Globians Doc Fest Stuttgart 2010

Transcription

Globians welt & kultur Dokumentarfilm Festival Stuttgart 2010
12. - 14. November 2010
im Linden-Museum Stuttgart
www.globians.com — www.lindenmuseum.de
Dokumentation
12. - 14. November 2010
im Linden-Museum Stuttgart
Hegelplatz, Wanner-Saal (Veranstaltungssaal)
22 Dokumentarfilme in drei Tagen
Die Themenschwerpunkte:
1.
Indiens Himalaya und Tibet
2.
Europas Bürger in Aufruhr:
Athen – die Aschenglut der Revolte
Madrid nach der Immobilienblase: über Stadtraum und Gesellschaft
Großbritannien: Widerstand gegen Atomwaffen u. Atomwirtschaft
Irland: Bürgerprotest gegen Infrastrukturprojekte (Gaspipeline)
3.
Um die Welt und in die K-Länder:
Filme zu Kambodscha, Kanada, Kenia, Kolumbien, Kongo & Kosovo
4.
The Human Condition:
Die Bedingungen des Menschlichen
über Totenrituale, Schreine, Schiffswracks, vergessene Musiker,
unvergeßliche Musik, Existenzbedingungen der Arbeit und
über den Kunsthändler am Ende der Welt.
Alle Filme in Originalfassung mit ggf. englischen Untertiteln. Festivalsprache: Englisch
Die Nutzungsrechte der Abbildungen liegen bei den jeweiligen Filmproduzenten.
Ein Kulturprojekt der Mentor des Wandels gGmbH; kein Industrie-Festival, sondern ein Projektmodell für die
kommunikative Vernetzung von unabhängigen Dokumentarfilmern. Filmvorführungen von digitalen Datenträgern
in Videoprojektion. Wir mögen legere Kleidung. Eintritt ab 18 Jahren (gem. dt. JuSchG). Der Kauf eines
personalisierten Festival-Passes ermöglicht den Erwerb von je einer kostenlosen Eintrittskarte pro Vorstellung,
solange der Vorrat reicht. Programmänderungen sind vorbehalten. Globians® ist in vielen Ländern ein
getragenenes Waren- und Servicezeichen. – Kurator, Projektleitung und verantwortlich i.s.d.P: Joachim Polzer.
Veranstalter im Sinne des Veranstaltungsrechts: Linden-Museum Stuttgart
www.globians.com
www.lindenmuseum.de
Globians world & culture Documentary Film Festival Stuttgart 2010
November 12-14th, 2010
at Linden-Museum Stuttgart
Hegelplatz, Wanner-Saal (museum‘s auditorium)
22 documentaries in three days
Main Topics:
1
India‘s Himalaya and Tibet
2
Europe‘s Citizens in Uproar
Athens – the Embers of Revolt
Madrid after the real estate bubble: on location and society
UK: the Campain for Nuclear Disarmament (CND at 50)
Ireland: civil resistance against infra-structure projects (natural gas pipeline)
3
Around the World to C or K countries
Films on Cambodia, Canada, Kenia, Colombia, Congo & Kosovo
4
The Human Condition:
on funeral rituals, shrines, shipwrecks, forgotten musicians,
remarkable music, work conditions for survival and on an art dealer
at the end of the world
All films are shown in original version with Englisch subtitels if applicable.
Festival language: English.
Photo Credits: all photographs are copyrighted.
photo copyright © by the respective and indicated film producer or fim production corporation.
Disclaimer: Ein Kulturprojekt der Mentor des Wandels gGmbH; kein Industrie-Festival, sondern ein Projektmodell für
die kommunikative Vernetzung von unabhängigen Dokumentarfilmern. Filmvorführungen von digitalen
Datenträgern in Videoprojektion. Wir mögen legere Kleidung. Eintritt ab 18 Jahren (gem. dt. JuSchG). Der Kauf eines
personalisierten Festival-Passes ermöglicht den Erwerb von je einer kostenlosen Eintrittskarte pro Vorstellung,
solange der Vorrat reicht. Programmänderungen sind vorbehalten. Globians® ist in vielen Ländern ein
getragenenes Waren- und Servicezeichen. – Kurator, Projektleitung und verantwortlich i.s.d.P: Joachim Polzer.
Veranstalter im Sinne des Veranstaltungsrechts: Linden-Museum Stuttgart
www.globians.com
www.lindenmuseum.de
im Linden-Museum Stuttgart (Hegelplatz) – Veranstaltungssaal
12. - 14. November 2010 – Festivalprogramm – program lineup
1. Tag – Day 1
Freitag, 12. November 2010 – Friday Nov., 12th
18.00 Uhr – 6pm
Eröffnung – Opening
Indiens Himalaya und Tibet I. – India‘s Himalaya and Tibet I.
Malana: Globalization of a Himalayan Village
(Malana: Globalisierung eines Dorfes im Himalaya)
USA 2009, Regie: Jesse and Jeremy Veverka, Produktion: Veverka Bros. Prod. LLC
17 min, engl. OF, Internationale Premiere
The Tibetans: A Life in Exile
(Die Tibeter: Ein Leben im Exil)
Irland 2007, R: Robb Bradstock, P: Six Degree Productions
63 min., engl. OF
20.00 Uhr – 8pm
Europas Bürger in Aufruhr I. – Europe‘s Citizens in Uproar I.
Athen und die Aschenglut der Revolte
Grèce: les braises de la révolte
(Griechenland: die Aschenglut der Revolte – Greece: The Embers of Revolt)
Frankreich 2010, R: Cyril Lafon, P: L'Oeil de la chouette (Die Augen der Eule)
52 min, griechisch-französische OF, engl. UT, Internationale Premiere
Madrid nach der Immobilienblase – Madrid after the real estate bubble
Lugar y sociedad
(Ort und Gesellschaft – Location and Society)
Spanien 2009, R: Julian Franco Lorenzana, P: Lunatic Visual Studio
53 min, spanische OF, engl. UT, Internationale Premiere
22.00 Uhr – 10pm
Europas Bürger in Aufruhr II. – Europe‘s Citizens in Uproar II.
