International Documentary Film Festival Amsterdam (IDFA)

Docs to Watch in 2013: IDFA Showcases Next Year's Crop -- 'I Am Breathing,' 'Winter Nomads,' 'Propaganda' & More

David D'Arcy — Tue, 27 Nov 2012 18:43:20 GMT

The International Documentary Festival Amsterdam, or IDFA, piles a selection of the year’s docs into a window in mid-November--this year during its recently-wrapped 25th edition. The films are not all new, but enough of them are being seen for the first time that IDFA becomes a showcase for next year. Here are some docs that you can expect to see in 2013.

"First Cousin Once Removed" Dir. Alan Berliner, USA, 2012

Alan Berliner makes no-budget films that tend to be about himself and his family. In this one (which premiered at the New York Film Festival and won IDFA’s feasture doc award), Edwin Honig (1919-2011), a poet and Berliner’s mother’s first cousin, is losing his memory and his mind. He doesn’t even recognize pictures of himself. “I’m not impressed,” is his opinion when he sees one. Often, when Honig speaks, what comes out sounds a lot like someone’s odd poetry. Does a “poetic soul” trump dementia? Berliner filmed his poignant doc over five years, with plenty of improbable laughs -- even assisted-living lyricism, as the camera observes the trees outside Honig’s window changing with the seasons. This may be the film to see after Michael Haneke’s Amour tears you apart. Honig’s warning on aging: “It’s worse than what you think.” Remember that even a broken clock speaks the truth twice a day.

"I Am Breathing" Dir. Emma Davie, Morag McKinnon, Scotland / Denmark, 2012

There are fewer punch-lines in this Scottish doc than in First Cousin Once Removed. Neil Platt is the father of a young son. Neil is diagnosed with Motor Neuron Disease in his early thirties. The filmmakers follow bedridden Neil’s blog as the disease worsens and he looks back at life with good spirits. Two supporting characters will win over the audience – his wife, whose mood sustains Neil’s, and his Oscar, who experiences his father’s affections in the only way that he knows the dying man, attached to a machine that enables him to keep breathing. This wins the reality check award.

"Soldier on the Roof" Dir. Esther Hertog, Netherlands, 2012

As a truce holds, barely, in Gaza, Esther Hertog’s film (winner for Best Debut and Best Dutch Film at IDFA) watches a deeper crisis, the Israeli occupation of Arab lands. In the West Bank city of Hebron, some 800 Israeli Jewish settlers lives under military protection in the center of that town of 120,000 Arabs. Israeli soldiers are everywhere the settlers go. The soldiers also watch the town from atop its buildings. Arabs who walk nearby are stopped, made to stretch their arms against the walls, and searched. While that humiliation persists, the settlers’ kids throw rocks through the windows of Arab houses with impunity. The Gatekeepers, the jolting doc by Dror Moreh now in theaters, gives you the pessimistic legacy of the occupation from former leaders of the Shin Bet (military intelligence) who believe that negotiating for peace is the only solution. Soldier on the Roof gives you ground truth from settlers who couldn’t disagree more. It’s likely to be a fixture at Jewish film festivals in the US.

"Propaganda" Dirs. The Coming Crisis (from North Korea by way of New Zealand)

This shock-umentary about Hollywood Babylon is a mockumentary. Imagine a film warning you away from the sins of the West by showing you capitalism’s evil in all its grotesquery. Sex, drugs, greed, Hollywood, and religion, are all explained by a narrator who we’re told is a North Korean academic. This spoof of systematic theology is a satire from New Zeeland. Look for the Spinal Tap spectacle in the Midnight sections of film festival around the world. Or you can watch it on youtube.

"In the Dark Room" dir. Nadav Schirman, Israel/Germany/Finland

What was it like to have been the wife of Carlos, the brazen gunman who took oil minsters prisoner and terrified the world (eventually filling his own pockets) with the highjackings of airplanes? We find out from Magdalena Kopp, who is portrayed by glamorous Nora von Waldstatten in Oliver Assayas’s epic. Here we have Kopp herself, telling of moving from one German activist to another (without a deep interest in politics) and finally connecting with Carlos. She did time in a Paris prison after French police caught her and another militant with explosives in an illegally parked car, gave birth to a daughter in a taxi stalled in the gridlock of Damascus (sheltered by the Assad family), and fled to the beaches of Venezuela, where Carlos’s family kept her out of the spotlight. Carlos turns out to have been a heel and no proponent of women’s rights. What a surprise. While he’s serving a life sentence in French prison, Kopp’s sentence for the rest of her life is to tell the world about him. We see her Damascus-born Rosa struggling with the same fate. Will the appetite outside Germany and France for more Carlos lore (this time from the aggrieved wife) sustain this one? Schirman is the director of The Champagne Spy (2007), a portrait of Wolfgang Lotz, who posed as a German horse trainer in Egypt while spying for Israel from 1960 to 1965.

"Red Wedding" Dirs. Guillaume Suon, Lida Chan, Cambodia / France, 2012

If In the Dark Room isn’t enough for you, get ready for Red Wedding, the remembrance of Sochan, who was chosen to be the wife of a Khmer Rouge soldier. Not that she had any choice. The purposes of the forced marriages – there were 250,000 of them --was to increase population, we’re told. Archival footage of farming by hand by thousands of those who weren’t exterminated keeps any nostalgia from creeping in. With all the other crimes of the Khmer Rouge, mass rape hasn’t gotten much attention. You’ll hear a lot from one victim here in this austere portrait of a campaign for accountability after decades.

"Miss Nikki and the Tiger Girls" Dir. Julia Lamont, Australia, 2012

Another South East Asian outlaw state is the backdrop for this doc about an improbable girl band. In Myanmar, where pleasure was effectively banned for all but the brutal ruling military elite, the Tiger Girls are a band synthesized by an enterprising Australian and a local purveyor of kitsch pop. At least one of the girls can’t sing at all, and most of them are just a step away from village life than wasn’t anywhere near what we would call the modern world, and most of the country assumes that a girl group is just a front for prostitution. Like Myanmar, the group is a work in progress, and a window onto the opening of what had been one of the world’s worst dictatorships. This doc will be nothing if not a curiosity on the festival circuit.

"Money for Nothing – Inside the Federal Reserve" Dir. Jim Bruce, US, 2012

Is there a more uncinematic subject? Money for Nothing takes on a subject that you expect might require industrial strength No-Dose. Instead, the filmmakers take us back to the origins of the Fed, which was created to protect American citizens from crises in the financial marketplace. They bring us through history to sharp cuts in interests rates and collapses in the housing and real estate markets which the Fed helped bring about. You’ll look as skeptically at experts as you do at politicians after seeing this doc. But you’ll wonder whether Money for Nothing can have any effect after the presidential election. (Same for Still, this old news is worth watching. You won’t see a quote for this doc from Ben Bernanke, but you’ll find it all over festival programs.

"In the Shadow of the Sun" Dir. Harry Freeland, UK, 2012

In Tanzania, where there are some 170,000 albinos (and where the 2010 soccer-doc Albino United was filmed), local witch doctors have declared that the body parts of albinos can cure disease or make your business a success. Even more outrageous than this canard is the fact that people believe it. Albinos are chased down and killed, and their graves are robbed. You walk through this doc horror movie with charismatic Josephat Torner, who has survived attacks and describes them in chilling detail. In his first feature doc, Harry Freeland tells a story that few knew. Even sadder is that it’s not over.

"Winter Nomads" Dir. Manuel von Sturler, Switzerland, 2012

After winning in Berlin, Winter Nomads has traveled the festival circuit, but still has no theatrical deal in the US – probably due to the fact that it is in French. We journey across Switzerland for months with shepherd Pascal, his partner Carole (a 20-something French woman who left an office job for this life) plus their four dogs and about 800 sheep. The doc’s charm prevails, despite snow, rain, and every other inclement element, with a sweetness and softness to the camera’s view of it all. Intrepid Carole looks like the Bjork of shepherds, but Leon, the puppy who can herd hundreds of sheep with the best of them (carried in her coat pocket when we first met him), steals the show. It’s genuine family entertainment, but is it a road movie, an eco-doc, or a western?

"Smash & Grab: the Story of the Pink Panthers" Dir. Havana Marking , UK, 2012

A story of a crime wave, told by the criminals who drove cars through the facades of jewelry stores and mostly got away with it. The Pink Panthers take their name from the bumbling Inspector Clouseau series starring Peter Sellers. These crooks are no amateurs. Marking (Afghan Star, 2009) traces their origins to the war that tore Yugoslavia apart and spawned a black market for anything that could be stolen. Most of the thieves are Montenegrins but, as in the movies, nothing produces imitators like success. Smash & Grab is a bracing true crime doc, with plenty of reflections on the mechanics and ethics of crime (no kidding) from alumni of the Pink Panthers, whose identities are animated to conceal them. Detectives in Switzerland and the United Arab Emirates join in the discussion. And it’s not over, just google “smash & grab” for the latest heists. Somehow I smell a feature remake here, and not only because one of the criminals tells great tales about seducing her way inside the jewelry business. This should be a festival circuit hit.

10 Docs to Watch at IDFA 2012

Basil Tsiokos — Mon, 19 Nov 2012 15:30:33 GMT

Since Wednesday, the international non-fiction industry has descended on the Venice of the North for the 25th anniversary of International Documentary Film Festival Amsterdam, or IDFA for short -- the largest such gathering in the world. While the event's FORUM begins today, where new projects are pitched to the leading funders and TV commissioning editors around the world, a number of completed projects screening in the festival have generated some buzz among programmers polled over its first weekend. With literally hundreds of new films on offer, it may be telling that the following are among those that have popped - keep an eye out for them at other upcoming festivals:

"Propaganda" (World Premiere)

The title that seems to have generated the most pre-screening curiosity is this anonymous North Korean entry in the fest's "Reflecting Images - Panorama" section. According to IDFA's program, the film made its way into Western hands via a translator through supposed North Korean dissidents, but, as indicated by its title, seems to be more of an indictment of the world outside of Kim Jong-un's dictatorship. A scientist leads the viewer, Michael Moore style, through a lesson in Western greed, violence, and immorality, offering an alternative in the promised land of North Korea. Using rhetoric not unlike that of the Occupy movement, one wonders if this is actually an elaborate satire, holding an mirror uncomfortably close to the excesses of our society.

"Wrong Time Wrong Place" (World Premiere)

Selected to open this year's festival, simultaneously screening in 25 cinemas around the country, Dutch director John Appel's film explores the events of last year's bomb attacks and shootings in Norway. The contemplative essay film - exploring the randomness of coincidence in dictating our experiences - was noted by some international fest programmers as strong, while others noted a difficulty with its pace and approach. Appel's previous work has screened at the festival several times - his 1999 "André Hazes - She Believes in Me" opened IDFA in 1999 and won the top prize - best feature-length doc. His current film is also in the running for the same award as well as the award for best Dutch film.

"Bravehearts" (International Premiere)

Kari Anne Moe's is also informed by the deadly actions taken by right-wing extremist Anders Behring Breivik in Norway on July 22, 2011. Moe was in the middle of filming her current project, following four young people running school election campaigns representing a range of parties, as a sort of litmus test for the upcoming national elections. When news breaks of Breivik's massacre, each candidate must take stock of his or her position, including one young man who was on the island of Utøya where Breivik killed 69 of his fellow Labor Youth party members. The film is in the running for the First Appearance prize.

"I Am Breathing" (World Premiere)

Emma Davie and Morag McKinnon's main competition entry is an emotionally devastating portrait of Neil Platt, a terminal thirty-three-year-old man saying goodbye to his wife and infant son. Paralyzed by the swift onset of motor neuron disease, Platt is completely dependent on others to tend to him. He's decided that once he can no longer swallow or speak, his ventilator will be turned off. Until then, using voice recognition software, he blogs about his life as a way to leave something of himself behind for his one-year-old. A production of the Scottish Documentary Institute, co-produced by the always inventive Danish Documentary, the film is alternately heartbreaking and disarmingly sardonic.

"Smash & Grab - The Story of the Pink Panthers" (World Premiere)

British director Havana Marking, whose "Afghan Star" won both the World Cinema Documentary Directing and Audience Awards at the 2009 Sundance Film Festival, premieres her profile of the notorious jewel thieves in the main competition here. Interviewing members of the wanted gang, disguised by animation, Marking delves into their origins in Yugoslavia in the war-torn 1990s, where, led by political instability and the lack of available employment, many of the gang members originally turned to crime. Attendees polled were eager to see if Havana could bring the thrill and danger of the heist film to the documentary in the manner of "Man on Wire" or "The Imposter."

"The Staircase 2: The Last Chance" (World Premiere)

Jean-Xavier de Lestrade's follow up to his riveting 2004 miniseries also makes its debut in competition here. The original series captivated viewers on the Sundance Channel, detailing the strange death of Kathleen Peterson - did a fall claim her life, or did her husband Michael murder her? As Michael appeals the decision handed down at the end of the first series, de Lestrade offers updates on the major players and where they stand today, while exploring the inner workings of the US criminal justice system. Based on the popularity of the original, this is sure to screen extensively at fests in the coming year, as well as on the small screen on the Sundance Channel.

"In the Dark Room" (World Premiere)

Another main competition title with a darker edge that was mentioned by more than one IDFA industry attendee this weekend is Nadav Schirman's portrait of the wife and daughter of the infamous Venezuelan terrorist known as Carlos the Jackal - most recently the subject of Olivier Assayas' 2010 "Carlos" and also featured in Jacques Vergés' 2007 doc, "Terror's Advocate." Looking at the women behind the legend, Schirman traces his wife Magdalena's path from the radical left into the international revolutionary activities she shared with her husband and his group, and explores their daughter's relationship with Carlos - who she knows only from the media - as Carlos faces a life sentence in a Paris court.

