec 11850 Mexico City Mexico +52 552 7439344

Better Days Productions Ltd 17 Bruce Road G41 5EE Glasgow Scotland +44 789 9841888


Between The Rivers Productions

56 Oakwood Ave 7043 Upper Montclair USA +1 201 3067372

info@lettersfrombaghdad.com www.lettersFromBaghdad.com

1901 Easy 51st St. 78723 Austin USA +1 917 8568451

Big Mouth Productions

info@bigmouthproductions.com www.big-mouth-productions.com

Blazhoffski Productions B.V. Krijn Taconiskade 362 1087 HW Amsterdam The Netherlands +31 20 3018450 info@blazhoffski.nl www.blazhoffski.nl

Bocalupo Films

86 rue du Faubourg Saint Denis 75010 Paris France +33 6 59246443 contact@bocalupofilms.com www.bocalupofilms.com

Melanie Bonajo

Hugo de Grootkade 84/3 1052 LX Amsterdam The Netherlands melaniebonajo@gmail.com www.melaniebonajo.com

Born Free Media 34 7th Street 2195 Linden South Africa +27 11 9127814

carolyn@bornfreemedia.co.za www.bornfreemedia.co.za

Antoine Boutet



2000 Avenue of the Stars 90067 Los Angeles USA +1 424 2882000 dkuperstock@caa.com


36c Junction Road N19 5RD London England +44 20 76867193



Cargo Film & Releasing 611 Broadway, #630 10012 New York USA +1 212 9958139

contact@cargofilm-releasing.com www.cargofilm-releasing.com

Index | Addresses Cassette for Timescapes

Century Image Media


Crew Neck Productions

Doc and Film International

emmyoost@telenet.be www.timescapes.be



info@crewneckproductions.com www.crewneckproductions.com

doc@docandfilm.com www.docandfilm.com

555 West 25th st, 4th Floor 10001 New York USA +1 212 2047979

Kvæsthusgade 5c, 1. sal 1251 Copenhagen K Denmark +45 261 62535

Oude Houtlei 134 9000 Ghent Belgium +32 47 8211811

CAT & Cie

32 rue Alexandre Dumas 75011 Paris France +33 6 12534682 ftexeraud@catetcie.fr www.catetcie.fr


18, Rue Quincampoix 75004 Paris France +33 1 44617748 info@catndocs.com www.catndocs.com

Catalyst Films

PO Box 1510 10276 New York USA +27 11 4872171

info@catalyst-films.com www.catalyst-films.com

Cave Pictures

A1/126, Asmita Jyoti CHS, Marve Road, Malad West. 400095 Mumbai India +91 98 19992904 shirley@thecinematravellers.com


7,22 C, Avenue des Arts 1000 Bruxelles Belgium +32 2 2272230 mail@cbadoc.be www.cbadoc.be

CDP Productions 25 Rue Gambetta 92100 Boulogne France +33 1 46050022

cdpdussart@aol.com www.cdpproductions.fr

Celluloid Dreams 2, rue Turgot 75009 Paris France +33 1 49700370

info@celluloid-dreams.com www.celluloid-dreams.com

Centre Video de Bruxelles 111 rue de la Poste 1030 Brussels Belgium +32 2 2211050 info@cvb-videp.be www.cvb-videp.be

1-5B Huang Pu Ya Yuan, Cui You Yuan, Fuzhong Road 518034 Shenzhen China +86 755 83897299

Christian Cerami 37 Smithy Street E1 3HN London England


Chercheurs d’Autres

105, boulevard Pierre et Marie Curie 31200 Toulouse France diffusion@chercheursdautres.com www.chercheursdautres.com

Christian Frei Filmproductions Josefstrasse 176 8005 Zürich Switzerland +41 79 2879127

christianfrei@gmx.ch www.christian-frei.info

Cine A.S. GmbH Am Wasser 55 8049 Zürich Switzerland +41 44 2024969

cineas@cybermail.ch www.aliceschmid.ch

Cinema Delicatessen Frederiksplein 52 1017 XN Amsterdam The Netherlands +31 20 4207123

info@cinemadelicatessen.nl www.cinemadelicatessen.nl


Baron Horta straat 9 1000 Brussels Belgium +32 2 5511900 info@cinematek.be www.cinematek.be


Aguascalientes No. 180-6 Col. Hipódromo 6100 Mexico Mexico +52 55 55745243 coordinacion@cinepantera.com www.cinepantera.com


18 Levontin Street 65112 Tel Aviv Israel +972 3 5664129 info@cinephil.co.il www.cinephil.co.il

Cineteca di Bologna Via Riva di Reno, 72 40122 Bologna Italy +39 051 2194826

cinetecadirezione@cineteca.bologna.it www.cinetecadibologna.it

23, rue d’Andalousie, Borj Baccouche 2080 L’Ariana Tunesië +216 70 731985

Cinetic Media

office@cineticmedia.com www.cineticmedia.com


1 Xilou Hutong, Yonghegong Str. 100007 Beijng China +86 10 64073571 contact@cnex.org.cn www.cnex.org.cn

Collective Eye Films

2305 S.E. Yamhill Street 97214 Portland USA +1 503 2325345 info@collectiveeye.org www.collectiveeye.com

Collective Hunch

106 Liberty Street 94110 San Francisco USA +1 415 6336220

story@collectivehunch.com www.collectivehunch.com

Compy Films

1610-100 Western Battery Road M6K 3S2 Toronto Canada +1 416 8232369 shasha@compyfilms.com www.compyfilms.com

Contact Film Cinematheek Spijkerstraat 49 6828 DB Arnhem The Netherlands +31 26 4434949 info@contactfilm.nl www.contactfilm.nl

Copenhagen Institute of Interaction Design Toldbodgade 37b 1253 København K Denmark +45 3555 1100 info@ciid.dk www.ciid.dk

Cosmographe Productions 7 Rue Alexandre Cabanel 34000 Montpellier France +33 4 67638242 contact@cosmographe.com www.cosmographe.com

1612 W. Olive Ave CA 91506-2462 Burbank USA +1 818 7299262

Danish Documentary

info@danishdocumentary.com www.danishdocumentary.com

Danish Film Institute Gothersgade 55 1123 Copenhagen Denmark +45 33 743400 dfi@dfi.dk www.dfi.dk

De Familie Film & TV

Schollenbrugstraat 4hs 1091 EX Amsterdam The Netherlands +31 20 6633303 info@defamilie.net www.defamilie.net

Deborah S. Esquenazi Productions LLC 3103 French Place 78722 Austin TX USA


Deckert Distribution GmbH Gottschedstr. 18 4109 Leipzig Germany +49 341 2156638

info@deckert-distribution.com www.deckert-distribution.com

Delirio Films

8909 W Olympic Blvd Ste 103 90211 Beverly Hills USA +1 310 6014282 info@deliriofilms.com www.deliriofilms.com

Delta Films

Sródziemnomorska 49 02-117 Warsaw Poland +48 228 241084 mzielska@deltafilm.pl


Quai de Gaule 13 4020 Liège Belgium +32 4 3424939 info@derives.be www.derives.be

Dieptescherpte BV WG Plein 259 1054 SE Amsterdam The Netherlands +31 20 6124478

13 rue Portefoin 75003 Paris France +33 1 42775687

Documentaire sur Grand Ecran 52 Av. de Flandre 75019 Paris France +33 1 40380400

info@documentairesurgrandecran.fr www.docsurgrandecran.fr


19 - 23 Ironmonger Row EC1V 3QN London England +44 207 2536244 info@dogwoof.com www.dogwoof.com


Repsoldstrasse 45 20097 Hamburg Germany +49 40 23937461

mail@doppelplusultra.de www.doppelplusultra.de


5445 de Gaspé #612 H2T 3B2 Montreal Canada +1 514 9075011 bonjour@dpt.co www.dpt.co

DR International Sales Emil Holms Kanal 20 999 Copenhagen Denmark +45 35 203040 drsales@dr.dk www.dr.dk

Duckin’ & Divin’ Productions 13 The Willows EX123AN Beer England +44 790 9768070

geoffarbourne@gmail.com www.duckinanddivinfilms.com

Eagle Rock Film Productions

Eagle House, 22 Armoury Way SW18 1EZ London England +44 20 88705670 mail@eagle-rock.com www.eagle-rock.com

East Village Entertainment, LLC East Village 100 10026 New York USA +1 212 6142808

diana@eastvillageentertainment.com www.eastvillageentertainment.com



Index | Addresses Een van de Jongens

Deborah Esquenazi

Fieldguide Media

Films Distribution

Pablo Godoy-Estel

jongens@eenvandejongens.nl www.eenvandejongens.nl



info@filmsdistribution.com www.filmsdistribution.com


De Kempenaerstraat 11B 1051 CJ Amsterdam The Netherlands +31 20 8943628

Ego Media

Vairoga iela 54-4 1039 Riga Letland +371 67 291720

guntis@egomedia.lv www.egomedia.lv


Finca San Tranquilino km 41/2 carretera a Vereda 32500 San Antonio de los Baños Cuba +53 47 383152 promocioninternacional@eictv.co.cu

Willehad Eilers

Essence Film

Wernerstrasse 53 71636 Ludwigsburg Germany +49 163 2916091

dovgal@essence-film.com www.essence-film.com

Ex Nihilo

52, rue Jean Pierre Timbaud 75011 Paris France +33 1 53363232 exploitation2@agatfilms.com www.agatfilms.com


Buiksloterweg 207 1031 DB Amsterdam The Netherlands

7095 rue Marconi, suite 201 H2S 3K4 Montreal Canada +1 514 9374839

El Viaje Films


wayne@waynehorse.com www.waynehorse.com

C/ Salvia nº6, La Camella, Arona. 38640 Santa Cruz de Tenerife Spain +34 615 193321 jose@elviaje.es www.elviaje.es

Elle Driver

66 rue de Miromesnil 75008 Paris France +33 1 56434870 festival@elledriver.eu www.elledriver.eu

Ellen de Bruijne Projects Rozengracht 207 A 1016 LZ Amsterdam The Netherlands +31 20 5304994 edbprojects@cs.com www.edbprojects.com

Endorfina Studio Kwiatowa 28/10 02-539 Warsaw Poland +48 50 2099080

mbacewicz@endorfinastudio.com www.endorfinastudio.com


Postbus 21000 1202 BA Hilversum The Netherlands +31 35 6474747 eo@eo.nl www.eo.nl


147 Columbus Ave, 4th fl 10023 New York USA +1 860 7667397 deirdre.a.fenton@espn.com www.espn.com


3103 French Place 78722 Austin USA +1 917 6649590

info@eyesteelfilm.com www.eyesteelfilm.com

25 Rue d’Hauteville 75010 Paris France +33 1 56555250



Jian Fan

Fu Di Shang Cheng Building 79, Jin Yu 400010 Chong Qing China +86 13 601066927 travisfan34@hotmail.com

Fanhall Films

Xiaopu,Songzhuang,Tongzhou District 101118 Beijing China +86 106 9598179 zhurikun@fanhall.com www.fanhall.com

Faula Films

Ernesto de la Maza 101 10114 Santo Domingo Dominican Republic +1 829 5843383 info@faulafilms.com www.faulafilms.com

Felucca Films

28 Gadda Street 5th floor Apartment 11 - Mohandesin 12411 Cairo Egypt +20 122 4437372 feluccafilms.egypt@gmail.com

Field of Vision

114 5th Avenue, 18th FL 10011 New York USA +1 514 9374893 contact@fieldofvision.org www.fieldofvision.org

1213 S. Indian Avenue 74127 Tulsa USA +1 405 4738890

Film Constellation 1 Green Bank E1W2PA London England +44 207 7020605

info@filmconstellation.com www.filmconstellation.com

Film Manufacturers Inc. 1633 Broadway 10019 New York USA +1 212 2373181 info@filminc.com www.filminc.com

Film Studio Everest

Plac Zwyciestwa 2D/2 90312 Lodz Poland +42 42 6767541 kasia@studioeverest.pl www.studioeverest.pl


40 Argentina Street 11754 Bucharest Romania +40 727 346666 office@filmlab.ro www.filmlab.ro

FilmNation Entertainment 150 West 22nd St, 9th Floor 10011 New York USA +1 917 4848900 nyoffice@filmnation.com www.filmnation.com

Filmoption International Inc.