UK und die Tradition des Widerstands gegen Atomwaffen und Atomwirtschaft
Beating The Bomb
(Die Bombe besiegen) zum 50. Jahrestag der „Campaign for Nuclear Disarmament“ (CND)
UK 2010, R: Wolfgang Matt, Meera Patel, P: maddmovies
72 min, engl. OF, Deutsche Erstaufführung
Irland und der Protest gegen eine Gas-Pipeline als Infrastrukturmaßnahme
Destination: Rossport, Ireland
(Endstation: Rossport, Irland) USA 2009, R: Jim Kerns, P: Moving Monkey
53 min., engl. OF
www.globians.com
www.lindenmuseum.de
2. Tag – Day 2
Samstag, 13. November 2010 – Saturday Nov., 13th
16.00 Uhr – 4pm (Um die Welt und in die K-Länder I.)
den Kosovo verstehen – understanding the Kosovo
Two Summers in Kosovo
(Zwei Sommer im Kosovo)
Kanada 2009, Regie: Christopher Bobyn & Andrew Lampard, P: Venture Reflex Films
114 min., albanisch-serbisch-englische OF, engl. UT
18.30 Uhr – 6.30pm (Um die Welt und in die K-Länder II.)
zwei kanadische Künstlerinnen in der Peripherie: Arktis und Neufundland
on two Canadian female artists working in the Arctic and in Newfoundland
Ghost Noise
(Lärm der Geister) über Shuvinai Ashoona in Cape Dorset, Nunavut, kanadische Arktis
Kanada 2010, R+P: Marcia Connolly, 23 min, inuit-englische OF
Pretend Not To See Me
(Stell Dir vor, mich nicht zu sehen) über Colette Urban, weit weg von Halifax in Neufundland
Kanada 2009, R: Katherine Knight, P: Site Media Inc., 49 min, englische OF
20.00 Uhr – 8pm (Um die Welt und in die K-Länder III.)
Kolumbiens Amazonas: Leben in zwei Welten
Colombia‘s Amazonas: Living in two worlds
Guests of Space
(Gäste des Raumes) über die Nukak Maku und beschleunigter Wandel von Lebensverhältnissen
Spanien 2010, R+P: Alba Mora-Roca, 26 min, nukak-spanische OF, engl. UT
Jacanamijoy, De la Tierra Sagrada a la Gran Ciudad
(Jacanamijoy: Von der heiligen Erde in die große Stadt – Jacanamijoy: From the Sacred Land to
the Big City) Spanien 2009, R +P: Cecilia Posada, 64 min, quechan-spanische OF, engl. UT
22.00 Uhr – 10pm (Um die Welt und in die K-Länder IV.)
Flüchtlinge in Kenia und Kongo – Landminenopfer in Kambodscha
Refugees in Kenia and Congo – landmine victims in Cambodia
Conservation Refugees – Expelled from Paradise
(Flüchtlinge aus Naturschutzreservaten – vertrieben aus dem Paradies) die Schattenseite des
Natur- und Tierschutzes in freigehaltenen Reservaten. Deutschland 2010, R: Steffen Keulig,
P: marketfilm productions, 25 min, engl. OF, Deutsche Erstaufführung
Miss Landmine
(Miss Landmine) über die Wahrnehmung von Behinderten und Kriegswaffenopfern in
Kambodscha sowie über die Bedrohung, die akut von Landminen ausgeht; gleichzeitig ein
Vexierspiel um die Ambivalenz der westlichen Einstellungen, ihrer Werte und Schönheitsideale
auf Verhältnisse des Fernen Ostens, und umgekehrt. Kanada 2010, R: Stan Feingold, P: The Eyes
Television Productions, 71 min., norwegisch-khmer-engl. OF, engl. UT, Deutsche Erstaufführung
www.globians.com
www.lindenmuseum.de
3. Tag – Day 3
Sonntag, 14. November 2010 – Sunday Nov., 14th
16.00 Uhr – 4pm
Indiens Himalaya und Tibet II. – India‘s Himalaya and Tibet II.
Distorted Propaganda
(Verzerrte Propaganda) das Leben der Tibeter in Lhasa unter chinesischer Propaganda
USA 2007, R+P: Jeff Lodas, 63 min., chinesisch-tibetisch-englische OF, engl. UT
17.15 Uhr – 5.15pm
Die Bedingungen des Menschlichen I. – The Human Condition I.
…über Totenrituale, Schreine und Schiffswracks –
…on death rituals, shrines and shipwrecks
A Japanese Funeral
(Eine japanische Beerdigung) über ein christliches Totenritual u. eine christl. Beerdigung in Japan
USA 2010, R: Karen Nakamura, P: Yale University, New Haven (CT.), Fakultät für Anthropologie,
13 min, japanisch-englische OF, WELTPREMIERE
Marker
(Markierung) über Toten-Schreine in Kanada, den USA und in Japan als Markierungen
Kanada 2010, R: Louise Noguchi, P: Louise Noguchi Prod., 29 min, japanisch-englische OF, engl. UT
Lost on a Reef
(Verloren im Riff ) über die Archäologie von Schiffswracks als Methode der Historiographie
am Beispiel von Erkundungen an Korallen-Atollen nordwestlich von Hawaii.
USA 2009, R: Stephani Gordon, P: Open Boat Films LLC., 17 min, englische OF
18.30 Uhr – 6.30pm
Die Bedingungen des Menschlichen II. – The Human Condition II.
vergessene Musiker und unvergeßliche Musik…
forgotten musicians and unforgettable music…
Sand Mountain
(Sand-Berg) die Reise einer Fotografin in die bewaldeten, entlegenen Hügel von Alabama,
um den dort zurückgezogen lebenden und längst vergessenen Musiker Cast King zu besuchen.