"Who Will Be A Gurkha" (World Premiere)

A real-world, high-stakes modern competition is at the core of Kesang Tseten's compelling film, which offers a fly-on-the wall look at the painstaking process by which thousands of 17-20 year old Nepalese boys attempt to become men in the British Army Brigade of Gurkhas. Tracking the rigorous selection process for six months, this main IDFA competition entry details the physical tests and interviews the boys must excel in to win a place in the storied ranks - which go back to the early 1800s, as demonstrated by fascinating archival footage that echoes the modern day - and, significantly, provide an income far beyond what they could hope to earn otherwise, and an eventual British passport.

"Miss Nikki and the Tiger Girls" (World Premiere)

Juliet Lamont's engaging film, also vying for the main prize, follows the first all-girl band in the repressive regime of Myanmar (Burma), from their calculated beginnings as "The Tiger Girls" under the control of a litigious producer to their necessary reinvention as the punny "Me an Ma Girls" with the help of their savvy Aussie choreographer, manager, and de facto mother hen Nikki. As the country takes steps towards more freedom - releasing long time political prisoner Aung San Suu Kyi who goes on to elected office - the Girls attempt to push past gender and ethnic prejudices in this poppy, insider view of the nascent awakening of a closed society.

"Elena" (International Premiere)

Making its international bow in the First Appearance section, Brazilian Petra Costa's first feature comes off multiple wins from its debut at the Brasilia festival and praise from her acclaimed countrymen Walter Salles and Fernando Meirelles. The film is a lyrical and partly staged exploration of what happened to Petra's older sister, Elena, who, like Petra, wanted to study acting and live in New York City. As family photos, letters, and video combine, the puzzle of her sister is slowly teased out, and how it informs both Petra's sense of herself, and the viewer's sense of the filmmaker.

IDFA continues through Sunday, November 25. A report spotlighting the FORUM will follow later this week.

ABOUT THE WRITER: Basil Tsiokos is a Programming Associate, Documentary Features for Sundance, Shorts & Panel Programmer for DOC NYC, and a consultant to documentary filmmakers and festivals. Follow him on Twitter (@1basil1) and visit his blog (what (not) to doc).

IDFA Announces Line-Up: 'Gatekeepers,' 'My Afghanistan,' Docs on the Pink Panthers and Norwegian Massacre Included

Bryce J. Renninger — Fri, 12 Oct 2012 15:31:45 GMT

The International Documentary Festival Amsterdam (IDFA) has announced the line-up for its 2013 edition. The festival's competition for best feature-length documentary will show off 16 films, one of which will win a 12,500 Euro prize. Among the main competition films are Dror Moreh's look at the Shin Bet, Israel's equivalent of the FBI, "The Gatekeepers"; the crowdsourced "My Afghanistan"; and documentaries about the poet Edwin Honig and the diamond thieves the Pink Panthers. "Wrong Time Wrong Place," a film about the recent Norwegian massacre, will open this year's fest, which runs November 14-25.

Below is the line-up for the main competition. For the entries in the mid-length documentary, first appearance, student documentary, Dutch documentary, music documentary and youth-made documentary categories, visit the IDFA site.

Bad Boy High Security Cell by Janusz Mrozowski (France/Poland)
The diary of a Polish bank robber in solitary confinement - without privacy, visiting rights, or even a window - struggling against insanity.

First Cousin Once Removed by Alan Berliner (US)
An intimate and sensitive portrait of poet Edwin Honig, who is suffering from Alzheimer's disease, in the final phase of his life.

The Gatekeepers by Dror Moreh (Israel/France/Germany/Belgium)
Six former leaders of Israel’s state security service Shin Bet reveal aspects of the War on Terror.

Housemaids by Gabriel Mascaro (France/Lebanon/Brazil)
Affluent Brazilian young people film their live-in maids, providing insight into their relationships with these family members from another world.

I Am Breathing by Morag McKinnon and Emma Davie (England/Scotland/Denmark)
Neil Platt is 33, has just become a father and is terminally ill. He broadcasts candid, humorous observations on life by means of a blog.

In the Dark Room by Nadav Schirman (Germany/Israel/Romania/Finland/Italy)
A film portrait of Magdalena Kopp, the German wife of Carlos the Jackal, one of the world's most notorious terrorists.

The Lost Fighters of Vietnam by Lê Lam (France)
Elderly Vietnamese men talk about their experiences as colonial forced labor in France during World War II, about gambling addiction and hunger, and about emancipation and pride.

Miss Nikki and the Tiger Girls by Juliet Lamont (Australia)
After decades of military dictatorship, Burma’s first girl group wrestle with the question: what to sing about when you’ve always been told what to do?

Missing in the Land of Gods by Davor Dirlic (Australia)
Engaging portrait of an Australian married couple searching India for their son, who disappeared in 2005 after a stay in an ashram.

My Afghanistan - Life in the Forbidden Zone by Nagieb Khaja (Denmark)
Thanks to some secretly distributed cell phones equipped with cameras, average Afghanis provide us with a rare glimpse into their war-torn lives.

Rafea: Solar Mama by Jehane Noujaim and Mona Eldaief (US/Denmark/Jordania/India)
When Bedouin Rafea gets an opportunity to train as a solar engineer in India, she meets great resistance from her unemployed husband and conservative community.

Selection: Who Will Be a Gurkha? by Kesang Tseten Lama (Nepal/Finland)
In spite of the cruel selection procedure, every year thousands of young Nepalese join the Gurkhas, an elite unit of the British army.

Smash & Grab - The Story of the Pink Panthers by Havana Marking (England)
The story of the world's most wanted diamond robbers, told from the point of view of the culprits themselves, the police, and the press. We've seen this classic cat-and-mouse game in many movies, but this time it's real.

The Sons of the Land by Edouard Bergeon (France)
As the filmmaker – himself a farmer’s son – follows the struggles of a French farmer, he talks about his father’s suicide.

The Staircase 2. The Last Chance by Jean-Xavier de Lestrade (France)
After eight years in prison, there is a glimmer of hope for alleged murderer Michael Peterson. A new chapter in this thrilling docu-thriller series.

Wrong Time Wrong Place by John Appel (Netherlands)
Survivors of the shootings on the Norwegian island of Utøya talk about their experiences and the role played by chance.

Kino Lorber Smooches IDFA/Sundance Selection 'Putin's Kiss' for North America

Brian Brooks — Fri, 09 Dec 2011 16:38:07 GMT

In a prelude to the Sundance titles that will find Stateside distribution, Kino Lorber has picked up all North American rights to "Putin's Kiss" by Danish director Lise Birk Pedersen. The film had its world premiere at the recent International Documentary Film Festival Amsterdam, which screened in competition.

The doc will have its North American debut at Sundance in the World Cinema Documentary Competition. The film will broadcast on ITVS in late 2012.

Full Kino Lorber acquisition release follows:

Kino Lorber, Inc. is proud to announce the acquisition of all North American rights to "Putin's Kiss" a film by Lise Birk Pedersen and Monday Production. "Putin's Kiss" was acquired by Kino Lorber at IDFA, where it had its world premiere in the IDFA Feature Documentary competition.

The acquisition was negotiated by Kino Lorber Vice President Elizabeth Sheldon and Helle Faber of Made in Copenhagen. It will be released theatrically after its North American premiere at the Sundance Film Festival (in the World Cinema Documentary competition). The film will broadcast on ITVS in late 2012.

"Putin's Kiss" portrays contemporary life in Russia through the coming-of-age story of Masha, a middle-class, 19-year-old Russian girl and a member of Nashi, a political youth organization that is connected with the Kremlin. Extremely ambitious, the young Masha quickly ascends to the top of Nashi, which allows her to become the protégé of the Minister of Youth. She is rewarded for her loyalty with an apartment while attending Moscow State University.

She begins to question her involvement with Nashi when she learns that a radical faction within the organization is supposedly responsible for attacks against anyone who criticizes Putin. This leads her to question the organization, and she meets a journalist, Oleg Khasin, with whom she becomes close friends despite their strongly opposing views. However, when Oleg is attacked, Masha finds herself at odds with Nashi, and realizes she must take a stand.

"'Putin's Kiss' exposes a ruling elite that places no value on a free press or free elections. Masha's story is universal, she is intelligent, ambitious and proud of her country and does not want to see the dark side of Russia's leadership, which has ostensibly brought security to a country wracked by political, economic and social upheaval.

"Her story and her moral dilemma illustrate the price of taking a political stand," comments Elizabeth Sheldon, "We are proud to add this important film to the Kino Lorber library." Producer Helle Faber added, "I'm very excited to have the opportunity to bring the film out to an American audience. Thanks to Kino Lorber, Putin's Kiss will now premiere in NY and other major cities in the US."

Seung-Jun Yi On His IDFA Award Winning "Planet of Snail"

Peter Knegt — Mon, 28 Nov 2011 21:30:38 GMT

Seung-Jun Yi's doc "Planet of Snail" was the big winner at the International Documentary Film Festival Amsterdam (IDFA), taking the festival's top prize this past weekend.

Don't let the title fool you. It's not a nature documentary about snails. "Planet of Snail" is actually a quietly powerful portrait of Young-Chan, a Korean man who is both deaf and blind (he calls himself a "snail" as he can only communicate through touch). At the centre of the story is Young-Chan's relationship with his wife Soon-Ho, who lovingly works as his eyes and ears.

With impressive intimacy, "Snail" depicts a remarkably endearing relationship in Young-Chan and Soon-Ho. The manner in which the pair respect each other, laugh with one another - despite the complications of their situation - works as a significant testament to the potential of the human spirit and the power of love. It also gives a clear window into the lives of people facing what could clearly be a brutally lonely disability.

Last week in Amsterdam, Indiewire sat down with Seung-Jun prior to his big win at IDFA. It seems that before Seung-Jun made the film, he met his future subject when he was making an education television program about communicating with fingers (which Young-Chan clearly excels at).

"After that we became friends," Seung-Jun said. "We're the same age. He's a very interesting guy. And it's not because he's dead and blind. As you see in the film, his poetry is so beautiful. And he's also very funny and humourous. I was attracted by these factors."

Young-Chan did not want to be filmed at first. Seung-Jun approached him with the idea but he was concerned with how he might be portrayed, particularly given he wouldn't be able to see or hear what Seung-Jun was filming.

"I fully understood his opinion," Seung-Jun said. "I told him that I'm not going to make some easy TV documentary. It won't be one month of shooting and one month of editing and then broadcast on TV. But that's how most factual programs are made in Korea and they call it documentary."

Young-Chan and his wife Soon-Ho became convinced as they started to get to know Seung-Jun better and he continued to emphasize the creative integrity of the project he wanted to make.

Seung-Jun filmed the pair for over two years and continued to gain their trust in process.

"Sometimes they'd say 'today I don't want to be filmed,'" Seung-Jun said. "And I'd say 'okay, let's have a coffee or a talk or something like that.' So I took my time. With that attitude I gained their trust. Also, they are very good people. And as a director, that made very happy."

It also should make audiences around the documentary film festival circuit happy over the next year or so, when "Planet of Snail" is sure to make the rounds. The trust he built with his subjects helped create the intimacy that made "Snail" the talk of IDFA.

For more information, check out the film's website.

Everything You Need to Know About This Year's IDFA

Nigel M Smith — Mon, 28 Nov 2011 17:52:19 GMT

The 2011 International Documentary Film Festival Amsterdam wrapped its 24th edition last Friday with South Korea's "Planet of Snail" taking the top prize. Indiewire was on the scene in Amsterdam, reporting on the buzz titles and interviewing a crop of the hottest talent. Below find everything you need to know about 2011's IDFA.

NEWS

"Planet of Snail" Takes Top IDFA Prize
IDFA handed out its prizes Friday evening, with South Korean director Seung-Jun Yi’s "Planet of Snail" taking the Best Feature-Length Documentary prize. The Special Jury Award went to "5 Broken Cameras" (Palestine/Israel) by Emad Burnat and Guy Davidi, who also won the Publieke Omroep IDFA Audience Award. The film received financial support from the festival's Jan Vrijman Fund.

Cinelan Joins IDFA for its "Focus Forward" Initiative
Film/video publisher Cinelan unveiled a multi-year collaboration with IDFA over the weekend. The aim is to partner on their worldwide initiative, "Focus Forward - Short Films, Big Ideas," a series of "3-minute nonfiction films about the incredible human power of ideas and invention."

Lorber Films Catches "Sushi" at IDFA
U.S. rights to Mark S. Hall's doc "Sushi: The Global Catch" has been picked up by Kino Lorber, the distributor's Richard Lorber told Indiewire at the International Film Festival Amsterdam (IDFA). Lorber said the company will likely begin rolling out the film, which looks at the rise in popularity of the Japanese specialty around the world and its threat to the bluefin tuna.

FEATURES

Mads Brugger on Radical Journalism and His Controversial IDFA Opener "The Ambassador"
Mads Brügger's "The Ambassador" is certain to be one of the most discussed documentaries at the festival, as well as scores of documentary festivals to come. Brügger's follow-up to his Sundance award-winning "The Red Chapel," the film takes the director's remarkably hands-on approach to investigative journalism a controversial step further.

A View from the Bleachers: Catching Pitches at IDFA's Forum
Doc makers, broadcast commissioning editors and funders gather each year for the FORUM, IDFA's co-financing and co-production market. It's the opportunity to consider what IDFA hopes are the most promising new projects that will be completed within the next couple of years. According to organizers, the event has an extremely successful track record, with 90% of pitched projects reaching completion.

Why lise Birk Pedersen's "Putin's Kiss" is an IDFA Discovery
"Putin's Kiss," the first feature doc for Danish filmmaker Lise Birk Pedersen, attracted more than 300 people for its world premiere at IDFA. Judging by reactions, they were not disappointed.

How "Monastery" Director Pernille Rose Gronkjaer Became a "Love Addict"
After her hugely successful 2006 documentary, "The Monastery" (which won a major award at IDFA, screened in competition at Sundance and was nominated for an Indie Spirit Award), Pernille Rose Grønkjær took on a little-known epidemic: Love addiction.

