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special
industry
INCLUDING SCHEDULE
THURS 20 &
FRI 21 NOV
#1
For more news & full industry programme, see www.idfa.nl/industry
IDFA’s new festival heart Café De Jaren
photo: Nichon Glerum
To boldly doc
With guests ranging from Star Trek’s George Takei to The Shock
Doctrine author Naomi Klein, from Nick Broomfield and Laura Poitras
to Chris Hegedus and documentary legend D.A. Pennekbaker, this
year’s IDFA won’t be short on colour and personality.
By Geoffrey Macnab
On the eve of IDFA, festival director Ally
Derks is upbeat about an event expected to sell
235,000 tickets. The festival opens with ‘living
legend’ Heddy Honigmann’s Around the World
in 50 Concerts, which sees Honigmann travel
to several cities with Amsterdam’s renowned
Royal Concertgebouw Orchestra. “It is maybe
a little bit different from what you are used to
with us,” Derks says of a film that is unlikely
to provoke huge controversy. “But it is also
sometimes nice for an opening night not to
have all these heated debates afterwards.” Not
that the opening will be too understated. Derks
is optimistic that the old organ in the Tuchinski
cinema will play to herald the beginning of the
screening.
that it was “weird” that it was “all men that
get this Mogul award.” Derks heard about
data that had been collected on the number
of women directors at Sundance. “The funny
thing they found out was that the higher the
budget, the more men were involved,” she
recalls. The IDFA director was also intrigued
by the gender monitoring policy in the Swedish
film industry. “I was also curious as to how
things were going in documentary”, Derks says.
IDFA undertook its own research. The full
figures will be presented during The Female
Gaze conference, but around 38% of films
submitted to IDFA are made by women, which
compares well with figures for fiction festivals.
“But there is still a huge difference between
men and women and the opportunities they
have”, Derks says.
Female Gaze
Strong themes
One of the major sidebars at this year’s IDFA
is The Female Gaze, investigating the role
of women in documentary. The programme
includes screenings of films “made by great
female documentary masters”, as well as
debates. The idea came about when Derks won
the 2011 Doc Mogul Award at Hot Docs. She
realised she was only the second woman, after
Sheila Nevins at HBO, to win the award. At
a dinner, some of her female friends observed
Derks is confident in the quality of this year’s
crop. “All the competitions are very strong. I
even think mid-length is very strong, which I
always find a difficult section to programme.”
Ask her about themes she has spotted in the
selection and she points to the number of
films from all over the world (“not only the
West”) about the elderly. She also notes that
many docs deal with the post-traumatic stress
individuals and communities are suffering in
the wake of the many wars being waged around
the world. One title she highlights is brilliant young Dutch director Morgan Knibbe’s
Those Who Feel The Fire Burning: “an amazing
film about migrants coming from Africa and
the Middle East to Europe. It really gave me
goosebumps.”
Trading places
The festival this year is shifting locations. Its beating heart will be in Café de Jaren and Café Swych
on Amsterdam’s Nieuwe Doelenstraat, rather
than around the Rembrandtplein. The move was
forced – the Schiller is being used nightly by TV
crews – but Derks sees the spirit of the festival’s
old hub De Balie reflected in De Jaren.
Funding for the Festival remains stable. The
budget for this year’s event is slightly higher
than last year and, as long as box-office takings
remain steady, IDFA should hit its targets.
Several titles, among them Alex De La Iglesia’s
Messi and Geertjan Lassche’s Killer Slope, have
already sold out.
And then there is George Takei, the former Star
Trek star who will be in town for the screening
of To Be Takei, a new doc screening as part of
IDFA’s Queer Day. Is Derks herself a Trekkie? “Yes,” Derks admits. “In the ’70s, I saw
everything. Never the films, but the series was
a must.”
Talkshows
IDFA is organizing seven Industry Talks for
guests who wish to sharpen their awareness
of the documentary industry and get up to
speed on its latest developments.
Thursday: Starting Off Like a Rocket
with Phie Ambo and Teodora Ana Mihai
The Industry Talks and IDFAcademy
programme kick off with an inspiring
conversation between renowned filmmaker
Ambo and upcoming talent Mihai.
How defining is your first film for the rest
of your career? How do you determine your
own signature? And do you dare to do so in
your debut?
Moderator: Cecilia Lidin (Swedish Film
Institute)
Guests: Phie Ambo (Good Things Await),
Teodora Ana Mihai (Waiting for August)
November 20, 15:00, Brakke Grond –
Rode zaal
Friday: Impact Distribution: Big Films
Finding Major Audiences
Insights on the opportunities and challenges
of the new model of Impact Distribution.
Three filmmakers give the ins and outs of
the strategy for their films, which are premiering at IDFA. Come put your questions
to this incredible group of filmmakers.
Moderator: Beadie Finzi (BRITDOC
Foundation)
Guests: Carsten Aanonsen (Ida’s Diary),
Joanna Natasegara (Virunga), Nick Batzias
(Madman Entertainment)
November 21, 15:00, Brakke grond – Rode
zaal
Both talks are free for all IDFA pass holders.
DOCS FROM
FLANDERS @ IDFA 2014
WAITING
FOR AUGUST
THE FEMALE GAZE
TEODORA ANA MIHAI
CLIN D’OEUIL FILMS
SALES RISE AND SHINE
BY
PRODUCTION
SCREENINGS
21 NOV, 22:15, MUNT 9
22 NOV, 18:15, KLEINE KOMEDIE
26 NOV, 17:45, TUSCHINSKI 4
BEFORE THE LAST
CURTAIN FALLS
BEST OF FESTS
BY EVA KÜPPER & THOMAS WALLNER
CO-PRODUCTION (FLANDERS)
SAVAGE FILM
SALES CAT&DOCS
SCREENINGS
19 NOV, 15:15, MUNT 10
24 NOV, 22:00,, MUNT 11
26 NOV, 12:00, BRAKKE GROND
28 NOV, 20:45 MELKWEG
MING OF HARLEM TWENTY STOREYS
IN THE AIR
PARADOCS
BY PHILLIP WARNELL
MICHIGAN FILMS
SCREENINGS
ELEPHANT’S
DREAM
PANORAMA
BY KRISTOF
BILSEN
PRODUCTION ASSOCIATE DIRECTORS
SALES CAT&DOCS
SCREENINGS
22 NOV, 16:15, MUNT 10
25 NOV, 18:45, MUNT 12
27 NOV, 20:15, MUNT 13
19 NOV, 13:00, MUNT 12
NATHAN, FREE AS A BIRD
PANORAMA
BY ROEL NOLLET
PRODUCTION REDHORSE REPORTERS
SALES COCCINELLE FILM PLACEMENT
SCREENINGS
21 NOV, 18:00, MUNT 9
22 NOV, 12:15, MUNT 10
dial H-I-S-T-O-R-Y
PARADOCS
OUR CITY
PANORAMA
PRODUCTION
BY JOHAN GRIMONPREZ
PRODUCTION ZAPOMATIC (1997)
SCREENINGS
BY MARIA TARANTINO
WILDUNDOMESTICATED
SCREENINGS
23 NOV, 17:15, MUNT 9
25 NOV, 14:15, MUNT 10
28 NOV, 12:00, EYE CINEMA 1
GLADIATORS,
A DIFFERENT WORLD
FORUM PROJECT
BY ARUNAS MATELIS
ASSOCIATE DIRECTORS
25 NOV, 15:10, ZUILENZAAL
ﬂandersimage.com
1ADV_DocsFromFlanders_20/11/14.indd 1
17/11/14 15:53
New market realities
Docs for Sale opens for business at the Arti
and Amicitiae on Friday in what promises
to be the market’s best-attended edition
in years. By Melanie Goodfellow
“We’ve had more registrations before the start of
the market than we’d had by the end of last year,
and we always have another 10 to 15 people
turning up at the last minute,” IDFA industry
chief Adriek van Nieuwenhuyzen says.
Some 300 TV buyers, sales agents, distributors
and festival programmers register for Docs for
Sale each year. Van Nieuwenhuyzen suggests,
however, that this year’s higher attendance is
not necessarily a sign of better times in the
documentary world, which has suffered financially in recent years due to slashed broadcaster
budgets and waning theatrical returns. “A
couple of years ago we were really asking what
was going to happen. Many broadcasters, key
funders of documentaries in Europe, underwent
major cuts and everything seemed to be going
downhill very fast,” she says. “The situation
appears to have stabilised but there’s definitely
less broadcaster money around. On the flipside,
new funding opportunities are emerging such
as VOD platforms or working with brands and
NGOs – although these have their pitfalls. But
this is the new reality and the industry is adjusting to it.”
This “new reality” is reflected in a series of
IDFA Industry Talks which touch on topics
such as how to connect with audiences through
tailored outreach campaigns, managing rights
in the digital age and brand funding. On the
latter, director Brian Newman will talk about his
experiences on DamNation, funded by outdoor
“New funding opportunities are
emerging,” says IDFA industry
chief Adriek van Nieuwenhuyzen
clothing line Patagonia.
Back at Arti & Amicitiae, Docs for Sales’ curated catalogue – aimed at new, quality feature
and mid-length works – offers some 460 titles
this year, 142 of which are in the IDFA official
selection. “We received 550 submissions, which
means we didn’t decline that much and shows
Coccinelle alights
Fledgling sales outfit Coccinelle Film Placement
makes its IDFA debut this year with Belgian director
Roel Nollet’s Nathan – Free as a Bird.
By Melanie Goodfellow
photo: Korinne de Korver
people have developed a good idea of what we
take,” says Van Nieuwenhuyzen. “We think
it’s important the catalogue remains curated. It
distinguishes us from markets like MIPDOC,
which is open to everything.”