USA 2009, R: Kathryn McCool, P: Fussy George Films, 34 min, englische OF,
Europäische Erstaufführung
Mendelssohn, The Nazis, And Me
(Mendelssohn, die Nazis und ich) Regiseurin Sheila Hayman, direkte Nachfahrin von Felix
Mendelssohn in der fünften Generation, über den großen Komponisten, u.a. des „Hochzeitmarsches“, über die Erfahrungen ihrer Familie während der Nazizeit und deren Flucht nach UK
sowie über die Versuche der Nazis, einen der beliebtesten deutschen Komponisten aus der
Geschichte tilgen zu wollen.
UK 2009, R: Sheila Hayman, P: Renegade Pictures für die BBC, 60 min, englische OF
…
www.globians.com
www.lindenmuseum.de
3. Tag – Day 3
Fortsetzung – continued
20.30 Uhr – 8.30pm
Die Bedingungen des Menschlichen III. – The Human Condition III.
Existenzbedingungen der Arbeit und ein Kunsthändler am Ende der Welt…
Work conditions for survival and an art dealer at the end of the world…
Strawberry Girl
(Erdbeermädchen) eine polnische Erntehelferin in Finnland und ihre Arbeitsbedingungen
Finnland 2009, R: Arja Pettersson, P: Hurjaruuth, 4 min, englische OF
Tres Tristes Tigres
(Drei traurige Tiger – Three Sad Tigers) die Lebenssituation von bengalesischen Fremdarbeitern,
die in Dubai auf Großbaustellen von Prestigebauten arbeiten wollten.
Spanien 2010, R: David Muñoz, P: Hibrida, 14 min, bengalesisch-englische OF, englische UT
Festival-Finale:
The Man in the Hat
(Der Mann im Hut) eine Hommage an Peter McLeavey, den Kunsthändler und Galleristen in
Neuseeland: zugleich eine Liebeserklärung an das Leben in der Stadt Wellington – mit einer
Urbanität im menschlichen Maß; damit auch eine Zeitreise in ein Land, das einen an das England
der 1950er-Jahre erinnert und doch auf seiner sehr eigenen Nationalidentität besteht.
Eine kontemplative und essayistische Nahsicht, etwas gelassener zu leben und leben zu können.
Neuseeland 2009, R: Luit Bieringa, P: BWX Productions, 74 min, englische OF,
Das Globians Doc Fest Stuttgart wird gefördert mit Projektmitteln
des Kulturamtes der Stadt Stuttgart
www.globians.com
www.lindenmuseum.de
Globians Doc Fest Stuttgart 2010 – Globians welt & kultur Dokumentarfilm Festival Stuttgart 2010
im Linden-Musuem Stuttgart (Hegelplatz) — 12. - 14. November 2010 — www.globians.com
Filmtitelliste (chronologisch)
Freitag, 12. November 2010 – Friday Nov., 12th — 18.00 Uhr – 6pm
(Die Tibeter: Ein Leben im Exil)
20.00 Uhr – 8pm
Lugar y sociedad
22.00 Uhr – 10pm
Beating The Bomb
(Die Bombe besiegen)
(Endstation: Rossport, Irland)
Samstag, 13. November 2010 – Saturday Nov., 13th — 16.00 Uhr – 4pm
(Zwei Sommer im Kosovo)
18.30 Uhr – 6.30pm
Ghost Noise
(Lärm der Geister)
(Stell Dir vor, mich nicht zu sehen)
20.00 Uhr – 8pm
Guests of Space
(Gäste des Raumes)
Jacanamijoy, De la Tierra Sagrada a la Gran Ciudad (Jacanamijoy: Von der heiligen
Erde in die große Stadt – Jacanamijoy: From the Sacred Land to the Big City)
22.00 Uhr – 10pm
(Flüchtlinge aus Naturschutzreservaten – vertrieben aus dem Paradies)
Miss Landmine
(Miss Landmine)
Sonntag, 14. November 2010 – Sunday Nov., 14th — 16.00 Uhr – 4pm
(Verzerrte Propaganda)
17.15 Uhr – 5.15pm
A Japanese Funeral
(Eine japanische Beerdigung)
Marker
(Markierung)
Lost on a Reef
(Verloren im Riff )
18.30 Uhr – 6.30pm
Sand Mountain
(Sand-Berg)
(Mendelssohn, die Nazis und ich)
20.30 Uhr – 8.30pm
Strawberry Girl
(Erdbeermädchen)
Tres Tristes Tigres
(Drei traurige Tiger – Three Sad Tigers)
The Man in the Hat
(Der Mann im Hut)
www.globians.com
www.lindenmuseum.de
1. Tag – Day 1
18.00 Uhr – 6pm
USA 2009, Regie: Jesse and Jeremy Veverka, Produktion: Veverka Bros. Prod. LLC
17 min, engl. OF, Internationale Premiere
Malana: Globalization of a Himalayan Village is a documentary short that examines the effects of
globalization on a small, isolated village in the Indian Himalaya called Malana. The film opens showing a
small village perched on a mountainous vista. Throughout the village’s long history, it has remained
fiercely independent from the outside world. The villager’s say that they are descendents of the armies of
Alexander the Great and that their ancestors are not originally from South Asia. As such, they have
remained essentially separate from mainstream society in India, although they have adopted Hinduism
and its caste-related practices as their religion. The Malanese villagers are seen venturing out to trade
with nearby communities for food and sundries. However, they are not as keen to have outsiders set foot
inside their own village. In fact, other than high caste Brahmin Hindus, outsiders who visit Malana must
stick to certain paths or areas, or else they have to pay a fine. “If a stranger touches something, like their
holy places…the stranger has to pay a 1000 rupee fine (about $20 US,) or they have to buy one sheep or
goat. Then they sacrifice it and throw the blood on the place that you have touched.” Says Chhape Ram
Negi, a guide in the Malana region. After establishing the isolation that the Malanese have placed upon
themselves for as far back as they can remember, the film turns its gaze to how this isolation is being
eroded by the forces of globalization in the modern world. Trucks laden with gravel make their way up a
recently cut road to the newest phase of the Malana Hydro Electric Project. In order to bring construction
supplies and heavy machinery to the upper reaches of the Malana valley, roads were cut into the sides of
the once pristine mountains. Along with the roads, comes change. The film takes a visual look at these
changes. The villagers are now seen wearing “western” clothes such as jeans and T-shirts. Chhape Ram
Negi describes how in the past, you wouldn’t see any of these influences from the outside world, but now,
“it’s possible to find cola and mineral water,” in the village. Purchasing such goods requires currency. To
obtain this currency, Malana must produce a good that it can export. A field of cannabis plants blow lazily
in a soft breeze. Cannabis has grown naturally on the slopes of the Malana valley for thousands of years.