5 rue Nicolas Flamel 75004 Paris France +33 1 53103399

Films Transit International

5410 Wilshire Blvd., Suite 512 90036 Los Angeles USA +1 323 9548228

Final Cut for Real


office@filmstransit.com www.filmstransit.com

Forbindelsesvej 7 2100 Copenhagen Denmark +45 35 436043

info@final-cut.dk www.finalcutforreal.dk

Finnish Film Foundation Kanavakatu 12, 2nd floor 00160 Helsinki Finland +358 9 6220300 ses@ses.fi www.ses.fi

First Hand Films

Neunbrunnenstrasse 50 8050 Zürich Switzerland +41 44 3122060 info@firsthandfilms.com www.firsthandfilms.com

Fridthjof Film

Spontinisvej 7 2450 Copenhagen Denmark +45 36 180880 mail@f-film.com www.f-film.com

Friendly People

Filmperspektive GmbH


Sickstraße 36 70190 Stuttgart Germany +49 70 71367906

info@filmperspektive.de www.filmperspektive.de


34 35th Street 11232 Brooklyn USA +1 718 3699090

contact@filmrise.com www.filmrise.com

Films Boutique

Köpenicker Straße 184 10997 Berlin Germany +49 30 69537850 info@filmsboutique.com www.filmsboutique.com

Good ‘N Proper

21 Place Epernay J6Z 4K9 Lorraine, Quebec Canada +1 514 8443358

1686 Wedmore Way L5J 2J8 Mississauga Canada +1 905 9164000 email@filmoption.com www.filmoption.com

Barbieri 1561 50000 Salto Uruguay +598 47377171

801 Silver Trove Veera Desai Road, Andheri West 400058 Mumbai India +91 98 92500006

Future East Film

8 Carmichael road 400026 Mumbai India +91 22 23524576

office@futureeast.com www.futureeast.com

Emanuel Giraldo

mrgood@goodnproper.com www.goodnproper.com

1000 Brass Street 78702 Austin USA +1 646 3258398 info@go-valley.com www.go-valley.com

Halal Docs

Eerste Jacob van Campenstraat 59 1072 BD Amsterdam The Netherlands +31 20 6391402 docs@halal.amsterdam www.halal.amsterdam

HanWay Films

24 Hanway Street W1T 1UH London England +44 20 72900750

info@hanwayfilms.com www.hanwayfilms.com

Hard Working Movies 10 Jay Street, 902 11201 New York USA +1 646 3835971



HBO Documentary Films

1100 Avenue of the Americas 10036 New York USA +1 212 5121000 general@hbo.com www.hbo.com

Herrie Film & TV

Van Hallstraat 54 1051HH Amsterdam The Netherlands +31 20 4868212 info@herrie.com www.herrie.com

Carrera 36 # 4 A – 17 San Fernando 760043 Cali +57 32 4879726

Heymann Brothers Films


office@heymann-films.com www.heymann-films.com


37/8 Issar Natanzon Street 97787 Jerusalem Israel +972 2 5831371 info@go2films.com www.go2films.com

2 Barzilay Street 65113 Tel Aviv Israel +972 3 5602701

Index | Addresses Honky Tonk Heaven 1211 Lorrain Street 78703 Austin USA +1 512 9711743


House of Real

Hamid Jafari

KFF Sales & Promotion

La Maleta


katarzyna@kff.com.pl www.kff.com.pl

info@conlamaleta.com www.conlamaleta.com

No 3, Koye Mehregan Hormozan , faze 2 Shahrak e Gharb 14666 Tehran Iran

Rosenborgshus Aabenraa 29, 2 sal 1124 Copenhagen Denmark +45 31 407520

Jhaveri Contemporary

Hugofilm Productions

Jigsaw Productions

jesper@houseofreal.dk www.houseofreal.dk

Zypressenstrasse 76 8004 Zürich Switzerland +41 44 2404077

productions@hugofilm.ch www.hugofilm.ch

Imperativ Film Kaiserstraße 11 12209 Berlin

info@loznitsa.com www.loznitsa.com


Tempelhofer Ufer 1a 10961 Berlin Germany +49 30 25291320 info@interfilm.de www.interfilm.de

Intermezzo Films 28 rue de Bale 1201 Geneva Switzerland +41 22 7414747

info@intermezzofilms.ch www.intermezzofilms.ch

Inti Films

Waterloosesteenweg 41 1060 Brussels Belgium +32 2 2233005 peter@intifilms.com www.intifilms.com

Ise-Film corporation

Aoyaman-Blic building 3F 1-3-7 Shibuya 150-0002 TOKYO, Shibuya-ku Japan +81 3 34069455 ise-film@rio.odn.ne.jp

JA Digital

201 Borough High Street SE1 1JA London England +44 20 38177666 jj@jadigital.tv www.jadigital.tv

JAB Film

Strandveien 95 N-9006 Tromsø Norway +47 77 299540 john@jabfilm.no www.jabfilm.no

504 B Dharam Palace 400007 Mumbai India +91 22 23693639

info@jhavericontemporary.com www.jhavericontemporary.com

601 West 26th Street, Suite 1762 10001 New York USA +1 212 3523010 info@jigsawprods.com www.jigsawprods.com

Jingumae Produce

Harajuku OHKI Building 2-19-12 Jingumae, Shibuya-ku, 150-0001 Tokyo Japan +81 3 34023777 info@jgmp.co.jp

Joao de Barro Cinema Independente

Rua Pascoal Vita, 342, ap. 31 5054010 Sao Paulo Brazilië +55 35 997330590 bruno@brunojorge.com www.brunojorge.com

Journeyman Pictures

4 High Street, Thames Ditton KT7 ORY Surrey England +44 208 7866051 info@journeyman.tv www.journeyman.tv


Spitalska 20 81108 Bratislava Slovakia +420 605 390133

katarina@kaleidoscope.sk www.kaleidoscope.sk

Kartemquin Films

1901 West Wellington 60657 Chicago USA +1 773 4724366 info@kartemquin.com www.kartemquin.com


Van Diemenstraat 332 1013 CR Amsterdam The Netherlands +31 20 4222607 info@keyfilm.nl www.keydocs.nl

Basztowa 15/8a 31-143 Krakow Poland +48 122 946945

Kino Glaz

Residencial Insurgentes Sur II, 35-403 14430 Mexico City Mexico +52 1 55 34221394 kinoglazsv@gmail.com

Kino Iberica Ltd

C/ González Cuadrado 19 -2ºA 41003 Seville Spain +34 055 188694

La Maleta Creacion Cultural SLL C/ González Cuadrado, Nº 19 2º-A 41003 Seville Spain +34 955 188694 info@conlamaleta.com www.conlamaleta.com

#54, Rustaveli ave 179 Tiblisi Georgië +99 55 95139195

La Nave Producciones

Kissiki Films



Chaple 613 10200 Havana Cuba +53 78319929

355A Bowery 10003 New York USA +1 917 4590422

Langjahr Film GmbH

kNow Productions

info@langjahr-film.ch www.langjahr-film.ch


19-23 Ironmonger Row EC1V 3QN London England +972 54 4791124

info@knowproductions.net www.knowproductions.com

Koko Film AS

Søndre Tollbodgate 17 9008 Tromsø Norway +47 91 816093 post@kokofilm.no www.kokofilm.no

Tomas Koolhaas


Olga Kravets

22 rue Charles Garnier 93400 St Ouen +33 75 1376216 mail@olgakravets.com www.olgakravets.com

Krzysztof Kieslowski Faculty of Radio and Television University of Silesia 1 Bytkowska St. 40-955 Katowice Poland +48 32 2582420 wrtiv@us.edu.pl www.us.edu.pl

Kutup Ayisi Documentary Productions

Kalfaoglu Sokak 19/3 Kadikoy 34714 Istanbul Turkije +90 216 4051647 mektup@kutupayisi.tv www.kutupayisi.tv

Luzernstr. 16 6037 Root Switzerland +41 41 4502252

Lastor Media

Ronda Sant Antoni, 44 8001 Barcelona Spain +34 93 4430769 info@lastormedia.com www.lastormedia.com

Lataster & Films

Derde Oosterparkstraat 228 1092 EK Amsterdam The Netherlands +31 20 6925767 info@latasterfilms.nl www.latasterfilms.nl

Le Fresnoy

22 rue de Tourcoing 59200 Tourcoing France +33 3 20283864

communication@lefresnoy.net www.lefresnoy.net

Le Pacte

5, rue Darcet 75017 Paris France +33 1 44695959

i.dragomirescu@le-pacte.com www.le-pacte.com

Les Films du Poisson

54, rue René Boulanger 75010 Paris France +33 1 42025480

contact@filmsdupoisson.com www.filmsdupoisson.com

Les Films du Raphia 17 rue Paul Doumer 34140 Meze France +33 1 45291427 contact@raphia.fr www.raphia.fr

Les Films du Sillage

117 Rue de Charenton 75012 Paris France lea.s@lesfilmsdusillage.fr www.lesfilmsdusillage.fr


Gl. Kongevej 137 B, 3rd Fl. 1850 Copenhagen Denmark +45 20 108580 tine.klint@levelk.dk www.levelk.dk

Levy Productions

Krijn Taconiskade 362 1087 HW Amsterdam The Netherlands +31 20 3018450 info@levyproductions.nl www.levyproductions.nl

Levy Productions

Krijn Taconiskade 362 1087 HW Amsterdam The Netherlands +31 20 3018450 info@levyproductions.nl www.levyproductions.nl

Lichtfilm GmbH Vogteistrasse 16 50670 Köln Germany +49 221 9726517 info@lichtfilm.de www.lichtfilm.de

Lillehammer College

Høgskolen i Lillehammer 2626 Lillehammer Norway +47 61 288000 post@hil.no www.hil.no


Arie Biemondstraat 111 1054 PD Amsterdam The Netherlands +31 20 3892030 info@li-ma.nl www.li-ma.nl

Mauricio Limon

Sarphatistraat 470 1018 GW Amsterdam The Netherlands +31 20 5270372


Linked Productions

550 Grand Street Suite 10002 New York USA

contacttalal@hotmail.com www.linkedproductions.com

Lisbet Gabrielsson Film Alléväken 6 13242 Saltsjö Boo Sweden +46 8 7153290 lisbet@minmail.net


Index | Addresses Little Bridge Pictures Torstraße 154 10115 Berlin Germany +49 30 24628158

info@littlebridge-pictures.com www.littlebridge-pictures.com

Loki Films

195 Chrystie Street Suite 901B 10002 New York USA +1 212 3438900 info@lokifilms.com www.lokifilms.com

Loud Film Collective Obentrautstr. 67 10963 Berlin Germany

info@loudfilmcollective.com www.loudfilmcollective.com

Louise Rosen Ltd. 16 High Street 4011 Brunswick USA +1 207 7258215

lrosenltd@aol.com www.louiserosenltd.com

Lozinski Production Walecznych 17/6 03-196 Warsaw Poland +48 22 6174853



Waterlow Park Centre N19 5JF London England +44 20 75610570 distribution@lux.org.uk www.lux.org.uk