Industry screenings for all the IDFA competition titles bar those in the student contest start
Just Eat It tempts buyers
Films Transit is reporting strong buyer interest for
food waste documentary Just Eat It as its Canadian
makers Grant Baldwin and Jenny Rustemeyer hit the
European festival circuit this month.
on Thursday and, as in previous years, the
market will operate a multi-booth videotheque
at Arti & Amicitiae, open 10 am to 10 pm daily.
The catalogue is also available online, usage
of which spikes just before festival, but many
professionals prefer to screen new content in situ
in Amsterdam.
Ballet Boys dance on
Paris-based documentary specialist Wide House
continues to reel in sales for Norwegian Kenneth
Elvebakk’s Ballet Boys, competing in the IDFA Doc U
competition. By Melanie Goodfellow
By Melanie Goodfellow
The tale of Belgian transsexual Nathan Verhelst, who hit the
headlines when he decided to end his life by euthanasia after
sex change operations did not bring the sense of well-being
he craved, world premieres in IDFA’s Panorama section on
Friday.
Rome-based Francesca Breccia is the driving force behind
Coccinelle. Rather than operating as a traditional sales company, the outfit is a network of independent sales professionals working under the Coccinelle banner, Breccia explains.
“We bring our own films and then help each other out with
our network”, she says. “We try to keep costs to a minimum
and do a lot of work over the internet.”
“Producers choose us because they get their sales revenue
without any cost deduction or cut – apart from our sales
commission”, she adds. Associated professionals include
Gaetano Maiorino, who previously worked for Italian
sales agent Adriana Chiesa and the industry office of the
Toronto Film Festival; international sales veteran Jef Nuyts;
Paris-based producer Sara Monacelli; entertainment law
consultant Donatella Mugnano and Setsu Higa of Tokyobased Action Inc.
Other Documentary titles on its slate include Mexican
Horacio Alcalá’s Grazing the Sky, which Coccinelle has just
sold to Arte and Sky Italia. The sales hub also recently sold
Vittoria Colanna’s Identities, exploring Ireland’s multicultural
transgender community, to Canada’s global LGBT channel OUTtv and its associated Utrecht-based channel which
broadcasts into the Netherlands, Belgium and Sweden. Other
titles on the Coccinelle slate include The Age of Kommunalki and Radio Unnameable.
IFDA marks the first market for the final cut of Nathan –
Free as a Bird. Nollet spent three years with Verhelst, capturing her/his metamorphosis from Nancy to Nathan and the
shock decision to opt for euthanasia. Breccia describes the
work as a “shocking live recorded diary” combining up-close
footage of Verhelst with expert interviews and context about
the headlines his decision provoked.
On the eve of IDFA, Transit sold the picture to Swedish
Educational TV (UR), Israel’s Channel 8 and Estonia Public
TV and “another 10 territories are under negotiation,” says
co-chief Jan Rofekamp.
The film, exploring the issue of food waste through the couple’s quest to live for six months on discarded produce, plays
in IDFA’s Best of Fests and in the Doc U Competition.
Vancouver-based Baldwin and Rustemeyer arrive at IDFA
from Copenhagen where Just Eat It won the audience
award at CPH:Dox. “It was a relief to discover that a film
we’d made in North America resonates in Europe too”, says
Baldwin, who decided to explore the issue of food waste
after reading that 40% of food produced in the US is not
consumed. “I couldn’t believe it and that became the catalyst
for my research and then the documentary. I thought footage
documenting it would hit home more than numbers on a
page”, he says.
Partner Rustemeyer, who produced Just Eat It under the Peg
Leg Films banner in association with Knowledge Network,
reveals she had mixed feelings about the quest. “I like eating
leftovers because it means I don’t have to cook but going
dumpster diving was not necessarily something I wanted to
do,” she says.
The filmmaking couple previously worked together on The
Clean Bin Project (2010), competing to see who could generate least waste in a year. As for that film, they are planning an
extensive outreach campaign for Just Eat It. “These films can
have a really long tail”, says Baldwin, who has also signed to
do the cinematography on Velkrow Ripper’s next documentary. Rustemeyer, meanwhile, is developing a documentary
“in similar vein” to Just Eat It, about a couple who embark on
a wilderness adventure.
Other festival films on Film Transit’s slate include Something
Better to Come and Those Who Said No (North American
rights only); On the Bride’s Side, The New Rijksmuseum – The
Film and Plaza Man.
The picture, following three Norwegian ballet students over
four years, recently sold to Hong Kong company Edko Films,
which plans to release it theatrically in spring 2015. Wide
House chief Anais Clanet announced she had acquired international rights to Ballet Boys at the beginning of IDFA last
year, just prior to it being presented as a work-in-progress at
the Forum. Since then, the film has sold to territories including to Germany (CMV Laservision), France (ZED), Canada
(Kinosmith), Taiwan (Swallow Wings), Japan (Uplink) and
the UK (Matchbox). Swedish broadcaster SVT picked it up
to air in late 2014. The UK’s Matchbox released Ballet Boys
theatrically in September.
Other IDFA titles on Wide House’s slate include The Great
Museum, going behind the scenes of Vienna’s world famous
Kunsthistorisches Museum, which screens in Best of Fests.
A slew of distributors have already picked up the picture, including French Jour2Fete and New York-based Kino Lorber,
both planning a spring 2015 theatrical release.
Titles selected for Docs for Sale include The Man Who Saved
the Louvre on World War II Louvre director Jacques Jaujard
and his quest to keep the masterpieces out of the hands of
the Nazis. It has prompted strong broadcaster interest, selling
to Taiwan (PTS), Italy (RAI Historia), Canada (RDI) and
RSI for Italian-speaking Switzerland. Clanet says a number of
other deals are in the pipeline.
Other titles on Wide’s current slate include Finding Gaston,
about Peruvian celebrity chef Gastón Acurio Jaramillo;
Zombie: The Resurrection of Tim Zom, about a skateboarding
pro, and Switzerland’s foreign-language Oscar submission
The Circle. Finding Gaston recently sold to Japan (StyleJam
Inc.) and the US (Film Movement) and is under negotiation
for France, German-speaking territories and Australia and
New Zealand.
In other sales news, Wide has also just sold The Special Need,
which played in Best of Fests at IDFA last year and nearly
clinched the audience award, to US next gen digital distributor 108 Media Corp.
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War Games
Tonje Hessen Schei’s Drone, which
picked up both the Best Norwegian
Documentary and the Checkpoints
Human Rights prizes at this year’s Bergen IFF, receives its Dutch premiere at
IDFA. The film questions the legality of
US drone strikes over Pakistan, the number of which has increased alarmingly
over the past decade.
35 Cows and a Kalashnikov
German director Ossie von Richthofen’s 35 Cows and a Kalashnikov
joyously and poetically captures Africa
through portraits of three very different sets of African men: painted Suma
warriors in Southern Ethiopia; sharp-suited dandies in Brazzaville and muscled
wrestling champions in Kinshasa.
When the late filmmaker set about making
the picture, he was determined to overturn the stereotypical, Western view of the
troubled continent. The film, he explained
in an interview conducted prior to his death
in August 2013, “had to be special.” There
were to be “no boy soldiers, no African
dictators, no hunger.”
“However important political documentaries are, our intention was to capture the
continent from a different angle with a specific filming, editing and music. We wanted
to show the world a new view of Africa”,
he explained. The filmmaker was joined in
the project by German blockbuster director
Roland Emmerich, his long-time friend and
former film school contemporary, who had
also fallen for Africa during the shoot of
10,000 BC in 2008 and agreed to partner as
executive producer.
“I was continuously involved in the project
but I was too afraid to go with them – it
was too dangerous. It was Ossie von
Richthofen’s thing to get shot at”, says Emmerich. Other key collaborators included
cinematographer Gernot Aschoff and
editor Nathalie Puerzer. Von Richthofen
singled out the three groups featured in the
film through the work of world-renowned
photographers Hans Silvester, Hector
Mediavilla and Colin Delfosse. His desire
to capture the magical side of Africa grew
out of his childhood in the Sudanese city of
Khartoum in 1960s, which he describes as
“a childhood paradise.” “A coup d’état, followed by the never-ending civil war, forced
our family to leave the Sudan, but my wish
to film in and about Africa never diminished,” he said.
Von Richthofen recounts how tracking
down the Suma warriors, living in a remote
valley in southern Ethiopia, made him feel
like the legendary explorer Henry Morton
Stanley when he finally made contact with
David Livingstone. “I was overwhelmed
that we had actually made it. We were visiting one of the last untouched tribes on this
planet. What a privilege,” he recounted.
Melanie Goodfellow
IDFA Competition for
Feature-Length Documentary
See the screening schedule in the middle of this
paper for screening times.
Dogwoof sales resonate
At the start of this year’s IDFA, Dogwoof’s sales arm has announced some
eye-catching new deals on its current
slate.
One film selling very briskly is Alex Gibney’s
Finding Fela, screening in IDFA’s Music
Documentary section. This has now gone to
NonStop Entertainment (Scandinavia, the
Baltics, Iceland), Restart (Former Yugoslavia) and Just Wanted (Italy). These deals
follow on from TV sales already concluded
with Arte France, VPRO (the Netherlands),
AMC Global (MENA, CEE) and Canal+
(Spain).