Now that travelers have started coming to Malana in ever-increasing numbers (in a large part due to the
construction of the road,) Cannabis has become the village’s most important cash crop. “In Europe, they
think of Indian stuff, particularly Malana and Parvati … as having the best stuff these days,” says Angus,
from the UK based seed bank, The Real Seed Company. The unnaturally high demand for the Malanese
hashish, known as Malana Cream, has proved a lucrative source of money for the village, and the local
economy has become increasingly oriented around Cannabis production. Images of the terrible
destruction of nearly half the village of Malana flash on screen, the aftermath of a devastating fire that
swept through the village in January 2008. Some say the village god, Jamlu, started the fire because he
was angry at the villagers for having strayed from tradition. However, others suspect the fire resulted from
a dispute relating to the modern drug trade. After the fire, it becomes clear that Malana is suddenly in
unprecedented need of help from the outside. Because of the road, supplies can be brought quickly to
the village and reconstruction began immediately. A large concrete house now stands in the middle of
Malana. “Now they are building the houses with new materials. Be it concrete, cement or sand, which is
coming through the road.” Says Virendra Bangroo, a researcher at the Indira Gandhi National Center for
the Arts. The village temple is one of the only places that will be rebuilt in the traditional style, and
eventually the younger generations will not remember the time they lived in wooden houses. A group of
Malanese youth play pool (snooker) in a recently opened pool hall in Malana, testimony that the
influences of globalization eventually reach even the most remote villages. “I think they can do whatever
they want to do, but it’s better if they keep their culture. This is the most important thing for the people of
Malana. Please, keep their culture,” Chhape Ram Negi says.
1. Tag – Day 1
18.00 Uhr – 6pm
(Die Tibeter: Ein Leben im Exil) Irland 2007, R: Robb Bradstock, P: Six Degree Productions
63 min., engl. OF
After nearly fifty years in exile the Dalai Lama and the Tibetans face a crisis. Can those in exile continue to
preserve their culture as the modern world intrudes more and more? Or is this community in danger of
losing its identity and disappearing forever? Various aspects of exile life are shown in this film including
the role of the monasteries where monks and nuns are trying to preserve ancient traditions and cope
with the influences of the modern world. The political and spiritual role of the Dalai Lama is crucial but
what will happen to the culture after his death?
What will be the long term effects on the culture as Tibetan youth faces a prolonged life in exile?
Prominent members of the exile community talk honestly about these important issues and this film
illuminates the challenges facing Tibetans in exile today.
1. Tag – Day 1
20.00 Uhr – 8pm
Athen und die Aschenglut der Revolte
Frankreich 2010, R: Cyril Lafon, P: L'Oeil de la chouette (Die Augen der Eule)
52 min, griechisch-französische OF, engl. UT, Internationale Premiere
Giorgos joined the December 2008 riots that set fire to Greece after the murder of Alexis Grigoropoulos, a
16-year-old teenager. Every day, Giorgos hangs about in Exarchia, the intellectual and libertarian area in
Athens, where the tragedy took place. A few months after the events, he evokes his dreams and
disappointments. Thanassis, Nikos, Zoe and Adriani are part of the Generation 700 Euro. After their Alevels, they studied five years or more and they graduated in economics, sociology and law, they joined
the protests as they think their condition is unbearable. How can they live, when at 30 or more, they earn
a monthly wage of 700 Euro and have a rent that is equivalent? «We are the generation Iphigénie.
The society has sacrificed us just as the ancient princess had been by her father». Dimitris was the voice of
rebels in 1973. He was the Polytechnique students' leader on air, those who have rebelled against the
dictatorship of the Colonels. 36 years later, he comes back to this place and evokes this cruel and glorious
time. He links the generation of November 1973 to that of December 2008. For him, the fight should go
on, because the ideals of freedom and equality have not been achieved. But will the fight go on ?
Have the December riots showed a new path and brought a glimmer of hope in a dying society ?
1. Tag – Day 1
20.00 Uhr – 8pm
Madrid nach der Immobilienblase – Madrid after the real estate bubble
Lugar y sociedad
Spanien 2009, R: Julian Franco Lorenzana, P: Lunatic Visual Studio
53 min, spanische OF, engl. UT, Internationale Premiere
Location and Society thinks about the relations that exist between the multiple communities that shape a
society and the places in which they live. How these societies modify the spaces that they live, precisely in
his process of adaptation to these, and how the spaces modified by them determine them, are the axes of
this documentary. Engraving in Madrid in full financial global crisis, after the snap of the real-estate
bubble, which has provoked the suspension of payments in hundreds of real estate agencies and
construction, thousands of workers who have lost the employment, families removed from his house for
not being able to face to the payment of the mortgage.
At the time of making the exposition audio-visual of Location and Society, the idea was that the structure
responded to two essential elements: on the one hand it had to stand out to the maximum the concept
of collectivity or community of people, and on the other, the one of growth, but of a form constructive,
architectonic ordinate and if it is wanted. Inherent to these concepts they were those of space and
communication, that articulated the previous ones, that is to say, reflected which is the operation and the
motivations of those colectivities. With these elements one is made up the structure of Location and
Society, in which the content mark of essential form that structure which it express dialectic the innate
one to the life of the social weave, in which the individuals exert attractive forces and repulsion which
they generate groups and communities that influence themselves and modify to each other in a cycle
whom in its last development a society forms, influenced and modified this one, as well, by the diverse
communities originated in the places that create. And all this, logically, in the effort to continue existing
like such. Also, the plastic treatment obeys to those concepts, as much in the size of the planes, or the
frame general or panoramic fixed in its majority as in the edition of the same to cuts without transition, or
the final treatment of the color; techniques that rely with rigor on the contents and the raised structure.