Macro Pictures

2416 Observatory Pl NW 20007 Washington D.C. USA +1 202 2855697

Via della Farnesina 272 135 Rome Italy +39 06 367751


Magnolia Pictures International


53, rue du Faubourg Saint Antoine 75011 Paris France +33 1 43439320

sales@memento-films.com www.memento-productions.com

49 West 27th Street, 7th Floor 10001 New York USA +1 212 9246701

Memesys Culture Lab

Making Movies Oy

info@memesyslab.com www.memesyslab.com

international@magpictures.com www.magpictures.com

Torkkelinkatu 3 500 Helsinki Finland +358 9 6213828 mamo@mamo.fi www.mamo.fi

Mansa Productora

30, Aram Nagar 2, Yari Road, Versova, Andheri West 400061 Mumbai India +91 97 69399912

Micromundo Producciones Camino Real 4527 Santiago Chili +56 979 799159

contact@mille-et-une-films.fr www.mille-et-une-films.fr

Marina Razbezhkina Studio Kashirskoe shosse 4-3-221 115230 Moscow Russia +7 916 6863535 gaptschenko@gmail.com

Marshmallow Laser Feast


Palemedesstraat 6 1054 HS Amsterdam The Netherlands

redactie@mindshakes.com www.mindshakes.com

Mitten Media

1335 West Altgeld Street 60614 Chicago USA +1 773 3272000 mark@mittengroup.com www.mittengroup.com

Mokum Filmdistributie

2340 S Centinela Ave 90064 Los Angeles USA

MC2 Communication Media

info@mokumfilm.nl www.mokumfilm.nl

Made in Copenhagen

info@mc2.ca www.mc2.ca

Made by Forest

hello@madebyforest.co www.madebyforest.co

Ryesgade 106 A, 2. sal 2100 Copenhagen Denmark +45 27 515112

hello@madeincopenhagen.net www.madeincopenhagen.net

Magnetfilm GmbH Ilsensteinweg 35 14129 Berlin Germany +49 30 220565615 info@magnetfilm.de www.magnetfilm.de

info@marshmallowlaserfeast.com www. marshmallowlaserfeast.com

160 Saint-Viateur East H2T 1A8 Montreal Canada +1 514 5098933

Media Process Group

770 North Halsted, #507 60622 Chicago USA +1 312 8501300 contact@mediaprocess.com www.mediaprocess.com

Medieoperatorene Nedre Vaskegang 6 0186 Oslo Norway +47 22 993120 info@mop.no www.mop.no

Montage inc.

4-10-18 Kamikitazawa, Setagaya-ku 156-0057 Tokyo Japan +81 3 33039871 desk@montage.co.jp www.montage.co.jp

Mosaic Films

28 Shacklewell Lane E8 2EZ London England +44 20 79232994

1234 A Street 11215 Brooklyn USA +1 718 9231950

Margo Cinema

contact@margocinema.com www.margocinema.com

info@studiomoniker.com www.studiomoniker.com

27 avenue Louis Barthou 35000 Rennes France +33 2 23440359

Mille et Une Films

22, rue des Coutures SaintGervais 75003 Paris France +33 1 47073412

Tweede Leeghwaterstraat 7m 1018PA Amsterdam The Netherlands +31 20 7791180


Quarry Heights 34D, Ancon 84302343 Panama Panama +507 6901 9292 isabellagalvez@gmail.com


info@mosaicfilms.com www.mosaicfilms.com

15 Prince Edward Rd E9 5EU London England




Prinsengracht 452 1017 KE Amsterdam The Netherlands +31 20 4283025

Molenwiek Film

Van Diemenstraat 410-412 1013 CR Amsterdam The Netherlands +31 20 6252296 info@molenwiek.nl www.molenwiek.nl

Mongrel Media

1352 Dundas Street West M6J 1Y2 Toronto Canada +1 416 5169775

international@mongrelmedia.com www.mongrelmedia.com

Motto Pictures

info@mottopictures.com www.mottopictures.com

Munk Studio - Polish Filmmakers Association

Krakowskie Przedmiescie 7 00-068 Warsaw Poland +48 22 5565470 studiomunka@sfp.org.pl www.munkstudio.eu

Muyi Film

President Brandstraat 13 1091 XD Amsterdam The Netherlands +31 20 4689927 muyifilm@outlook.com www.muyifilm.com


19 Peretz Hayut St. 6326230 Tel Aviv Israel +972 52 3318185 aviramb12@gmail.com

Nameless Production

Rue Herman Reuleaux 31 4020 Liège Belgium +32 498 439537 m.dutry@namelessprod.be

Nanouk Films

c/ Corsega 236, principal 8036 Barcelona Spain +34 934 196022 nanouk@nanouk.tv www.nanouk.tv

National Film Board of Canada

3155, Chemin Cote-de-Liesse H4N 2N4 Montreal Canada +1 514 4964134 distribution@nfb.ca www.nfb.ca

National Film Foundation of Russian Federation Gosfilmofond Prospekt 8 142050 Domodedovo Russia +7 495 9804486 gff@gff-rf.ru


National I. K. KarpenkoKary Theatre, Cinema and Television University Yaroslaviv street 40 1054 Kiev Ukraine +38 044 2721032 karpenko-kary@ukr.net www.knutkt.kiev.ua

National Theatre South Bank SE1 9PX London England +44 207 4523248

tcoffey@nationaltheatre.org.uk www.nationaltheatre.org.uk

Nikolaus Geyrhalter Filmproduktion GmbH Hildebrandgasse 26 1180 Vienna Austria +43 1 4030162

office@geyrhalterfilm.com www.geyrhalterfilm.com

Nima Film

Hölövägen 8 12440 Stockholm Sweden +46 8 6475515

info@nimafilmsweden.com www.nimafilmsweden.com

Nitteberg Film & Tv Rideveien 36b 1361 Østerås Norway +47 40 225958 halvor@2bak.org

Noon Films S.L.

Carrer de Blesa 31 8004 Barcelona Spain +34 627 362755

info@noon-films.com www.noon-films.com

Norwegian Film Institute Dronningens gate 16 152 Oslo Norway +47 22 474500 post@nfi.no www.nfi.no

Index | Addresses Ragnhild Nost Bergem Thereses gate 8A 452 Oslo Norway


Nukleus Film

Pastorale Productions

Pulsar Pictures

Ro*co Films International




info@rocofilms.com www.rocofilms.com

info@seriousfilm.nl www.seriousfilm.nl

47, rue des Blancs Manteaux 75 004 Paris France +33 6 12567399

Dalmatinska 8 10000 Zagreb Kroatië +385 1 4848868

PBS Distribution

Oleksandr Dovzhenko National Centre

pbsd@pbs.org www.pbsbdistribution.org


VasylkiUSAka str., 1 3040 Kiev Ukraine +38 38 0442016547

info.dc@dovzhenkocentre.org www.dovzhenkocentre.org

Oogland Filmproducties

Oostelijke Handelskade 941 1019 BW Amsterdam The Netherlands +31 20 6838728 info@oogland.com www.oogland.com

Osterreichisches Filmmuseum Augustinerstrasse 1 1010 Vienna Austria +43 1 5337054

kontakt@filmmuseum.at www.filmmuseum.at

Otter Films

ul. Pulawska 61 pok. 506 02-595 Warsaw Poland +48 22 8480427 info@otterfilms.pl www.otterfilms.pl

Pallas Film

Mansfelder Straße 56 6108 Halle (Saale) Germany +49 345 6787323 info@pallasfilm.de www.pallasfilm.de

Palmeraie et Desert 25 Voie d’Igny 92140 Clamart France +33 1 40830555

contact@palmeraieetdesert.fr www.palmeraieetdesert.fr

Participant Media 331 Foothill Road 90210 Beverly Hills USA +1 310 5505100

info@participantmedia.com www.participantmedia.com

Passion Pictures

Kirkman House 12-14 Whitfield Street W1T 2RF London England +44 20 73239933

info@passion-pictures.com www.passion-pictures.com

2100 Crystal Drive 22202 Arlington USA +1 703 7395226

Periscoop Film

Arie Biemondstraat 111 1054 PD Amsterdam The Netherlands +31 20 8204940 info@periscoopfilm.nl www.periscoopfilm.nl

Petit a Petit production 5 Rue de la Mare 75020 Paris France +33 1 42013002

info@petitapetitproduction.com www.petitapetitproduction.com

Pica Film

Östergatan 12 23940 Falsterbo Sweden +46 40 471643


Pieter van Huystee Film Donker Curtiusstraat 125 1051 MC Amsterdam The Netherlands +31 20 4210606 info@pvhfilm.nl www.pvhfilm.nl

Pili Films

16, passage du Monténégro 75019 Paris France +33 9 52524363 contact@pilifilms.fr www.pilifilms.fr

Pimienta Films

Esperanza 957-204 3020 México, D.F Mexico +52 55 56153925

info@pimientafilms.com www.pimientafilms.com

Polepoletimes Co. Ltd.

4-4-1-7F Higashinakano, Nakano 164-0003 Tokyo Japan +81 3 32271405 arayashiki@polepoletimes.jp www.polepoletimes.jp

Polish National Film Archive ul. Pulawska 61 00-975 Warsaw +48 22 8455074

filmoteka@fn.org.pl www.fn.org.pl

500 West 43rd Street, 19E 10036 New York USA +1 917 9410457 pulsarpictures.net

Pulse Films

17 Hanbury Street E1 6QR London England +44 20 74265700

info@pulsefilms.co.uk www.pulsefilms.co.uk

Punkchart films Spitalska 20 811 08 Bratislava Slovakia +421 915606088 ivan@punkchart.sk www.punkchart.sk

Puo Pha Productions

80 Liberty Ship Way, Suite 8 94965 Sausalito USA +1 415 3326471

Rockeye Productions 720 W 173rd St #33 10032 New York USA +1 646 3724826


Sapir College, School of Media Film and Cultural Studies D N Hof Ashkelon 79165 Sderot Israel +972 8 6802468 hagars@sapir.ac.il www. sapir.ac.il

24 Bokmakierie 2188 Randburg South Africa +27 11 7890889

Saxonia Entertainment GmbH

Purple Pill

info@saxonia-entertainment.de www.saxonia-entertainment.de


Kattenburgerstraat 7 1018JA Amsterdam The Netherlands +31 6 47844614 info@purplepillvr.com www. purplepillvr.com

Quark Productions

Altenburger Straße 9 4275 Leipzig Germany +49 341 35004100

Maayan Schwartz

Neve Shalom, D N Shmshon 99761 Neve Shalmom Israel +972 52 3666998 maayans20@gmail.com

22 rue du Petit Musc 75004 Paris France +33 1 44543950

Scottish Documentary Institute

Radiomakers Desmet

info@scottishdocinstitute.com www.scottishdocinstitute.com

quarkprod@wanadoo.fr www.quarkprod.com

Van Diemenstraat 410 1013CR Amsterdam The Netherlands +31 20 6236865

info@radiomakersdesmet.nl www.radiomakersdesmet.nl


Viale Mazzini 14 00195 Rome Italy +39 06 36226295

selvaggia.castellil@rai.it www.rai.it

Rasalt AS

Krokstrandveien 51 1555 Son Norway +47 913 75102 trine@raasalt.no www.raasalt.no

Rise and Shine World Sales Schlesische Strasse 29/30 10997 Berlin Germany +49 30 47372980 info@kloosundco.de www.kloosundco.de

74 Lauriston Place EH3 9DF Edinburgh Schotland +44 131 6515874


163 W 10th str 10014 New York USA +1 917 8332588

liza@screenprojects.org www.screenprojects.org

Second Skin Film

Karperstraat 29-II 1075 KX Amsterdam The Netherlands +31 20 6797523 info@secondskinfilm.nl www.secondskinfilm.nl

Selfmade Films

Nieuwpoortkade 2a 1055 RX Amsterdam The Netherlands +31 20 6060789 mail@selfmadefilms.nl www.selfmadefilms.nl