Meanwhile, Lina Plioplyte & Ari Seth Cohen’s Advanced Style, about the fashion sense
and daily lives of older New York women
aged between “50 and death”, has been
snapped up by Madman (Australia & NZ)
and Jaguar (In-flight). These deals follow on
from the recently announced sales to AMC
GLOBAL (Iberia), DBS (Israel) and EBS
(Korea), DBS Israel, New Select (Japan),
NonStop Entertainment (Scandinavia, the
Baltics).
Among other deals, Dogwoof ’s doc about
3D printing, Print the Legend, has gone to
Canal+ (Spain) and DBS (Israel) and Kim
“Drones were just slipped in as the new normal
without us having a proper debate about the
new ethical, moral and legal questions that
this new warfare raises,” comments Schei. “I
really hope we can have a serious debate here in
Europe about the very dangerous precedents the
US is setting with its use of drones.”
The director, whose gaming-themed Play
Again screened at IDFA 2014, became fixed
on the subject of drone warfare after she heard
of a teenage gamer who was recruited as an
operative by the US military, and by the age
of nineteen was responsible for training new
drone recruits.
In her film, she presents whistleblower drone
operator Brandon Bryant who admits to
having killed 1,626 people, the vast majority
innocent, from his remote station in the US.
Brandon will be in Amsterdam to attend the
film’s second screening and subsequent debate
on 23 November. “Brandon has taken great
risks in speaking out and being the only voice
from inside the drone programme after so
many years. We are taking strong precautions
about how we do things and where he goes...
but he is now working in the UN to set up an
international legal framework for drones, so
I think he has gotten such wide coverage and
has become a spokesperson, so there is safety
in that.”
Schei reveals another pertinent reason why
she is looking forward to screening her film
at IDFA 2014. “My mentor and executive
producer was Peter Wintonick, so for me it is
very special to come back. For me IDFA was
Peter. I always hung out with him a lot.
I hope he would have been proud of the
film.” Nick Cunningam
Around the World in 50 Concerts
IDFA opening title Around the World
in 50 Concerts was commissioned
to mark the 125th anniversary of the
Royal Concertgebouw Orchestra –
one of the top orchestras in the world.
Like all its director’s work, this is a
deeply personal documentary, playful
and lyrical by turns.
Even before she started shooting, Heddy
Honigmann – one of the towering figures
in Dutch documentary – was determined to
broaden the scope of the film. This wasn’t just
going to be a movie about the orchestra, but
also set out to explore the impact its music
had on audiences in the different cities it
visited during the anniversary tour.
Even before she started shooting, Honigmann
had a vision of black children in Soweto
listening to the orchestra. She went to great
lengths to track down Sergei, the elderly music
lover in St Petersburg who had lived through
terrible times during the 20th century – buffeted by both Hitler and Stalin – but who found
immense joy and relief in classical music. We
see him at the Royal Concertgebouw concert
with tears streaming down his face.
The director made the film in what she
describes as “a purely intuitive way.” She
looked for storytellers among the orchestra
members and then gave them the opportunity
to express their feelings about their craft. “I
call it casting in documentary,” she says of
the painstaking way she chooses her subjects.
She has a knack of making subjects feel at ease
and of eliciting both intimate and surprising
revelations from them.
Around the World in 50 Concerts is a film
made with a tenderness and humour not
often found in more conventional docs about
classical music. As the director puts it when
describing her approach: “I always try to find
the joy!” Geoffrey Macnab
IDFA Competition for
Feature-Length Documentary
IDFA Competition for Dutch Documentary
See the screening schedule in the middle of this
paper for screening times.
Longinotto’s Love Is All has gone to YLE
(Finland).
Here in Amsterdam, Dogwoof is beginning
its roll-out of Ryan Mullins’ Chameleon.
The film, screening in IDFA’s Competition for Feature-Length Documentary, is
produced by EyeStellFilm. Supported by
Sundance, it is a prime candidate for selection at early 2015 festivals following its
premiere at IDFA.
The company is also beginning pre-sales on
Des Henderson’s Project Children, about the
NYPD bomb disposal expert who, over the
course of forty years, gave 30,000 children
from Northern Ireland a holiday in the USA,
away from The Troubles. Denis Mulcahy
was twice nominated for the Nobel Peace
Prize, yet his story has never been told. It is
produced for Northern Ireland-based Alleycats by Ed Stobard. Dogwoof has worldwide
rights on the project.
“We are talking to various broadcasters and
it was pitching at MIPCOM,” commented
Dogwoof ’s head of international sales and
acquisitions, Vesna Cudic. “The response has
been very positive. I am hoping to find a US
broadcaster. It is a US story and I think it
will really resonate with US audiences.”
Geoffrey Macnab
5
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Somboon
“How much are you willing to do for your soul mate?”
This is the question asked in Thai director Krisda Tipchaimeta’s feature doc Somboon.
The Storm Makers
Guillaume Suon’s The Storm Makers presents the stories of three people involved in different ways in the
shocking trade in migrant workers from Cambodia.
“I always try to find individuals with a strong personal story”,
the director says. “People who accept the camera into their
daily lives, for a long period of time.” The candidness with
which the three protagonists of The Storm Makers talk about
their experiences, feelings and activities is one of the most
striking features of this disturbing exploration of human
trafficking and its consequences in Cambodia. “I try to find
people who can express their feelings deeply and tell their
story in their own words”, the director says.
One of these protagonists is a ‘recruiter’ whose admissions of
greed, ruthlessness and illegal exploitation of naïve Cambodian villagers are truly jaw-dropping. “He didn’t want to
be filmed at first”, Suon says. “He suggested I only film his
hands. I told him I wasn’t interested and wouldn’t film him at
all then. He then changed his mind, saying he had lied for so
many years and this film was a way for him to tell the truth.
He was very careful at first, but seeing I was just filming his
daily life, he started to say more, day by day. He’d rather
be successful than honest and treated as a slave. I think he
represents a side of Cambodian society now, where money
can buy anything.”
Another protagonist gives a heartrendingly open account of
how her life has been completely devastated by the trade in
Cambodian migrant workers. “I spent a lot of time talking
with all the characters off-camera”, Suon says. “I took the
time to build a real relationship with them. I had no problems telling them when I thought they were hiding the truth.
So eventually, when they understood I wasn’t making a film
to blame or judge them, they opened up.”
Suon would like his film to “raise awareness of the danger of
migration and the consequences of human trafficking”, but
is sceptical of how much impact he can have as a filmmaker:
“How do you convince starving young men or women not
to try their luck? They bargain with the only thing they have:
their lives.” Mark Baker
IDFA Competition for Feature-Length Documentary
IDFA Bertha Fund Harvest 2014
See the screening schedule in the middle of this paper
for screening times.
That Sugar Film
Australian actor Damon Gameau sets himself a Super
Size Me-style challenge in That Sugar Film, consuming
40 teaspoons of sugar a day – the national average
for Australia – for 60 days and monitoring its impact on
his body.
Unlike Super Size Me (2004), in which Morgan Spurlock ate
only McDonald’s, Gameau upped his sugar intake by consuming foods perceived as healthy. “I developed fatty liver disease
in just three weeks, which no-one was expecting, but it was
thrilling for the producers as they knew we had a film,” says
Gameau. “By the end, I was very close to cirrhosis of the liver
and the medical team watching me was adamant it was time
to stop.”
Somboon is an old man who has been with his partner Grandma Miad for 45 years. Now, she is ailing. As her body fails,
Somboon looks after her with tenderness and devotion. He
loves her and treats her with unquestioning kindness. There
isn’t much dialogue between them, but their feelings for one
another are apparent simply through their looks and gestures.
The film was made through Bangkok-based NOB Productions. The crew followed Somboon and his wife over a period
of around four years, making regular visits to their home outside city of Ayutthaya. They also left a camera with Somboon’s
grandchildren, inviting them to film anything that struck them
as interesting or revealing.
This detailed and intimate film, shot verité-style, takes us into
the heart of Somboon’s life, distilled down to 80 minutes from
over 10 hours of material. It has moments of great grace and
lyricism, notably a sequence in which we see Somboon gliding
across the water in a little skiff. As he rows, we hear music,
with plaintive lyrics. “When the sun is gone and the sky is
dim to dark / Being absolutely empty and lonely / When you
are gone, the warmth stays still / My heart will be here…
beside you!”
In 2011, Somboon and the filmmakers faced huge problems
from flooding in the rainy season. Grandma Miad fell very ill
and it was not possible to get her to a hospital. Meanwhile,
Tipchaimeta struggled to reach Somboon’s home, accessible
only by boat.
Paracha Pavarolarvidya, who produced the film alongside
Sathanapong Limwongthong, believes that Somboon will have
an appeal beyond its national borders. The setting may be a
small Thai village, but every family has to deal with the same
problems that confront Somboon. “I think it is a very universal
theme for a documentary”, he suggests.
The documentary was largely self-financed. In Thailand, the
producer points out, “not many people want to see documentary.” The success certain Thai directors have had in the fiction
field (most notably the Palme D’or winning Apichatpong ‘Joe’
Weerasethakul) hasn’t been matched in the documentary field.
Geoffrey Macnab
Those Who Feel
the Fire Burning
Despite the grimness of its subject – the lives of
refugees rendered penniless and isolated within the
‘promised land’ of Europe – Morgan Knibbe’s feature
debut Those Who Feel the Fire Burning is a visual and
aural tour de force, made with a surety that belies the
director’s 23 years.
In the opening scene, shot in almost total darkness, a male
refugee falls from a ship during a storm. As his physical remains sink to the bottom of the sea, his ghost rises to soar and
swoop over the Europe he was hoping to reach. There, we are
introduced to the lives of refugees who did make it, and hear
their whispered, at times lyrical, testimonies.