1. Tag – Day 1
22.00 Uhr – 10pm
UK und die Tradition des Widerstands gegen Atomwaffen und Atomwirtschaft
Beating The Bomb
(Die Bombe besiegen) zum 50. Jahrestag der „Campaign for Nuclear Disarmament“ (CND)
UK 2010, R: Wolfgang Matt, Meera Patel, P: maddmovies
72 min, engl. OF, Deutsche Erstaufführung
‘Beating the Bomb’ covers 50 years of the Peace movement in Britain against the historical and political
backdrop of the atomic age. The narrative follows the now called 'nuclear deterrent', starting at the dawn
of the nuclear age in WWII to present day. Nuclear weapons shaped the power structures that rose out of
the rubble of WWII and underpin them to this day. It is widely argued that the pressing issues of the day,
from poverty to climate change cannot be tackled without addressing the underlying economic system.
Our film evidences the claim that the foundations of our economic system are 'straight power concepts'.
The most straightforward of these concepts being the bomb, both in its physical manifestation and also
in the mindset it engenders and stems from. The film charts the efforts of individuals and organizations to
rid Britain of its nuclear weapons system from past to present. It also frames the nuclear weapons issue
within the wider context of global justice. The film is a tribute to peace campaigners and accordingly
features interviews with Tony Benn, Mark Thomas, Walter Wolfgang, Helen John and Vivienne Westwood,
bringing into special focus the UK based Campaign for Nuclear Disarmament (CND). It is an attempt to
mediate their spirit & commitment and to thus empower & inspire the viewer.
1. Tag – Day 1
22.00 Uhr – 10pm
Irland und der Protest gegen eine Gas-Pipeline als Infrastrukturmaßnahme
(Endstation: Rossport, Irland) USA 2009, R: Jim Kerns, P: Moving Monkey
53 min., engl. OF
In 2005, five men from Rossport, Ireland were sent to jail for 94 days because they would not allow
Shell Oil to put a gas pipeline through their land. In part 2 of his Global Economic Documentary Series,
filmmaker Jim Kerns goes to Rossport - a remote town in the northwest of Ireland - to examine this
conflict and the socio-economic implications involved. Kerns speaks with members of the community,
journalists, sociologists, and Shell representatives in an attempt to understand the factors that led up to
the jailing as well as to decipher the impact of a pipeline and gas-processing terminal on a once quiet
community. “Destination: Rossport, Ireland” examines how a big oil company is impacting the culture of
the community and how the idea of “progress and development” in the desolate West is coming into
direct conflict with health and safety concerns for an entrenched group of locals.
2. Tag – Day 2
16.00 Uhr – 4pm (Um die Welt und in die K-Länder I.)
den Kosovo verstehen – understanding the Kosovo
(Zwei Sommer im Kososvo)
Kanada 2009, Regie: Christopher Bobyn & Andrew Lampard, P: Venture Reflex Films
114 min., albanisch-serbisch-englische OF, engl. UT
Before Iraq, before Afghanistan, the United States bombed Kosovo. 10 years later, the former Serbian
province remains impoverished, ethnically fractured, and dependent on the international community.
Two Summers in Kosovo is about what it means to live in a perpetual frozen conflict, a purgatory
forgotten by the rest of the world. The film documents the lives of Kosovo Serbs and Albanians six months
before and six months after last year's declaration of independence. In 2007, the film introduces us to six
Kosovo Albanians and five Kosovo Serbs. Through the lives of these 11 subjects, the film explores Kosovo's
segregated education system and entrenched political corruption, its refugee centers and ethnic
enclaves, and finally, the international 'nation building' projects and folly at the center of it all. The second
part of the film takes place in the summer of 2008, where we rejoin our subjects six months after Kosovo's
Albanians unilaterally declare independence from Serbia. Through the fog of transition, the film's
characters emerge, deeply shaken by the terror of their actuality. Their plights have worsened. So little has
changed, so few promises have been delivered. Now each character, regardless of their ethnicity, is faced
with a dire question: can they survive in Kosovo without hope?
2. Tag – Day 2
Ghost Noise
(Lärm der Geister) über Shuvinai Ashoona in Cape Dorset, Nunavut, kanadische Arktis
Kanada 2010, R+P: Marcia Connolly, 23 min, inuit-englische OF
“I do not draw simply the surface of the landscape. I feel I am capturing the breath and soul of the earth.”
Third generation Inuit Artist, Shuvinai Ashoona lives in the Canadian Arctic, in Cape Dorset, Nunavut.
Ghost Noise pulls the viewer into the intimate space in which Shuvinai creates her evocative drawings.
Her fantastical representations of her co-existing interior and exterior northern lives create a magical
state for the viewer. Ghost Noise celebrates the absolute intelligence, mischief and poetry of Shuvinai
Ashoona. “Everything’s a ghost noise… It’s good to listen to them but it’s not good to learn it.”
2. Tag – Day 2
(Stell Dir vor, mich nicht zu sehen) über Colette Urban, weit weg von Halifax in Neufundland
Kanada 2009, R: Katherine Knight, P: Site Media Inc., 49 min, englische OF
Life and art intersect on a spectacular Newfoundland farm, when visual artist Colette Urban stages
13 performance artworks in her fields and barns. Resilient, determined, self aware and funny, Colette
embraces the transformative power of art. Urban restages 13 enigmatic performances from her lifetime of
work for the camera, transforming into half-woman half-bear, dancing a tango while strapped into
bungee cords, wheeling nonsensical record
contraptions and turning herself into a parody of
consumer goods. The film is an astonishing
representation of Urban's enigmatic art
performances set against the rugged beauty of
the Newfoundland landscape. She emerges as an
empathetic, courageous and visionary character
who has achieved artistic excellence through a
focused and solitary journey. This is a film about
an artist carving out their own distinctive place in
the world. In the film, Urban takes her art out of
the gallery and into the natural environment of
her Newfoundland property, an abandoned
chicken farm. In the process, she rediscovers her
art, her commitment and her passion, reminding
us all of the need to believe in ourselves. Pretend
Not To See Me, invites audiences into the magical
world of the imagination. It’s a crash course in
performance art for everyone who loves
landscape, seascape and ideas of the heart and
mind.