Andrej Sacharovstraat 27 3065 EC Rotterdam The Netherlands +31 10 4470812

Tali Shemesh

6 Bialik street Apt3 63324 tel aviv +972 52 2731175


Show and Tell Films Chemin de Pacoty 22 1297 Founex Switzerland +41 22 3619790 pentell@bluewin.ch

Shunyata Film Production 153/36 Kholagalmarg 11 Kathmandu Nepal +977 14650388

shunyatafilm@gmail.com www.shunyatafilm.com

Silk Road Film Salon

President Brandstraat 13 1091 XD Amsterdam The Netherlands +31 6 53488758 info@silkroadfilmsalon.com www.silkroadfilmsalon.com

Sintagma Films

c/ Garellano, Local 28039 Madrid Spain +34 692 024870

fragilequilibrioeldocumental@gmail. com

Slingshot Films International Sales Via Salita di Gretta 7/1 34126 Trieste Italy +38 76 6180979 manuela@slingshotfilms.it www.slingshotfilms.it

Smoking Dogs Films 26, Shacklewell Lane E8 2EZ London England +44 20 72496644

info@smokingdogsfilms.com www.smokingdogsfilms.com

Soda Pictures

17 Blossom St. E1 6PL London England +44 20 73771407

info@sodapictures.com www.sodapictures.com

Soilsiu Films Yard House Clonmellon Ierland

david@soilsiu.com www.soilsiu.com


Index | Addresses Sony Pictures Classics

Studio UKU

Tangerine Tree

The Guardian

Time Magazine

Sony_Classics@spe.sony.com www.sonyclassics.com


info@tangerinetree.nl www.tangerinetree.nl

anna.ochagavia@theguardian.com www.theguardian.com

kira.pollack@time.com www.time.com

25 Madison Ave, 24th Floor 10010-8601 New York USA +1 212 8338833

Splendid Film BV

Paul van Vlissingenstraat 8E 1096 BK Amsterdam The Netherlands +31 20 2380700

laurens.vanlaake@splendid-film.com www.splendid-film.nl

Stacey Reiss Productions 119 Berkeley Place 11217 Brooklyn USA +1 917 9696311

stacey@staceyreiss.com www.staceyreiss.com

Stenola Productions

9A Rue des Chartreux 1000 Brussels Belgium +32 2 5033451 info@stenola.com www.stenola.eu

Stichting Opposite Direction Koningin Julianastraat 40 2631 BM Nootdorp The Netherlands +31 6 22127293 mierlo@casema.nl

Stories & Other Stories

30, Aram Nagar 2 Yari Road, Versova 400061 Mumbai India +91 98 92500006 info@aimthemovie.com

Story AB

Kocksgatan 31 SE-116 24 Stockholm Sweden +46 8 156280 info@story.se www.story.se


Overgaden Oven Vandet 98, 3 th. 1415 Copenhagen Denmark +45 20 978596 www.storyfriend.co

Straight Up Films

3215 La Cienega Ave 90034 Los Angeles USA +1 424 2388470

hello@straightupfilms.com www.straightupfilms.com

Studio Richard Vijgen Prinsessestraat 43 6828 GT Arnhem The Netherlands +31 6 45312337 mail@richardvijgen.nl www.richardvijgen.nl


Nemencines pl. 10-29 10008 Vilnius Litouwen +371 6 1530910

Studio Virc

Ilke Vastetove 15 8000 Novo mesto Slovenia +386 7 3378170 info@studio-virc.si www.studio-virc.si

Submarine Entertainment 197 Grand Street 6W 10013 New York USA +1 212 6251410 info@submarine.com www.submarine.com

Asaf Sudry

Bialik 6 ap# 3 63324 Tel Aviv Israel +972 52 3752938


Surround Vision

The Old Truman Brewery E1 6QL london England +44 20 33554045 info@surroundvision.co.uk www.surroundvision.co.uk

Sutor Kolonko

Mülheimer Freiheit 126 51063 Cologne Germany +49 221 78944840 info@sutorkolonko.de www.sutorkolonko.de

Sutu Eats Flies

31b Sholl St 671 Roebourne Australië +61 40 4077495


Swedish Film Institute Borgvägen 1-5 11553 Stockholm Sweden +46 8 6651100

info@sfi.se www.filminstitutet.se

Tamar Tal Films

12 Yohanan Hasandlar st. 64995204 Tel Aviv Israel +972 523 879377 tamar@tamartal.com www.tamartal.com

Tangerine Entertainment

28 West 27th Street, Suite 503 10001 New York USA +1 917 4021666 hobbyfilms@gmail.com www.tang-ent.com

Schieweg 202 C2 3038 BM Rotterdam The Netherlands +31 6 43061200

Tato Film

Mercan sokak, Yildiz apt, #7 D11 34349 Istanbul Turkije +90 537 3008702 o.yershova@gmail.com

Meiske Taurisia

90 York Way N1 9GU London England +44 203 3532476

The Handshake Productions 1766 Rue Wolfe H2L 3J8 Montreal Canada +1 514 5285358

carlo@thehandshake.org www.thehandshake.org

1271 Avenue of the Americas 10020 New York USA +1 212 5224754

Todos Contentos y Yo Tambien Via Glori 28 137 Rome Italy +39 288 8298488

info@todoscontentos.it www.todoscontentos.il

Jalan Gunung Indah 5 Cirendeu Residence D1, RT1/ RW11 15419 Ciputat Indonesia

The Hayachine Production 1-357 Otomo, TOWA 028-0121 Hanamaki, Iwate Japan +81 1 98442828

Deirdre Towers

Telekult Film und Medienproduktion

The Mill



Kremmener Str.6 10435 Berlin Germany +49 30 4467376 info@telekult.de www.telekult.de

Ten Forward Films LLC 1838 Belmont Road NW 20009 Washington DC USA +1 202 8132200

contact@tenforwardfilms.com www.tenforwardfilms.com

The Department of Motion Pictures 825 Frenchmen Street 70116 New Orleans USA +1 501 9405900 info@thedofmp.com www.thedofmp.com

The Festival Agency 44 rue de Clery 75002 Paris France +33 9 54904863

info@thefestivalagency.com www.thefestivalagency.com

The Film Collaborative 3405 Cazador Street 90065 Los Angeles USA +1 323 2078321

festivals@thefilmcollaborative.org www.thefilmcollaborative.org

The Film Sales Company

165 Madison Avenue, Suite 601 10016 New York USA +1 212 4815020 contact@filmsalescorp.com www.filmsalescorp.com


The Mill W1T 2JG London England +44 20 72874041 jarrad@themill.com www.themill.com

The New York Times 620 Eighth Ave, Fl 13 10018 New York USA +1 212 5561831 nytnews@nytimes.com www.nytimes.com

The People’s Poet Media Group, LLC 1327 W. Washington Blvd., Suite 103 60607 Chicago USA +1 312 8501300 bob@mediaprocess.com www.mediaprocess.com

The Russian State Documentary Film & Photography Archive at Krasnogorsk ul. Rechnaia, 1 143400 Krasnogorsk Russia +7 495 5621464 filmarchives@aha.ru www.rgakfd.ru

This Land Films

301 East 3rd Street OK 74120 Tulsa USA +1 918 5270718

matt@thislandpress.com www.thislandpress.com

Klara Til

Groenhoven 851 1103 NB Amsterdam The Netherlands +31 6 19281879 info@klarajohanna.com

666 West End Avenue, #14J 10025 New York USA +1 917 7345316


Øvre gate 7 551 Oslo Norway +47 915 75407

morten@traavik.info www.traavik.info

Tricontinental, Ltd. Peka Pavlovica 1 81250 Cetinje Montenegro +382 69 324690 mladen@beldocs.rs

UFA Fiction GmbH Dianastrasse 21 14482 Postdam Germany +49 331 7060200 info@ufa-fiction.de www.ufa-fiction.de

Un Capricho de Producciones Tallers 82, 3-1 8001 Barcelona Spain +34 932 213871

hola@uncaprichoproducciones.com www.uncaprichoproducciones.com


211 Rue Saint-Maur 75010 Paris France +33 1 53197003 contact@upian.com www.upian.com

Upright Media Productions

Chunui Techno Park 202 dong 1518 ho. 18 198 bun-gil, Bucheon-ro, Wonmi-gu 420-120 Bucheon South Korea +82 32 6230828 gipsy22@naver.com

Index | Addresses Upside Distribution

Videa Next Station

Niels Wee


Zeppers Film & TV

contact.presse@upsidetelevision.com www.upsidetelevision.com

info@videaspa.it www.videaspa.it


info@witfilm.nl www.witfilm.nl

info@zeppers.nl www.zeppers.nl

33 Quai de Dion Buoton 92800 Puteaux France +33 1 58478430

Veilleur de Nuit

49 Boulevard du Général Martial Valin 75015 Paris France +33 1 45588008 info@veilleurdenuit.com www.veilleurdenuit.com

Velvet Film

36 rue d’Enghien 75010 Paris France +33 9 51974330

contact@velvet-film.com www.velvet-film.com

Vermilion Pictures

820 N River Str. # 202 97227 Portland USA +1 503 2873329

info@vermilionpictures.com www.vermilionpictures.com


Stabu iela 18 c -18 1011 Riga Latvia +8 915 2738625 vertov@list.ru www.vertov.ru

VeryMuchSo Productions +44 777 5693069

info@verymuchso.co.uk www.verymuchso.co.uk

Vesilind OU

Vilmsi 53G 10147 Tallinn Estonia +372 600 9972

vesilind@vesilind.ee www.vesilind.ee

VFS Films

Lapu 17 1002 Riga Latvia +371 67 503588 vfs@vfs.lv www.vfs.lv


49 S 2nd Street NY 11211 Brooklyn USA vice@vice.com www.vice.com

via Livigno 50 188 Rome Italy +39 06 331851

Viewpoint Productions Cruquiusweg 111 C1 1019 AG Amsterdam The Netherlands +31 20 6363678

docs@viewpointdocs.com www.viewpointdocs.com

Roy Villevoye

De Fantasie 10 1324 HZ Almere The Netherlands

info@royvillevoye.com www.royvillevoye.com

Volia Films

M.M.Aliaksandrava St. 2-46 223040 Liasnoj Belarus +375 29 7168171 chajkouskaya@gmail.com

Volya Films

Mauritsweg 55B 3012 JX Rotterdam The Netherlands +31 10 4155621 info@volyafilms.com www.volyafilms.nl

Wajda Studio Sp. z o.o. Chelmska 21 00-724 Warsaw Poland +48 22 8511056

pr@wajdastudio.pl www.wajdaschool.pl

Wallonie Image Production Pôle Image de Liège, Bât. T 36, rue de Mulhouse 4020 Liège Belgium +32 4 3401040 info@wip.be www.wip.be

Warrior Poets

407 Broome Street, Ste. 7B 10013 New York USA +1 212 2197617 eah@warrior-poets.com www.warrior-poets.com

Weathered Features

109 Dikeman Street, Apt. 2 Front 11231 Brooklyn USA +1 646 7174865 geoffreyfeinberg@gmail.com www.weatheredfeatures.com

Vilhelm Thomsens Alle 24 1tv 2500 Valby Denmark +45 31 240588

Maya Weinberg +972 52 6412200


Westdeutscher Rundfunk Stromstr. 24 40221 Düsseldorf Germany +49 211 8900702 huh@wdr.de www.wdr.de

What Delicate Pictures

528 Graham Avenue #2L Brooklyn 11222 New York USA +1 703 4739634


What’s Up Films

1 rue Auguste Barbier 75001 Paris France +33 1 55289495

contact@whatsupfilms.com www.whatsupfilms.com

White Pine Pictures Inc.