Why IDFA Founder Ally Derks is the High Priestess of Documentaries
As founder and head of IDFA, Ally Derks presides over one of the year's most anticipated annual nonfiction film events. Now in its 24th year and under way through next weekend, Derks has witnessed first-hand the rise, evolution and challenges of documentary.

Indiewire Names 12 IDFA Premieres Likely to Hit U.S. Festivals in 2012
Here are 12 debut titles that Indiewire predicts will hit the film festival circuit Stateside in 2012. And while we picked an even dozen, there's undoubtedly more titles playing here that will also head to U.S. screens.

Here's 10 Docs That Everyone's Watching at IDFA
Everything from a pair of twin prostitutes to a man who has been blind and deaf since childhood are the subjects of this year's batch of docs.

FUTURES | Danish Doc Duo Debuts With IDFA's "Ballroom Dancer"
"Ballroom Dancer" is the directorial debut for Bonke and Koefoed and had its world premiere as the opening film of CPH:DOX and heads to IDFA this weekend. The story of a champion dancer who's now struggling with an aging body and an intense anger management problem that keeps scaring off dance partners, it's accessible, charming and you're going to be seeing a lot of it on the festival circuit.

"Planet of Snail" Takes Top IDFA Prize

Brian Brooks — Fri, 25 Nov 2011 21:05:34 GMT

The International Documentary Film Festival Amsterdam (IDFA) handed out its prizes Friday evening, with South Korean director Seung-Jun Yi’s "Planet of Snail" taking the Best Feature-Length Documentary prize. The Special Jury Award went to "5 Broken Cameras" (Palestine/Israel) by Emad Burnat and Guy Davidi, who also won the Publieke Omroep IDFA Audience Award. The film received financial support from the festival's Jan Vrijman Fund.

In other prizes, Jorge Gaggero's "Montenegro" won IDFA's award for Best Mid-Length doc and Xun Yu's "The Vanishing Spring Light" took the nod for best First Appearance.

The 2011 IDFA continues through Sunday, though the festival is estimating an increase from 180,000 visits in 2010 to 200,000 this year.

The 2011 IDFA winners with descriptions and information provided by the festival:

The VPRO IDFA Award for Best Feature-Length Documentary (consisting of a sculpture and €12,500): "Planet of Snail" by Seung-Jun Yi (South Korea)
The film depicts the everyday life of deaf & blind Young-Chan and the love of his life, Soon-Ho.

Special Jury Award: "5 Broken Cameras" by Emad Burnat and Guy Davidi (Palestine/Israel/Netherlands/France)
The film is a personal portrait of a Palestinian village resisting encroaching Jewish settlements, as recorded by an inhabitant of the village over a number of years.

NTR IDFA Award for Best Mid-Length Documentary (€10,000):
"Montenegro" by Jorge Gaggero (Argentina)
The film is about an old man living with his dogs on a quiet island in a river delta, in a seemingly harmonious symbiosis with a hermit who lives a little way away.

The IDFA Award for First Appearance (€5,000):
"The Vanishing Spring Light" by Xun Yu (China/Canada)
The film documents the life of the residents of West Street in Dujiangyan City.

The Dioraphte IDFA Award for Dutch Documentary (€5,000):
"900 Days" by Jessica Gorter
The film centers on survivors of the siege of Leningrad soberly separate propagandist myth from their horrific personal memories.

De Publieke Omroep IDFA Audience Award (€5,000):
"5 Broken Cameras" by Emad Burnat and Guy Davidi

IDFA Award for Student Documentary (€2,500):
"The Betrayal" by Karen Winther - The film is about Karen, who as a teenager made a crucial mistake as part of the Norwegian squatting scene, and is hoping for forgiveness.

The BlackBerry IDFA DOC U Award (€1,500):
"The Last Days of Winter" by Mehrdad Oskouei (Iran) - The film is a portrait of seven Iranian boys in a youth detention centre, who talk candidly about their lives.

The IDFA Award for Best Green Screen Documentary (€2,500):
"Bitter Seeds" by Micha X. Peled - Filmmaker Peled investigates why every thirty minutes an Indian cotton farmer commits suicide, and follows one such farmer on his journey to the edge of the abyss.

Oxfam Global Justice Award: "Bitter Seeds" by Micha X. Peled (USA/India)

IDFA DocLab Award for Digital Storytelling (€2,500): "Insitu" by Antoine Viviani (France). "Insitu" is a search for creative, artistic ways to intervene in the public space.

A View from the Bleachers: Catching Pitches at IDFA's FORUM

Basil Tsiokos — Fri, 25 Nov 2011 08:44:52 GMT

Against the backdrop of the world's largest documentary festival, doc makers, broadcast commissioning editors and funders gather each year for the FORUM, IDFA's co-financing and co-production market. It's the opportunity to consider what IDFA hopes are the most promising new projects that will be completed within the next couple of years. According to organizers, the event has an extremely successful track record, with 90% of pitched projects reaching completion.

In addition to those actively involved in making their pitches -- typically directors and/or producers, introduced by a funder or commissioning editor who's already committed to the project -- presentations are also watched by silent observers, including the press and, most significantly, other curious filmmakers, many looking for practical examples on how to give a successful pitch.

In the Central Pitches, observers surround the proceedings from the veritable bleachers, watching the action in a sort of gladiator arena where about 25 broadcasters and funders weigh in on what they've heard from the pitching team. Round Table Pitches are more intimate; a smaller group of observers look on as eight or fewer industryites hear about new projects.

Not available to outside observers are the hundreds of one-on-one meetings that the FORUM-participating filmmakers can go into more depth about their projects, including showing more material beyond the trailer and discussing character and story arcs in more detail.

There are a few key factors in successfully pitching projects at events such as this. Taking heed can put documentary filmmakers and their new projects on the radars of some of the most influential decisionmakers in international broadcasting and film funding; ignore them and you risk leaving empty-handed. A selection of pitches observed on Tuesday help to illustrate how to do things right.

Preparedness

The pitches have time limits. Teams who were well prepared retained their ability to be succinct, both in their presentation and in responses to questions from the broadcasters. Those who were less prepared risked creating an anxious energy as they felt pressed for time, which could undermine the impact of the pitch.

Director Matt Wolf ("Wild Combination") gave a particularly polished pitch for his project "Teenage," a creative exploration of the pre-history of the teenager through proto-versions that appeared between the two World Wars. Wolf knows his material and demonstrated as much as he addressed the audience. When questioned about the project's ability to connect with different national conceptions of youth culture, Wolf referred to transmedia opportunities, such as those already offered by the project's smartly conceived website.
First-time documentary feature director Zachary Heinzerling also impressed with his pitch for "Cutie and the Boxer," a portrait of artists Noriko and Ushio Shinohara that is, at its heart, a love story. Heinzerling's confidence came through as he introduced the audience to his unique subjects, New York-based Japanese artists who have struggled with their careers and marriage over 40 years. As evidenced by his trailer, the filmmaker explained that he employed a deliberate approach that harkens back to the Japanese New Wave, revealing his characters through extended intimate takes.
Both Wolf and Heinzerling, in contrast to some of the other pitches observed, didn't allow themselves to get tripped up. When commissioning editors nitpicked, they didn't waste valuable time responding at length. Instead, they allowed themselves the opportunity to receive additional feedback from others at the table. They clearly understood how best to convey the most salient aspects of their projects through a short verbal presentation and a well-constructed trailer that hinted at the depth of their content without overwhelming or confusing the viewer.

Trailers

Trailers are a key element at events like the FORUM. Filmmakers can be great talkers, but if the visuals don't match up, they're going to have a problem. In contrast, a gripping trailer can assuage the doubts that might come up due to a weaker pitch -- a filmmaker may not be the best public speaker, but if s/he is able to tell a story well visually, that's going to score some major points.

One of the best trailers observed was Danish first-time feature director Berit Madsen's teaser for "Break of Dawn," about a 16-year-old Iranian girl's dream of becoming an astronaut. In a few striking minutes, Madsen establishes an extremely likeable protagonist in Sepideh, the obstacles to her desires in the form of her threatening and repressive traditional father and the unexpected chance at success when she's contacted by her idol, Anousheh Ansari -- the first Iranian who traveled in space.
Another successful trailer was "The Lovers and the Despot,"a stranger-than-fiction account of cinemaniac North Korean dictator Kim Jong-il's kidnapping of South Korean film actress Choi Eun-hee and her director husband Shin Sang-ok to create propaganda. Veteran UK producer Sandra Whipham ("Enemies of the People") was joined by directors Robert Cannan and Ross Adam for the successful presentation, which promised an approach balancing a real-life dangerous political thriller with a sense of humor.
In contrast, less-successful trailers or scene selects shown by some other pitching teams failed to clearly convey characters, stories and storytelling ability. In the context of public pitches, less is more. Those filmmakers who, for whatever reason, chose to show multiple clips or extended trailers often showcased perhaps too many characters, themes or developments, leading to confusion for some commissioning editors as to what the focus actually would be, how the story would be told and why they should react in a particular way to certain characters.

Clarity

Informing both of the above points is the final factor: Clarity of purpose. A good pitch involves the ability to clearly articulate what exactly the project is, why the filmmaker feels s/he has to make it and why the funder should want to be involved. The pitching team's preparedness, verbal presentation and visual presentation is the direct result of this clarity of vision.

Danish director Katrine Riis Kjær was perhaps the best example of this clarity. Her project, "Mercy Mercy," looks at the dark side of international adoption. While following a Danish couple in their quest to adopt an African child, the director discovers some difficult truths about the industry that has developed, exploiting African parents and children alike. Rather than sit back, Riis Kjær was compelled to reveal the whole story. Her trailer is heartbreaking, displaying unparalleled access to all parties in the case, while her overall presentation made the project one to keep an eye out for.
In the case of "The Life and Mind of Mark Defriest," director Gabe London impressed with his passion for the project, which he's been working on for nearly a decade. The film tells the story of a notorious petty criminal who has been incarcerated for 30 years, due in large part to his proclivity and talent for escaping from prison. Presenting with noted producer Daniel Chalfen ("Gone"), London had a great hook for a project: Defriest himself. While the pitch overindulged on presenting clips and failed to engender empathy from some of the commissioning editors, the project and its subject still stood out as intriguing and worthy of feature doc treatment.

Among the established filmmakers presenting projects among the 58 selected were:

Michael Madsen ("Into Eternity"), with "The Visit," a speculative project on the philosophical implications of alien visitation;
Jonathan Stack ("The Farm: Angola, USA") and Saralena Weinfeld's "The Vasectomy Project," about one doctor's mission to end overpopulation and poverty
Peter Lom ("On A Tightrope") with "After the Revolution," on the aftermath of the Egyptian fight for democracy
Laurie Gwen Shapiro ("Keep the River on Your Right") executive producing director Shawney Cohen's unusual family portrait, "The Manor"
Nahid Persson Sarvestani ("The Queen and I")'s "My Stolen Revolution," about the fate of her brothers and others, including herself, involved in the 1979 Iranian Revolution
Janus Metz ("Armadillo") and Daniel Dencik's "The Expedition to the End of the World," following an Arctic voyage
Maite Alberdi ("The Lifeguard," at IDFA this year) with "Tea Time," a portrait of a group women who have been friends over 60 years.

ABOUT THE WRITER: Basil Tsiokos is a Programming Associate, Documentary Features for Sundance and a consultant to documentary filmmakers and festivals. Follow him on Twitter (@1basil1) and visit his blog (what (not) to doc).

IDFA Announces Finalists For Their 2011 Awards

Peter Knegt — Wed, 23 Nov 2011 21:33:04 GMT

The nominations for the various IDFA competition programs were announced tonight in Amsterdam.

The winners will be announced Friday evening at the closing ceremony for the 24th IDFA, along with the winner of the Publieke Omroep IDFA Audience Award.

Last Saturday, the IDFA PLAY Award for Best Music Documentary was presented to "Last Days Here" (USA) by Don Argott and Demian Fenton.

Full list of finalists below. Check out Indiewire's profiles on finalists "The Ambassador" and "Ballroom Dancing."

IDFA Competition for Feature-Length Documentary

The nominees for the IDFA Competition for Feature-Length Documentary (films longer than 60 minutes) are:

The Ambassador (Denmark) by Mads Brügger
Bad Weather (Germany/UK) by Giovanni Giommi
Planet of Snail (South Korea), by Seung-Jun Yi.

The jury is made up of: Moussa Sene Absa (Senegal); Sandy Lieberson (USA); Dennis Lim (USA); Laila Pakalnina (Latvia) and Suzanne Raes (the Netherlands). The winner of this competition will receive the VPRO IDFA Award for Best Feature-Length Documentary (€12,500). The jury may also grant a Special Jury Award.

IDFA Competition for Mid-Length Documentary

The following films are nominated for the IDFA Competition for Best Mid-Length Documentary (films up to 60 minutes):

Going up the Stairs (Iran) by Rokhsareh Ghaem Maghami;
Habana Muda (France) by Eric Brach
Montenegro (Argentina) by Jorge Gaggero.

The jury consists of: David Fisher (Israel); Boris Gerrets (the Netherlands); Maria Ramos (the Netherlands); Miranda Siegel (USA) and Ben Tsiang (China). The NTR IDFA Award for Best Mid-Length Documentary consists of €10,000.

IDFA Competition for First Appearance

The following films are nominated for the IDFA Award for Best First Appearance, the award for the best debut or second film:

Ballroom Dancer (Denmark) by Andreas Koefoed and Christian Bonke
I Was Born in Delhi... (India) by Bishnu Dev Halder
The Vanishing Spring Light (China/Canada) by Xun Yu

The jury was made up of: Liang Bibo (China); Ollie Huddleston (UK); Monster Jimenez (the Philippines); Margje de Koning (the Netherlands) and Basil Tsiokos (USA). The IDFA Award for Best First Appearance is worth €5,000.

IDFA Competition for Student Documentary

The nominees for the IDFA Competition for Student Documentary, the competition for international student films are:

The Betrayal (UK/Norway) by Karen Winther
If It Weren't for You (the Netherlands) by Anne-Marieke Graafmans
Tilman in Paradise (Germany) by Julian Vogel.