2. Tag – Day 2
Guests of Space
(Gäste des Raumes) über die Nukak Maku und beschleunigter Wandel von Lebensverhältnissen
Spanien 2010, R+P: Alba Mora-Roca, 26 min, nukak-spanische OF, engl. UT
Guests of Space explores the first encounter between the Nukak Maku people and the white man in
1988. “We were very afraid of the white men because we thought that they were cannibals,” says Kirari,
the tribe’s oldest man. Known as the last nomads to be contacted in South America, the Nukak Maku have
lived a nomadic existence in the tropical forests of Southern Colombia for centuries. But today the
Amazon lands that sustain the tribe are being overrun by Colombia’s drug war and the Nukak have been
forced to relocate outside their territory. This film observes the collision of two alien worlds where
settlers, missionaries, armed groups and Colombia’s drug war unexpectedly meet and confront.
2. Tag – Day 2
Jacanamijoy, De la Tierra Sagrada a la Gran Ciudad
(Jacanamijoy: Von der heiligen Erde in die große Stadt – Jacanamijoy: From the Sacred Land to
the Big City) Spanien 2009, R +P: Cecilia Posada, 64 min, quechan-spanische OF, engl. UT
Carlos Jacanamijoy is indigenous from side lines of the Colombian Amazon rainforest, from the Sibundoy
Valley. He belongs to the INGAS, an ethnic group whose origins are the Incas and whose language is Inga.
Unquestionably his history stands out because of being indigenous. Coming from a minority ethnic
group, he has succeeded to be a famous plastic artist widely known. However, his art, his paintings are
images of his cultural history, his Indian origins: “Being indigenous, I turn back to my past because it is full
of strength, its not about continuing this legacy as testimonial, nor repeating what the world is already
used to see, but to express that today we continue to exist and that our lives and work create history.”
From the sacred land to the big city, goes deeply into the subject of IDENTITY, focusing on Carlos
Jacanamijoy and his work. Since a couple of years, Carlos lives in New York. He will talk about his work and
about moments of his life in the big city, which not always have been personally easy; and he would show
us that ancestral world always present in his paintings. In his company we will discover his culture and the
ancestral knowledge about the indigenous people from his land. We will talk about his culture, his
language the INGA, his family, about shamanism and the importance of the plant called YAJE in their
community, as they believe it is a source of knowledge and a major component of their culture.
From the sacred land to the big city, is a documentary which is aimed for a diverse public: for the lovers of
contemporaneous art and of ancient cultures. And for those who wish to echo over cultural identity as an
artistic value, as a particular language. Also for those who believe in cultural exchange in this globalize
society in tolerance.
2. Tag – Day 2
(Flüchtlinge aus Naturschutzreservaten – vertrieben aus dem Paradies) die Schattenseite des
Natur- und Tierschutzes in freigehaltenen Reservaten. Deutschland 2010, R: Steffen Keulig,
P: marketfilm productions, 25 min, engl. OF, Deutsche Erstaufführung
It is no secret that millions of native people around the world have been forced off their homelands to
make way for oil, mines, timber, and agriculture. But few people realize that the same thing has happened
for a cause which is considered by many as much nobler: land and wildlife conservation. The conflict
began in the bucolic stillness of the Yosemite valley. From the middle of the 19th century until 1914, when
Yosemite became a national park, a concerted and at times violent effort was made to rid Yosemite of its
natives. During the same period, most of the major parks created in America - notably Yellowstone, Grand
Canyon, Everglades and Olympic - repeated the Yosemite example by expelling thousands of tribal
people from their homes and hunting grounds so that the new parks could remain in a 'state of nature'.
This practice of conservation was exported worldwide, becoming known as 'the Yosemite model'.
The number of people displaced from traditional homelands worldwide over the past century in the
interest of conservation is estimated to be close to 20 million, 14 million of them in Africa alone.
What is left are up-rooted, dispossessed and destitute people, falling swiftly into alcoholism &
prostitution. Many end up in the city slums, as their homeland habitat bleeds and their culture is lost
forever, and they become pariahs. They are degraded to the destitute vagabond peasant class, the bottom
rung of the consuming society.
2. Tag – Day 2
Miss Landmine
(Miss Landmine) über die Wahrnehmung von Behinderten und Kriegswaffenopfern in
Kambodscha sowie über die Bedrohung, die akut von Landminen ausgeht; gleichzeitig ein
Vexierspiel um die Ambivalenz der westlichen Einstellungen, ihrer Werte und Schönheitsideale
auf Verhältnisse des Fernen Ostens, und umgekehrt. Kanada 2010, R: Stan Feingold, P: The Eyes
Television Productions, 71 min., norwegisch-khmer-engl. OF, engl. UT, Deutsche Erstaufführung
Does everybody have the right to be
beautiful? Miss Landmine is an art project
that raises awareness of landmine issues
and challenges traditional perceptions of
disabled people. On the heels of a successful
event in Africa, theatre director Morten
Traavik has now turned to Cambodia for the
next edition of his controversial beauty
pageant for landmine survivors. Faced with
cries of sexism, exploitation and a
conservative Buddhist culture, Traavik seeks
out new expressions of beauty in an
increasingly hostile and repressive
environment. The film chronicles Traavik’s
unconventional exploits over a one-year
period, as he travels throughout Cambodia
meeting and photographing the 20
participants, each representing a different
province. Character profiles illustrate the
hardships landmine survivors face in this
impoverished country, where the landscape
is littered with the explosive remnants of
war and misfortune is seen as a predestined
event. As the public launch of Miss
Landmine approaches, the Cambodian
government intervenes and the project is
exiled. In the end, Traavik is faced with a
clandestine and possibly perilous journey to
crown the winner. Shot in HD and 16mm by
cinematographer Brian Johnson, Miss
Landmine features locations ranging from
the temples of Angkor Wat to the beaches
of Kep. An original score by composer John
Korsrud combines ethnic instruments and
modern rhythms. The film also includes
performances by legendary chapei master
Kong Nay, who is sometimes called “the Ray
Charles of Cambodia”.