The film isn’t location-specific (although much of it was shot
in Athens and in Lampedusa following the disaster in which
more than 350 Eritrean refugees were drowned off the Sicilian
coast). “We purposefully avoided any kind of geographical
information. You could feel that it was Mediterranean, somewhere in Europe, and that was enough information because
we were always thinking about how we could tell this story in
the most universal way possible”, Knibbe concurs.
Knibbe’s camera is both curious and candid (he used a consumer Steadicam rig and Sony FS100, and deployed drones
for the dizzying aerial shots), but few subjects seem aware of,
or bothered by, its presence and what it records is at times
extraordinary. The scenes of grieving relatives in Lampedusa
(as the world’s press looks on) are heart-breaking. Later, when
Knibbe shoots an intensely physical, all-male Muslim prayer
meeting, his camera details every square inch of flesh reddened through self-flagellation.
Earlier, we see a small girl in a crowded room, asleep among
her family, and hear her whispered words, “I am a bird… I
want to fly to places I haven’t seen yet,” before the camera
moves on. Knibbe underlines that the films’ narrated texts
“Given that I was only having sugar in perceived ‘healthy’
food, it was a surprise,” he continues. Inspiration for the film
came from a personal lifestyle change when Gameau gave up
sugar to impress his health-conscious girlfriend. “I noticed
the headlines emerging about sugar and that the camps were
divided: some said it was toxic, while others said it was great
for energy. I decided to find out for myself,” he explains.
The actor approached Nick Batzias, head of production at
Madman Entertainment. The pair had got to know one another during the shoot of India-set, cricket comedy caper Save
Your Legs! which Batzias produced.
“When one learns how pervasive sugar has become in our diets
worldwide and the impact it’s having on global health, making a film to raise awareness in all sectors of the community
seemed vital,” says Batzias.
Alongside the 40-teaspoon challenge, Gameau explores a
campaign to combat obesity in Australia’s Aboriginal popula-
are always the subjects’ own words, re-recorded. Even the
words of the ghost are based on genuine testimony, spoken
by an Iranian refugee living in Amsterdam. “We always asked
the people to talk very softly. It is supposed to feel like you
can hear their thoughts. You are very close and intimate with
them.” Nick Cunningham
tion and flies to the US, to watch a dentist extract the rotten
stumps of a man addicted to sugar-laden drinks. His quirky
investigation is intercut with interviews with nutrition experts
as well as a guest appearance by self-confessed sugar addict
Stephan Fry, who gives a breakdown of the composition of the
“sugar family.”
Gameau will take part in an extended Q&A after the world
premiere on Thursday and producer Batzias is also at IDFA to
talk about outreach plans for the film, sold by London-based
Metro International, at an industry talk on Friday.
Melanie Goodfellow
7
Our catalogue is
available to screen
online at
www.nposales.com
NPO Sales
Bart de Graaffweg 2
1217 ZL Hilversum
The Netherlands
T. +31356773561
[email protected]
Mimoun >
BIND and VPRO Television
Foto: Ivo de Bruin
Home
Director Ramón Gieling’s encounter with the charismatic
Cyriaque, an Ivorian refugee holed up in an Amsterdam
encampment-cum-squat, was very timely. “I was busy writing a film about ‘home’, but not the mortgage or the bricks
– I was fascinated by the concept,” Gieling stresses. “We have
so many expressions related to the home. It is where the heart
is, thousands of songs relate to it, and I was busy writing a
film idea about what it was to lose your home; about, let’s
say, the people in Israel or Palestine or Africa. This coincided
with an article I read about how 120 refugees had set up an
encampment in the middle of Amsterdam – a completely
surreal image.”
When Gieling arrived with a cameraman in tow he soon
encountered Cyriaque, a man held in the highest esteem
by his fellow refugees. Poet, rock star and prophet all rolled
into one, speaking in metaphor and singing of politics, love
and remembrance while plucking an accompaniment on
a battered old guitar. “I felt like a painter who had found
his model,” Gieling says of the encounter. “I had my main
character. It was as simple as that.”
Cyriaque’s life has been tragic. He fled the Ivory Coast after
his father (who he disliked) was murdered, and he lost a
sibling in tragically unnecessary circumstances. He also has
War of Lies
a family that he no longer knows. Nevertheless he retains an
indefatigable optimism throughout, and is happy to indulge
in humorous role-plays with the director, such as that of an
immigration office welcoming Gieling to African shores.
“He never complained… he has no reason to be optimistic
about anything, but nevertheless he is an optimist”, Gieling
underlines.
The film screens in IDFA’s Dutch competition, but the
Music Documentary programme would be just as appropriate, given how Cyriaque’s inherent musicality pervades
the narrative. (Gieling’s music doc About Canto screened in
IDFA’s feature-length competition in 2011 and his ERBARME DICH – St Matthew’s Passion Stories will screen in IFFR
Live in 2015.) “After the last viewing, my producer Peter van
Hutsytee said, ‘in the end we made a film about music, but
the music is made by an Africa refugee.’ That was a nice way
of looking at the material”, Gieling concludes.
Nick Cunningham
For his First Appearance contender War of Lies,
director Matthias Bittner conducts an in-depth
interview with an Iraqi asylum-seeker (Rafed Ahmed
Alwan al-Janabi) whose – it turns out spurious –
testimony on Saddam Hussein’s chemical weapons
capability provided the basis for the 2003 invasion
of Iraq.
“I was stunned when I first heard that Alwan was supposed
to be the one man most responsible for causing the Second
Iraq War”, the director says. “I asked myself, how is it possible for a single individual to lead the world’s best intelligence
agencies by the nose? That’s how I got hooked and started
researching.”
Tracking this enigmatic individual down involved Bittner
taking on the role of private investigator. “It was a puzzle
– the whole film is – made up of small details,” he recalls.
“As you can imagine, this man is not in the phone book. All
Wind on the Moon
Like his 2011 IDFA feature-length competition winner Planet of Snail, Seung-Jun Yi’s Wind on the Moon
focuses on the love and dedication lavished on a
central protagonist who is both profoundly blind
and deaf. It is also a film about communication; but
whereas a beautiful romance is articulated via finger
braille in the director’s earlier film, no such communicatory outlet is possible in Wind on the Moon.
With teenager Yeji, dialogue is almost impossible, and both
her mother and teacher/carer can only guess at the complexity
of the emotions she feels, or the senses she is trying to convey.
She is physical, in so far as she spins like a dervish for long
periods, and responds to external stimuli in the most basic of
ways. She bites or wails when she is upset, or laughs and hugs
when seemingly content. She seals her lips when she is full
and a combing gesture indicates that she wants to go out.
The film was shot over two years, during a period when Yeji is
finally offered a place in a special school for the blind, alongside children whose hearing is not impaired. Prior to that,
her devoted mother was forced to care for her at home, even
Solo – Out Of A Dream
An 11-year-old boy is shown playing with a ball on a
dirt pitch in a Rio township. Cut forward 20 years and
we see the same player walking out for a professional
team in Europe.
The boy is Leonardo Vitor Santiago. He featured in a 1994
film Dutch director Jos de Putter made about children in the
favelas. All the kids De Putter met in Rio had the dream of
becoming footballers. Largely thanks to that documentary,
Leonardo fulfilled the dream. Dutch club Feyernoord signed
the teenager after seeing the film.
Leonardo, now 31 and approaching the end of his career (with
1860 Munich), accompanies the director back to Rio. “I’ve
often wondered what it means when a film carries away a life,”
learning braille in her desperation to allow communication
with her daughter. At the school, Yeji’s progress is very slow
but the institutional care offers some respite for her mother,
as well as an opportunity to make friends with other women
whose lives are seriously affected by their children’s handicap.
“When I started this film, nine out of ten people told me not
to make another film on the subject of deafness and blindness,” stresses director Seunj-Jun Yi. “If you ask me if I will
be returning to this theme in future films, I will say not at all.
But if you mean communication, then yes. It can be any kind
of communication; between generations or between today
and history, or between today and yesterday, between North
and South Korean. Communication is a theme that is very
important to me as a documentary director.”
Nick Cunningham
I knew was which city he lived in. The search lasted more
than four months. I often stood in the rain for days in front
of houses, waiting for him to come out. One morning, I
approached Alwan on the street. At first he denied being the
informant, but when I told him his old name from Iraq, he
began to grin. We arranged to meet for coffee that afternoon.”
Having found his subject, Bittner faced the daunting task of
getting such an enigmatic, controversial figure to open up
to him. “After extensive research, I gave up on my original
notion of telling his story based on cold facts”, he says. “I
decided to try to understand the man himself, including his
convoluted psyche. How does he deal with the burden of the
lie he told and its vicious consequences? These questions were
more important to me. I tried to put the audience in my
place. Everybody has to make his own decision on whether
or not he is telling the truth. But then, can a documentary
that deals with international intrigue, intelligence and war
ever really speak the truth?”
Taking a lead from documentary great Errol Morris, Bittner
sees personal communication as key. “In an era in which
communication is shifting more and more into the digital
world, I find it extremely important to seek the personal
conversation; because communication is the solution to all
problems”, he says. Mark Baker
IDFA Competition for First Appearance
Pitched at The Forum 2012
Pitched at IDFA Forum 2012
De Putter reflects. Back in 1994, he was observing the kids
with his camera, making a documentary about their aspirations and the conditions in which they lived. He had no idea
he would see them again, or that one of them would enjoy a
professional football career in Europe because of him.
“I don’t make films to change anything. I just make films to
tell stories,” he states, adding that he is not “a sequel man”.
Nonetheless, there was a strong connection between filmmaker and subject that prompted him to make Solo – Out Of
A Dream.