The jury was made up of: Stella Bruzzi (Italy); Eva Küpper (Belgium) and Willem-Jan Otten (the Netherlands). The IDFA Award for Student Competition consists of an amount of € 2,500.

IDFA Competition for Dutch Documentary

Fourteen Dutch documentaries competed for the Dioraphte IDFA Award for Dutch Documentary. The nominees are:

900 Days by Jessica Gorter
Jerome Jerome by Petra Lataster-Czisch and Peter Lataster
Stories from Lakka Beach by Daan Veldhuizen.

The jury consisted of: Luciano Barisone (Italy); Hans Robert Eisenhauer (Germany); Aliona van der Horst (the Netherlands); Anne Marie Kürstein (Denmark) and Orwa Nyrabia (Syria). The prize is worth € 5,000.

IDFA Competition for Green Screen Documentary

This year, for the second time, documentaries about man and his environment are eligible for the IDFA Award for Best Green Screen Documentary. The nominees are:

Bitter Seeds (USA/India) by Micha X. Peled
Raising Resistance (Germany/Switzerland) by Betina Borgfeld and David Bernet
Semper Fi: Always Faithful (USA) by Rachel Libert and Tony Hardmon.

The jury consists of: Joe Berlinger (USA); Cath Le Couteur (Australia); Michael Madsen (Denmark); Juan Carlos Rulfo (Mexico) and Maartje Somers (the Netherlands). The prize is worth € 2,500.

BlackBerry IDFA DOC U Award

On Friday, the DOC U jury, made up of young people aged 15 to 18 years, will present the BlackBerry IDFA DOC U Award. The Nominations are:

Koran by Heart (USA/England) by Greg Barker
The Last Days of Winter (Iran) by Mehrdad Oskouei
To Be Heard (USA) by Edwin Martinez, Roland Legiardi-Laura, Deborah Shaffer and Amy Sultan.

The jury consisted of: Sebastiaan Ahmadian Yazdi, Ida Blom, Bobby Fay Brandsen, Anne Lisette van der Heijden and Jody Homeijer. The prize is worth €1,500.

IDFA DocLab Award for Digital Storytelling

For the second year running, there is also an award for a project in the DocLab programme. The nominees are:

Barcode.tv (Canada/France) by Philippe Archontakis and Pascal Brouard
Beyond 9/11 (USA) by Kira Pollack
Insitu (France) by Antoine Viviani

The jury was made up of Ingrid Kopp (UK); Martijn de Waal (the Netherlands) and Rob McLaughlin (Canada). The prize is € 2,500 and a sculpture.

Why Lise Birk Pedersen's "Putin's Kiss" is an IDFA Discovery

Brian Brooks — Wed, 23 Nov 2011 17:56:48 GMT

"Putin's Kiss," the first feature doc for Danish filmmaker Lise Birk Pedersen, attracted more than 300 people for its world premiere at IDFA. Judging by reactions, they were not disappointed.

In "Putin's Kiss," Pedersen examines Russia's new generation through the experience of Mosha, an intelligent and ambitious teen who gained notoriety at home for giving Russian president Valdimir Putin a kiss on the cheek. She, along with many in her generation, admire Putin and his charisma, embodying a strong paternal figure who is determined to recapture Russian greatness.

In order to fight Russia's perceived internal enemies, many in this new generation -- including Mosha -- have joined Nashi, a pro-government youth movement that are emphatic supporters of Putin and President Medvedev. Their enemies include liberal journalists like Oleg Kashin who have likened Nashi to the Hitler youth movement and have chastised Putin generally for subverting Russia's nascent democracy.

But at the heart of "Putin's Kiss" is the coming-of-age story of Mosha, from devoted disciple and leader in Nashi to something different as she experiences the darker side of the regime's tactics.

IDFA head Ally Derks told Indiewire the other day that there is a movement happening that she and her colleagues are calling the "Pop-Doc," films that are cinematic and tell a broader story in a personal way. You chose this route exposing Russia's Nashi youth movement through one of its young leaders, Mosha. Were you interested first in Mosha or Nashi?

I think that's typical with Danish filmmakers. Actually, my colleagues in Denmark might have focused even more on the individual story. I really tried to open this film to get the broader perspective of modern Russia and life in modern Russia. But this is very typical of people who went to the Danish Film School. I think it's too much sometimes, too personal. For me, it was important to get an idea about Russia to understand the context of why Mosha loved Putin so much and the political situation she was wrapped up in.

How did you meet Mosha?

I did a short doc in Russia, which was more of a love story about Russia. It was more in the perspective of the '90s -- a poorer Russia about an orphanage. But when I was there to make this film in St. Petersburg, I saw this new Russia. I had never seen so many expensive cars in my life and there were so many modern, young women with a [modern attitude]. So I wanted to make a film about the new Russia.

I got art funding to explore this new Russia about four years [coinciding with] the election at the State Duma (national legislature). I interviewed a lot of young politicians and also met Mosha. She stood out. She was very seductive and intelligent, but she also introduced me to this small paranoid universe that Nashi lives in.

It was around the election so they had this extra paranoia where they stored generators, computers, food, etc. and they said that if a revolution were to happen during the election, that Nashi could still survive. I was [surprised by their reaction].

There are some interesting parallels with the tactics and aims of Nashi with other organized youth movements of the past; the Nazi youth come to mind. Watching the film, it just seems like it's a way on the part of Russia's leaders to harness the energy of rebellious youth to then harass, undermine and intimidate their opponents, while making these kids seem "special" and a part of a fraternal group.

It is like that, really. When you go to these rallies, there were these four or five Nashi songs. They have their own clothes line. This one guy who also organized book burnings, he would talk to Nashi members and say, "If it weren't for you, Russia would be nowhere." So you had this guy telling the young people that it's because of them that the country is still there.

What is very interesting was that Mosha was so devout and such a prime leader at such a young age in the Nashi movement, and yet in the course of the film, something happens that brings her out of the center of it all -- and I don't want to give it away -- but did you have a sense that despite her ideological devotion when you first met, that there was something about her that indicated this could happen? Because this is a dramatic element in the story.

Yes, it is very much important in the film. When I met her, I wondered if she would change or just be Putin's protégé. I don't know, when I met Mosha, I could see an inner-contradiction. She was so ambitious. There was an interesting time when she had chosen this guy as her right-hand man, but then something happened and she had him thrown him out of Nashi. So I could see she had a judge of character and therefore she had dramatic potential somehow.

If I'm in a room with some people -- or if [any] documentary filmmaker is in a room with potential subjects -- we can quite easily figure out who to make a film about and figure out who might have something at stake.

"Putins' Kiss" has great access, from Mosha, to the more radicalized elements of Nashi and then to the opposition as well as liberal journalists. How did that work?

I started out with Mosha of course, but at one point, she was not very available to me. Then I started to film this radical group [within Nashi] a lot. In fact, Quite a lot actually, and it doesn't quite come across in the film, actually. Both with Mosha [and a radical member, Anton] when I asked them to talk about their decisions, they'd cut me off.

And I knew if I started going to the opposition, [it would be trouble]. But I knew I could always go to the opposition because they would be available. They want to talk.

It was interesting watching some of these speeches by Nashi leaders like Vasily Yakemenko who threw around words like "freedom," "democracy," "values," etc. They're reminiscent of words thrown out in the U.S. by the hard right or the Christian right, and yet these groups actually seek to limit the freedoms of people. It was an interesting quality that seems to transcend nation.

Yeah, Oleg also talked about instances like that. "Values" are important to these groups. And Nashi always says they're anti-fascist. Yakemenko would do this speech about democracy, etc. and then say, "If you don't like what we're doing here, then you can just get out."

It was interesting because in the beginning, Oleg was open to Nashi and actually interviewed Vasily Yakemenko and once questioned him about similarities with the Hitler youth movement, and Vasily said that they had actually picked some of the best qualities of the Hitler youth movement, the Red Guard in China and the youth movement in the old Soviet Union.

Sounds like he's very calculating.

Very much.

What do you think of the possibilities of this film being screened in Russia? Maybe the Moscow Film Festival?

I don't know, actually. There's a festival in December, but it might be too soon, actually. There are also some possibilities with satellite channels. There are some possibilities, but we'll have to see.

And with the elections coming up in Russia, do I dare ask what your opinion is of Putin?

[Laughs]

I'm guessing you think he's contributing to the further "fragility" of democracy there -- is that putting it nicely?

Yes, but it's also so far from my world. I'm from Denmark, where democracy has been hammered into my head since school. But with people like Mosha, they never had the education on what is a democracy. She'd go out and do a political action with Nashi for instance, and then she'd cover it up as a journalist. So she wouldn't see the conflict [in her roles] between political activist and journalist. She didn't realize you shouldn't do that. But when she met Oleg and these liberal journalists, she started to realize what she was doing.

OK, now turning a moment to Danish filmmaking. Ally Derks says Denmark produces a disproportionate amount of terrific cinema for its size, both in nonfiction and fiction. Do you agree, and why is that if so?

The documentary department at the Danish Film School is [key.] I think I was the fourth generation in that department. [Films like] "The Good Life," "Ballroom Dancer" [and more] came before me.

This department has a four-year program for nonfiction filmmaking. We work with composers and others with more of an artistic focus. There is very little journalism focus, however, which is both good and bad. It's much more cinematic.

Also, in Denmark there is a great system for supporting documentaries. Half the money is state funding. Of course, you have to have "the good idea" and go through a process, but you don't have some of [the same pressure] with the money that you have from other sources. So these forces altogether -- financially and creatively as well as the Copenhagen Documentary Film Festival, which is a third leg -- is creating this atmosphere for docs in Denmark.

How "Monastery" Director Pernille Rose Grønkjær Became a "Love Addict"

Peter Knegt — Tue, 22 Nov 2011 16:35:43 GMT

After her hugely successful 2006 documentary, "The Monastery" (which won a major award at IDFA, screened in competition at Sundance and was nominated for an Indie Spirit Award), Pernille Rose Grønkjær took on a little-known epidemic: Love addiction.

In "Love Addict" - which made its international premiere at IDFA last night - Grønkjær explores the all-consuming obsession to obtain and arrest the love of others. Set in America, the doc follows seven personal stories of those hopelessly obsessed with ideas that are simply unattainable.

So what made you decide to take on this topic?

I did "The Monastery" and that was kind of a big success. So I wasn't quite sure how to get back up on the horse after that. I had a talk with my producer and she said I needed to learn something new and do something different. I love old people, but I've done two films about old people now. So it was time to make a change.

I was researching on addictions and I found this website in Arizona about treating various addictions and it said 'love addiction.' And I've never started a film out by finding a topic. I'd rather find a person and then build a film around that. But with this, I started with that topic.

As I researched, I found that this should probably be a multi-narrative film. And that was also a different thing for me. So in those ways, it was a new challenge for me. And I think that is the most important thing. When you do something next, it has to be a little bit dangerous and outside of your comfort zone. You have to keep yourself on edge.

You also experimented with sort of fiction/nonfiction hybrid in this film with the character of Eliza, who is perhaps the most intensely "love addicted" person in the film. The rest of your subjects were more traditionally nonfiction, but with her you dramatized the story, correct?

We did something real, but we fictionalized a bit. Eliza is a recovered love addict. So what we did was we collaborated together. I wrote some stuff for her and we discussed together about it. It's not a literal playout of her story, but it's a playout of emotions that she has experienced and knows about.

For me, it was also about how to ethically film people stalking. How do I actually show the hardness of this? And still as a filmmaker feel like it's okay to be doing what I'm doing. I just kept imagining me standing next to the person in the shrubbery with a camera! I couldn't do that. So how do I show the lengths some people go to? And show it in a way where I can still present the film as a loyal person to the people that are in it. With Eliza, I figured that out. It was a very good process. And for her, it was tough to do. Because in many ways, it was very real.

How did you find all of the other subjects?

They were so hard to find! I knew that the film was going to be in the US because there is a community of love addicts there that has progressed more than, for instance, here in Europe. So everything led me to the US... Books, therapists. So I figured that out first.

Then I thought, 'Oh, it's the US... Everybody wants to go on camera, so it will be easy! But nobody responded. It took us like a year to get people to respond. This is a delicate subject. And it's really hard to stand up and say, 'I'm not good with relationships. I can't find love.'

So many of us have this, but who dares to stand up and say that? So it took us a really long time. And I think in the end we have some very brave people in the film. They were very generous in the way they opened up.

And very eloquent in what they were discussing.

Exactly. And that's what was kind of touching for me. Sometimes, it seemed like the ones having the hardest times were also the most generous ones. They let me in and are very honest about it.

But yes, it was really hard to get people to participate. Because this is not an easy subject. A lot of other things are a little more sexy. It's not so cool to not be able to figure love out.

No. And while I'm well aware of folks that have significant issues with that, I had no idea there was this community surrounding it as an addiction.

To be honest, I wasn't aware either. For me, I really learned a lot from this. Because we're all supposed to handle it. We're all supposed to live happily ever after. We're all supposed to have the great relationships and have the great job. Everything fits in all these boxes. But who says it's easy? It really isn't. So in that sense, it's been really eye opening.

Why IDFA Founder Ally Derks is the High Priestess of Documentaries

Brian Brooks — Mon, 21 Nov 2011 17:33:44 GMT

As founder and head of the International Documentary Film Festival Amsterdam, Ally Derks presides over one of the year's most anticipated annual nonfiction film events. Now in its 24th year and under way through next weekend, Derks has witnessed first-hand the rise, evolution and challenges of documentary.

Indiewire caught up with Derks to discuss the rise of the "pop-doc," how opening film "The Ambassador" almost didn't make it to an IDFA screen and a tease on what may come next year for their 25th anniversary.

The opening night film was almost shut down because of a lawsuit, but "The Ambassador" went ahead. Was this the first time this happened?