3. Tag – Day 3
16.00 Uhr – 4pm
Indiens Himalaya und Tibet II. – India‘s Himalaya and Tibet II.
(Verzerrte Propaganda) das Leben der Tibeter in Lhasa unter chinesischer Propaganda
USA 2007, R+P: Jeff Lodas, 63 min., chinesisch-tibetisch-englische OF, engl. UT
Through the window of Chinese propaganda in Tibet, this film looks closely at education, entertainment,
urban development, religion, political anniversary celebration, and the peaceful liberation of Tibet. The
film artfully illuminates these topics by delving directly into the propaganda world, and though
interviews with five Tibetans for whom that world was a part of daily life.
Every aspect of life in Tibet contains some element of propaganda. For Tibetans, daily life requires a
sensitivity to the political situation and the Chinese Communist Party "line", on which the propaganda is
based. Propaganda attempts to regulate how Tibetans view themselves, and how the rest of China views
Tibet. It is an important and usually overlooked element of modern Tibet.
Because of Tibet's political situation, many facets of life have a political tone. Education, from primary
school through university, always includes political education, which seeks to produce loyalty to the
Communist Party, and ferret out those who would dissent. Through popular entertainment, Tibetans may
find themselves, willingly or unwillingly, singing songs of praise to the Party and Chairman Mao.
Urbanization and economic development are the great acheivements held high by the Party.
Who really benefits from it?
Who really pays for it?
Being Buddhist is
synonymous with being
Tibetan, and is one of the
clearest expressions of
national identity. Yet, loyalty
to the Communist Party
must come before
everything, and religion is
no exception. 2001 marked
50 years since the arrival of
the Peoples' Liberation
Army on the Tibetan
Plateau. A parade and
celebration of this "peaceful
liberation" was carefully
orchestrated in Lhasa, amid
high security.
Five interviews reveal what
it is like to grow up, live and
work with propaganda in
daily life. Three anonymous
Tibetans discuss their
experiences with
education, media, and
popular music. Interviewed
on camera are Chopata
Mache, a composer, and
Agya Rinpoche, former
Abbot of Kumbum
Monastery in Amdo and VP
of the Chinese Buddhist
Association.
3. Tag – Day 3
17.15 Uhr – 5.15pm
A Japanese Funeral
(Eine japanische Beerdigung) über ein christliches Totenritual u. eine christl. Beerdigung in Japan
USA 2010, R: Karen Nakamura, P: Yale University, New Haven (CT.), Fakultät für Anthropologie,
13 min, japanisch-englische OF, WELTPREMIERE
A young Japanese man dies at the age of 39 in a small fishing village in Northern Japan. His family and
friends gather to say good bye to him over the course of a three day funeral -- with a twist, he was
Christian. Filmed with permission of the young man's parents, this short documentary film chronicles the
entire funeral process from the wake to cremation.
3. Tag – Day 3
17.15 Uhr – 5.15pm
Marker
(Markierung) über Toten-Schreine in Kanada, den USA und in Japan als Markierungen
Kanada 2010, R: Louise Noguchi, P: Louise Noguchi Prod., 29 min, japanisch-englische OF, engl. UT
In the film Marker, director Louise Noguchi travels to the shrines of martyred “heroes” from North America
and Japan. At her ancestral countries’ landmarks, she discovers meditative spaces with mounting levels of
violence in their histories. Louise visits the Martyrs’ Shrine in Midland, Ontario and remembers the slain
Jesuit priests Brébeuf and Lalement. She tours the shrine to Catherine Tekakwitha in upstate New York,
where the 17th century Mohawk Aboriginal converted to Catholicism with a zealousness that brought on
her own death. In Japan, Louise travels to the historic home of General Nogi and his wife, who committed
ritual suicide. She also visits Tokyo's controversial Yasukuni shrine and witnesses a recent protest where
visitors clashed over the shrine’s commemoration of Japan’s militaristic past. Through Louise’s visits to
shrines, her discussions with visitors and commentary from experts, she exposes the horrific pasts of her
native countries’ peaceful landmarks.
3. Tag – Day 3
17.15 Uhr – 5.15pm
Lost on a Reef
(Verloren im Riff ) über die Archäologie von Schiffswracks als Methode der Historiographie
am Beispiel von Erkundungen an Korallen-Atollen nordwestlich von Hawaii.
USA 2009, R: Stephani Gordon, P: Open Boat Films LLC., 17 min, englische OF
The shipwrecks of the northwestern Hawaiian islands are pristine - most have not been touched since
they wrecked on these reefs a hundred or more years ago - and the bones of these long lost ships are
nestled among amazing coral reefs in this remote stretch of the Pacific. Six underwater archaeologists
undertake a research expedition to map, collect data, document, and recover a few choice artifacts to
bring the story back to the public in Hawaii.
3. Tag – Day 3
18.30 Uhr – 6.30pm
Sand Mountain
(Sand-Berg) die Reise einer Fotografin in die bewaldeten, entlegenen Hügel von Alabama,
um den dort zurückgezogen lebenden und längst vergessenen Musiker Cast King zu besuchen.