822 Richmond Street West, 301 M6J 1C9 Toronto Canada +1 416 7035580 info@whitepinepictures.com www.whitepinepictures.com

Wide House

9 rue Bleue 75009 Paris France +33 1 53950464

festivals@widehouse.org www.widehouse.org

Wider Film Projects 266 West End Ave. 10023 New York, NY USA +1 917 9819498


Wild Bunch

65 rue de Dunkerque 75009 Paris France +33 1 53015020

distribution@wildbunch.eu www.wildbunch.biz

Wingman Media ApS Kødboderne 18, 1. 1714 Copenhagen Denmark +45 24 621438 engel@wingman.dk www.wingman.dk

De Kempenaerstraat 11B 1051CJ Amsterdam The Netherlands +31 20 6885049


825 Eighth Avenue 10019 New York USA +1 212 5608021

programming@wliw.org www.wliw.org

WME Entertainment 9601 Wilshire Blvd. 90210 Beverly Hills USA +1 310 2859000

mankner@wmeentertainment.com www.wmeentertainment.com

Ruysdaelkade 223 bg 1072 AW Amsterdam The Netherlands +31 20 6758594


Circonvallazione Clodia 76/a 195 Rome Italy +39 06 45494641 zerostudios@pec.it

Zipporah Films

One Richdale Avenue 4 2140 Cambridge, MA USA +1 617 5763603 info@zipporah.com www.zipporah.com

WNET Thirteen

825 8th Ave. 14th floor 10019 New York USA +1 212 5602000

programming@thirteen.org www.thirteen.org

World of Wonder

6650 Hollywood Blvd. 90028 Hollywood USA +1 323 6036300

mona@worldofwonder.net www.worldofwonder.net

7th Art

6579 Pickwick Street 90042 Los Angeles USA +1 323 2598259 info@7thart.com www.7thart.com

Shuchang Xie

Eichenstrasse 43 20255 Hamburg Germany


Yangon Film School Ebereschenallee 15 14050 Berlin Germany +49 30 30614448

info@yangonfilmschool.org www.yangonfilmschool.org

Zak Film Productions

Hermann Maaß Straße 34 14482 Potsdam Germany +49 151 56086028 info@zakfilm.com www.zakfilm.com

Zeitraum Film GmbH Webereistrasse 66 8134 Adliswil Switzerland +41 44 5017333 info@zeitraumfilm.ch www. zeitraumfilm.ch


Index | Premieres

Index | Premieres World Premieres 100 Photographs: The Most Influential Images of All Time


Giovanni Troilo


1Minute Nature


Stefanie Visjager, Katinka Baehr IDFA Competition for Kids & Docs

Almost There


Jacqueline Zünd

IDFA Competition for First Appearance



Clare Weiskopf

IDFA Competition for First Appearance

A Bastard Child


Knutte Wester

IDFA Competition for Mid-Length Documentary

National Film Board of Canada


DocLab: Elastic Reality

Bolingo. The Forest of Love Alejandro G. Salgado


IDFA Competition for Mid-Length Documentary

Burning Out

Jérôme le Maire


IDFA Competition for Feature-Length Documentary


Robin McNicholas, Barney Steel, Ersin Han Ersin


La Chana

Lucija Stojevic

Haibo Yu, Kiki Tianqi Yu

142 143 80


IDFA DocLab Competition for Digital Storytelling

Coco Cabasa IDFA Competition for Student Documentary


Craigslist Allstars Samira Elagoz




Xavier Marrades

Chairun Nissa


Joris Postema


Mia Donovan


Topaz Adizes, Mike Knowlton, Julia Gorbach, Carla Tramullas, Mark Harris

69 69

Dream Empire

David Borenstein


Philippe Lambert

The European

Dirk-Jan Roeleven


Everyday Everywhere

Bjarke Myrthu, Austin Merrill, Peter DiCampo


Laetitia Schoofs

IDFA Competition for Dutch Documentary

The Girl down Loch Änzi Alice Schmid

Gogita’s New Life Levan Koguashvili

The Good Postman Tonislav Hristov

Great Muy Bien

Sheyla Pool Pástor

A Greek Winter Ingeborg Jansen

The Grown-Ups Maite Alberdi


Happily Ever After

Nada Riyadh, Ayman El Amir

Hotel Sunrise

Maria Rumanova


Emanuel Giraldo

22 23 147 82

81 70


Bert Hana

24 148 57 149

Alexandru Petru Badelita


72 90

IDFA Competition for Student Documentary

In loco parentis

Neasa Ní Chianáin


Godelieve Eijsink

Long Live Benjamin


Jimm Lasser, Biff Butler

IDFA Competition for Mid-Length Documentary


28, 231

Rahul Jain

IDFA Competition for Feature-Length Documentary, Assembling Reality

Meat Puppet Arcade


IDFA DocLab Competition for Digital Storytelling

A Memory in Three Acts 42, 223 IDFA Competition for First Appearance, Shifting Perspectives

Miss Kiet’s Children

29, 231

Petra Lataster-Czisch, Peter Lataster

IDFA Competition for Feature-Length Documentary, IDFA Competition for Dutch Documentary, Assembling Reality

Mogadishu Soldier Torstein Grude

30, 232

IDFA Competition for Feature-Length Documentary, Assembling Reality


Celina Escher


IDFA Competition for Student Documentary

IDFA DocLab Competition for Digital Storytelling

I Made You, I Kill You

Jesser and the Sugarcane

Inadelso Cossa

IDFA Competition for Feature-Length Documentary, IDFA Competition for Dutch Documentary

I Am Not Home Video


Olga Kravets

Matt Romein, Joseph Mango


Coco Schrijber

It’s Getting Dark

IDFA Competition for Kids & Docs

IDFA Competition for Mid-Length Documentary

How to Meet a Mermaid 205

Sanne De Wilde

IDFA Competition for Mid-Length Documentary

IDFA Competition for Feature-Length Documentary

House for Sale

IDFA DocLab Competition for Digital Storytelling

Fallen Flowers Thick Leaves


DocLab: Elastic Reality


IDFA DocLab Competition for Digital Storytelling

Dil Leyla

Zackary Canepari

IDFA Competition for Dutch Documentary

IDFA DocLab Competition for Digital Storytelling

The Dig

Flint Is a Place

The Island of the Colorblind 206 DocLab: Elastic Reality


IDFA Competition for Dutch Documentary


Music Documentary

IDFA Competition for Feature-Length Documentary


Daan’s Inheritance


James Payne

IDFA Competition for Feature-Length Documentary



Far Western

IDFA Competition for First Appearance

IDFA Competition for Dutch Documentary

IDFA Competition for Dutch Documentary

Roel Wouters, Luna Maurer


DocLab: Elastic Reality

Ditteke Mensink



IDFA Competition for First Appearance


The Claim, the Search for Stolen Art from WWII

Horizoe Garcia

IDFA Competition for Student Documentary


China’s Van Goghs


Aslı Özarslan

DocLab: Elastic Reality

Klara Til


IDFA Competition for Mid-Length Documentary

DocLab: Elastic Reality

Bear 71 VR

Come Back Free

Ksenia Okhapkina

Kira Pollack, Paul Moakley


IDFA Competition for Mid-Length Documentary


IDFA Competition for Feature-Length Documentary

My Father and My Mother Bo Jiao



My Friend, Yaniv

Maayan Schwartz


IDFA Competition for Student Documentary

Naomi’s Secret Saskia Gubbels


IDFA Competition for Kids & Docs

November December Bruno Jorge



Nowhere to Hide Zaradasht Ahmed


IDFA Competition for Feature-Length Documentary

Index | Premieres

On the Bridge of Death and Life


Lola Jia Liu

Hollie Fifer


Inna Omelchenko


Jascha de Wilde, Ben Hendriks


John Albert Jansen


Elvira Diaz


Anton Yaremchuk


Andrei Dascalescu


Jiu-liang Wang


IDFA Competition for First Appearance

Prison Sisters

Nima Sarvestani


Melanie Bonajo


Sjoerd Oostrik


Reber Dosky


IDFA Competition for Dutch Documentary

The Resistance of Honey Peter Boyd Maclean


IDFA DocLab Competition for Digital Storytelling

The Return

Zahavi Sanjavi


IDFA Competition for Mid-Length Documentary

The Road Movie

Dmitrii Kalashnikov

IDFA Competition for First Appearance


Hyewon Jee


Site of Sites

Natalia Cabral, Oriol Estrada


160, 224


Roy Villevoye

So You Still Sort of Have the Same Number

172 75

Nele Eeckhout, Siona Houthuys, Mirke Kist

IDFA DocLab Competition for Digital Storytelling

Mirjam Marks


IDFA Competition for Kids & Docs

Jian Fan


IDFA Competition for Feature-Length Documentary

Guido Hendrikx


IDFA Competition for First Appearance, IDFA Competition for Dutch Documentary

To Stay Alive - A Method Erik Lieshout



IDFA Competition for First Appearance

The Wait

Waiting for Giraffes

Trembling Mountain Kesang Tseten



Tzina: Symphony of Longing




Fanny Tondre

Aniela Astrid Gabryel


IDFA Competition for Student Documentary

Bregtje van der Haak, Richard Vijgen DocLab: Elastic Reality

Audrius Stonys

66 164


Catherine van Campen

Beyza Boyacioglu, Jeff Soyk



IDFA Competition for Feature-Length Documentary

Anuktatop: The Metamorphosis


Nicolas Pradal, Pierre Selvini

IDFA Competition for First Appearance


IDFA Competition for First Appearance

Citizen Jane: Battle for the City


Best of Fests

Death in the Terminal


Tali Shemesh, Asaf Sudry

IDFA Competition for Mid-Length Documentary

Delicate Balance





Lauren McCarthy

The Giant Is Falling Rehad Desai

147, 221

Panorama, Shifting Perspectives

The Great Animal Orchestra Thomas Deyriès


Gringo: The Dangerous Life of 107 John McAfee Nanette Burstein


IDFA DocLab Competition for Digital Storytelling


Amateurs in Space

IDFA DocLab Competition for Digital Storytelling

IDFA Competition for Dutch Documentary

Zeki Müren Hotline

Best of Fests

IDFA DocLab Competition for Digital Storytelling

IDFA Competition for Mid-Length Documentary

Zaatari Djinn


Guillermo García López

White Spots, a Journey 208 to the Edge of the Internet Woman and the Glacier

All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone

Matt Tyrnauer


IDFA Competition for Feature-Length Documentary

When Will This Wind Stop


Areum Parkkang

Judith de Leeuw

What We Have Made


Mustafa Ünlü


Music Documentary

Reber Dosky



Marc Waltman

Welcome to the Heavenly Earth


Max Kestner

IDFA Competition for Dutch Documentary

Walking in the Opposite Direction

International Premieres

Fred Peabody



Yezidi Girls

IDFA Competition for Mid-Length Documentary, IDFA Competition for Dutch Documentary

Shirin Anlen


IDFA Competition for Dutch Documentary, Music Documentary

Marco de Stefanis

Stranger in Paradise

IDFA Competition for Dutch Documentary

Radio Kobanî

Singing with Angry Bird

Vincent Moloi

Dennis Alink

Emil Langballe

Still Tomorrow


A Quiet Place

Mathijs Vleugels

Spotlight on Merna


Progress vs Regress



IDFA Competition for First Appearance

Plastic China

Silent Wilderness

Skulls, of My People

Unknown Brood

Lea Glob, Mette Carla Albrechtsen

Panorama, Shifting Perspectives

Music Documentary

Planeta Petrila


Olga Delane

IDFA Competition for Mid-Length Documentary


The Pit

Siberian Love



El patio


Angelos Rallis


IDFA Competition for Dutch Documentary

The Passing Years

IDFA DocLab Competition for Digital Storytelling


IDFA Competition for Student Documentary

Passage - A Boatmovie

Shingal, Where Are You?