Of course we expected arousement around this film, but didn't expect it to go this far. We do get letters every year from people threatening a lawsuit to stop films. Two years ago, it was about "Stolen," a Moroccan film and their embassy threatened to sue us, but usually we just ignore their threats -- and that wasn't an opening film. But this guy this year was very serious, so we took our lawyer by the hand. And this guy who was in the film made a big mistake and went on public television with his story and you saw his name and his face, so it was too late. We didn't have to blur his face, which is what he wanted. So we just released a note saying that one of the protagonists of the film didn't like the film.

And now "Pink Ribbon," which we saw in Toronto and we showed to some journalists here in Holland, and they started researching Pink Ribbon Holland, which is even worse than Pink Ribbon in North America. And now Pink Ribbon is trying to sue this television program that investigated them here. In North America, only about 20% of the money raised is given over to cancer research. And you see all these women running for cancer, jumping for cancer and dancing for cancer.

That is shocking to me, I just assumed there was more money going for cancer research.

We always [used this] pink thing, and now we hear that even the money isn't used for cancer research. Really upsetting.

So you're having the 24th edition of the festival this year, what are some broad changes you've noticed over that time?

A lot has changed. In 1988 we still had 16mm and 35mm. Now everything is digitized. I think we have only one 16mm film this year. Also [the content] is completely different - they're less dogmatic, really entertaining, provoking and even the 'casting' in documentary is really fantastic. We call them "Pop Docs," and "Docutainment," docs that have larger appeal and craftsmanship. Also the broad docs about climate change, globalization, 9/11, religion have turned to smaller stories that reflect the big picture.

Do you or the festival have a definition of a documentary?

I think the best one is the creative interpretation of reality with a personal view. You can go everywhere.

Are there particular regions of the world that you find exciting as far as producing nonfiction?

For years, the Danish have produced great films. This year, of course, we have "The Ambassador" as our opening film and there's also "Ballroom Dancing" in our First Appearances section. It's a small country, and I don't know how but they find the financing to tell a great story and they're international. Also we're looking to China and Asia. They're getting much better.

Brazil, which is a focus this year has an extreme difference between rich and poor. Ten years ago, Brazilian cinema was buried, and now there are fantastic filmmakers. And again, less dogmatic.

I noticed some new programs you've launched this year including the afternoon High Tea you host with Peter Wintonick.

It's an intimate small thing. Everything is so big and official here and serious, so this is chit-chat for a half hour, not only about the films but about life.

I think people have a preconception about documentary festivals about being overly serious and of course some of that should be serious, but I feel like this festival and others like True/False in the United States have created innovative ways to make the overall atmosphere fun.

I think it's very important; I'm a person with humor. Of course you take life seriously, but you can't always take everything so seriously because then you won't survive through it. And now we're so much bigger and we've missed some of the things we had when we were smaller, so we've started some events like High Tea. There are 340 films now, though the program hasn't gotten bigger, but we show in more and more venues so we don't have as many sellouts so quickly. Now the problem is that we don't have enough people moderating over 1,000 Q&As. And it's a good challenge though because I think this year, we had about 95% of the directors who came, which is great.

After this year's done and you're looking to your 25th edition, what sort of philosophical parameters do you give to your programmers?

I don't really instruct my viewers. They're not really the programmers because I program. I don't see all the films because we got 3,600 films submitted this year. There are 50 people who see the films before me. I ask them about tendencies, so we know what's not there. There were not so many about climate change this year, for example. There are around 600 films that I see and I have this "helicopter view." It's like building a statue. If there's something missing here, then you add something there so there is a balance. We also look at the docs themselves so that there are some from investigative journalists, but also have cinematic masterpieces, or action. At the end of the day, I'm responsible for the programming.

And again, the tendencies this year are what we call the "Pop Docs," really films that are entertaining for large audiences but still very good and not without content, but maybe in a way are [presented] lighter. Barbara Kopple, Joe Berlinger, Morgan Spurlock, [2011 IDFA film] "Putin's Kiss." All these are examples of where this is coming from and we're going to talk about this as a topic [this week] during one of our talks.

Do you think there's an element of escapism right now maybe because of hard economic times in both Europe and the United States?

It's what you also saw during the interbellum between the two world wars in other art forms. There was almost a real decadence then. There's like a live theater.

Next year at 25 will be momentous event.

Yeah, I'm waiting for people to ask me when am I going to stop.

Oh, I wasn't going to ask that... Don't stop!

Thank you! (laughs). That's really nice, I don't want to hear that. But one thing we're going to have next year is a documentary ball and it will be really beautiful. We already have the venue and everyone's going to be invited.

I was talking to Peter [Wintonick] and heard that ticket sales have been really brisk this year, despite the economy.

Well, one thing is great is that it's cheaper than other areas of entertainment, it's still only €10. Box office is still going well. We're hoping for 210,000 sold tickets this year. Last year was 180,000, but we'll see this week. This is the first year that people have been able to buy tickets through the internet, so the queues are much smaller.

Cinelan Joins IDFA for its "Focus Forward" Initiative

Brian Brooks — Mon, 21 Nov 2011 11:14:41 GMT

Film/video publisher Cinelan unveiled a multi-year collaboration with the International Film Festival Amsterdam (IDFA) over the weekend. The aim is to partner on their worldwide initiative, "Focus Forward - Short Films, Big Ideas," a series of "3-minute nonfiction films about the incredible human power of ideas and invention."

The group also added more names to its roster who will create 3-minute mini-docs on the theme of invention. Eventually, there will be 30, which will group together in a ninety minute film which will culminate at the 2013 Tribeca Film Festival. Filmmakers joining the list include Nelson George ("Brooklyn Boheme"), Fredrik Gertten ("Bananas"), Katy Chevigny ("Election Day"), David W. Leitner (DP, "A Jihad for Love"), Gary Hustwit ("Helvetica"), Jessica Edwards ("Seltzer Works"), and Michele O'Hayon ("Colors Straight Up").

The Focus Forward films will premiere as curated collections at the Sundance and Tribeca Film Festivals, as well as at a number of film festivals around the world. Cinelan has invited festivals worldwide, especially those with a documentary emphasis, to inquire about possible partnerships and reiterated an open call to non–North American filmmakers to explore contributing to the Focus Forward effort. The first five films in the series will screen January 23 at the 2012 Sundance Film Festival.

"We're thrilled that our friends at CINELAN are supporting IDFA this year," commented Ally Derks, Director of IDFA in a statement. "And [we] are delighted they'll be returning in 2012 for our 25th anniversary with an integrated program to celebrate documentary film."

Vimeo is partnering with Cinelan to promote the 3-minute docs via its portal, which will premiere the films simultaneously online with their festival roll outs. Cinelan, which is funded by General Electric, is licensing the films, which the filmmakers will retain ownership rights, according to Cinelan's Karol Martesko-Fenster who along with colleague Damon Smith, filmmaker Morgan Spurlock and Vimeo's Jeremy Boxer, made the announcement in Amsterdam over the weekend.

Indiewire Names 12 IDFA Premieres Likely to Hit U.S. Festivals in 2012

Brian Brooks — Sun, 20 Nov 2011 18:26:34 GMT

The International Documentary Film Festival Amsterdam, now underway through Thanksgiving weekend has become the Cannes of nonfiction film events.

The documentary world annually descends on the Dutch city to catch the latest docs from filmmakers worldwide. With around 300 films, not every title is a world premiere, but most films -- aside from retrospective screenings, including a spotlight on director Steve James this year -- have had little to no outtings.

Here are 12 debut titles (both world premieres and international premieres) that Indiewire predicts will hit the film festival circuit Stateside in 2012. A caveat: Not all 12 have been watched by Indiewire (yet), but the list is based on insider observation with people familiar with the films here in Amsterdam. And while we picked an even dozen, there's undoubtedly more titles playing here that will also head to U.S. screens.

12 titles in no particular order. Some descriptions are provided by IDFA.

"The Ambassador," directed by Mads Brügger (Denmark)
IDFA's opening night film, "The Ambassador" was not without its controversy among fest-goers at IDFA's nightly "Guest Meets Guest" cocktail party, with some people asking how "real" the events in the film really were. The film shows "the dark side of Africa, an underworld that cannot be recorded in any other way." Brügger, a Danish journalist and master satirist who won the 2010 Sundance World Cinema Documentary Award for "The Red Chapel," dresses as a neo-colonialist and heads the Central African Republic to impersonate a Liberian diplomat. He sets up a match factory run by pygmies as a cover for his ambitions in diamond trafficking. But Brügger is really there to show how the power in the country is allotted and traded. (International Premiere)

"¡Vivan las antipodas!" directed by Victor Kossakovsky (Germany, Netherlands, Argentina, Chile)
Technically not an international premiere, the film is getting its second showing at IDFA after debuting at the Mar del Plata Film Festival, but multiple fest-goers have pointed out this title as a must see. In the film, director Victor Kossakovsky fulfills a fantasy by taking a journey to four corners of the world. The film asks the question, where would you end up if you dug a tunnel through the earth? While he doesn't do that, he picks four pairs of antipodes: Argentina and China, Spain and New Zealand, Hawaii and Botswana, and Russia and Chile. Per IDFA: "There is no narrative to provide direction -- instead, Kossakovsky lets us wander around the world while the music tells us where we are."

"Putin's Kiss," directed by Lise Berk Pedersen (Denmark)
IDFA head Ally Derks told Indiewire that Denmark is currently a country to keep an eye on for producing great documentary work, and this film is certainly an example of that. The film spotlights Russia's "special democracy" -- the cult of the country's President turn Prime Minister (and likely turn President again) Vladimir Putin. Per IDFA: "To many Russians, he embodies all the qualities of a strong and charismatic father figure. An entire new generation has been united in the patriotic youth movement Nashi, which seeks to rid Russia of its 'enemies.' And quite naturally, these turn out to be anyone who does not support Putin and President Medvedev. Marsha, an intelligent 19-year-old, is the spokesperson for Nashi. She once kissed Putin on the cheek, and after that she made no secret of her adoration. But things change once she came into contact with members of the liberal opposition." (World Premiere)

"Planet of Snail," directed by Seung-Jun Yi (South Korea)
Even before arriving in Amsterdam, we heard this film is a must-see and the chatter about this doc from Korea continued after arriving. Deaf and blind since childhood, Young-Chan has difficulty taking part in society until he meets Soon-Ho, who also has a physical handicap. "He marries her and learns to communicate with the outside world through her. By softly tapping each other's finger, they can understand one another; it is sometimes as if they are tenderly playing a piano. This documentary follows the couple in the same gentle tempo as Young-Chan moves through his life." Now that we've seen it, "Planet of Snail" is simply one of the most endearing and quietly powerful docs we've seen in a long time. (International Premiere)

"They Call It Myanmar - Lifting the Curtain," directed by Robert H. Lieberman (United States)
The southeast Asian country of Myanmar (or Burma) is one of the world's most isolated states, and a place of scorn by the U.S. government. However, the country lately has won some favor in the West with reforms; papers worldwide carried headlines that U.S. Secretary of State Hilary Rodham Clinton will be visiting the country -- the first such visit in decades. In the film, "writer and filmmaker Robert H. Lieberman secretly filmed the everyday lives of ordinary citizens over a period of two years - lives defined by food shortages, power cuts, and a lack of health care and education. This land of countless golden pagodas that not so long ago was renowned as the "rice bowl of Asia" is now a place of terrible poverty, which has led to widespread child labor and trafficking. In a remarkable interview, opposition leader Aung San Suu Kyi talks about the recent history of Burma and her many years under house arrest for her political activities." (World Premiere)

"Township to the Stage," directed by David Paul Myer (United States)
Following its world premiere at the Austin Film Festival last month, the film is having its international debut in Amsterdam. Post-apartheid South Africa forms the backdrop to this film. During white minority rule, arts and culture were censored; today, people are still not used to the idea that they are free to express themselves. "As a stand-up comic, young Trevor Noah finds himself in a tradition that was historically nourished by whites. As the child of a white father and a black mother, he doesn't belong to either of the categories that were always so strictly separated -- he's neither black nor white. In his shows, the history of his country and his youth, a time when interracial marriages were unheard of, play prominent roles. Trevor has only been at it for a couple of years, but he decides that it's time for a one-man show." (International Premiere)

"Meet the Fokkens," directed by Gabriëlle Provaas, Rob Schröder (The Netherlands)
Another film that has had its share of talk at the nightly Guest Meets Guest cocktail party. "Twin sisters Louise and Martine Fokkens have been working in the red-light district of Amsterdam for 50 years. Despite many setbacks and a great deal of negativity from those outside the world of prostitution, these strong, optimistic and humorous women have managed to survive all those years with verve. In 'Meet the Fokkens,' the viewer gets to visit places in Amsterdam where the sisters' memories reside." (World Premiere)

"The Light in Her Eyes," directed by Julia Meltzer and Laura Nix (United States, Syria)
In this world premiere, the role of women in Syria goes under the microscope. The film asks the question, is the role of women a product of the dominant Muslim religion or cultural tradition? "On TV, conservative clerics stress that women belong at home -- reproducing and taking care of their families. Are these religious rules or simply a cultural tradition? Under the direction of Houda al-Habash, the inspiring and contradictory female principal of the Al-Zahra Koran School, women are trying to find the answer to that question. As a spiritual leader in this Islamic women's movement, Al-Habash advocates a thorough knowledge of the Koran, a good education and women thinking and being responsible for themselves. She drives a car, supervises other mosques, and counsels women in domestic conflicts. By teaching her students to interpret the Koran, she gives them strength and self-respect."

"Bob and the Monster," directed by Keirda Bahruth (United States)
While technically not an International Premiere after screening at the Edmonton Film Festival, this American film (which premiered at SXSW) is having its second international outting at IDFA. The film turns the spotlight on former front man of the '80s cult band Thelonious Monster and his private world of drug addiction in Los Angeles. With the numerous interviews (including Red Hot Chili Peppers' Anthony Kiedis and Flea, Jane's Addiction's Stephen Perkins and Courtney Love), these images paint a picture of Bob Forrest the artist and Bob Forrest the junkie and alcoholic. While the film contains a wealth of archival material (including disturbing footage of a completely drugged-up Forrest), we also see how his addiction led to his current role as a drug counselor -- albeit one who's still bucking the system.