USA 2009, R: Kathryn McCool, P: Fussy George Films, 34 min, englische OF,
Setting off with a borrowed video camera, Kathryn McCool drives alone through the American South to
meet reclusive musician Cast King and attempts to find the America she had, as a youth, re-created and
photographed in her own backyard in rural New Zealand. Comparing what she finds with what was for so
long imagined, this film is about a journey into her borrowed culture. Was reality going to make mockery
of her painstakingly conjured up South? Sand Mountain is a road movie that drives into personal territory
as well as the back roads of Alabama. The meeting of Cast King offers a dignified portrait of this
somewhat exploited figure, it is also an attempt to locate and connect with the essence of the South it's
musical heritage, it's people. To this end the film is every bit as interested in the sublime and sometimes
eccentric portraits of the people that are encountered on the way. Her camera is always attuned to
iconographic America; the diners, motels, gas stations... Ultimately the film conveys nothing specifically,
but what appears in the midst of this generous silence are moments of emotion - of sadness, loss,
resilience and pride as they are merely witnessed by the filmmaker. The dignity is without manufacture, it
is a short story given to the filmmaker by the people. In the end, under the weight of reality, we see the
filmmaker's daydream begin to fade. America is contextualized against something bigger than the myth
of popular culture.
3. Tag – Day 3
18.30 Uhr – 6.30pm
(Mendelssohn, die Nazis und ich) Regiseurin Sheila Hayman, direkte Nachfahrin von Felix
Mendelssohn in der fünften Generation, über den großen Komponisten, u.a. des „Hochzeitmarsches“, über die Erfahrungen ihrer Familie während der Nazizeit und deren Flucht nach UK
sowie über die Versuche der Nazis, einen der beliebtesten deutschen Komponisten aus der
Geschichte tilgen zu wollen.
UK 2009, R: Sheila Hayman, P: Renegade Pictures für die BBC, 60 min, englische OF
Felix Mendelssohn, of Wedding March fame, was a devout Christian - but also a Jew. This was very
embarrassing for the Nazis, who attempted to write Germany's favourite compoers out of history.
Meanwhile his part-Jewish family had to hunt for enough Aryan blood in their ancestry to stay alive.
Director Sheila Hayman, Felix's descendent, explores the effects of all this on his reputation, on the family
and on all the Jews of Germany, through music and interviews with witnesses of the time. A film about
the madness of labels, and the unifying power of music.
3. Tag – Day 3
20.30 Uhr – 8.30pm
Strawberry Girl
(Erdbeermädchen) eine polnische Erntehelferin in Finnland und ihre Arbeitsbedingungen
Finnland 2009, R: Arja Pettersson, P: Hurjaruuth, 4 min, englische OF
A dream of a Polish girl has come true. She found a summer job in a strawberry farm in Finland.
She is writing about her working experience in the Internet chat Suomi24.
3. Tag – Day 3
20.30 Uhr – 8.30pm
Tres Tristes Tigres
(Drei traurige Tiger – Three Sad Tigers) die Lebenssituation von bengalesischen Fremdarbeitern,
die in Dubai auf Großbaustellen von Prestigebauten arbeiten wollten.
Spanien 2010, R: David Muñoz, P: Hibrida, 14 min, bengalesisch-englische OF, englische UT
Construction boom in Middle East brought 832,000 workers from Bangladesh. The labor abuse and illegal
contracting, accepted by Bangladeshi government with tolerance of International Labor Organization, has
brought thousands of broken families and hopes of workers destroyed for good.
3. Tag – Day 3
20.30 Uhr – 8.30pm
Festival-Finale:
The Man in the Hat
(Der Mann im Hut) eine Hommage an Peter McLeavey, den Kunsthändler und Galleristen in
Neuseeland: zugleich eine Liebeserklärung an das Leben in der Stadt Wellington – mit einer
Urbanität im menschlichen Maß; damit auch eine Zeitreise in ein Land, das einen an das England
der 1950er-Jahre erinnert und doch auf seiner sehr eigenen Nationalidentität besteht.
Eine kontemplative und essayistische Nahsicht, etwas gelassener zu leben und leben zu können.
Neuseeland 2009, R: Luit Bieringa, P: BWX Productions, 74 min, englische OF,
NZ’s art history as seen through the activities of the Peter McLeavey Gallery since its inception - What is
the McLeavey realm and what has made him THE dealer par excellence, a dealer whom others respect
and in many instances try to model themselves on - Who is Peter McLeavey, the Andy Warholesque
persona and family man? - How do his colleagues, artists and clients see him? - “His conspicuous self
effacement suits the line of work that rewards discretion” - His role and services to his artists: agent and
manager in one; publicist; archivist; sometimes assistant producer and perhaps social director and lay
psychologist McLeavey without his gallery is as hard to imagine as a sea captain in Switzerland The
McLeavey Gallery archives/files contain some of the most fascinating and revealing insights into the
history of New Zealand contemporary art from the late 60s onwards. Artist dealer and client dealer
correspondence as well as a rich photographic record will provide invaluable insights into the workings
of one of the country’s most enduring art dealerships and the personality who has created and driven
that endeavour. The personality of Peter McLeavey is THE subject/object of fascination of the intended
documentary: - what drove a successful young stockbroker towards a career in the uncertain world of art
dealing - who were his heroes ( Leo Castelli etc.) - how does the artworld regard him - what do artists ,
including those who fell out with him regard him - what relationships does he have with his lifelong
clients The project was based on the following research: Given the personal insights we wish to draw out
in the documentary, research included an extensive and intensive series of non-filmic interviews with the
subject as well as artists, clients, family members and other likely commentators. Research also included
an in depth look at the comprehensive gallery archives/files, published literature, reviews and known
news and similar film footage. Family photographic records and existing portraiture by well known NZ
photographers were also collated for usage within the documentary. While the visual arts imagery
available is unlimited, given the length of the gallery’s
existence, the documentary’s focus will be on the
subject, Peter McLeavey , who is not only fascinating
photogenically , but also anecdotally- in a sense Peter
on a chaise- longue recounting his successes and
expressing his doubts is as fascinating as a Woody
Allen sequence or as outrageous as a Merylyn Tweedie
assault on that very iconic chaise-longue itself. Shy but
articulate, gentle, seemingly diffident but tough, saintly
in appearance yet with a perverse strain, Peter
McLeavey has left and continues to leave an indelible
mark on the visual arts map of New Zealand. The
intention to interview other artists and collectors was
eclipsed by Peter’s own articulate and unusual story. As
a result the Man in the Hat is a documentary on and
with Peter, he told the story so well.

Globians Doc Fest Stuttgart 2010

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