“Every time I meet him, I identify with him, maybe. He identifies with me, maybe. It was like that 20 years ago. It is like
looking through a magnifying glass. I recognise a lot of myself
in him, but in him everything is much more intense.”
The trip back to Rio isn’t simply a triumphant homecoming.
Conditions in the favela are better, but most of the other kids
who used to play football with Leonardo have had difficult
lives. There is obvious tension between Leonardo and his
mother. He pays her bills, but can hardly bear to be in the
same room as her.
There are constant flashbacks to footage from 1994. De Putter
speaks of his admiration for Leonardo, a self-made man who
came from nothing. It is an extraordinary story, but isn’t
simply a case of happy-ever-after. Leonardo has endured bad
injuries, as well as turmoil in his private life in Europe. Success, the documentary suggests, never comes without strings
attached. Geoffrey Macnab
9
by Sylvain Biegeleisen
C&D_DailyAd2014.indd 1
18/11/2014 18:15
Program
TUSCHINSKI
TUSCHINSKI
1
1
9:00
Thursday 20 November
TUSCHINSKI
TUSCHINSKI
2
2
TUSCHINSKI
TUSCHINSKI
3
3
TUSCHINSKI
TUSCHINSKI
4
4
TUSCHINSKI
TUSCHINSKI
6
6
DE MUNT
DE MUNT
9
9
DE MUNT
DE MUNT
10
10
DE MUNT
DE MUNT
11
11
10:00
10:00
10:00
10:15
Ventura Durall
Ventura Durall
Best of Fests, Best
94’ of Fests, 94’
FilmmakerFilmmaker
Ineke Smits
Ineke Smits 11:00 11:00
We
We Are 18
discusses the
discusses
importance
the importance
of
of Are 18
Tomas Kaan
the maker’s
the
signature
maker’s in
signature
hybrid in Tomas
hybrid Kaan
forms of documentary.
forms of documentary. Panorama, 55’Panorama, 55’
11:00
10:00
10:00
The Reading
The Reading
Lesson Lesson
10:15
Bugarach
Bugarach
Ineke Smits
Ineke Smits
10:30
10:30
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 10’ Top 10, 10’
The Invisible
The Invisible
Friend FriendThe FlatThe
Jungle
Flat Jungle
Hans Busstra
Hans Busstra
Panorama, 72’Panorama, 72’
10:30
Johan vanJohan
der Keuken
van der Keuken
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 90’ Top 10, 90’
11:00
10:30
10:00
10:00
Kids & Docs
Kids 3& Docs 3
Ballet Boys
Ballet Boys
11:00
Alan HicksAlan Hicks
EYE CINEMA
EYE CINEMA
1
MELKWEG
MELKWEG
RABOZAAL
RABOZAAL
Gulabi Gang
Gulabi Gang
Music Documentary
Music Documentary
, 84’
, 84’
12:45
Startup.com
Startup.com
Nantenaina
Nantenaina
Lova
Lova
The Female Gaze
The ,Female
103’ Gaze, 103’
13:45 Industry
13:45Screening
Industry Screening
13:00
13:00
No Lullaby
No Lullaby
Heddy Honigmann
Heddy Honigmann
Heddy Honigmann
HeddyRetrospective
Honigmann Retrospective
, 80’
, 80’
13:15
Helen Simon
Helen Simon
13:15
14:45
Saken Saken
Panorama, 98’
Panorama, 98’
Sandra Madi
Sandra Madi
Panorama, 90’
Panorama, 90’
15:15
15:15
We Were
We
Rebels
Were Rebels
Music Documentary
Music Documentary
, 119’
, 119’
15:30
15:30
15:00
Mid-Length Competition
Mid-Length,Competition
65’
, 65’
Simona Canonica
Simona Canonica
17:30
Feature-Length
Feature-Length
Competition,Competition
98’
, 98’The Farewell
The Farewell
17:30
17:30
Student Competition
Student,Competition
25’
, 25’
Mehdi Ganji
Mehdi Ganji
Metal Bread
Metal Bread
First Appearance
FirstCompetition
Appearance,Competition
70’
, 70’
Chingiz Narynov
Chingiz Narynov
17:30
17:00
All of Me
All of Me
Abbas Kiarostami
Abbas Kiarostami
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 91’ Top 10, 91’
17:00
Arturo Gonzalez
Arturo Gonzalez
VillaseñorVillaseñor
17:30
First Appearance
FirstCompetition
90’
, 90’
Die Before
DieBlossom
Before Blossom
The Circus
TheDynasty
Circus Dynasty
First Appearance
FirstCompetition
89’
, 89’
Panorama, 90’
Panorama, 90’
Naziha’sNaziha’s
Spring Spring
Gülsah Dogan
Gülsah Dogan
18:45
Cechanok
Cechanok
19:45
Nicolas Rossier
Nicolas Rossier
After the fiAfter
lm, Dutch
the film,
presenter
Dutch presenter
Daphne Bunskoek
Daphne Bunskoek
speaks with
speaks with
the director.
the director.
Best of Fests, Best
Toots
First Appearance
FirstCompetition
77’
, 77’
Feature-Length
Feature-Length
100’
, 100’
21:30
21:45
22:00
22:00
InvasionInvasion
22:30
22:30
Abner Benaim
Abner Benaim
22:30
Lina Plioplyte
Lina Plioplyte
21:45
Unearthed
Unearthed
Jolynn Minnaar
Jolynn Minnaar
Best of Fests, Best
Panorama, 94’
Panorama, 94’
Drone Drone
22:00
22:00
Island 36
Island 36
Asli Özarslan
Asli Özarslan
Student Competition
Student,Competition
65’
, 65’
Tonje Hessen
Tonje
Schei
Hessen Schei
Best of Fests, Best
21:30
Nadine Salib
Nadine Salib
20:00
Hivos Presents:
Hivos Presents:
The Storm
TheMakers
Storm Makers
20:00
First Appearance
FirstCompetition
85’
, 85’
gesproken,
gesproken,
zonder spoken,
Engelse
zonder Engelse 22:15 22:15
Spanish
spoken,
Spanish
ondertiteling.
ondertiteling.
no
Englishno
subtitles.
English subtitles.
My Mother,
My Mother,
a
a
The LionThe
Hunters
Lion Hunters
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 77’ Top 10, 77’
War andWar
Me and Me
Tamara Trampe
Tamara Trampe
Panorama, 118’
Panorama, 118’
19:45
Regarding
Regarding
Susan Sontag
Susan Sontag
Nancy Kates
Nancy Kates
Home Home
20:00 20:00
Best of Fests, Best
100’ of Fests, 100’
Ramón Gieling
Ramón Gieling
Dutch Competition
Dutch,Competition
72’
, 72’
21:45
Heddy
Honigmann’s
Heddy
Honigmann’s
Top
, 33’ isTop
10, 33’
Toss Me
a Dime
Toss Me
is
Spaans
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Anja Pohl,Anja
Jörg Pohl,
Adolph
Jörg Adol
19:45
20:00
20:45
20:45
Drifter Drifter
Screening Screening
of The Storm
of The
Makers
Storm Makers
followed by
followed
an in-depth
by anQ&A
in-depth Q&A
with director
with
Guillaume
director Guillaume
Suon,
Suon,
presentedpresented
by Hivos. by Hivos.