Underworld: a Virtual 76 Experience of the London Sewers Francesca Panetta



Paper Stars


Trude Berge Ottersen, Gry Elisabeth Mortensen

IDFA Competition for First Appearance


The Opposition

Sealers - One Last Hunt


Home: Aamir Rufus Norris


IDFA DocLab Competition for Digital Storytelling

IDFA DocLab Competition for Digital Storytelling


Index | Premieres

House Call

Neta Shoshani, David Ofek


IDFA Competition for Mid-Length Documentary


Wojciech Kasperski


IDFA Competition for Mid-Length Documentary

The Joy of Sound Ana Endara


IDFA Competition for Mid-Length Documentary

Liberation Day

Morten Traavik, Ugis Olte


Peter Entell


IDFA Competition for Feature-Length Documentary

Living with Giants


Sébastien Rist, Aude Leroux-Lévesque Best of Fests

News Globus

Charles Gedeon, Sena Partal, Mikio Kiura, Bjørn Karmann


IDFA DocLab Competition for Digital Storytelling

The Offended

Marcela Zamora Chamorro



A Place Called Lloyd Sebastian Cordes

David Fernandez de Castro


Ragnhild Nøst Bergem


Carlo Guillermo Proto

92 45

IDFA Competition for First Appearance

Right Side of Cello Aleksandra Rek


Music Documentary


Michele Santoro


Best of Fests


Forensic Architecture

South to North Cine-Concert 239 The Quiet Eye



IDFA Competition for Kids & Docs

To Be a Miss

Edward Ellis, Flor Salcedo, Aaron Woolf


Trine Vallevik Håbjørg

Sine Skibsholt

Kyle McDonald


Anna Koch

Wrestling Alligators Andrew Shea

You Have No Idea How Much I Love You

The B-Side: Elsa Dorfman’s Portrait Photography Beauties of the Night


102 164 34

IDFA Competition for Feature-Length Documentary

117 117

Best of Fests

The Borneo Case



Chasing Trane: The John Coltrane Documentary


John Scheinfeld Music Documentary

Contemporary Color Turner Ross, Bill Ross


Music Documentary

Gaza Surf Club

Philip Gnadt, Mickey Yamine


Best of Fests

God Knows Where I Am Todd Wider, Jedd Wider


Best of Fests

The Hanging

Geoffrey Feinberg




Daniel Gordon



Honky Tonk Heaven: The 178 Legend of the Broken Spoke Brenda Greene Mitchell, Sam Wainwright Douglas

Joe’s Violin

Kahane Cooperman Music Documentary



Morgan Spurlock



Best of Fests

Beware the Slenderman

Jonny von Wallström Panorama


Dylan Williams, Erik Pauser


IDFA DocLab Competition for Digital Storytelling

Win by Fall



Irene Taylor Brodsky

IDFA Competition for First Appearance

Wifi Whisperer

The Pearl of Africa

Maria José Cuevas


IDFA Competition for Kids & Docs

Who We Were

Abacus: Small Enough to Jail 104


Maarit Suomi-Väänänen

Errol Morris


IDFA Competition for Student Documentary

When I Hear the Birds Sing

Minispectacles Albuquerque Straight

Steve James


Turn Over the Stones

European Premieres

Music Documentary


IDFA DocLab Competition for Digital Storytelling

Antoine Boutet

Halvor Nitteberg

Pawel Lozinski

IDFA Competition for Student Documentary

Resurrecting Hassan




Remember Me?


IDFA Competition for Student Documentary

IDFA Competition for Kids & Docs

The Quiet Eye


Mi Mi Lwin

Nir Dvortchin

Music Documentary

Like Dew in the Sun

Sugar & Spice



Thomas Lennon



Shalom Italia

Tamar Tal-Anati


Best of Fests

Where You’re Meant to Be Paul Fegan

Music Documentary


Index | Countries

Index | Countries Australia The Opposition These Memories Won’t Last

153 75

Austria Homo Sapiens Shingal, Where Are You?

108 158

Belarus The Road Movie Belgium Abandoned Land Burning Out The Event From the East How to Meet a Mermaid Life to Come My Daughter Nora Sacred Water Shadow World Shingal, Where Are You? Silent Wilderness So You Still Sort of Have the Same Number Waiting for Giraffes Wrong Elements

46 140 21 196 190 25 150 151 157 171 158 159 75 84 136

Bosnia-Herzegovina The Road Movie


Brazil November December


Bulgaria The Beast Is Still Alive The Good Postman

141 23

Cambodia Exile


Cameroon The Colonial Misunderstanding A Trip to the Country

220 225

Canada All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone Bear 71 VR Deprogrammed Dreams Frame 394 Gatekeeper Invention Living with Giants Resurrecting Hassan The Settlers

116 204 69 205 146 146 237 125 45 132

Chad Hissein Habré, a Chadian Tragedy


Chile The Grown-Ups El patio Resurrecting Hassan

24 154 45

China China’s Van Goghs My Father and My Mother Plastic China Still Tomorrow Welcome

143 152 44 32 173

Colombia Amazona House for Sale

37 149

Croatia Gogita’s New Life Houston, We Have a Problem! The Road Movie

22 122 46

Cuba Connection Great Muy Bien House for Sale Motriz

143 147 149 90

Denmark Amateurs in Space Dream Empire Everyday Everywhere How to Meet a Mermaid Mogadishu Soldier News Globus A Place Called Lloyd Shadow World Those Who Jump Venus The Wait The War Show Who We Were Dominican Republic Site of Sites

20 40 70 25 30, 232 73 238 171 134 49 162 135 50 64

Egypt Happily Ever After Whose Country?

148 136

El Salvador The Offended


England Black Sheep Chameleon Forever Pure Handsworth Songs Hillsborough Home: Aamir Invention Letters from Baghdad The Man from Mo’Wax Notes on Blindness VR

96 205 121 221 107 71 237 150 179 207

The Resistance of Honey The Rolling Stones Olé Olé Olé!: A Trip Across Latin America Saydnaya Two Years at Sea Underworld: a Virtual Experience of the London Sewers The War Game We Are X Who’s Gonna Love Me Now?

Estonia Come Back Free Rodnye (Close Relations) Woman and the Glacier Finland Craigslist Allstars The Good Postman Machines Minispectacles Albuquerque Straight Mogadishu Soldier Time Capsule What Is Community? France Anuktatop: The Metamorphosis Burning Out The Challenge The Colonial Misunderstanding Danton’s Death Dead Slow Ahead Eat That Question - Frank Zappa in His Own Words Exile The Father, the Son and the Holy Jihad France From the East The Graduation The Great Animal Orchestra The Grown-Ups Hissein Habré, a Chadian Tragedy I Made You, I Kill You ISIS, Deserters Speak Out It’s Getting Dark Letters from Baghdad A Little Monastery in Tuscany Lumumba: Death of a Prophet My Daughter Nora Notes on Blindness VR On Call El patio Peshmerga Reflections. Director’s Cut Reset The Settlers South to North Cine-Concert Too Black to Be French? A Trip to the Country We’ll Be Alright What We Have Made Whose Country? Wrong Elements A Young Girl in Her Nineties Zaineb Hates the Snow

73 181 74 240 76 192 182 112 55 111 66 169 23 28, 231 170 30, 232 172 215 38 21 168 220 220 236 177 105 145 106 190 106 71 24 108 90 149 60 150 191 222 151 207 128 154 128 198 130 132 239 225 225 163 33 136 136 137 165


Index | Countries

Frans Guyana Anuktatop: The Metamorphosis


Georgian Republic Gogita’s New Life


Germany Alter Senator Austerlitz The Borneo Case The Colonial Misunderstanding Crowley - Every Cowboy Needs His Horse Dil Leyla Eat That Question - Frank Zappa in His Own Words Fallen Flowers Thick Leaves Gaza Surf Club The Giant Is Falling The Hanging Houston, We Have a Problem! A Letter to Nelson Mandela Lumumba: Death of a Prophet Lutwi Machines National Bird On the Bridge of Death and Life per song The Promise Revue Rodnye (Close Relations) The Settlers Shalom Italia Siberian Love Sugar & Spice A Trip to the Country Win by Fall Wrong Elements

177 81 121 147, 221 148 122 222 222 99 28, 231 127 153 92 110 198 111 132 132 158 93 225 102 136

Greece Shingal, Where Are You?


Iceland La Chana


India The Cinema Travellers Events in a Cloud Chamber An Insignificant Man Machines Indonesia Cuts


210 196 105 220 97 89

118 169 123 28, 231 144

Iran DeathTolls Experience The Rock

68 156

Ireland Forever Pure In loco parentis

121 26

Israel Death in the Terminal Forever Pure House Call LoveTrue My Friend, Yaniv The Settlers Shalom Italia Turn Over the Stones Tzina: Symphony of Longing Who’s Gonna Love Me Now?

56 121 58 125 91 132 132 93 76 112

Italy The Challenge Coeurope I dimenticati Robinù

168 54 189 130

Japan Alexei and the Spring Far Western Sacred Taimagura Grandma Uzu We Are X

236 177 157 239 162 182

Latvia Liberation Day The Old Jewish Cemetery Rodnye (Close Relations)

179 197 111

Lebanon Zaineb Hates the Snow


Lithuania Woman and the Glacier


Mexico Beauties of the Night Chameleon The Offended Promise Prohibited Tempestad Mozambique A Memory in Three Acts

117 205 152 214 133 42, 223

Myanmar Sugar & Spice


Nepal Trembling Mountain


The Netherlands 1Minute Nature Alter Senator Borrowed Time Che! China’s Van Goghs The Claim, the Search for Stolen Art from WWII

96 210 210 97 143 80

Clickclickclick.click Coco Cabasa Craigslist Allstars Daan’s Inheritance Establishing Eden The European The Event Fallen Flowers Thick Leaves Forever Pure A Greek Winter The Grown-Ups How to Meet a Mermaid I Am Not Home Video The Island of the Colorblind The Island Jesser and the Sugarcane Jokes Kapitalism Letter Miss Kiet’s Children The Modular Body Mothership Goes to Brazil Naomi’s Secret The New Dress The Old Jewish Cemetery Passage - A Boatmovie The Passing Years Progress vs Regress A Quiet Place Radio Kobanî Reflections. Director’s Cut Rem Rocknrollers Selfies aan zee Smoke So You Still Sort of Have the Same Number Spotlight on Merna Stranger in Paradise To Stay Alive - A Method Unknown Brood Voices Waiting for Giraffes Walking in the Opposite Direction Welcome to the Heavenly Earth White Spots, a Journey to the Edge of the Internet Work Horse WTC Yezidi Girls Zaatari Djinn

Norway Ambulance A Bastard Child Dugma: The Button Liberation Day Mogadishu Soldier Nowhere to Hide Remember Me? Sealers - One Last Hunt Thea Venus When I Hear the Birds Sing

68 88 169 80 211 81 196 81 121 82 24 25 72 206 211 98 212 212 197 29, 231 207 213 99 213 197 82 154 171 83 83 198 129 100 214 172 75 100 48 65 84 226 84 182 163 208 215 216 164 85 116 52 120 179 30, 232 31 92 47 101 49 101

Index | Countries

Palestine Ambulance Panama The Joy of Sound

116 61

Poland All These Sleepless Nights Close Ties Communion Daniel I Don’t Know Icon Right Side of Cello When Will This Wind Stop You Have No Idea How Much I Love You

168 88 119 89 190 59 180 94 34

Portugal From the East


Qatar Zaineb Hates the Snow


Romania I Made You, I Kill You Planeta Petrila

90 43

Russia 13 Days. Industrial Party Process Facing the Judgement of History The Hanging Koma Letter Lullaby Paper Stars Revue The Road Movie

