Index
View from the edge
Pp 2-3 and cover
Pp 20-23 Dutch Harvest
Image preview: IDFA feature-length competition selection Gozaran-Time Passing by Frank Scheffer
A listing of the current crop of Dutch documentaries as well as docs currently in production
View from the Edge: Yamagata International Documentary Festival director Asako Fujioka on her delight at programming Dutch documentaries
Pp 24-25 Discord in Childhood
P 4 Image preview
Ramon Gieling’s About Canto
P 5 Image preview Twins Femke and Ilsen van Velzen’s Justice for Sale
P 6 Image preview
I Am a Woman Now, Michiel van Erp
P 7 Image Preview
Jeanette Groenendaal’s Reformation
documentary ďŹ lmmakers speak of his inuence in their work. In 1999, we held a major retrospective of this auteur’s work alongside lectures and symposiums, and 31 of his ďŹ lms were screened. His ideals and actions as he rushed through the turbulent 20th Century teach us about the passion of a singular ďŹ lmmaker.
Jeanette Groenendaal discusses Reformation, her poignant and lyrical BOE FYQFSJNFOUBM ĂƒMN BCPVU BCVTF JO childhood
Pp 26-27 Export or Die EYE International’s Claudia Landsberger and the Netherlands Film Fund’s Doreen Boonekamp discuss the initiatives in place to secure wider BVEJFODFT GPS %VUDI ĂƒMNT BCSPBE
Asako Fujioka, Director, Yamagata International Documentary Film Festival
Pp 28-29 Short Cuts
I am very impressed not only by Dutch documentary ďŹ lms, which are diverse, but also the culture and industry that support them.
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Pp 8-11 Behind the Scenes
Pp 30-31 Position Among the Stars
How Dutch post-production experts are raising the bar in the quality of international co-productions
The extraordinary festival success of Leonard Retel Helmrich’s IDFA 2010 winner
The international ďŹ lm festivals of Rotterdam and IDFA have been exciting to watch in their evolution and constant growth, and as a ďŹ lm festival organiser I am always in awe of, and inspired by, them.
Pp 12-13 COVER STORY Oh Man, Take Heed 4&& /- UBMLT UP ĂƒMNNBLFS 'SBOL Scheffer about bringing modernist culture to Iran
Pp 14-15 Music Maestro
It is thanks to such platforms that ďŹ lmmakers are urged to make ďŹ lms - it is important for them to know that there is a community waiting to see their next ďŹ lm and that their work is valuable to many.
Ramon Gieling discusses Canto Ostinato, a piece of music that has had a profound and transformative effect on a number of people. His About Canto features in IDFA main competition
Pp 16-17 Twin Objective
Femke and Ilsen van Velzen’s Justice for Sale is in Dutch competition at IDFA a year after an astonishing Forum pitch in 2010. They talk to SEE NL
Due to inadequate funding, Yamagata has not chosen to open a market or pitching program, or to create funds such as the Jan Vrijman or Hubert Bals Funds. But the spirit of always evolving to try and provide what ďŹ lmmakers (and audiences) need is an important and ongoing goal for the YIDFF management.
Pp 18-19 A Question of Gender Michiel van Erp’s talks to SEE NL about his investigation into what it means to become a transsexual. His I Am a Woman Now screens in Dutch competition at IDFA
When I assess the inuence of Dutch documentary ďŹ lmmakers, obviously Joris Ivens is an important character not only within the history of world cinema but particularly within Asian documentary. Even today, many Chinese or Indonesian
Here at the YIDFF, the love we hold in our hearts for Heddy Honigmann is unsurpassed. We have shown four of her ďŹ lms in competition, and were very fortunate and overwhelmed to have her with us personally for the ďŹ rst time in 2009. It is very seldom that we don’t have a Dutch ďŹ lm in our International Competition. What’s more, ďŹ lms from the Netherlands have always formed an important part of our retrospectives, when we put together ďŹ lms about war and colonialism, for example, or historical documentaries. This is also very important as it shows the Dutch respect for archiving and also its open-minded system in providing opportunities for international audiences to see these ďŹ lms. Some countries have one or the other, but few have both. The Dutch festivals receive very generous and enviable support from their government and from the EU. Such support for arts and culture is one of the ideals upon which a country should stand. Japan, with its over emphasis on economy and immediate statistics, is a poor contrast.
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