Toss MeToss
a Dime
Me &
a Dime &
Fernando
Birri
The LionFernando
The
Hunters
LionBirri
Hunters
Jean Rouch
Jean Rouch
Best of Fests, Best
23:00 23:00
Mother Mother
of the Unborn
of the Unborn
20:00
Gábor Hörcher
Gábor Hörcher
21:00
First Appearance
FirstCompetition
72’
, 72’
21:45
Gabriel Reports
Gabriel Reports
the World
theCup
World Cup
Els van Driel
Els van Driel
1:00
Under the
Under
Electric
the Electric
Sky (3D)Sky (3D)
Just Eat Just
It: Eat It:
22:45 22:45
Cutforth,
Dan Jane
Cutforth,
Lipsitz
Jane Lipsitz
A Food Waste
A FoodStory
Waste StoryDan
Best of Fests, Best
Sound ItSound
Out It Out
Grant Baldwin
Grant Baldwin
Kids & Docs, 17’
Kids & Docs, 17’
22:15
Wim Wenders,
Wim Wenders,
22:00 22:00
Juliano Ribeiro
Juliano
Salgado
Ribeiro Salg
22:15
Cotton Cotton
Masters, 110’ Masters, 110’
Zhou HaoZhou Hao
Jeanie Finlay
Jeanie Finlay
Best of Fests,Best of Fests,
58’
, 58’
IDFA DOC U Competition
IDFA DOC U,Competition
23:00 23:00
The Female Gaze
The ,Female
75’
Gaze, 75’
1:00
10:30
1:00
TUSCHINSKI
EYE
CINEMA
EYE
EYE CINEMA
CINEMA
24
1
10:00
10:00
Austin toAustin
Austin
Bostonto
to Boston
Boston
10:00 10:00
EXPOZAAL
EXPOZAAL
RODE ZAAL
RODE ZAAL
Bugarach
Ventura Durall
Best of Fests, 94’
11:00
11:00
Tomas Kaan
Tatiana Huezo
Tatiana
Tatiana Huezo
Huezo
We
Are 18
11:00
11:00
Panorama, 55’
11:45
11:45
Floating 11:45
Bodies
11:00
11:00
The Tiniest
The
The
Place
Tiniest
Tiniest Place
Place
Johan van der Keuken
10:30
The Invisible Friend
Hans Busstra
Panorama, 72’
10:30
10:30
10:30
Heddy Honigmann’s
Top 10, 10’
By invitation
By
By invitation
invitation
The Female Gaze
The
The
, 100’
Female
FemaleGaze
Gaze,,100’
100’
Panorama
, 55’ Elina
Elina
Talvensaari
ElinaTalvensaari
Talvensaari
12:00 12:00
The Female Gaze
The
The
, 19’
Female
FemaleGaze
Gaze,,19’
19’
12:45
Startup.com
Chris Hegedus,
Jehane Noujaim
The Female Gaze, 103’
12:30
12:45
Pirjo Honkasalo
Pirjo
Pirjo Honkasalo
Honkasalo
13:00
Ady Gasy, The
Malagasy Way
The Female Gaze
The
The
, 80’
Female
FemaleGaze
Gaze,,80’
80’
13:00
13:00
13:15
13:15
13:15
Nantenaina
Lova
Panorama, 84’Playing
Playing
Playing
13:45 Industry Screening
Of Men and War
Metal and Melancholy
Eduardo Coutinho
Eduardo
Eduardo Coutinho
Coutinho
Heddy Honigmann
13:00
No Lullaby
Helen Simon
Student Competition, 72’
Framing RealityFraming
Framing
, 104’ Reality
Reality,,104’
104’
Laurent Bécue-Renard
14:15
14:15
14:00 14:00
Feature-Length14:15
Competition, 142’
The Gleaners
The
The Gleaners
Gleaners
and I
and
and II
Agnès Varda
Agnès
AgnèsVarda
Varda
14:45
Heddy Honigmann’s
Heddy
HeddyTop
Honigmann’s
Honigmann’s
10,
Top
Top10,
10,
, 82’
82’
The Female Gaze
The
The
Female
FemaleGaze
Gaze,,82’
15:15
Saken
15:00
Tristia –
A Black Sea Odyssey
15:00
15:00
Stanislaw Mucha
15:15
15:15
Night Will
Night
Night
Fall Will
Will Fall
Fall
Albert
Katharina
Maysles
von
Albert
Albert
Schroeder,
Maysles
Maysles
Florian
Schewe
Masters
, 80’
Masters
Masters,,80’
80’
Panorama, 98’15:30
15:30
15:30
Sandra Madi
Panorama, 90’
Andre Singer
Andre
Andre Singer
Singer
16:15
16:00 16:00
16:15
16:15
Panorama, 85’ Panorama
Panorama,,85’
85’
15:15
15:15
Iris
We WereIris
Iris
Rebels
Panorama, 93’
Silvered Water,
Silvered
Silvered Water,
Water,
Syria Self-portrait
Syria
Syria Self-portrait
Self-portrait
17:00
17:30
I Want to Be a King
17:00
17:00
Patricio Henriquez
Feature-Length Competition, 98’
Heddy Honigmann Retrospective, 80’
Shirley Clarke
Shirley
Shirley Clarke
Clarke
19:00
15:00
15:00
15:00
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TanjuskaTanjuska
Tanjuska
and
and
and
the 7 Devils
the
the 77 Devils
Devils
Nishtha Jain
DE MUNT
12VENUES DE MUNT 13
OTHER
OTHER
VENUES
10:00
IDFA FilmIDFA
IDFA
Academy
Film
Film
Academy
Academy
Day
Day
Day
By invitation
By invitation
invitation
Keep on10:00
Keepin’
onBy
Escaping Riga
10:00
10:30
Project
Project
Project Presentation
Presentation
The FlatPresentation
Jungle
Johan van IDFA-Mediafonds
der
Keuken
IDFA-Mediafonds
IDFA-Mediafonds
11:00
Heddy Honigmann’s
Top 10, 90’
Workshop
Workshop
Workshop
Gulabi Gang
9:00
11
10:00
The Reading Lesson
10:15
DE MUNT
Nederlandse
Nederlandse
Nederlandse
Filmacademie
Filmacademie
Filmacademie
– 09:45 –– 09:45
09:45
10:00
Music Documentary
Music
Music, Documentary
72’
Documentary,,72’
72’
Filmmaker Ineke Smits
discusses the importance
of
11:00
the maker’s signature in hybrid
forms of documentary.
BRAKKEBRAKKE
GROND
BRAKKEBRAKKE
GROND
TUSCHINSKI
5 GROND
TUSCHINSKI
6 GROND DE MUNTOTHER
9 OTHER
DE
MUNT 10
VENUES
VENUES
DONDERDAG
DONDERDAG
2020
NOVEMBER
NOVEMBER
James Marcus
James
James
Haney
Marcus
Marcus Haney
Haney
Masterclass
Ineke Smits
2
KLEINEKLEINE
KOMEDIE
KOMEDIE
9:00
9:00
10:00
21:45
The SaltThe
of the
SaltEarth
of the E
22:15
24:00 24:00
TUSCHINSKI
EYE
CINEMA
EYE
EYE CINEMA
CINEMA
13
9:00
21:00
21:45
22:15
24:00 24:00
WEG
MELKWEG
TUSCHINSKI 2
ZAAL
RABOZAAL
19:00
MakingMaking
of Heimat
of Heim
19:00 19:00
19:30
60’
, 60’
Damon Gameau
Damon Gameau
Advanced
Advanced
Style Style
19:30
GuillaumeGuillaume
Suon
Suon
That Sugar
ThatFilm
Sugar Film
21:00
19:00
Mazyar Moshtagh
Mazyar Moshtagh
Gohari Gohari
19:15
Kristi Jacobson
Kristi Jacobson
The Other
TheMan
Other
– Man – 19:45 19:45
The Female Gaze
The ,Female
85’ Gaze, 85’
F.W. de Klerk
F.W. de
and
Klerk
theand the
Always Together
Always Together
End of Apartheid
End of Apartheid Eva Tomanova
Eva Tomanova
19:45
That Sugar
ThatFilm
Sugar Film
with Extended
with Extended
Q&A Q&A
20:00 20:00
Toots
19:30
Best of Fests, Best
17:00
18:00 18:00
Dutch Competition
Dutch,Competition
90’
, 90’
19:15
19:30
22:30
Ossama Mohammed,
Ossama Mohamme
Wiam Simav
Wiam
Bedirxan
Simav Bedirx
17:00
17:45 Industry
17:45Screening
Industry Screening
Anders Riis-Hansen
Anders Riis-Hansen
18:45
22:00 22:00
53’
, 53’
17:30
45’
, 45’
19:00 19:00
16:15
SilveredSilvered
Water, Water,
Syria Self-portrait
Syria Self-portra
Manfred Vainokivi
Manfred Vainokivi
First Appearance
FirstCompetition
100’
, 100’
Ryley Grunenwald
Ryley Grunenwald
17:30
Ariani Djalal
Ariani Djalal
Panorama, 90’
Panorama, 90’
Facundo Marguery
Facundo Marguery
17:00
The Shore
TheBreak
Shore Break
17:30
15:00
16:15
16:00 16:00
16:15 Industry
16:15Screening
Industry Screening
StealingStealing
Socialism
Socialism
16:30 Industry
16:30Screening
Industry Screening
And LifeAnd
Goes
Life
OnGoes On
AlejandroAlejandro
Alonso Estrella
Alonso Estrella
I Want to
I Want
Be a King
to Be a King
18:00 18:00
17:00
15:00
At 60 Km/h
At 60 Km/h
17:15
Heddy Honigmann’s
Heddy Honigmann’s
Top 10,
Top 10
82’ Gaze, 82’
The Female Gaze
The ,Female
Rowena Sanchez,
Rowena Sanchez,
Charena Escala
Charena Escala
17:15
Agnès Varda
Agnès Varda
Nick andNick
Chaiand Chai
Nick Broomfi
Nickeld
Broomfield
14:15
The Gleaners
The Gleaners
and I an
14:45 Industry
14:45Screening
Industry Screening
First Appearance
FirstCompetition
93’
, 93’
15:00
16:45 Industry
16:45Screening
Industry Screening
Patricio Henriquez
Patricio Henriquez
14:15
14:00 14:00
Amir Escandari
Amir Escandari
Tales of Tales
the of the
Grim Sleeper
Grim Sleeper
Just Playing
Just Playing
with with
the Birdsthe Birds
45’
, 45’
Pixadores
Pixadores
Alex Gibney
Alex Gibney
Heddy Honigmann
HeddyRetrospective
, 108’
, 108’
KatharinaKatharina
von Schroeder,
von Schroeder,
Florian Schewe
Florian Schewe
The Female Gaze
The ,Female
80’ Gaze, 80’
A FrenchALaundry
French Laundry
14:15 Industry
14:15Screening
Industry Screening
14:15
Heddy Honigmann
Heddy Honigmann
16:00 16:00
Uyghurs,
Uyghurs,
Prisoners
Prisoners
of the Absurd
of the Absurd
Pirjo Honkasalo
Pirjo Honkasalo
13:00
13:30 Industry
13:30Screening
Industry Screening
Finding Finding
Fela
Fela
14:30
The Underground
The Underground
Orchestra
Orchestra
14:45
StanislawStanislaw
Mucha Mucha
TanjuskaTanjuska
and
and
the 7 Devils
the 7 Devils
Elisabeth Elisabeth
Vogler Vogler
14:15
Tristia –Tristia –
A Black A
Sea
Black
Odyssey
Sea Odyssey
15:15
Elina Talvensaari
Elina Talvensaari
13:00
Michael Rossato-Bennett
14:30
11:45
How to How
Pick Berries
to Pick Ber
12:00 12:00
The Female Gaze
The ,Female
19’
Gaze, 19’
Music Documentary
Music Documentary
, 104’
, 104’
Best of Fests, Best
Feature-Length
Feature-Length
142’
, 142’
11:00
11:45
The Female Gaze
The ,Female
91’
Gaze, 91’
Clay
LuisTweel,
LopezLuis Lopez
74’
, 74’ Clay Tweel,
Best of Fests, Best
17:00
11:45
Alive Inside
Alive Inside
Student Competition
Student,Competition
72’
, 72’
Of Men Of
andMen
Warand War
15:15
11:00
11:15
Nilita Vachani
Nilita Vachani
Nickolas Rossi
Nickolas Rossi
Nas: Time
Nas:
Is Illmatic
Time Is Illmatic12:30 12:30
One 9 One 9
Print thePrint
Legend
the Legend
Music Documentary,
Music Documentary,
12:30
Metal and
Metal
Melancholy
and Melancholy
12:45
Ady Gasy,
Ady
The
Gasy, The
Malagasy
Malagasy
Way Way
Chris Hegedus,
Chris Hegedus,
Jehane Noujaim
Jehane Noujaim
15:00
Music Documentary
Music Documentary
, 72’
, 72’
Heaven Heaven
Adores You
Adores You
12:15
10:00
James Marcus
JamesHaney
Marcus Hane
Eyes of Stone
Eyes of Stone
11:45
12:15
12:45
14:00 14:00
10:00
11:15
The Female Gaze
The ,Female
94’ Gaze, 94’
9:00
Austin to
Austin
Boston
to Boston
10:00 10:00
Panorama, 69’
Panorama, 69’
Kids & Docs, IDFA
Kids &
DOC
Docs,
U Competition
75’
, 75’
Nishtha Jain
Nishtha Jain
12:30
13:00
10:00
Kenneth Elvebakk
Kenneth Elvebakk
12:45
21:00
13
Davis Simanis
Davis Simanis
Nelleke Koop
Nelleke Koop
17:00
DE MUNT
DE MUNT
13
Keep onKeep
Keepin’
on Keepin’
on
onEscapingEscaping
Riga Riga
Johan vanJohan
der Keuken
van der Keuken
FloatingFloating
Bodies Bodies
12:00 12:00
15:00
12
9:00
Compilation
Compilation
program put
program
up by put up by
10:30 10:30
main partner
main
VPRO.