"I Am Woman Now," directed by Michiel van Erp (The Netherlands)
A tender portrait of courage with portraits of four pioneering ladies who were among the first to undergo sex change in the '50s, the film is ripe for hitting the gay festival circuit come 2012. "Starting in 1956, people who wanted to have a sex change operation could go to gynecologist Georges Burou in Casablanca - without having to undergo any psychological assessment. Filmmaker Michiel van Erp asks some of these pioneers, all old women now, if the choice that they made back then has changed their lives as they had hoped. How did the outside world react to this first generation of transsexuals?" "I hope this film will give young people the courage to follow their dreams no matter how impossible they may seem," a moved Michiel van Erp told the audience following the film's debut Saturday to a loud round of applause from the packed house. [World Premiere]

"Pink Ribbons, Inc.," directed by Léa Pool (Canada)
This shocking portrait of the group behind the pink ribbon movement had its world premiere at the Toronto International Film Festival in September and will surely turn heads after its U.S. premiere in 2012. "Women diagnosed with breast cancer in Western countries inevitably come into contact with Pink Ribbon: a movement that seems at first glance to be a sympathetic source of resistance, hope and action. In cooperation with companies, dedicated fanatics organize marathons and other sponsored activities to collect funds for research into a cure. But in spite of all the billions this brings in, the cure remains elusive. This critical, investigative documentary gives a platform to a range of scientists and opinion makers to talk about the origins and the mechanisms behind Pink Ribbon. Patients and feminists also cast a light on this pink power movement, which turns out to have powerful marketing potential. Breast cancer, it seems, is a "dream cause" with a huge, homogeneous group of potential customers: all women. Research has shown that in 80% of homes in North America, women determine how the money gets spent -- a fact that paints a somewhat less than rosy picture of this combative movement." [International Premiere]

"Becoming Bert Stern," directed by Shannah Laumeister (United States)
Photographer Bert Stern shot all the sirens of the silver screen in the golden age of film. Sophia Loren, Liz Taylor, Shirley MacLaine, Barbra Streisand, Madonna, Scarlett Johansson, Marilyn Monroe: the famous American photographer Bert Stern has snapped them all. In his own words, "Making love and making photographs were closely connected in my mind when it came to women." Stern is particularly famous for his portrait series of Marilyn Monroe and his "Lolita with heart-shaped glasses" for the poster of Stanley Kubrick's Lolita. What begins as a conventional portrait of a celebrity photographer gradually turns into a playful mirror gag between the 82-year-old and his muse Shannah Laumeister, 40 years his junior, who also directed the film." "Becoming Bert Stern" had its world premiere at the Telluride Film Festival and will surely make the rounds Stateside in 2012. [International Premiere]

Here's 10 Docs That Everyone's Watching at IDFA This Weekend

Alena Chinault — Fri, 18 Nov 2011 21:43:39 GMT

The 24th edition of the International Documentary Film Festival Amsterdam is in full swing (and Indiewire editors Brian Brooks and Peter Knegt are there), with plenty of titles buzzing as the fest goes into the weekend. Everything from a pair of twin prostitutes to a man who has been blind and deaf since childhood are the subjects of this year's batch of docs.

Here are 10 receiving a lot of attention, some with the remaining screenings already completely sold out.

[Synopses courtesy of the festival]

"Fortunate Son"

Director: Tony Asimakopoulos
A retrospective examination of a drug-fueled period in the filmmaker's life that almost resulted in self-destruction.
Why it's buzzworthy: Asimakopoulos "uses the lens to examine not only his past and present, but also his parents and friends, and his relationships with them." He "gains new and painful insights that transport him to a less illustrious time in his life."

"Bayou Blue"

Directors: Alix Lambert, David McMahon
A critical look at a poverty-stricken area of southeastern Louisiana, where 23 men were murdered between 1997 and 2006, and the inefficiency with which the case was dealt.
Why it's buzzworthy: "Additional footage from local news programs as well as confrontational sound recordings of interrogations of the killer make for a film that offers a grim picture of an often hidden side of Western society."

"I Am a Woman Now"
Director: Michiel van Erp
Explores the choices of various women, who are now older, to undergo a sex change operation in their youth without having to undergo any psychological assessment at the time.
Why it's buzzworthy: Provides an interesting glimpse into both the upsides and downsides of these women's eventful lives: "I found myself looking in a shop window, wondering what I'd look like in that dress. Then I realized: this is never going to go away."

"Ballroom Dancer"

Directors: Andreas Koefoed, Christian Bonke (Check out our profile on the filmmakers here.)
Follows the Ukrainian dancer Slavik, winner of the World Latin American Dance Champion in 2000, and his partner in dance and life, Anna, around the world to international dance competitions and rehearsals.
Why it's buzzworthy: "There were apparently no restrictions to what the filmmaker recorded, and he gets incredibly close to his characters. This makes for a moving and tragic portrait of a man whose hunger for success knows no boundaries."

"Letters From Iran"

Director: Manon Loizeau
A reconstruction of the student protests in Iran in 2009 and profile on a group of Iranians living outside their homeland, commenting on the resulting fallout of the precarious political situation.
Why it's buzzworthy: "We see jerky images of emotional protest meetings, harrowing interviews with dissidents who have fled the country after the torture they suffered, and unique material showing the nerve-wracking cat-and-mouse game with the regime.

"Meet The Fokkens"
Director: Gabrielle Provaas, Rob Schroder
Examines the lives of twin sisters Louise and Martine Fokkens who have worked in the red-light district of Amsterdam for 50 years.
Why it's buzzworthy: "Their stories are full of spicy details about their clientele, some of whom come from unexpected walks of life. One such client was a chaplain: 'Don't you remember, we even had a little confessional!'"

"Pink Ribbons, Inc."
Director: Lea Pool
A platform for various scientists and activists to talk about the origins and mechanisms behind the Pink Ribbon movement against breast cancer.
Why it's buzzworthy: "Patients and feminists also cast a light on this pink power movement, which turns out to have powerful marketing potential. Breast cancer, it seems, is a "dream cause" with a huge, homogeneous group of potential customers: all women."

"Planet Snail"
Director: Seung-Jun Yi
A look at the life of Young-Chan, who has been deaf and blind since childhood, and his relationship with his wife Soon-Ho, through whom he learned to communicated with the outside world.
Why it's buzzworthy: "These everyday scenes are accompanied by a poetic voice-over by Young-Chan, in which he reflects on his existence without sight and hearing. He feels like an astronaut, but that doesn't mean he is without a sense of beauty in the world."

"Putin's Kiss"

Director: Lise Birk Pedersen
An examination of the Russian patriotic youth movement Nashi, whose members revere Prime Minister Vladimir Putin as a father figure, and the the critical comparisons of the group to the Hitler Youth movement.
Why it's buzzworthy: "Marsha finds herself on the horns of a moral dilemma: does Nashi allow enough scope for her own opinions, or must she give herself completely to the will of "the party"? What follows is a coming-of-age documentary that also paints a grim picture of the Russian political climate."

"They Call It Myanmar - Lifting The Curtain"
Director: Robert H. Lieberman
Secret footage of the lives of Myanmar citizens over the course of two years, characterized by food shortages, power cuts, a lack of health care and education, child labor and trafficking.
Why it's buzzworthy: "This film is a portrait of a land where beauty and decay, and fear and courage, closely coexist."

FUTURES | Danish Doc Duo Debuts With IDFA's "Ballroom Dancer"

Peter Knegt — Thu, 17 Nov 2011 17:05:52 GMT

Filmmakers: Christian Bonke and Andreas Koefoed

Home Country: Denmark

Why They're On Our Radar: "Ballroom Dancer" is the directorial debut for Bonke and Koefoed and had its world premiere as the opening film of CPH:DOX and heads to IDFA this weekend. The story of a champion dancer who's now struggling with an aging body and an intense anger management problem that keeps scaring off dance partners, it's accessible, charming and you're going to be seeing a lot of it on the festival circuit.

The film follows the former world champion in Latin American dancing, Slavik Kryklyvyy. A decade after being one of the most celebrated dancers in the world, Bonke and Koefoed's subject finds a new partner (who is also his girlfriend) and "Dancer" depicts Kryklyvyy as he attempts to make a comeback.

More About Them: Andreas Koefoed never really thought that he'd get into filmmaking.

"I'd been singing and playing music," he said. "By coincidence I got a part-time job where I had to work on a TV program for young people. And from there I started making small portraits of my friends."

Koefoed found that with documentary films he could invest all his interestes at once.

"I could make portraits of people I admired and loved," he said. "I could have music... I felt that I could use 100% of myself by making films. So it felt really natural."

Christian Bonke's film career also came about as a bit of a coincidence.

"I've been through all kinds of stages in creative expression," he said. "When I was a kid I was totally confident I would be an actor. And then at some point I didn't like the attention so much anymore."

So he began to play music. And then later was educated as a graphic designer and somehow that led to making music videos.

"I think documentary just combined all of that," he said. "It has so many creative fields within it."

How did you come together to work as a team?

CB: We went to the same school but in different years. And I needed a co-director for this project. Andreas was just out of school and had made amazing stuff. So we were wishing to have him involved. He was the first guy we asked.

What made you decide to take on this particular project?

CB: Jacob - our producer - is married to a former dancer, actually. And he saw her farewell show. And he came to us and told us about it and said maybe there could be a film here. I think initially that scene was quite corny in many ways. But in the same way, we were very fascinated by the fact that these couples were couples on the floor and in private. And they were performing love stories. We thought this would be an intriguing and dramatic scene for a documentary.

I think we had a more sarcastic view upon dancing initially. But when we started making the film we realized we had to take this seriously. We shouldn't have any ironic distance to the whole scene.

How did you meet Slavik?

AK: We had heard about him. And we had heard that he was quite the talent.

CB: He was a bit of a legend.

AK: Yes, a legend. Because after he started dancing, it was only a year and a half before he became a world champion. Nobody knew him, and then suddently he was the best. And he combined latin dance with some stuff from martial arts. So he added some explosive movements to the dance that nobody had ever seen. Since then, he went on to also be famous because he had several different partners and has this really strong temper that proved problematic. His partnerships didn't survive. Normally you stick to one for many years, but he kept changing girls and had ups and downs. So we thought, he's a really interesting and dramatic guy for a documentary.

What was your relationship with him like, from when you first met to the film's completion?

CB: I don't think it changed that much. We didn't become friends as such, actually. But in the beginning he was very distant towards us. In the end, that changed. He tried to leave the project at one point. But then he called us and told us, "I really need to tell this story. I would like you to be here. I want to share this period of time." So he kind of really opened up after that and was really generous about how much we could be in his private life.

Has he seen it?

CB: Not yet. He says that he can't really go through that period of his life again. He has to have some more time to be ready. But he totally approves of the film.

AK: On one hand, he's really interested in seeing it. And on the other he doesn't feel ready. But we would like to be with him when he sees it. And we would like to discuss it with him.

So he won't be coming to Q&As just yet.

CB: Not yet. All the time, we're hoping. We invite him to everything.

AK: And we finished the film the day before the CPH:DOX premiere. So it's only been a week!

What was the premiere like? This your first feature film.

CB: It was totally overwhelming. Also because we'd been working like maniacs for the time before it. Monday we finished and then a few days later we are standing on this magnificant stage in Copenhagen. We didn't have time to prepare any words and I think it showed [laughs].

And what do you want from the future of this film? What do you hope people get out of it?

CB: I think the future of the film has a lot of potential. From the start we felt that we wanted to make a really seductive film for a broad audience. Beautiful people, scenic visuals, dramatic love story... It can really have a large audience.

AK: We see it as a universal tragedy.

CB: We thought about it as a Greek tragedy all the time. His character is very much Narcissus.

AK: He's a guy who looks for perfection. He thinks he has everything. And then suddenly he finds out that he's lost everything.

Nelleke Koop Wins Dutch Cultural Media Fund's Documentary Award

Devin Lee Fuller — Wed, 16 Nov 2011 21:22:08 GMT

The International Documentary Film Festival Amsterdam has presented its Dutch Cultural Media Fund's Documentary Award to director Nelleke Koop for the realization of her film "Floating Bodies."

Koop will receive €125,000 in order to produce her film.

Full press release below:

IDFA Press Release: Nelleke Koop wins Dutch Cultural Media Fund's Documentary Award at opening IDFA

The International Documentary Film Festival Amsterdam (IDFA) just officially opened with the screening of The Ambassador by Mads Brügger. Prior to the opening, the chair of the Dutch Cultural Media Fund Jacob Kohnstamm announced the winner of the fund’s 2011 Documentary Award. Nelleke Koop received the award of € 125,000 for the realization of her film "Floating Bodies (Waterlijken)". In her opening speech, festival director Ally Derks highlighted the rich abundance and diversity of documentaries on offer this year. She also turned her attention to the cuts in cultural funding, expressing concern for the future of IDFA’s Jan Vrijman Fund, which financially supports documentary projects in developing countries.

IDFA-Dutch Cultural Media Fund Workshop
The Dutch Cultural Media Fund annually provides the € 125,000 award for the realization of the best film concept developed at the IDFA-Dutch Cultural Media Fund Workshop. The workshop is subsidized and co-organized by the fund.

"Floating Bodies"

"Floating Bodies (Waterlijken)" begins with the discovery of a corpse in the water. We follow five central figures as each in turn searches for clues, before the body can be taken back to the family. Attended to by their hands, the meaning of the body is gradually transformed – from lost property back into a human being. Floating Bodies shows us ongoing everyday concerns existing in parallel with care for a mortal body.

After studying painting at the art academy, Nelleke Koop (1977) graduated in 2009 from the Netherlands Film and Television Academy. In 2010, she was given carte blanche to film life on board a navy vessel on a mission to the coast of Somalia for her documentary Midden in de Marine (In the Navy).