188 189 148 191 197 192 91 198 46

Scotland Where You’re Meant to Be


Serbia The Road Movie


Slovakia Hotel Sunrise


Slovenia Houston, We Have a Problem! South Africa The Giant Is Falling A Letter to Nelson Mandela Men of Gold Skulls, of My People South Korea Areum Singing with Angry Bird

122 147, 221 222 223 160, 224 39 159

Spain Bolingo. The Forest of Love La Chana Cucli Dead Slow Ahead Delicate Balance In loco parentis Priorat

53 142 144 236 145 26 155

Sweden A Bastard Child The Borneo Case Everyday Everywhere Kiki Light Year Mothership Goes to Brazil Nowhere to Hide The Pearl of Africa Prison Sisters The Return

52 105 70 123 237 213 31 155 109 63

Switzerland Almost There Burning Out The Girl down Loch Änzi Like Dew in the Sun Lumumba: Death of a Prophet Raving Iran Shepherds’ Journey into the Third Millennium Whatever the Weather

36 21 41 27 222 129 238 94

Tunisia Zaineb Hates the Snow


Turkey Ah Zeki Müren Hotline

141 77

Ukraine Conscience The Pit Revue Rodnye (Close Relations) United Arab Emirates Zaineb Hates the Snow

188 180 198 111 165

USA 100 Photographs: The Most Influential Images of All Time 204 4.1 Miles 140 Abacus: Small Enough to Jail 104 All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone 116 The B-Side: Elsa Dorfman’s Portrait Photography 104 Beware the Slenderman 117 Cameraperson 118, 230 La Chana 142 Chasing Trane: The John Coltrane Documentary 176 Check It 142 Citizen Jane: Battle for the City 119 Contemporary Color 176

The Dig The Eagle Huntress Everyday Everywhere Far Western The First Monday in May Flint Is a Place Follower Gatekeeper God Knows Where I Am Gringo: The Dangerous Life of John McAfee The Hanging Honky Tonk Heaven: The Legend of the Broken Spoke Hospital Joe’s Violin Kiki The Last Laugh Letters from Baghdad Life, Animated Long Live Benjamin LoveTrue The Man Without a Mask Mapplethorpe: Look at the Pictures Maya Angelou: And Still I Rise Meat Puppet Arcade Minispectacles Albuquerque Straight Monster in the Mind National Bird Norman Lear: Just Another Version of You O.J.: Made in America The Promise Radical Love Raised by Krump Rats Rem The Ride of Their Lives The Rolling Stones Olé Olé Olé!: A Trip Across Latin America Sacred Santoalla Seed: The Untold Story Shadow World Shot! The Psycho-Spiritual Mantra of Rock Smell Dating Solitary Southwest of Salem: The Story of the San Antonio Four To Be a Miss Tower We Are X Weiner Whose Country? Wifi Whisperer Wolvesmouth Wrestling Alligators Zeki Müren Hotline Zero Days

69 98 70 177 120 206 70 146 122 107 148 178 230 178 123 124 150 124 62 125 151 126 126 72 170 127 127 109 224 110 208 156 110 129 111 181 157 131 131 171 181 74 160 133 161 134 182 135 136 77 112 164 77 113

Venezuela To Be a Miss


Wales The Borneo Case



Index | Directors

Index | Directors


A Shirley Abraham Topaz Adizes Nijole Adomenaite Ashim Ahluwalia Zaradasht Ahmed Chantal Akerman John Akomfrah Maite Alberdi Mette Carla Albrechtsen Dennis Alink Yuri Ancarani Josefin Arnell

118 69 191 169 31 190 221 24 49 84 168 213

B Alexandru Petru Badelita Katinka Baehr Fenton Bailey Randy Barbato Andrew Becker Semâ Bekirovic Otto Bell Kaouther Ben Hania Jon Betz Daan Bol Melanie Bonajo Isabelle Boni-Claverie David Borenstein Antoine Boutet Beyza Boyacioglu Peter Boyd Maclean Tega Brain Persijn Broersen Jürgen Brügger Valeria Bruni Tedeschi Nanette Burstein Biff Butler

90 96 126 126 131 210 98 165 131 100 171 225 40 239 77 73 74 211 99 137 107 62

C Natalia Cabral Stu Campbell Catherine van Campen Zackary Canepari Claudio Capanna Jean Carper Christian Cerami Yung Chang Barnaby Clay Arnaud Colinart Kahane Cooperman Sebastian Cordes Yann Coridian Inadelso Cossa Maria José Cuevas

64 75 85 206 150 127 96 146 181 207 178 238 137 42, 223 117

D Anastazja Dabrowska Andreas Dalsgaard Thomas Dandois Andrei Dascalescu Sanne De Wilde Olga Delane Thierry Demaizière Vladimir Denisenko Raymond Depardon Rehad Desai Heather Dewey-Hagborg Thomas Deyriès Elvira Diaz

89 135 149 43 206 158 130 188 106 147, 221 208 71 154

Peter DiCampo Jan Dietvorst Alice Diop Mia Donovan Reber Dosky Shimon Dotan Paul Dugdale Charlotte Dumas Nir Dvortchin

70 213 128, 220 69 83, 164 132 181 215 93

E Ezra Edelman Nele Eeckhout Godelieve Eijsink Willehad Eilers Ayman El Amir Samira Elagoz Edward Ellis Ana Endara Peter Entell Fridrikh Ermler Ersin Han Ersin Celina Escher Ali Eslami Deborah Esquenazi Oriol Estrada Heidi Ewing

224 75 98 210 148 169 161 61 27 189 205 90 68 133 64 109

F Jian Fan Paul Fegan Geoffrey Feinberg David Fernandez de Castro Hollie Fifer Dana Flor Elsbeth Fraanje Maceo Frost

32 183 148 155 153 142 97 156

G Aniela Astrid Gabryel Horizoe Garcia Guillermo García López Charles Gedeon Nikolaus Geyrhalter Alex Gibney Emanuel Giraldo Lea Glob Philip Gnadt Julia Gorbach Daniel Gordon Boris Gorlov Rachel Grady Brenda Greene Mitchell Johan Grimonprez Torstein Grude Saskia Gubbels

94 143 145 73 108 113 149 49 121 69 107 191 109 178 171 30, 232 99

H Bregtje van der Haak Jörg Haaßengier Bert Hana Alma Har’el Mahamat Saleh Haroun Mark Harris Ben Hendriks Guido Hendrikx Mauro Herce Bob Hercules Barak Heymann

208 99 72 125 108 69 82 48 236 126 112

Tomer Heymann Andre Hörmann Siona Houthuys Tonislav Hristov Tatiana Huezo

112 97 75 23 133

I Jan Ijäs Otar Iosseliani

172 191

J Mohamed Jabaly Kristi Jacobson Hamid Jafari Rahul Jain Steve James Ingeborg Jansen John Albert Jansen Hyewon Jee Bo Jiao Kirsten Johnson Matthew Jones Sara Jordenö Bruno Jorge Olivier Jourdain K Floris Kaayk Dmitrii Kalashnikov Bjørn Karmann Wojciech Kasperski Vesela Kazakova Sonia Kennebeck Max Kestner Krzysztof Kieslowski Stephen Kijak Mirke Kist Mikio Kiura Mike Knowlton Anna Koch Levan Koguashvili Tomas Koolhaas Zofia Kowalewska Jasna Krajinovic Olga Kravets Sabine Krayenbühl Josh Kriegman Mikael Kristersson Gaspard Kuentz Alexander Kuznetsov L Amaury La Burthe Philippe Lambert Emil Langballe Erich Langjahr Jimm Lasser Peter Lataster Petra Lataster-Czisch Gilles Laurent Sam Lavigne Judith de Leeuw Thomas Lennon Aude Leroux-Lévesque Bernard-Henri Lévy Mark Lewis Erik Lieshout Erik van Lieshout Mauricio Limón

116 160 156 28, 231 104, 111 82 154 159 152 118, 230 179 123 170 157 207 46 73 59 141 127 20 190 182 75 73 69 102 22 129 88 151 60 150 135 237 162 163 207 205 162 238 62 29, 231 29, 231 140 74 163 157 125 128 237 65 211 214

Index | Directors

Jonathan Littell Lola Jia Liu Pawel Lozinski Sergei Loznitsa Margit Lukács Mi Mi Lwin

136 153 34 196, 197, 198 211 93

M Amit Madheshiya Jérôme le Maire Keith Maitland Jean-Baptiste Maitre Stéphane Malterre Joseph Mango Vitaly Mansky Michal Marczak Mirjam Marks Xavier Marrades Khalo Matabane Daphne Matziaraki Luna Maurer Lauren McCarthy Kyle McDonald Robin McNicholas Daniel Mehrer Ditteke Mensink Austin Merrill Susanne Regina Meures Peter Middleton Mina Mileva Paul Moakley Vincent Moloi Errol Morris Gry Elisabeth Mortensen Seiichi Motohashi Bjarke Myrthu

118 21 134 212 145 72 111 168 100 144 222 140 68 70 77 205 131 80 70 129 207 141 204 160, 223, 224 104 47 236 70

N Neasa Ní Chianáin Chairun Nissa Erkka Nissinen Halvor Nitteberg Rufus Norris Ragnhild Nøst Bergem O Zeva Oelbaum David Ofek Ksenia Okhapkina Ugis Olte Paulien Oltheten Inna Omelchenko Sjoerd Oostrik Toby Oppenheimer Trude Berge Ottersen Aslı Özarslan P Francesca Panetta Rithy Panh Areum Parkkang Sena Partal Erik Pauser James Payne Fred Peabody Ferne Pearlstein Raoul Peck Miguel Peres Dos Santos Kira Pollack

26 144 215 101 71 92 150 58 55 179 212, 214 91 83 142 47 89 76 105 39 73 105 177 116 124 222 226 204

Sheyla Pool Pástor Yakov Poselsky Joris Postema Nicolas Pradal Carlo Guillermo Proto Emma van der Put

147 188 80 38 45 216

R Angelos Rallis Khushboo Ranka Paul Salahadin Refsdal Aleksandra Rek Sébastien Rist Ben Rivers Nada Riyadh Dirk-Jan Roeleven Matt Romein Bill Ross Turner Ross Andrew Rossi Maria Rumanova

158 123 120 180 125 240 148 81 72 176 176 120 57

S Flor Salcedo Alejandro G. Salgado Zahavi Sanjavi Michele Santoro Nima Sarvestani John Scheinfeld Remo Scherrer Alice Schmid Laetitia Schoofs Coco Schrijber Thorsten Schütte Maayan Schwartz Pierre Selvini Vittorio De Seta Andrew Shea Tali Shemesh Neta Shoshani Vinay Shukla Mohamed Siam Abou Bakar Sidibé Moritz Siebert Taggart Siegel Claire Simon Sine Skibsholt Jeff Soyk James Spinney Morgan Spurlock Barney Steel Marco de Stefanis Elyse Steinberg Karin Steinberger Lucija Stojevic Audrius Stonys Asaf Sudry Yoshihiko Sumikawa Maarit Suomi-Väänänen

161 53 63 130 109 176 94 41 81 25 177 91 38 189 164 56 58 123 136 134 134 131 106 50 77 207 110 205 84 135 110 142 66 56 239 170

T Tamar Tal-Anati Irene Taylor Brodsky Jean-Marie Teno Alban Teurlai Klara Til Fanny Tondre Morten Traavik Carla Tramullas Francois-Xavier Tregan Giovanni Troilo Kesang Tseten Matt Tyrnauer Ü Mustafa Ünlü

132 117 220, 225 130 88 33 179 69 149 54 161 119 141

V Trine Vallevik Håbjørg Dziga Vertov Marcus Vetter Richard Vijgen Roy Villevoye Zˇiga Virc Stefanie Visjager Mathijs Vleugels