partner
For tickets
VPRO. For tickets
see www.vpro.nl/evenementen.
see www.vpro.nl/evenementen.
Masterclass
Masterclass
13:00
DE MUNT
DE MUNT
12
9:00
VPRO Preview
VPRO Preview
10:00 10:00
11:00
TUSCHINSKI
TUSCHINSKI
5
5
The Salt of the Earth
Wim Wenders,
Juliano Ribeiro Salgado
Masters, 110’
22:15
Exit Through the
Gift Shop
Banksy
22:45
Domino Effect
Elwira Niewiera,
Piotr Rosolowski
23:00
24:00
1:00
20
DONDERDAG
festivallocaties
Locaties
8
5
Café de Jaren – Nieuwe Doelenstraat 20 – 22
Festivalcafé
2 Swych – Nieuwe Doelenstraat 24
Festivalcafé
1
Pathé de Munt – Vijzelstraat 15
Filmvertoningen, Centrale Festivalkassa, IDFA shop
4 Pathé Tuschinski – Reguliersbreestraat 26
Filmvertoningen, Festivalkassa, Extended Q&A’s, Masterclass
5 Eye – IJpromenade 1
Filmvertoningen, kassa, Extended Q&A’s, IDFA Junior
6 Vlaams Cultuurhuis de Brakke Grond – Nes 45
Filmvertoningen, Festivalkassa, CJP Serveert,
DocLab: Immersive Reality expo, Raw Footage installatie
7 Melkweg – Lijnbaansgracht 234a
concerten,
Café deFilmvertoningen,
Jaren – Nieuwe Doelenstraat
20 – 22 The Best of IDFA, kassa
Festivalcafé
8 Het Ketelhuis – Pazzanistraat 4
Swych – Nieuwe Doelenstraat 24
Filmvertoningen, Dutch Documentary, kassa
Festivalcafé
9 De Balie – Kleine-Gartmanplantsoen 10
Pathé de
Munt – Vijzelstraat 15met introductie door wetenschapper, kassa
Filmvertoningen
Filmvertoningen, Centrale Festivalkassa, IDFA shop
De
Kleine Komedie – Amstel 56 - 58
10
Pathé Tuschinski – Reguliersbreestraat 26
Filmvertoningen
Female
Extended Q&A’s, kassa
Filmvertoningen,
Festivalkassa,The
Extended
Q&A’s,Gaze,
Masterclass
Eye 11
– IJpromenade
DeLaMar1 Theater – Marnixstraat 402
Filmvertoningen, kassa, Extended Q&A’s, IDFA Junior
Best of
VlaamsThe
Cultuurhuis
deIDFA
Brakke Grond – Nes 45
Filmvertoningen,
Festivalkassa,
CJP–Serveert,
Museum
Museumplein 10
12 Stedelijk
DocLab: Immersive Reality expo, Raw Footage installatie
IDFA rondleiding
Melkweg – Lijnbaansgracht 234a
Mozaïek
Bos
191
13 Podiumconcerten,
Filmvertoningen,
The–Best
of en
IDFA,Lommerweg
kassa
Het Ketelhuis
– Pazzanistraat 4kassa
Filmvertoningen,
Filmvertoningen, Dutch Documentary, kassa
14 Bijlmer Parktheater – Anton de Komplein 240
De Balie – Kleine-Gartmanplantsoen 10
Filmvertoningen
Filmvertoningen
met introductie door wetenschapper, kassa
3
festivallocaties
8
5
1
2
3
4
5
6
7
13
8
6
9
10
11
12
13
13
6
2
14
1
3
De Kleine Komedie – Amstel 56 - 58
Filmvertoningen The Female Gaze, Extended Q&A’s, kassa
DeLaMar Theater – Marnixstraat 402
The Best of IDFA
Stedelijk Museum – Museumplein 10
IDFA rondleiding
Podium Mozaïek – Bos en Lommerweg 191
Filmvertoningen, kassa
Bijlmer Parktheater – Anton de Komplein 240
Filmvertoningen
10
4
2
1
7
3
10
4
11
7
9
11
9
14
14
12
12
Festival cafés
Festival cafés
Café De Jaren
Openingstijden
Zondag t/m donderdag 09.00 – 01.00 uur
Vrijdag en zaterdag 09:00 – 02.00 uur + DJ’s vanaf 22.00 uur
Café De Jaren
Bar Swych
Openingstijden
Openingstijden
Zondag
t/m donderdag 09.00 – 01.00 uur
Zondag t/m donderdag 11.00 – 01.00 uur (woe 19 vanaf 15.00 uur)
Vrijdag en zaterdag 09:00
– en
02.00
uur11.00
+ DJ’s
vanaf
Vrijdag
zaterdag
– 03.00
uur 22.00 uur
21
Programmamagazine
Bar Swych
Openingstijden
Zondag t/m donderdag 11.00 – 01.00 uur (woe 19 vanaf 15.00 uur)
Vrijdag en zaterdag 11.00 – 03.00 uur
5
Program
TUSCHINSKI
TUSCHINSKI
1
1
9:00
Friday 21 November
TUSCHINSKI
TUSCHINSKI
2
2
TUSCHINSKI
TUSCHINSKI
3
3
TUSCHINSKI
TUSCHINSKI
4
4
TUSCHINSKI
TUSCHINSKI
5
5
TUSCHINSKI
TUSCHINSKI
6
6
DE MUNT
DE MUNT
9
9
DE MUNT
DE MUNT
10
10
DE MUNT
DE MUNT
11
11
DE MUNT
DE MUNT
12
12
DE MUNT
DE MUNT
13
13
EYE CINEMA
EYE CINEMA
1
MELKWEG
MELKWEG
RABOZAAL
RABOZAAL
9:00
9:00
9:00
09:30 Industry
09:30Screening
Industry Screening
Vast
10:00
Christian Christian
Delgado, Delgado,
Nicolás Testoni
Nicolás Testoni
10:00
Messi Messi
10:00 10:00
60’
, 60’
Álex de laÁlex
Iglesia
de la Iglesia
10:30
Framing Reality
Framing
, 87’ Reality, 87’
11:00 Industry
11:00Screening
Industry Screening
Best of Fests, Best
103’ of Fests, 103’
10:00
10:00
Work inWork
Progress
in Progress
10:15
Robert Greene
Robert Greene
Cain’s Children
Cain’s Children
11:00
10:00
10:15
Actress Actress
10:30
Marcell Gero
Marcell Gero
11:00
Vast
10:30
SilveredSilvered
Water, Water,
Syria Self-portrait
Syria Self-portrait
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 125’ Top 10, 125’
Various Directors
Various Directors
The Female Gaze
The ,Female
80’ Gaze, 80’
Ossama Mohammed,
Ossama Mohammed,
Wiam Simav
Wiam
Bedirxan
Simav Bedirxan
Ida’s Diary
Ida’s Diary
11:15
Best of Fests, Best
August B. August
Hanssen
B. Hanssen
61’
, 61’
13:00
14:00
15:00
11:15
15:00
14:45
13:30
Feature-Length
Feature-Length
& Dutch Competition
& Dutch, 94’
Competition, 94’
16:00 16:00
14:30
17:00
17:30
14:45
Phie Ambo
Phie Ambo
The Female Gaze
The ,Female
90’ Gaze, 90’
17:30
Hella de Jonge
Hella de Jonge
Dutch Competition
Dutch,Competition
81’
, 81’
17:30
15:00
15:30 Industry
15:30Screening
Industry Screening
Damon Gameau
Damon Gameau
16:00 Industry
16:00Screening
Industry Screening
Feature-Length
Feature-Length
100’
, 100’
Eva Tomanova
Eva Tomanova
First Appearance
FirstCompetition
77’
, 77’
16:45
17:30
17:00
17:30
That Sugar
ThatFilm
Sugar Film
18:00
18:15
First Appearance
FirstCompetition
100’
, 100’
Toots
Damon Gameau
Damon Gameau
18:00
18:15
Tea TimeTea Time
Maite Alberdi
Maite Alberdi
19:00
19:30
20:00
20:30
20:00
20:00
VPRO Extra:
VPRO Extra:
20:15 20:15
Keep onKeep
Keepin’
on Keepin’
on
onBrick in Brick
the Wall
in the Wall
Inleiding
With
an introduction
en
Inleiding
With
nagesprek
an introduction
enand
nagesprek
door and
door
Music Documentary
Music Documentary
, 86’
, 86’
Ulrich Seidl
Ulrich Seidl
Framing Reality
Framing
, 81’ Reality, 81’
Geertjan Lassche
Geertjan Lassche
Heddy Honigmann’s
Heddy Honigmann’s
Top 10, 133’ Top 10, 133’
Dutch Competition
Dutch,Competition
110’
, 110’
20:00 20:00
Music Documentary
Music Documentary
, 88’
, 88’
21:15
21:00
Beats ofBeats
the Antonov
of the Antonov
22:15
22:15
35 Cows35
and
Cows
a and a
Kalashnikov
Kalashnikov
Best of Fests, Best
22:15
Diary ofDiary
Hunger
of Hunger
22:30
Mireia Pujol
Mireia Pujol
From Caligari
From Caligari
to Hitlerto Hitler
Oswald von
Oswald
Richthofen
von Richthofen
22:30
Rüdiger Suchsland
Rüdiger Suchsland
22:15
22:30
22:15
22:30
Hip Hop-eration
Hip Hop-eration
The Female Gaze,
The Female Gaze,
90’
, 90’
Bryn Evans
Bryn Evans
23:15
23:15
22:15
22:00 22:00
22:15
Bugarach
Bugarach
Ventura Durall
Ventura Durall
Best of Fests, Best
First Appearance
FirstCompetition
93’
, 93’
22:15
Rio 50° Rio 50°
22:45
Julien Temple
Julien Temple
22:45
Masters, 100’Masters, 100’
Magic Words
Magic Words
(to Break
(toa Break
Spell) a Spell)
23:00 23:00
MercedesMercedes
Moncada Moncada
RodríguezRodríguez
DamNation
DamNation
Heddy Honigmann
HeddyRetrospective
, 110’
, 110’
Paradocs, 71’ Paradocs, 71’
22:30
Teodora Ana
Teodora
MihaiAna Mihai
Heddy Honigmann
Heddy Honigmann
Phillip Warnell
Phillip Warnell
22:15
WaitingWaiting
for August
for August
22:30
ParadocsParadocs
2
2
Ming
Harlem
Ming
of
-–Twenty
Twenty
Harlem
-–Twenty
Twenty
Mingofof
Ming
Harlem
of
Harlem
- Storeys
- Storeys
23:00 23:00
The Storm
TheMakers
Storm Makers in