The jury, consisting of Gülsah Dogan, Simonka de Jong, Willemien van Aalst, Oscar van der Kroon and Jelle Peter de Ruiter, selected the winning concept from seven film plans that were developed under the guidance of the documentary filmmakers Albert Elings and Eugenie Jansen. The jury report said the following: “The winning film concept takes on a stunning theme. The filmmaker gives expression to a personal fascination that she objectifies both literally and figuratively by having other people talk about it. It makes for a story how the deeply personal can become depersonalized, but nonetheless become human once more. The story starts with an ending and in a strange way ends at a new beginning.”

The participants in the workshop were selected by a commission including representatives of public broadcasters on the basis of a submitted synopsis. One of the public broadcasters will broadcast the winning documentary.

Mads Brügger on Radical Journalism and His Controversial IDFA Opener "The Ambassador"

Peter Knegt — Wed, 16 Nov 2011 18:34:12 GMT

Opening the International Documentary Festival Amsterdam this evening, Mads Brügger's "The Ambassador" is certain to be one of the most discussed documentaries at the festival, as well as scores of documentary festivals to come. Brügger's follow-up to his Sundance Film Festival award winning "The Red Chapel," the film takes the director's remarkably hands on approach to investigative journalism a controversial step further.

In "The Red Chapel," Brügger headed to North Korea with two Danish-Korean comedians under the guise of a cultural exchange.

With "The Ambassador," he makes his way solo to the Central African Republic, posing as a Liberian Consul by simply purchasing a diplomatic passport. Almost exclusively via hidden cameras, the audience watches as Brügger - with remarkable affect - dissappears into the character his new passport has brought forth: With a bizarre, almost Karl Lagerfeldian look, Brügger gives his diplomat the cover story of wanting to open a brand new match factory that will bring lots of jobs to the area. In addition to, of course, being in the midst of an investigation of blood diamonds.

It's a risky setup, but Brügger pulls it off, allowing "The Ambassador" to become a unique entry into the sub-category of documentaries about African politics. How the many people and countries it exposes react as the film starts screening, however, remains to be seen.

The film is already courting controversy as a Dutch businessman depicted in the film (helping Brügger get his passport) has recently gone to the Dutch media and unsuccessfully asked to have the film removed from IDFA.

Brügger said he took on the project because he wanted something that would go "beyond role playing."

"I wanted something that would be the next level," he said. "I think it was in 2007 that I stumbled upon a link to a diplomatic passport brokerage on the internet. After some initial skepticism, I thought if this is really true - if you can actually buy a diplomatic title and become a real diplomat - that would be the ultimate starting point for a documentary about Africa."

Brügger explained that this is because he sees diplomats as a sort of "super journalist."

"They can talk to everybody and have access to everybody," he said. "They have access to state secrets and circle of power. But they also enjoy a tremendous amount of prestige and protection because of their title. For a long time I had been toying with the idea of making a documentary in Africa which would - in as many ways as possible - depart from the generic Africa documentary. So I thought this could be it, if I could manage it."

Not formally trained as a filmmaker, Brügger considers "The Ambassador" just as much an example of his primary profession, journalism.

"Most of my life I have been working as a journalist," he said. "Journalism is really the foundation of my work as a filmmaker... And I think of this film as journalism at it's best. And also documentary making as it is meant to be. Shining light on areas that you can not easily gain access to and uncovering abuse of power in the higher echelons of society. That is what journalism is really about. In many places in the world journalists can no longer operate. Mexico, China, Russia... Many parts of Africa. Journalists are killed, harrassed, imprisoned... So if journalism is to reinvent itself, it's necessary to think radically and alternatively."

Fortissimo Handling International Sales for IDFA Doc "El Gusto"

Nigel M Smith — Wed, 16 Nov 2011 15:38:34 GMT

Ahead of its competition showing at this week's IDFA, Fortissimo Films has acquired international sales rights (outside of France) to Safinez Bousbia's French/Algerian documentary "El Gusto." Last month, the film played at the Abu Dhabi Film Festival where it won Best Director from the Arab World.

"El Gusto" tracks the reunion of a group of Muslim and Jewish musicians 50 years after their seperation during the Algerian Civil War.

Watch the trailer below:

Full release below:

FORTISSIMO HITS THE RIGHT NOTES WITH ‘EL GUSTO’

Award-winning French/Algerian doc in the vein of Buena Vista Social Club

Amsterdam, Hong Kong November 16, 2011 – In advance of it’s Competition showing at this week’s IDFA, Fortissimo Films has acquired international rights outside of France to EL GUSTO, Safinez Bousbia’s ambitious and moving documentary which tells the amazing story of the reunion and reconciliation of a group of Muslim and Jewish musicians fifty years after their separation during the Algerian Civil War and follows their story as they are brought back together to form a new orchestra, “El Gusto,” and perform at an extraordinary concert in France.

The film triumphantly played at last month’s Abu Dhabi Film Festival where it won two prizes; Best Director from the Arab World, and the International Film Critics Prize (FIPRESCI), which followed on its recent premiere at the Busan International Film Festival.

UGC PH will release the film in France on January 11, 2012.

The film tells the story of a journey that started in a small mirror shop during Bousbia’s visit to Algiers in 2003. Intrigued by some old photographs of a music class from the 1940s, she set out to track down these lost friends, now aged between 70 and 100 and living across Algeria and France. Five decades after their first lessons at the Conservatory of Algiers under the legendary master El Hadj M’Hamed El Anka, the members of El Gusto now recount the country’s turbulent history and their undying passion for “CHABBI” –a rhythmic and unique cocktail of Andalusian, Berber, Arabic and Flamenco music traditions. Chabbi was the homegrown music of the Algerian Casbah; the music of the streets, the coffee shops and weddings that united (and defied) religion, class, and ethnicity.

Fortissimo chairman Michael J Werner comments: “ When I saw EL GUSTO last month at an overflow screening in Abu Dhabi, I was moved by the incredible energy of the film which resonated so strongly with that audience and showed that this was one of those unique films where the wonderful music combined with a message of reconciliation and hope transcended people’s preconceived limits and positions. Similar to the Buena Vista Social Club, EL GUSTO has a universal appeal that shows how music can transcend cultural, ethnic and religious boundaries.”

Directed by Safinez Bousbia, featuring The El Gusto Orchestra of Algiers, the film is produced by Bousbia and Heidi Egger, under Quidam Production El Gusto, with the participation of the Irish Film Board and the Abu Dhabi Film Festival SANAD Development and Post-Production Fund.

Fortissimo Films (www.fortissimofilms.com) is an international film, television and home entertainment sales organization specializing in the production, presentation, promotion and distribution of unique, award winning and innovative feature films from independent film makers from all over the world.

In celebration of Fortissimo Films’ 20th anniversary, New York’s MOMA is currently hosting a tribute film series entitled “In Focus: Fortissimo Films” November 10-21. The series showcases 11 of the notable Asian films the company has supported or developed. Highlights include Wong Kar-Wai’s “Happy Together,” Tian Zhuangzhuang’s “Springtime In A Small Town,” and Zhang Yuan’s “Beijing Bastards.”

Doc Next Program and Workshop at IDFA 2011

Indiewire — Tue, 25 Oct 2011 11:45:53 GMT

The International Documentary Film Festival Amsterdam (IDFA) and the European Cultural Foundation (ECF) will screen documentaries under the title Doc Next at IDFA 2011. "These DIY media makers have had no traditional schooling and use new, cheap media, online distribution, and innovative forms of storytelling to create an alternative vision of Europe's local heroes," said the organizations in a statement.

All Doc Next films are "personal reflections on everyday life in Europe: the crisis as seen through the eyes of Greek youth; nocturnal life in a London laundromat; and the neighbour keeping an eye on everyone and everything from his Warsaw kitchen window."

On November 20, the festival will feature a panel titled “Has the documentary industry passed its peak?”

Ten young filmmakers will also participate in the IDFAcademy, which will include a Doc Next workshop.

The documentaries will be screened before the main films at IDFA 2011, which will take place November 16 - 27.

For more information on Doc Next, go here.

International Documentary Fest Amsterdam Unveils 2011 Slate

Bryce J. Renninger — Fri, 14 Oct 2011 06:59:50 GMT

The 2011 edition of the International Documentary Festival Amsterdam has announced its lineup for its festival, set for November 16-27.

As part of its 2011 events, the festival will have a special sidebar recognizing documentary cinema from Brazil and will honor "The Interrupters" director Steve James with a special award and the screening of his documentary top 10 as well as a number of his own films.

This year's lineup includes work from Brazilian auteur Eduardo Coutinho, Werner Herzog, and "Red Chapel" director Mads Brügger.

For the complete lineup of films for the 2011 edition, visit the IDFA website here.

The festival includes several cash awards for the films it screens, including an audience award and a new director award, which both carry a cash prize of 5,000 Euros. The films vying for the IDFA Prize for Feature Documentary, which comes with a 12,500 Euro prize, are:

"5 Broken Cameras" by Emad Burnat and Guy Davidi (Palestine/France/Israel)
"The Ambassador" by Mads Brügger (Denmark)
"About Canto" by Ramon Gieling (the Netherlands)
"Bad Weather" by Giovanni Giommi (Germany/UK)
"Bayou Blue" by Alix Lambert and David McMahon (USA)
"Cinema Jenin" by Marcus Vetter (Germany)
"Five Star Existence" by Sonja Lindén (Finland)
"Gozaran / Time Passing" by Frank Scheffer (the Netherlands/Germany)
"Into the Abyss" by Werner Herzog (Germany/UK/USA)
"Mama Illegal" by Ed Moschitz (Austria)
"Pink Ribbons Inc." by Léa Pool (Canada)
"Planet of Snail" by Seung-Jun Yi (South Korea)
"Putin’s Kiss" by Lise Birk Pedersen (Denmark)
"Six Million and One" by David Fisher (Israel)
"Songs" by Eduardo Coutinho (Brazil)
"They Call it Myanmar – Lifting the Curtain" by Robert H. Lieberman (USA)

"The Ambassador" to Open 24th IDFA in November

Brian Brooks — Thu, 06 Oct 2011 12:23:42 GMT

"The Ambassador" by Danish director Mads Brügger Cortzen will open the 24th International Film Festival Amsterdam (IDFA) organizers said Thursday. In the documentary, Brügger Cortzen exposes the trade in diplomatic passports in Africa – a trade in which Westerners play a major role.

The film will also compete in the IDFA Competition for Feature-Length Documentary.

IDFA will take place November 16 - 27 in and around Amsterdam’s Rembrandtplein square. The complete selection of films for IDFA 2011 will be announced on October 17.

The description of IDFA opening film "The Ambassador" follows, courtesy of the festival:

This film, shot largely using a hidden camera, reveals another side of Africa: an underworld that cannot be recorded in any other way. Dressed in a neo-colonist style, director Mads Brügger Cortzen goes to the Central African Republic to become an ambassador for Liberia. Once there, he sets up a match factory, run by Pygmies, as a cover for his ambitions in the diamond trade. What Brügger is actually trying to do, however, is reveal the relations of power – and commerce – in that country.
Mads Brügger Cortzen (1972) previously made films such as The Red Chapel, with which he won a Jury Award at the Sundance film festival in 2010. He is also known in Denmark as a presenter of various television programmes.

Dispatch from Amsterdam | Eight New Docs To Watch from IDFA

Basil Tsiokos — Mon, 22 Nov 2010 13:28:48 GMT

As non-fiction filmgoers and industry representatives continue to sample the nearly 300 documentaries the International Documentary Film Festival Amsterdam (IDFA) has on offer at this year's edition (which runs through November 28), indieWIRE continues its coverage with eight new noteworthy titles (and a couple of bonus mentions), that have screened thus far, supplementing an earlier report.

Three of these are films which screened recently at Sheffield or elsewhere before making their IDFA debuts, but have yet to appear Stateside: Jerry Rothwell's "Donor Unknown;" Nic Dunlop, Annie Sundberg, and Ricki Stern's "Burma Soldier;" and Andris Gauja's "Family Instinct."

World Premieres covered below include "Agnus Dei," by Alejandra Sánchez; "Kano: An American and His Harem," by Monster Jimenez; "The Other Chelsea: A Story from Donetsk," by Jakob Preuss; "My Barefoot Friend," by Seong-Gyou Lee; and "iThemba," by Elinor Burkett.

"Donor Unknown"
Rothwell's film was introduced as covering a lighter topic than many of the more social issue-oriented selections, but while perhaps not as ultra-serious in approach, its core is still thought-provoking. The titular figure is Jeffrey, a Venice Beach RV dweller who used to make a substantial amount of money by donating sperm to the California Cryobank. After some of his many biological offspring find one another thanks to an online registry database, leading to a New York Times cover story, he reveals his identity. The film focuses on one of his daughters, JoEllen, as she explains how she found more than a dozen half-siblings (so far), and sets out to meet Jeffrey in person for the first time. In the process, the film explores concepts of family and parenthood, and attains poignancy when Jeffrey's kids and their mothers confront the reality behind who he is versus their idealized fantasies based on his donor questionnaire.

"Burma Soldier
Like "Donor Unknown," "Burma Soldier" premiered at Sheffield and received funding from both the Sundance Documentary Fund and Cinereach - with such support, the film is bound to have a healthy life on the festival circuit and perhaps beyond. Focused on Myo Myint, a former Burmese soldier, the film offers powerful first-hand testimony about the abusive totalitarian system seen in films like "Burma VJ," but from the unique perspective of a man who was one of the abusers. After he turned against the oppressive regime he once supported, Myint spent 15 years in prison, enduring torture, before finally seeking asylum in Thailand. As perhaps suggested by having three directors, the film isn't as focused as it could be - despite this, it's worthwhile for its remarkable access to its courageous subject. At IDFA, producer Julie leBrocguy noted that, through the help of underground activists, the film is being smuggled into Burma so that it can be shown to the Burmese people and perhaps help motivate them to fight back against their oppression.