101 192 110 208 172, 213 122 96 159

W Estephan Wagner Sam Wainwright Douglas Lucy Walker Jonny von Wallström Marc Waltman Jiu-liang Wang Peter Watkins Clare Weiskopf Knutte Wester Rita Coburn Whack Jedd Wider Todd Wider Jascha de Wilde Dylan Williams Roger Ross Williams Rich Williamson Frederick Wiseman Aaron Woolf Roel Wouters

134 178 112 155 182 44 192 37 52 126 122 122 82 105 124, 151 146 230 161 68

X Shuchang Xie


Y Mickey Yamine Anton Yaremchuk Haibo Yu Kiki Tianqi Yu

121 180 143 143

Z Anna Zamecka Marcela Zamora Chamorro Rikun Zhu Maya Zinshtein Jacqueline Zünd Obaidah Zytoon

119 152 173 121 36 135


Index | Films

Index | Films 0-9 1Minute Nature 1Minuutje natuur 4.1 Miles 13 Days. Industrial Party Process 100 Photographs: The Most Influential Images of All Time A Abacus: Small Enough to Jail Abandoned Land Ah Alexei and the Spring Alexei to izumi All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone All These Sleepless Nights Almost There Als de giraffes komen Alter Senator Amateurs in Space Amazona Ambulance An die an niang Anuktatop: la métamorphose Anuktatop: The Metamorphosis Areum Au nom du père, du fils et du djihad Auf der Brücke von Tod und Leben Austerlitz

96 96 140 188 204

104 140 141 236 236 116 168 36 84 210 20 37 116 152 38 38 39 145 153 196

B The B-Side: Elsa Dorfman’s Portrait Photography 104 Balad meen? 136 Bard 156 A Bastard Child 52 Bear 71 VR 204 The Beast Is Still Alive 141 Beauties of the Night 117 Bei Wind und Wetter 94 Beitar 121 Bellas de noche 117 Beware the Slenderman 117 Bikur bayit 58 Black Sheep 96 Blijkbaar heb je nog ongeveer hetzelfde nummer 75 Bolingo. El bosque del amor 53 Bolingo. The Forest of Love 53 The Borneo Case 105 Borrowed Time 210 Bref manuel de liberation 163 Burning Out 21


C Cameraperson 118, 230 Casa en venta 149 The Challenge 168 Chameleon 205 La Chana 142 Chasing Trane: The John Coltrane Documentary 176 Che! 97 Check It 142 China’s Van Goghs 143 The Cinema Travellers 118 Citizen Jane: Battle for the City 119 The Claim, the Search for Stolen Art from WWII 80 De claim, zoektocht naar roofkunst uit WOII 80 Clickclickclick.click 68 Close Ties 88 Coco Cabasa 88 Coeurope 54 The Colonial Misunderstanding 220 Come Back Free 55 Comme la rosée au soleil 27 Communion 119 Le concours 106 Conectifai 143 Connection 143 Conscience 188 Contemporary Color 176 Craigslist Allstars 169 Crowley - Every Cowboy Needs His Horse 97 Cucli 144 Cuts 144 D Daan’s Inheritance Daesh, paroles de déserteurs Daniel Danton’s Death Dead Slow Ahead Death in the Terminal DeathTolls Experience Delicate Balance Dem vi var Deprogrammed The Dig Dil Leyla I dimenticati Dongwu yuan Dream Empire Dreams Dugma: The Button

80 149 89 220 236 56 68 145 50 69 69 89 189 92 40 205 120

E The Eagle Huntress Eat That Question – Frank Zappa in His Own Words L’Eau sacrée De erfenis D’Est Establishing Eden De Europeaan The European The Event Events in a Cloud Chamber Everyday Everywhere Exil Exile

177 157 80 190 211 81 81 196 169 70 105 105

F Facing the Judgement of History Fallen Flowers Thick Leaves Far Western The Father, the Son and the Holy Jihad La felicidad del sonido The First Monday in May Flint Is a Place Follower Forever Pure Frágil equilibrio Frame 394 France From the East

189 81 177 145 61 120 206 70 121 145 146 106 190

G Gatekeeper Gaza Surf Club The Giant Is Falling The Girl down Loch Änzi God Knows Where I Am Gogita’s New Life Gogitas akhali tckovreba The Good Postman Le grand orchestre des animaux The Graduation The Great Animal Orchestra Great Muy Bien A Greek Winter Griekse winter Gringo: The Dangerous Life of John McAfee The Grown-Ups


146 121 147, 221 41 122 22 22 23 71 106 71 147 82 82 107 24

Index | Films

H Les habitants Handsworth Songs The Hanging Happily Ever After Hier is het nooit stil Hillsborough Hirtenreise ins Dritte Jahrtausend Hissein Habré, a Chadian Tragedy Hissein Habré, une tragédie tchadienne Home: Aamir Homo Sapiens Honky Tonk Heaven: The Legend of the Broken Spoke Horungen Hospital Hotel Sunrise Hotel Úsvit House Call House for Sale Houston, imamo problem! Houston, We Have a Problem! How to Meet a Mermaid Huan ying Husker du meg? I I Am Not Home Video I Don’t Know I Made You, I Kill You Icon Ikona In loco parentis Die Insel An Insignificant Man Invention ISIS, Deserters Speak Out The Island of the Colorblind The Island It’s Getting Dark J Jesser and the Sugarcane Jesser en het suikerriet Une jeune fille de 90 ans Joe’s Violin Jokes The Joy of Sound Kani Shingal? K Kapitalism Kiedy ten wiatr ustanie Kiki De kinderen van juf Kiet Koma Komunia

106 221 148 148 83 107 238 108 108 71 108 178 52 230 57 57 58 149 122 122 25 173 92 72 190 90 59 59 26 211 123 237 149 206 211 60 98 98 137 178 212 61 158 212 94 123 29, 231 191 119

L The Last Laugh Letter A Letter to Nelson Mandela Letters from Baghdad Liberation Day Life to Come Life, Animated Light Year Like Dew in the Sun A Little Monastery in Tuscany Living with Giants Ljusår Long Live Benjamin LoveTrue Un lugar llamado Lloyd Lullaby Lumumba: Death of a Prophet Lumumba: la mort du prophète Lutwi Ma fille Nora M Machines Das Mädchen vom Änziloch Le malentendu colonial The Man from Mo’Wax The Man Without a Mask Mapplethorpe: Look at the Pictures Mavet be Be’er Sheba Maya Angelou: And Still I Rise Meat Puppet Arcade Uma memória em três atos A Memory in Three Acts Men of Gold Merna in de spotlight Mi yohav oti achshav Minispectacles Albuquerque Straight Miss Kiet’s Children The Modular Body Mogadishu Soldier Monster in the Mind La mort de Danton Moteris ir ledynas Mothership Goes to Brazil Motriz My Daughter Nora My Father and My Mother My Friend, Yaniv Naomi’s geheim

124 197 222 150 179 150 124 237 27 191 125 237 62 125 238 192 222 222 99 151 28, 231 41 220 179 151 126 56 126 72 42, 223 42, 223 223 100 112 170 29, 231 207 30, 232 127 220 66 213 90 151 152 91 99

N Naomi’s Secret Når jeg hører fuglene synge National Bird Nawet nie wiesz, jak bardzo cie kocham The New Dress News Globus Nie wiem Los niños Norman Lear: Just Another Version of You Notes on Blindness VR November December Novembro dezembro Nowhere to Hide

99 101 127 34 213 73 190 24 109 207 170 170 31

O O.J.: Made in America Los ofendidos The Offended The Old Jewish Cemetery On Call On the Bridge of Death and Life The Opposition Overleven – een handleiding

224 152 152 197 128 153 153 65

P Paper Stars Passage – A Boatmovie The Passing Years El patio The Pearl of Africa per song Pered sudom istorii La permanence Peshmerga Un petit monastère en Toscane Pismo The Pit A Place Called Lloyd Planeta Petrila Plastic China Potongan Priorat Prison Sisters Progress vs Regress Promesa prohibida Promise Prohibited The Promise Quelque chose de grand

91 82 154 154 155 92 189 128 128 191 197 180 238 43 44 144 155 109 171 214 214 110 33

Q A Quiet Place



Index | Films

Index | Films R Radical Love Radio Kobanî Raised by Krump Rats Raving Iran Reflections. Director’s Cut Relève Rem Remember Me? Reset The Resistance of Honey Resurrecting Hassan The Return Reves Revue The Ride of Their Lives Right Side of Cello The Road Movie Robinù The Rock Rocknrollers Rocknrollertjes Rodnye (Close Relations) The Rolling Stones Olé Olé Olé!: A Trip Across Latin America

208 83 156 110 129 198 130 129 92 130 73 45 63 205 198 111 180 46 130 156 100 100 111 181

S Sacred 157 Sacred Water 157 Santoalla 131 Les sauteurs 134 Saydnaya 74 Schultersieg 102 Sealers - One Last Hunt 47 Seed: The Untold Story 131 Selfies aan zee 214 The Settlers 132 Shadow World 171 Shalom Italia 132 Shepherds’ Journey into the Third Millennium 238 Shingal, Where Are You? 158 Shot! The Psycho-Spiritual Mantra of Rock 181 Siberian Love 158 Silent Wilderness 159 Singing with Angry Bird 159 Site of Sites 64 El sitio de los sitios 64 Skulls, of My People 160, 224 Smell Dating 74 Smoke 172 So You Still Sort of Have the Same Number 75 Sobytie 196 Solitary 160 South to North Cine-Concert 239 Southwest of Salem: The Story of the San Antonio Four 133 Sovest 188 Spotlight on Merna 100


Still Tomorrow Stille wildernis Stranger in Paradise Su liao wang guo Sugar & Spice Taimagura baachan

32 159 48 44 93 239

T Taimagura Grandma Tempestad La terre abandonnée Thea These Memories Won’t Last Those Who Jump Time Capsule To Be a Miss To Stay Alive - A Method Too Black to Be French? Tower Trembling Mountain A Trip to the Country Trop noire pour être française? Turn Over the Stones Two Years at Sea Tzina: Symphony of Longing

239 133 140 101 75 134 172 161 65 225 134 161 225 225 93 240 76

U Underworld: a Virtual Experience of the London Sewers Unknown Brood Uzu Vacances au pays

76 84 162 225

V Venus Verloop van jaren La vie à venir Voices

49 154 150 226

W The Wait Waiting for Giraffes Walking in the Opposite Direction The War Game The War Show Wariacja na wiolonczele solo We Are X We’ll Be Alright Weiner Welcome Welcome to the Heavenly Earth Welkom op de hemelse aarde What Is Community? What We Have Made Whatever the Weather When I Hear the Birds Sing When Will This Wind Stop Where You’re Meant to Be

162 84 182 192 135 180 182 163 135 173 163 163 215 33 94 101 94 183

White Spots, a Journey to the Edge of the Internet Who We Were Who’s Gonna Love Me Now? Whose Country? Wiezi Wifi Whisperer Win by Fall Wolvesmouth Woman and the Glacier Work Horse Wrestling Alligators Wrong Elements Wszystkie nieprzespane noce WTC Yama

208 50 112 136 88 77 102 112 66 215 164 136 168 216 180

Y Yezidi Girls You Have No Idea How Much I Love You A Young Girl in Her Nineties

164 34 137

Z Zaatari Djinn Zaineb Hates the Snow Zaineb takrahou athalj Zeki Müren hatti Zeki Müren Hotline Zero Days Zhongguo Fangao

85 165 165 77 77 113 143

IDFA 2016 Catalogue  

Containing full descriptions and credits for all films and digital projects selected for IDFA 2016.

IDFA 2016 Catalogue  

Containing full descriptions and credits for all films and digital projects selected for IDFA 2016.

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