the Air
Air,
in
the
Air,
Storeys
in 71’
the
Storeys
Air,Air
71’
in 71’
the
Air,Storeys
71’
Twenty
Twenty
One
Storeys
One
GuillaumeGuillaume
Suon
Suon
Goodbye
Goodbye
in the Air
in the Air
60’
, 60’
21:00
Hajooj Kuka
Hajooj Kuka
The Female Gaze
The ,Female
47’ Gaze, 47’
22:15
Feature-Length
Feature-Length
87’
, 87’
Best of Fests, Best
115’ of Fests, 115’
23:00 23:00
20:00
19:30
Killer Slope
Killer Slope
Anna Schmidt
Anna Schmidt
90’
, 90’
DOC U Competition
DOC U,Competition
Rakshan Bani-Eternad
22:00
In the Basement
In the Basement
22:00 22:00
20:00
21:15
19:30
Victor Erice
Victor Erice
Paths Through
Paths Through
20:15
the Labyrinth
the Labyrinth
–
–
Solo – Out
Solo
of–aOut
Dream
of a Dream
The Composer
The Composer
Jos de Putter
Jos de Putter
Krzysztof
Krzysztof
Penderecki
Penderecki
Dutch Competition,
Dutch Competition,
IDFA
IDFA
20:15
Joaquim Castro,
Joaquim
Eduardo
Castro, Eduardo
Nazarian,Nazarian,
Mariana Aydar
Mariana Aydar
Grzegorz Brzozowski
Grzegorz Brzozowski
The Trouble
The Trouble
with Raywith Ray
Melchior Huurdeman
extended
Q&A.
Melchior
extended
Moderator
Huurdeman
Q&A.
van Moderator
van
20:45 20:45
Travis Johns
Travis Johns
VPRO’s Vrije
Melchior
Huurdeman.
VPRO’s
Melchior
Geluiden.
Vrije
Huurdeman.
Geluiden.
TheIsHouse
Black Is Black
A FrenchALaundry
French Laundry The House
Keep onKeep
Keepin’
on Keepin’
on
onElisabeth Elisabeth
Forough Farrokhzad
Forough Farrokhzad
Vogler Vogler
Me Girl,Me
MeGirl,
Princess
Me Princess
The ,Female
20’ Gaze, 20’
Alan HicksAlan Hicks
45’
, 45’ The Female Gaze
María Aramburú,
María Aramburú,
Music Documentary
Music Documentary
, 84’
, 84’
We Are Half
We Are
of Half of
Valeria Pavan
Valeria Pavan
Iran’s Population
Iran’s Population
47’
, 47’
21:00
20:00
Dominguinhos
Dominguinhos
19:30
Quince Tree
Quince
of the
TreeSun
of the Sun
Of Media andOf
Men
Media
, 98’and Men, 98’
20:30
18:00 18:00
19:00 19:00
19:30
Jeremiah Zagar
Jeremiah Zagar
Feature-Length
Feature-Length
100’
, 100’
Panorama, IDFA
Panorama,
DOC U Competition
IDFA DOC U,Co
88
Feature-Length
Feature-Length
90’
, 90’
19:00
CAPTIVATED
CAPTIVATED
The Trials
The Trials
of Pamela
of Pamela
Smart Smart
19:00 19:00
Seung-JunSeung-Jun
Yi
Yi
17:00
Kristi Jacobson
Kristi Jacobson
The Female Gaze
The ,Female
85’ Gaze, 85’
Hamartía
Hamartía
– More or
– More
Less or19:45
Less 19:45
Louis van
Louis
Gasteren
van GasterenWind onWind
the Moon
on the Moon
Rudolf vanRudolf
den Berg
van den Berg
17:00
DOC U DOC U
17:00
My Beautiful
My Beautiful
Broken Brain
Broken Brain
Sophie Robinson,
Sophie Robinson,
Lotje Sodderland
Lotje Sodderland
Nima Sarvestani
Nima Sarvestani
First Appearance
FirstCompetition
70’
, 70’
Roel Nollet
Roel Nollet
Toots
17:30 Industry
17:30Screening
Industry Screening
Those Who
Those
Said
Who
No Said No
17:45 Industry
17:45Screening
Industry Screening
Feature-Length
Feature-Length
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Facundo Marguery
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Oeke Hoogendijk
Oeke Hoogendijk
22:00
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12:45
Red Army
Red Army
Gabe Polsky
Gabe Polsky
13:00
Best of Fests, Best
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Katelijne Schrama
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Pixadores
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Mikala Krogh
Mikala Krogh
Marcelo Masagão
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Dutch Competition
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Joshua Oppenheimer
Joshua Oppenheimer
15:45
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17:00
Best of Fests,Best of Fests,
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11:00
12:00 12:00
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Grant Baldwin
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15:15 15:15
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13:15
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Best of Fests, Best
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Night Will
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20:15 20:00
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21:00
21:15
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Victor Erice
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22:45
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16:45
The screening
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CAPTIVATED The Trials
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Paradocs, 71’
1:00
renowned
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Roel Nollet
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10:30
Aernout
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As part of the
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15:00
That Sugar Film
19:30
19:30
Geertjan Lassche
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Wind on the Moon
Phie Ambo
Nathan – Free as a Bird
Killer Slope
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19:45
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Johanna Hamilton
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18:00
18:15
19:00
19:00
19:30
1971
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NightGrond
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9:00
9:00 –– 23:00
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First Appearance Competition,
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Small Small
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Session: Sustainable
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17:45
SlingShot
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, 93’ Panorama
Panorama
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,,93’
93’ , 100’
Gabriele Del Grande,
Antonio Augugliaro, Khaled
Soliman Al Nassiry
Those Who Feel
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13:00
13:00
In the Shadow
17:45
17:45
17:45 of War
Of Media and Men
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andMen
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Gabriel Reports
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19:00
13:15
13:15
On the Bride’s Side
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13:00 Compagnie
13:00
13:00 Compagnie
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13:00
13:00 Compagnie
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17:30
Georgia Scott, Sophia Scott
12:30
Industry Industry
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15:00
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Joshua Oppenheimer
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15:30 Compagnie
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15:45
15:45
IDFAcademy
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16:00
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Student Competition
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10:00
Nicolás Testoni
CINEMA
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THROUGHOUT
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MELKWEG
SOCIALSOCIAL
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RABOZAAL
24:00
1:00
22

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