"Family Instinct"
The fact that Zanda has had two children with her brother Valdis is presented immediately and in the most matter of fact manner in Gauja's film. This hardly seems to be the main problem faced by the poor, rural Latvians in "Family Instinct." Valdis is in jail, from which he sends his sister increasingly disturbing and threatening letters. Zanda shares her small home not only with her kids but with other family members and neighbors prone to drinking, disruptive arguments, and violence. A quiet, but also alcoholic, neighbor might be her salvation, but he fears retribution from Valdis, and Zanda fears losing her kids. Stark, at times painful to watch, but always gripping, "Family Instinct" suggests an intriguing pairing with another unorthodox portrait of a dysfunctional family, Eva Mulvad's "The Good Life."

"Agnus Dei"
Dealing with another taboo, Sánchez's film investigates the spectre of the sexual abuse of a young altar boy, Jesús Colin, now a young adult, at the hands of his priest, Father Carlos. Now an adult, and determined to confront his former father figure, Jesús can discuss what happened, but retains deep scars from the betrayal he suffered, as do his parents, who finally accepted the truth. Still in denial, or, better yet, active complicity, is the Catholic Church, whose representative interviewed here makes a bizarre argument that the boys were simply fondled and not penetrated, so no abuse happened. Asked at the screening about whether exposing these abuses put her subjects or herself in danger, Sánchez noted, "At the moment in Mexico, everything is dangerous, but I had to make this film, and I hope nothing happens to Jesús or to me."

"Kano: An American and His Harem"
Accusations of sexual violence are central to Jimenez' portrait of Victor Pearson, the (Ameri)Kano Vietnam vet of the title who has lived in The Philippines since 1969, and the many, many native wives and mistresses that he assembled to live with him over the years. Nearly ten years ago, he faced over 80 charges of rape against the women, and despite most of them eventually recanting their testimony and dropping their claims, he is still serving time on two counts. Giving equal time to both Pearson and the women's stories, the film gradually reveals a system of sexual subservience predicated on economic exploitation - a system that most of the women (or their families) may have entered resignedly, but, sadly, fully aware. What the film's production values occasionally lack are made up by an intimate candor that the director achieves with all of her subjects.

"The Other Chelsea: A Story from Donetsk"
Preuss presented the world premiere of his film (pitched two years ago at IDFA's FORUM) on his 35th birthday, and, accompanied by a spontaneous audience chorus of "Happy Birthday" in mellifluous Dutch, celebrated by passing around shots of Ukrainian vodka to everyone - appropriate for a film looking at Ukrainian politics through the microcosm of soccer, as suggested by its too-European, too-insider-sports title (likely to be lost on US audiences, so a retitling would seem in order). In Donetsk, virtually everyone supports the soccer team, Shakhtar Donesk, and everyone hates President Yushchenko and his Orange revolution. Club owner, billionaire Rinat Akhmetov, supports the anti-Orange Party of the Regions, so, for his career, ambitious young local politician Kolya does too, despite having little interest in sports. Coal miner Sasha, on the other hand, has been a team supporter for more than 50 years, and becomes fanatical when Shakhtar seems set on the road to winning a major international cup. Preuss succeeds in making a sports doc that is not really about sports, but instead about the mechanisms of political power, and how they are influenced by the wealthy oligarchical elite.

An image from "My Barefoot Friend."

"My Barefoot Friend"
Korean director Seong-Gyou Lee presents a portrait of Calcutta rickshaw pullers that achieves a level of immediacy and clarity that often strangely feels like a fictional narrative - the appearance of two flashbacks during the course of the film at first suggest re-enactments but turn out to be a product of years of filming. The main subjects are middle-aged Shallim, who has been saving to purchase an auto-rickshaw but finds his nest-egg quickly vanish due to his family's medical problems, and young Manoj, hailing from the same poor region as Shallim, and facing his own demons related to the murder of his father. As these men and others struggle to earn enough to barely survive, they face an impending law that might make their profession illegal, leading to a particularly affecting on-camera sequence between Shallim and the director that bookends the film. On the lighter side, at a dinner celebrating the film last night, it was revealed that Lee owns an Indian restaurant in South Korea, so on one side of his business card it reads "Director," and on the other "Indian Cuisine."

"iThemba"
"iThemba" is one of the more anticipated debuts at the festival this year for those who noted that its director is the same woman who raised eyebrows by rushing to the stage at the Academy Awards to claim the Oscar for Best Documentary Short, interrupting the speech of her collaborator, Roger Ross Williams. Burkett briefly referenced the incident during the Q&A for her debut feature, saying she "misbehaved" that evening, and citing the short, "Music By Prudence," over which she did not ultimately have final control, as leading to the dissolution of the Zimbabwean band, Liyana, because it betrayed the band by focusing only on one performer. In contrast, "iThemba" (translated late in the film as "hope") profiles all of the members of the band composed of physically disabled young people, with Prudence and charismatic lothario Marvelous as lead singer/songwriters trying to inspire others during a national economic crisis and show their own capabilities and self-worth in the process. Burkett also noted that the version of the film that will screen in Zimbabwe has excised the occasional criticisms of President Mugabe in an effort to protect its outspoken and always genial subjects from criminal prosecution and jail.

Finally, as a bonus, a brief mention and recommendation for a couple of strong films that have already made brief appearances on the festival circuit in the US and elsewhere and shouldn't be overlooked: Hans Dortmans' "Divine Pig," an unusually charming story about the strange bond between a butcher and a pig which may or may not end up slaughtered; and Briar March's "There Once Was An Island: Te Henua e Nnoho," an affecting portrait of a small, isolated Papua New Guinean island community which faces potential displacement due to climate change elevating sea water levels and flooding their ancestral home.

Still to come from iW's coverage of IDFA: a look at some of the pitches seeking support at the FORUM co-production market.

ABOUT THE WRITER: Basil Tsiokos is a Programming Associate, Documentary Features for Sundance, consults with documentary filmmakers and festivals, and recently co-produced Cameron Yates’ feature documentary “The Canal Street Madam.” Follow him on Twitter (@1basil1 and @CanalStMadamDoc) and visit his blog (what (not) to doc).

Dispatch from Amsterdam | Madoff, Tito & the Ghost of Little Edie Mark IDFA Debuts

Brian Brooks — Sat, 20 Nov 2010 14:27:16 GMT

The International Documentary Film Festival Amsterdam (IDFA) has long styled itself the world's biggest documentary film festival. Each year, a number of world premieres here will make their way to Sundance in January (in international competitions) and beyond. At the same time, IDFA faces some European festival competition, coming just weeks after both the Copenhagen International Documentary Film Festival (CPH:DOX) and Sheffield Doc/Fest, though Sheffield will be moving to June starting in 2011.

Nevertheless, IDFA continues to be an unpretentious magnet for world class documentary veterans and up-and-comers. North Americans - many festival programmers - continue to flock here despite its close proximity to US Thanksgiving. The program this year again offers topics covering almost every continent, though a couple fellow attendees noted to me that this year's selection has more material that tugs at the heart then usual. One returning American film vet noted, after I ran into her outside the new tented festival headquarters in Amsterdam's Rembrandtplein area (this year surrounded by a gaudy "Winter Village with tacky Christmas knickknacks), "My compassion levels are already running low."

This year's IDFA opened with Leonard Retel Helmrich's "Stand van de maan" (Position Among the Stars), the final installment in his trilogy about modern Indonesia. I was en route to Amsterdam from New York the night of the opening, so missed this film, though I've heard surprisingly little about it - not sure if that's a reflection on the film, but I did hear one person say it seemed a bit "staged" at times. The doc is a look at modern Indonesia, the largest Muslim nation in the world, through the view of the Sjamsuddin family who live in a suburb of the capital, Jakarta. The country took the media spotlight recently with a visit from American President Barack Obama, who lived in the country for a number of years growing up. Indonesia also has strong cultural links with The Netherlands. The over 17,000 islands that make up the country was once known as the Dutch East Indies and one remnant of its former colony easily found in Amsterdam are the ubiquitous Indonesian restaurants that dot the city.

With about 280 titles screening at IDFA, it can be a challenge navigating the landscape, but the festival's more narrow feature-length competition offers some focus. Canadian director Jeff Prosserman's ("Snapped") look at the Bernard Madoff scandal "The Foxhounds" lured a sizable audience Friday afternoon to the beautiful (and cavernous) Tuschinski Theatre in the city center for its world premiere. Perhaps a bit overly dramatized at moments with images of burning $100 bills along with ominous music, the film nevertheless successfully tackles international finance - admittedly not the easiest of subjects for most - and crafts a story that is the most scandalous of rip-offs in generations. The film tells the story through several individuals who were at the heart of uncovering the $50 billion theft, including fraud expert Harry Markopolos, who exclaimed in the film, "You don't get straight lines in finance!"

"Obviously there are areas of high finance that fall out of the interest of most," Prosserman noted after the screening when describing how he decided to tell the story of the biggest Ponzi scheme in history. "So we decided to do intensive interviews with five people. After that, we were able to pinpoint the areas of the narrative."

Equally scandalous as the theft itself was the complete and utter failure of the Securities and Exchange Commission (SEC) to identify the theft despite being tipped off by Markopolos years before Madoff's arrest. No stranger to the SEC (Madoff was once the head of the NASDAQ), Markopolos figured out in hours after learning of the swindler's "investment company" that something was terribly amiss, yet the SEC chose to ignore the theft, which ruined thousands of people.

Noted Prosserman, "I believe there's something more than just incompetence on the part of the SEC. But I'm not a lawyer, I can only speak to the film itself." "The Foxhounds" could very well be a contender for a Sundance slot when the lineup is announced after Thanksgiving.

Another Sundance possibility - though perhaps more of a long-shot - is Serbian director Mila Turajlic delightful "Cinema Komunisto." The film spotlights the remains of the country's once proud film industry, with a parallel narrative of the ascent then descent of the cinematic illusion of Yugoslavia. Told via old footage from some of the 750 films that were made after Yugoslavia's leader, Marshall Josip Broz Tito, ordered the construction of a massive studio city, "Cinema Komunisto" recreates the narrative of the country united under Tito's charismatic authoritarian rule that united the disperse ethnic groups of the once united Balkan state.

Stars such as Richard Burton, Sophia Loren, Orson Welles and others added Hollywood panache to what became a source of national pride - and foreign currency - as productions from around the world traveled to Yugoslavia to utilize the state studio's massive sets.

"Originally, I wanted to make the film about the studios because they will soon be gone," noted Turajlic in Amsterdam. "I just wanted there to be a record of the studio itself because none of it had been documented, but as I was shooting, I realized that the entire place was like a fictional set that had collapsed, and it was a metaphor for the story of Yugoslavia."

Tito himself was an avid film fan. "Komunisto" shows some priceless images of the dictator and his wife, Jovanka, kicking back in La-Z-Boy recliners with two martinis and their two poodles resting at their feet preparing to watch a movie. Tito watched at least one per night according to his longtime projectionist who is interviewed in the film.

Tito's film industry triumph culminated in "The Battle of Neretva" (1969) which received a Best Foreign Language Oscar nomination. The film tells the story of a decisive battle against the Germans by Tito's partisans in western Bosnia.

As Tito' life came to a close in 1980, so did the country's film industry. A decade after his death, the country plunged into a civil war separating it on ethnic and religious lines and the once proud state unraveled in tatters.

"I wanted to show how you make a narrative about a great nation," noted Turajlic. "The tragedy of Serbia today is that there is no narrative..."

As the festival headed into its first weekend, large crowds queued to see Danish director Eva Mulvad's "The Good Life," described as a Danish "Grey Gardens." Judging by the massive crowds jamming into to see the film today, it will surely either hit Sundance - perhaps in its international competition - or one of the other festivals soon after. iW covered the film out of CPH:DOX and spoke with its director earlier this month.

iW will continue its coverage of IDFA in the coming days, taking a look at additional films and at the projects participating in the international co-production market, the FORUM.

Finally, one thing that may distract locals and visitors alike beginning Sunday is the 23rd High Times Cannabis Cup competition opening in this most tolerant of cities. But if the IDFA banners around the city and large crowds at screenings are any indication, the next weekend at the festival should also offer attendees an equally good trip.

"Checkpoint" and "My Flesh and Blood" Top 2003 IDFA

Indiewire — Mon, 01 Dec 2003 07:00:00 GMT

"Checkpoint" and "My Flesh and Blood" Top 2003 IDFA

by Eugene Hernandez

An image from "Checkpoint," winner of the VPRO Joris Ivens competition prize at the 2003 International Documentary Film Festival Amsterdam. Image courtesy IDFA.

Jonathan Karsh's "My Flesh and Blood," from the United States, was a top award-winner at the 2003 International Documentary Film Festival Amsterdam (IDFA) nabbing two awards, while Yoav Shamir's Isreali film "Checkpoint" won the VPRO Joris Ivens competition award.

"My Flesh and Blood," which debuted at Sundance this year, won the IDFA audience award and the international film critics prize. It shared the critics award with the short doc, "The Very Best Day" by Pavel Medvedev, from Russia.

"Checkpoint" offers a verite look at the heavily guarded Israeli checkpoints set up to monitor the movements between Israeli and Palestinian areas. It was filmed from 2001 to 2003.

Mark Achbar and Jennifer Abbott's "The Corporation" won a special jury award. The doc, which explores the growing influence of corporations over our lives, debuted earlier this year at the Toronto International Film Festival. (It opened theatrically in select cities on Friday.)

The festival's Silver Wolf prize, for best short doc, went to "Surplus - Terrorized Into Being Consumers" by Erik Gandini from Sweden.

"Aileen: Life and Death of a Serial Killer" by Joan Churchill and Nick Broomfield from the U.K. won the Amnesty International - DOEN Award.

Festival organizers said there was a 10-percent jump in attendance in 2003, up to 110,000 from 99,000 last year. Box office receipts jumped 20 percent and the festival welcomed 1,900 guests, up from 1,560 last year.

[indieWIRE will also publish a full report from the 2003 IDFA later this week.]